Step into the future of fashion with generative garments that visualise the frequency of music. These digital-first clothes are designed to respond to the sound waves around them. As the music flows through the garment, it transforms and adapts to the frequency. Imagine walking down the street with a symphony of light and sound flowing around you – generative fashion. https://phaserbodies.floramiranda.com/

Concept and Production: Flora Miranda

Collaborating Artist: Dan Tapper

Choreography: Richard Siegal, choreography Xerrox Vol.2, danced by Martina Elysia Chavez, Pier Loup, Ian Sanford, Benedetta Musso, Karin Honda, Sean Lammer, Madison Vomastek, Margarida Neto

Music: Wolfgang Seierl

Lookbook Photography: Laura Feiereisen

Lookbook Model: Gala Moody, Sophie / Nobabes

Lookbook Hair and Makeup: Aoife Dewandeleer

A loose series of happenings, each presenting one or more new creations. In collaboration with Italian artist Esther Stocker and Flora Miranda. #1 at Galerie Petra Seiser, #2 at the Austrian Embassy Brussels, #3 at the atelier of Esther Stocker, #4 at ArtWorld Vienna. Each happening is a comment on time, space and speed.

Photography: Markus Gradwohl
Models: Isa Schieche, Michelle Prem
Makeup: Sarah Bzoch

Self-isolation in times of an ongoing pandemic makes us stay inside, shift our focus to the world inside of us.
With everything being shut down, our perception shifts from the general to the particular, we start to notice the tiniest little things in our surroundings. We suddenly see the light beams playing in our curtains in the morning, how our desktop paints the walls blue at night, and the way our laptop
monitor is made of rainbows from a certain angle.
Flora Miranda used her time of self-isolation to go back to her roots of painting, observing how digital communication changes human interaction. As she has been fascinated by Hyperrealism from a young age, she started thinking of the art historical term ‘mimesis’, in which art should reflect nature in the most realistic way possible. In that sense, virtual communication is the window into our isolated lives, we interact through those images to see each other in the most realistic way possible. Flora found herself reminded of iconology when thinking of social contacts: friends and family, either close by or far away, turned into images that run through crystals and polarizing filters on her LCD Screen. With transferring our interaction to the online world, we turned ourselves into images of ourselves, portrayed through pictures on LCD screens.
In “Hyperreal”, Flora Miranda analyzes and conveys this semblance of feelings, touch and interaction. By playing with the polarizing filters we see ourselves confronted with daily, she creates a fine selection of haute couture dresses inspired by LCD screens, which are resembled by exciting textures of silver reflecting colors.

Concept and Production: Flora Miranda
Sponsors: Land Salzburg

What does the future of technology hold for us? And who will shape the future of technology?
We cannot imagine a world without the internet, our tech-tools and gadgets. Our society is driven by technology, we connect over it, we inform ourselves over it, and we put our trust into it. We have to understand that technology is a tool of power. In that sense we often associate power with a cis-male world. Reading the news, we barely ever hear of female leaders in technology. We see Mark Zuckerberg, Elon Musk, and Tim Cook on the cover of tech-magazines, and we know that they have the power to shape the future of technology - which means, they shape our future.
But this is not because there is no female leadership in technology, women have influenced the path of tech for centuries. The world’s first programmer, Ada Lovelace, was a woman. YouTube and IBM both have female CEOs, and did you know that Facebook and Microsoft both have female CFO/COOs? There are females in tech, and they are thriving - so let’s put a spotlight on them. Let’s imagine a future, where power does not have a gender anymore, where female leadership is not a term of rarity, but associated with responsibility, positivity, and an impactful future. Welcome to the world of broken glass ceilings, where “female” does not apply to women only, where the world is constantly glitching between power and empowerment.

Flora Miranda visualizes such a future by playing with different symbols related to female power. What would a female future of technology look like? And how do the dangers of power translate to a female world? Both leadership and technology, especially when thinking of ways to use AI, are prone to misused - may a balance of genders lead to a balance of power? With those questions in her head, the designer created an imaginative world, where the future is female - and where female nerds are the coolest.

