Creative Media Level 3 Year 1 - Print Article

1. THE POLYMORPHIC DRESS
A new wonder has emerged from the glamorous and mysterious world of high fashion,
brought into existence thanks to blessings fromthe gods of melodramatic splendour and
elegant utility. Created by fashion designer Nasstasja Albescu and molecular engineer
Shunsuke Morikawa, the newly unveiled Project Shapeless is the most ambitious venture
into the world of haute couture to date. Designed to cater to the needs of its wearer in any
environment, from a polar blizzard to the desert heat, Project Shapeless prides itself on its
adaptability, and focuses on providing its consumers with the perfect dress right when they
need it.
A revolutionary new product created through the union of fashion and science, this young
marvel is set to define trendsetting conventions for years to come. Created whole-cloth
from a fast-acting memory fibre developed by Morikawa, and articulately woven into
present form by Albescu, Project Shapeless is the brainchild of two skilled and well-
respected titans in their chosen fields, and that talent shows in the end result of their
efforts. At first glance it appears to be a simple affair, a modest emerald gown that clings to
the body, covering everything from the neck down to the thighs. However, upon exposure
to temperatures higher than two-hundred degrees Celsius, or lower than ninety degrees
Celsius, a spectacular transformation occurs.
The shift in temperature causes the memory fibre on the inlay of the dress to react, which in
turn initiates a chain reaction with the outer layer of the dress. In temperatures below the
given threshold, the fibre expands, gaining a soft and fluffy texture as the dress gains
weight, while the vibrant green hues slowly fade out for icy blues and electric purples to
take their place. Inversely, when the upper limits of this threshold are exceeded, Project
Shapeless dyes itself in sunset oranges and fiery reds, as the memory fibre contracts within
itself to lose weight, gaining a light form and silky texture.
Sitting down with the two innovators who birthed Project Shapeless, I remember thinking
how brilliantly their respective attitudes shined through into their work. Albescu, a woman
of sixty-five with an oft-severe expression, spoke calmly but with a tone that would not
tolerate interruption. Morikawa, conversely, is a twenty-five-year old man that wears a
constant smile, and spoke so quickly that I could barely keep up with my notes. When I
asked them both the same question, ‘Why did you decide to create Project Shapeless’, I
received two answers that sum up the entirety of the project perfectly. From Albescu, ‘to
prove to the world that fashion is more than just pretty clothes’; from Morikawa, ‘for fun’.
Read the full interview on page 46.
Project Shapeless truly is one-of-a-kind, and not just physically. Satisfying the need to look
stylish and stay safe at once, this seemingly innocuous instalment paves the way for a new
era in both fashion design and molecular engineering, testing the limits to which the two
disciplines can be stretched. But ultimately, Project Shapeless represents something much
more intimate; the unification of what may seem to be too different to work together, but
when put to the test radiates a light that illuminates the future.