Through the gateway of sentimentality, the world of fashion has advanced to a hyper-meta stage in which everything links back to something else. Fashion is a microcosm that operates according to its own set of laws and hierarchies. Margot Robbie, who is now on tour for Barbie, is wearing outfits that were originally seen on top models, some of whom were referred to as “living Barbies.” The archives are mined, which ultimately results in reissues or updates. However, it seems that what it all boils down to is reinventing what now is, as opposed to what potentially may be. The reverse is true for Threeasfour, who have always sought to push boundaries and collaborate with people and draw inspiration from sources other than the fashion industry.

The concept of a parallel universe was investigated for their most recent couture collection, which followed on the heels of an all digital line-up for the fall 2022 season. (Which, in some ways, is a reflection of how Threeasfour has conducted business in adjacency with the industry for more than 20 years.) “When we had the fully digital collection, people did not believe that the pieces were digital; and they were really insisting,” said Gabi Asfour over the phone from London. “We got requests from celebrities, from musicians, from tons of stylists, from all over the world, and it was really sad not to be able to give the pieces to anybody.” “When we had the fully digital collection, people did not believe that the pieces were digital; and they were really insisting.” During this past season, we created a collection that was both digital and tangible. Therefore, every single artwork, regardless of whether it is displayed digitally or physically, has a copy. (When it comes to digital fashion, Threeasfour’s partner is Placebo.) The crew, who have never doubted the existence of man and machine, are currently performing at a high level.

Part of the excitement comes from trying to figure out which is which. “We want to confuse the viewers,” Adi Gil pointed out. “What really is real and what exactly isn’t? This is the most important question at hand.” The ability to differentiate between the two is a talent that will become increasingly valuable as technological advancements are made. Warning: this paragraph contains a spoiler about the opening look, which was a dress made of organdy and covered with a fretwork of light-filled tubes. While this garment was the genuine article, it also had an immaterial “sister.” In addition, a Look consisted of a fabric basis that had 3D printed frills added to it. These frills were the result of a cooperation between designer Alessandro Zomparelli and the Stratasys printing technology.

During the process of designing this collection, one of the questions that the team investigated was whether or not machines will eventually replace physical clothing and designers. “By demonstrating that we carried out every step of this collection by hand, we are providing an answer to your query. While we did make use of computer programs, Asfour emphasised that we

did not allow artificial intelligence to direct and generate the final products. “In essence, it’s very similar to driving a car; you put the keys in the ignition, and you drive the car, as opposed to letting the car drive you by itself,” the speaker said

The Collection