We all remember the vision of Tupac being brought back to life by hologram technology during Coachella in 2012.
Divided though opinion was, the interesting fact lay in the advance of the tech itself. Today, it is entirely possible for life-like constructs to be achieved in 3D so as to be visible to the naked eye. And more to the point, increasingly in a cost-effective way too.
Today, it is estimated that the holography market will be worth $5.5 billion by 2020.
Fashion is one industry that has been experimenting in this space for some time, using holograms as both elaborate marketing techniques, as well as more immersive in-store opportunities aiming to drive brand engagement.
Here are seven of the most interesting examples we’ve seen released over the years…
In 2006, Kate Moss became the first human hologram to be featured as a part of a major fashion show. Alexander McQueen presented the 3D rendering of the supermodel as the finale of his ‘Windows of Culloden’ show in Paris. The hologram of Moss in a flowing white gown appeared out of nowhere to the audience from inside an empty glass pyramid following an elaborate puff of white smoke. The model danced for a few seconds before shrinking and dematerializing.
This iconic hologram, designed by video maker Baillie Walsh and directed by Lee McQueen himself, has become an iconic moment in fashion history and as such even saw revivals in 2011 and 2015 at the Savage Beauty Exhibits, dedicated to McQueen, at the Metropolitan Museum of Art in New York and the Victoria and Albert Museum in London respectively.
In 2007, contemporary denim brand Diesel took the concept one step further from McQueen’s show the previous year by creating the biggest holographic fashion show to date for its Summer 2008 collection in Florence. The ‘Liquid Space’ show incorporated holograms that were created using the Pepper’s Ghost effect, an optical illusion that uses angled glass and hidden spaces, the technology for which was provided by tech specialist company Vizoo.
The campaign centred around marine creatures in space and used hologram technology to merge 2D projections of a high definition multi-screen video of the creatures with the real life models. The video images were projected onto multiple transparent screens while careful lighting illuminated the catwalk with little or no scatter on the holographic screens. The virtual and real life elements on the catwalk consequently appeared as one to the audience.
Dutch artists Pinar&Viola also used hologram technology to project an entirely virtual fashion line onto real life models in 2016 at their Amsterdam Fashion Week show. The occasion was designed to prompt emotions about clothing and encourage consumers to reconsider their rate of consumption in order to reduce wasted resources. The show was created in collaboration with AMFI student Amber Slooten and inspired by the mixed reality concepts of companies like Magic Leap and Microsoft’s HoloLens. Its aim was to explore how a future of holographic garments might work.
The technology also allowed each piece of clothing to be animated through the allocation of characteristics such as eyes and mouths to further emphasize the conscious theme and help viewers to greater connect with the clothes despite them being inanimate.
The 2018 GQ Men of the Year Awards saw another first on the holographic medium front as pioneering designer Ralph Lauren beamed in via the medium to accept his ‘Design Lead of the Year’ award. The innovative concept was also created in celebration of the brand’s 50th anniversary. The realistic installation was created by Cinimod Holograms and used a staged box located away from the stage to create the theatre. The concept enabled the real life presenter at the awards to stand alongside and interact with Ralph’s hologram in a highly realistic and entertaining way for the audience.
This spectacle followed a series of other hologram integrations by the brand in previous years, including holographic window displays of sparring boxers in its Fifth Avenue flagship in New York in 2017 to promote the release of the new Polo Sport line, and the virtual spring 2015 Polo Womenswear show back in 2014 in Central Park.
Footwear designer Nicholas Kirkwood is another that has utilized holograms by incorporating them in his inaugural London Fashion Week show in September 2018. Current Global worked with the brand to strategize the theme of the show, enhancing its cyber-reality theme by showcasing innovative visual technologies and integrating the experience of “white-hat” hackers in the presentation.
The result also saw a number of 3D hologram displays integrated throughout the show venue in order to enhance its underlying message of non-conformity. Created by tech company, Hologrm, they presented an animated 3D version of the collection’s main boot with neon detailing.
US denim brand Wrangler also recently got on board with holograms, marking its Wrangler Icons launch with a 360-degree immersive pop-up experience that incorporated musicians and actors as well as numerous uses of the technology. The London experience paid homage to the brand’s musical heritage and iconic star-studded clientele from across the years.
A continuous hologram feature was used to modernize the initiative, as well as helping to link the music theme back to the brand’s western image. A small black room at the back of the space appeared at first glance to house just drums and speakers however, broadcasted on top of the various instruments were holograms of dancing Wrangler cowboys wearing jeans and cowboy hats. The futuristic projections ran on a loop throughout the duration of the event.
Of all of the fashion brands that have used holography over the years, luxury jeweller Cartier has perhaps one of the longest standing relationships with the technology. Back in 1972 the brand generated a lot of attention through its projection of a diamond bracelet dangling from an elegant wrist onto the Fifth Avenue pavement from its store window, which aimed to entice customers in. The piece, which was created by artist Robert Schinella, elicited so many enquiries that it was later revived again in 1979.
Cartier has also harnessed other forms of holograms as the technology has developed over the years, including a virtual craftsman working at a physical station at the Tokyo National Museum’s Cartier Exhibition in 2009, and a store windows campaign in 2015 where a hologram story mapped onto a physical watch face showing the inner workings and intricate parts involved in a watch.
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