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No category has the potential to be more disrupted by technology than couture, a metier that is built on one-off, made-by-hand garments. Iris van Herpen invited us to reconsider the definition of “unique” by making use of 3D technology in her couture collections. Now, the Threeasfour trio is jumping into the game with a digital collection, realized in collaboration with CG artist Shingo Everard, garments of which will eventually be offered as animated NFTs in collaboration with Dressx. Why Be A Princess When You Can Be A Pirate Vintage Mug, An NFT needn’t have a physical equivalent, but somehow, at this point in the development of the technology, there is something comforting—and convincing—about a design that can work in either realm. All of the designs proposed here are replicas of existing Threeasfour garments, and some of the design solutions for these virtual styles were developed as the physical ones are, by working with material on a small wooden doll. (A very long time ago couturiers and dressmakers advertised their designs by dressing and distributing dolls in their latest wares.) Many of the virtual pieces seem to orbit around the body like weightless sculptures, as did their physical siblings.

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A bulbous abstract look made in nylon for spring 2021, for example, was reimagined as a translucent web-like structure. The designers have been carefully observing what’s been happening in the world of NFTs—“all these people that are doing graphic design on top of images,” notes Gabi Asfour,” and it’s not enough. You have to think of [a digital fashion design] as a 3D object that’s actually going to move.” (The brand’s NFTs will be animated.) This project, stresses Asfour, “is actually fashion design…we’re not really doing an image, we’re doing a 3D sculpture—that’s what it feels like. It’s basically the same input that we did in 3D printing, but more is involved in this.” Threeasfour’s avatars will be animated in the NFT versions, but more than that, each one can be 3D-printed proportionally and exist IRL. The idea is to enhance the brand’s offering to include virtual garments without abandoning physicality. “For us, it’s really important to do both,” stresses Adi Gil. “I always go back and think of the “Manus ex Machina” exhibition at the Met. I feel like we are really the bridge between the two.” That statement applies both to the brand’s creations and its creators, all of whom are members of Gen X. “We are [the] in between [generation],” says Gil. In every other way, Threeasfour stands apart from the crowd. Their vision is unwavering and they have always been open to the new. The trio’s interest in fractals, geometry, space, and the abstraction of the human form feel high-tech and futuristic and adapts well digitally, so their aesthetic translates seamlessly into this new medium, and perhaps others. If there are any producers listening, Threeasfour would be down with costuming a sci-fi movie.

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