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    VORONOI is a digital fashion collection inspired by the certainty of randomness.

    The collection, with minimalism at its core, stems from simple geometric lines for airy and fluid silhouettes and evolves as it moves according to a generative algorithm.

    All looks are made of procedural textures, which are created by a series of mathematical functions and used as a numerical representation of the “randomness” found in nature.

    As if randomness was actually random.



    Since, if truth be told, it turns out that most computer-generated “random” numbers follow subtle patterns that can be observed over many instances of generating them.

    This is why, even if at first glance the garments appear to be evolving randomly, in reality, they are following a hidden pattern: the Voronoi diagram.

    The Voronoi diagram is a rather natural construction that was used by Descartes to demonstrate how matter is distributed throughout the solar system.

    Later one, it has been useful for anthropologists to understand cultures spread, for crystallographers and ecologists to study nature or even for economists to model markets.





    ‘The Voronoi diagram consists on the partitioning of a plane with n points into convex polygons such that each polygon contains exactly one generating point and every point in a given polygon is closer to its generating point than to any other.’

    In essence, rather than stored data, the garments are meant to be modelled as defined by the same patterns as any other natural element that surrounds us.

    Even if each look responds to a different procedural texture generated by a different fractal noise and turbulence indicators, it is nothing we had not seen before as they actually mimic nature configuration.





    As a creative process, this implies an iterative mechanism, where chance has been managed by me, the designer, while selecting specific output or changing input values, ranges and distribution.

    On one hand, the power of computers allows us to explore possibilities beyond what a human alone could do. In turn, the human eye provides a unique touch of haphazard, by picking certain features and not others.

    The resulting garments are therefore following its own rules and whims but, adding a human factor is the closest we get to allowing but managing chance, in pursuit of genuine coincidental experimentation; rather than optimised design.

    The colour palette is that of an ethereal iridescence, combined with psychedelic minimalism, and brought into a moving painting for a lightweight glitchy look.