free web stats



My upcoming book Hacking Experience: New Tools from Cognitive Science for Artists is in preparation for Punctum Books (NYC). It's a book that translates cognitive science into tools that radically enhance the way artists tell stories. I design experiences in the physical world as a form of myth making by harnessing attention and spatial rhetoric. I'm also principal designer for Geologic Cognition Society, a post-disciplinary research-driven design group. I've lived in ChicagoEngland, Nigeria, Papua New Guinea, and Hawai'i (among other places), Hawaii made the most sense to me. At the moment, I live in Ohio and I'm exploring the Great Lakes region for a few projects I'm wrapping up.

Find me on Twitter @RyanDewey, or get in touch here.

Yes, I sew too. My tribute to Marjan Pejoski's Swan Dress

Two years ago I learned a little about ruffle morphology and recursion. I was constructing a proper petticoat for my replica of the swan dress designed for Björk by Macedonian fashion designer Marjan Pejoski in 2001. I've written elsewhere about recursion as a theme in Björk's universe of ideas and I'll borrow a little from that here where it is applicable. Recursion occurs widely in the geographic world, the geologic world and the biological world, this is just one way that it can be incorporated into a design practice. It's unlikely that petticoat construction was intentionally biophilic/biomimetic, but the geometry of the ruffle is clear on two things:

  1. as a generative form, recursion builds volume, and
  2. as a result of this volume, recursion affords better ass-coverage.

I don't want to present this without a little authenticity about my skills, so let me make a disclaimer: I'm not trained in garment construction at all, but I did work for Max Mara in Hawai'i for a while (when it was still at Ala Moana) and as a result I know a fair amount about the Italian school of luxury fashion and a bit about Italian women's ready wear.  I'm familiar enough with how a garment is constructed from studying garments and from pinning for fitting in the boutique that I didn't need to use a pattern to produce this replica. However, I don't sew very often which is why it took me 17 hours of straight work to produce this piece. I'm proud of it (even though I used cheap fabrics) because it enabled me to hone my manual literacy with fabric a little, but I'll certainly do things differently next time. Anyway, here's a process shot of me starting off with the first dimension of the ruffle:

first order ruffle
third order ruffle
Ryan Dewey