Concept and Production: Flora Miranda

Music: Idklang

Overtone-singing and voice poetry: Natascha Nikeprelevic

Videography: Laetitia Bica

Photography: Elsa Okazaki

Testimonial: Gala Moody

Hair and Makeup: Sarah Bzoch

Marketing: Antonia Seierl

Press Agency: Totem Fashion

Film Location: C12 Brussels

Sponsors: Forum Culturel Autrichien

What are the cracks in our system?
And what happens when the cracks become the system?

Flora Miranda calls upon those who feel like their system is being cracked: Take charge! Take power! Be creative, educate yourself, learn coding and understand the system so nobody can crack it up. Nothing in this world is good or bad, it’s always what we perceive it to be. In her upcoming work, Flora Miranda will present the cracks in our, in your system, playing with the borders of our perception by challenging meanings of visuals.
This work is in collaboration with the Italian artist Esther Stocker, who is known for her work with cracking paper and cracking grids that transform our perception.
The music provided is by the German electronic musician Alec Empire, who not only has a long history of fighting against cyber surveillance and the misuse of the internet for political purposes, but also will give the show the perfect mood: Cyber Crack. Take action, expose the cracks.

Concept and Production: Flora Miranda

Music: Alec Empire

Collaborating Artist: Esther Stocker

Studio Team: Sarah Mayer, Samira Lafkioui, interns Maria Zanlungo and Katya Maluavanga

Press Agency: Totem Fashion

Hair and Makeup: Marcello Costa

Show Photography: Etienne Tordoir

Sponsors: Forum Culturel Autrichien, Land Salzburg

Flora Miranda has made it her duty to research the internet and come up with astonishing collections, discussing developments in technology, while developing new technologies herself. The LaLaLand collection is part of a process of teaching computers how garments work: in this specific work Flora Miranda teaches machines what erotic clothing is, covering different niches of human sexuality.
The collection presents her work-in-progress, the status quo of her research on erotics, machine-learning and the internet.
The designer is using a technique based on a tulle-method which allows her to draw cyber-romantic silhouettes. Unlike in her last collection, not the dresses themselves are computer generated, but some of the textile patterns.

Concept and Production: Flora Miranda

Choreography: Florentina Holzinger

Music: T e l e p a t h

Studio Team: Samira Lafkioui and Tessa VanHees

Press Agency: Totem Fashion

Hair and Makeup: Marcello Costa

Show Photography: Etienne Tordoir

Show Video: Etienne Tordoir

Sponsors: Forum Culturel Autrichien, Rado , KIOSK Vlaanderen

‘Deep Web’ - Glamorously Technical! explains the process of teaching a machine what clothing is and how it is produced  – as Flora Miranda calls it ‚Machine Learning’ for fashion.
The collection ‘Deep Web’ is the designer’s visualization of her very own approach to the idea of ‘Machine Learning’: inspired by American transgender artist Amanda Lepore’s image, each design of the collection plays with feminine body shape. The dresses generically reproduce the most stereotypical, current image of ‘femininity’, playing upon the strict categorisation a computer implies, and the way computers deal with a fine variety of genders. By working with Lepore’s unique shape, the designer gives the computer a model to learn with, while teaching it how clothing works.
The mechanical aspect of the collection makes the presented clothing literally a product: each dress is pre-made for a client, sold, consumed.  
The approach she is following with ‘Machine Learning’ visualizes through outfits that each portray one step in the computer learning process. In addition to the presentation of the designs, the event merges with an informative keynote presentation composed by the Swiss artist Simone C. Niquille and moderated by the American Internet artist Signe Pierce, who traveled to Paris just to educate the audience about machine learning in fashion. The artist’s image of digital fluidity challenges critical thinking of artificial intelligence, especially with her sceptical approach to the mathematical segmentation and categorisation of the world. The main questions that were discussed during the keynote are: Which of our vital values, such as organic beauty, are lost in the structural systems we experience? Which bodies will be created by computers in the future? What are the beauty ideals that will dominate future societies? By teaming up with artists from fields outside her own, Flora Miranda not only creates designs that are based on those questions, but also enters the debate around the future of technology, beauty and fashion.

