The eighth edition of Garage magazine is out next Thursday, and features a series of different covers starring models including Cara Delevingne, Kendall Jenner, Lara Stone, Joan Smalls, and Binx Walton. And as well as looking swish in print, each cover can be brought to life via the Garage smart phone app…
The covers, four of which are shown here, have been photographed by Phil Poynter, with art direction by creative studio Chaos Fashion and make-up artist Pat McGrath. Each features the models wearing Beats headphones. When looked at through the Garage app, the covers spring to life in 3D (see Jenner film below as an example of the effect).
This is the second time that Garage has worked with augmented effects, having previously created an AR piece with Jeff Koons in its autumn/winter 2014 issue. After this went down well with readers, the team decided to try AR again, but have taken a more ambitious approach this time. Alongside the covers, there are also other AR features in the issue, including a 14-page shoot by Nick Knight (a sneak preview of which will appear on the CR blog next week).
“We are all obsessed with our smart phones, but the argument that print is dying we completely disagree with so have now made a point to bring print and smart phones together in a way which makes a printed magazine have a double tangibility,” say Charlotte Stockdale and Katie Lyall of Chaos Fashion.
The CGI work for the project was created by The Mill, who worked in close collaboration with Poynter, Chaos Fashion and McGrath to create the AR versions of the covers. “The idea was to have a specific physical mutation happen to each model, driven through the modular nature of the Beats headphones: android; crystals, smoke; scribbles; and shrink foil,” says the team at The Mill. “The initial ideas for each one of these ‘elements’ became the blueprint for shooting the individual models.
“While at the photo shoot, the models were 3D scanned and the resulting 3D meshes were subsequently used to translate their likeness into an AR application,” they continue. “We researched and applied the AR software used for the actual app integration, then recreated all final composites within the MetaIO software. As a final step we created unique audio scores [not featured in the Jenner film] to accompany each one of the app animations to build an even stronger interactive user experience. We definitely pushed the limits of the technology.”
McGrath has worked on CGI projects before but also wanted to push the boundaries for this project. “We referenced iconic make-up looks that I had worked on and pinpointed some of their key elements, such as crystal, latex, metallic etc. and decided to use those as focal points for the projects,” she explains. “We also developed new ideas such as smoke that offered another dimension to the notion of a traditional ‘smokey eye’.
“Working with CGI is very different than straightforward make-up,” McGrath continues. “It can be challenging at times as there are certain things that you are unable to do with CGI that can be done with makeup, and vice versa. For example, the density of application and technique used in regular make-up can be easily fixed – changed with a brush or wiped away – and it’s a little more complex with CGI. However, the possibilities to enhance, add, or completely change looks with CGI are endless – and that to me is extremely exciting and groundbreaking.”
The new issue of Garage is out on Thursday February 12. As well as its AR features, it will also include contributions from Rem Koolhaas, Francesco Vezzoli, Rirkrit Tiravanija and Danh Vo, amongst others. More info is at garagemag.com.