Concept and Production: Flora Miranda

Concept and Performance: Signe Pierce

Concept and Visuals: Simone C. Niquillle

Production Management: Samira Lafkioui

Press Agency: Totem Fashion

Hair: Lauren Sill / Luxelab

Makeup: Manola Spaziani / Beautick

Shoes: René Van Den Berg

Show Photography: Laetitia Bica, Etienne Tordoir

Show Video: Etienne Tordoir

Sponsors: Forum Culturel Autrichien, Motorola , L’Oréal Professionel , Schoeller

‘Ready To Die’ is a pun on ‘Ready To Wear’ fashion collections. For this body of work Flora Miranda deals with ‘death’ in a broader sense, namely the fugacity of fashion products - finding the beauty in sadness and nostalgia.

The first thought on ‘death’ is the custody and sterility of garments in museum collections, which leads to the image of the museum being a cemetery of goods.

The second thought is copying versus referencing. At Miranda’s time at the Antwerp fashion academy the first principle was “Do not look at other designer’s works for inspiration! Use historical references.” For this collection we wonder what ‘historical’ means. As soon as we find an idea in a museum, open for referencing, it becomes educational and dead. Why is it taboo to reference to designs that were just presented a day ago? Yesterday = History? When is something out of fashion?

We 3d scanned a selection of museum pieces which strike by silhouette, texture and storytelling. By virtualising these pieces they transform to be dead in cyberspace. But their data becomes everlasting, the information is stored and can be directly reproduced at any moment.

We worked upon the 3d models in a way, that the files can be reproduced into real life. We then built these 3d structures in different techniques by hand and the help of machines.

The work connects to Flora Miranda’s occupation with the immaterial body, with data mining and the materialisation as started with the clothing line IT Pieces. Furthermore the concept touches Flora’s teenage years, when she immersed herself in hyper realistic painting styles appearing in the 1960s with artists such as Chuck Close towards Franz Gertsch or Gottfried Helnwein. Back then Flora still aimed to become a painter and practiced photorealistic painting herself.

Concept and Production: Flora Miranda

3d Scanning and 3d Modelling: Mark Florquin

Sound Design: Hantrax

Production Management: Samira Lafkioui

Thanks to:
Mag. Elisabeth Frottier and team Fashion And Costume Collection Of The University Of Applied Arts Vienna
Silke Geppert and team Museum For Applied Arts Vienna
Angelika Riley Museum For Art And Craft Hamburg

This collection explores the interspace.
”(…) show the active function of emptiness. Far from being a kind of no-man’s-land that would imply neutralisation or compromise, emptiness makes possible the process of interiorisation and transformation through which each thing actualises its sameness and otherness and, in so doing, attains totality.“ (Empty and Full, The Language of Chinese Painting, p. 38)

The garment is what lies between the body and the world. The invisible, the air around the body is the space of possibilities for the garment – up to the nearest tangible element.
What is this body-environment made of?
With her “Pneuma” collection, Flora Miranda makes this invisible matter, the ambient space, wearable on the human body. The dresses are built in meticulous manual craft. Bodies of fine reflective plastic particles, high precision injected silicone shapes, 3d woven metallic vaporised film and lightweight colour spectrums composed from feathers are set in motion. The shapes of the human body are abstracted and become one with the fleeting, sculptural clothes.

Each garment strikes with its own material qualities. Belgian choreographer Arco Renz explores these features by the explicitly breathing bodies of ten dancers. The presentation is highlighted with a light design by Philippe Rahm Architects: the performance takes place inside of two separate rooms, using hue variation to reflect the contrast between a winter and summer atmosphere. Through the use of warm and cold lighting, two distinct atmospheres create the physical setting of fashion, in the sense of an autumn-winter and spring-summer collection.

Presented at Paris Haute Couture Week.

Photo shoot: photographer Ronald Stoops, assistant Sander Muylaert, model Emilia Lunney

Show: photographer Domen/VanDeVelde,makeup Charles Gillman and Make Up Forever Academy, hair Luxelab and L’Oréal

Choreographer: Arco Renz

Show music: Senjan Jansen

Dancers: Carol Ruppenthal, Gala Moody, Jurjij De Klee, Katharina Diedrich, Keisuke Mihara, Martina Musilova, Myrthe Van Der Mark, Patrycja Koldoziejczyk, Romain Brau, Sophy Ribrault

Sponsors: ADVANTAGE AUSTRIA Paris, Österreichisches Kulturforum Paris, Luxelab, L’Oréal Professionel

“Do you still own your future? Hook it up and press reset! Don’t give up the world!” (Atari Teenage Riot, Reset)

Flora Miranda presents a fashion collection that initiates a new beginning: A call to erase old paradigms, perspectives and processes to fully embrace a post-human existence.

“Today we are dealing with a complex society that finds itself entangled in a real crisis. This makes us question obsolete models that exhaust our world and our individual lives. I want to take this uncertain moment as an opportunity to erase our stuck modes of behaviour, ready-made ideas and preprogrammed processes. This is the time to regain the individual freedom, to get back to the basics and reconfigure our reality! Press reset!” (Flora Miranda)

Flora Miranda conceptually refers to the virtual world as a formable reality. Terms like fugacity, liquidation or immateriality are formulated into growing textures and textiles that follow the idea of neo-materialism: The human could be anything, it is loose from its societal obligations and it is the individual’s choice how they want to shape themselves.

With textiles that are based on the material silicone Flora shapes the body with a post-human approach. A special technique of weaving with dripping silicone has been developed together with Hermine Van Dijck. The collection consists of various textiles that are poured with refined pigmentation into wearable material.

Masks showing wide open mouths were created in collaboration with Niek Pulles. The masks refer to Austrian mythological figures named “Schiachperchten”.

Presented at Vancouver Fashion Week.

Photo shoot: photographer Ronald Stoops, assistant Sander Muylaert, makeup Kim Theylaert, model Mattilde Timmermanns (Rebel Models)

Lookbook: photographer Domen/VanDeVelde, makeup Mariska De Jong, model Naomi Van Kampen

Show: photographer Ed Ng

Backstage: photographer Trevor Brady

Show music: Aberzombie & Bitch

Sponsors: BKA, Loden Steiner, Van De Velde

Collaborators: Hermine Van Dijck, Niek Pulles / Heyniek

In the fashion collection _Sidereal_Ethereal_Immatereal_ Flora is dealing with the disintegration of physical borders, with the immaterial body and being. Her initial vision is the dream to beam oneself from one place to the other, to break up the system of space and time. The designer intensively occupies herself with teleportation and quantum physics – upon this research she is employing a visual form- and colour language.
In this collection Flora creates a futuristic silhouette, she lets the body decompose in its single particles, breaks it up, makes it dissolves itself. The garments are fragmented and fleeing from their strict form.

The colours are reduced on black and blue, making the body seem “scanned” and read as pure information. The collection excludes any kind of emotion. The character of a strong woman is calculated, she does not know any limits and without fear steps over the rules of nature. The material functions in a graphical way, through sharp borders and hard shapes. Digitally printed leather is floating in rings around the body.

Presented at Royal Academy of Fine Arts Antwerp graduation show, Fashionclash Festival, Los Angeles Fashion Week, and Serbia Fashion Week.

Photo shoot: photographer Ronald Stoops, makeup Inge Grognard, model Yana Van Ginneken

Photo shoot: photographer Laetitia Bica, makeup Laura Noben, model Sarah Whale

Photo shoot: digital imaging by Joachim Beens

Lookbook: photographer Gökay Caktak, makeup Adelien De Puysseleyr, model Christina Lovelace

Show: photographer Manny Llanura

Backstage: photographer GerGer, Bil Brown

Show music: Hantrax, Aberzombie & Bitch

Sponsors: Conceria Kara Srl, Van De Velde, Gentili Srl