Wrapped in a giant black puffer despite the blistering Californian sun, Blackpink member Lisa stepped out onto Coachella’s main stage on Friday for her first solo performance at the festival. Within minutes, the huge coat was whisked away — revealing a reptilian bodysuit covered in head-to-toe scales. “She’s the reptilian villain,” said the look’s designer, Asher Levine, in a video call from his studio in Los Angeles. “It’s very creature couture.” Levine, who has created otherworldly stage-wear for Lady Gaga, Grace Jones, Doja Cat, Christina Aguilera and Grimes, got the call to create both of Lisa’s technologically advanced Coachella looks less than a month before her performance date. “We’ve been going for a week and a half, day and night,” he told CNN in the days leading up to the event. “I went to bed early last night for this interview.” For her custom 3D reptile suit, Levine first took a body scan of the K-pop star to capture her precise measurements, which he then uploaded to a digital tailoring system which enables him to drape and adjust textiles on Lisa’s virtual avatar before the outfit goes into production. Next, he designed a unique geometric scale print using AI, and then passed the two-dimensional textile design onto his studio’s sculpture division to handcraft each individual scute — mimicking a lizard’s interlocking scales. The designer, who calls himself a “leather industry disruptor,” hopes to one day create cruelty-free versions of leather goods and exotic skins such as crocodiles and alligators. “We don’t have to kill animals anymore,” he said. “We can evolve beyond that.” Even with the aid of digital tools, the reptilian costume took meticulous work over a handful of days, with the smallest details, such as the translucent scales and horns that sat on Lisa’s shoulders, each taking between 50 and 60 hours to make. Illuminating inspiration For Lisa’s second performance look — an ethereal sheer catsuit complete with glowing 3-D- printed blue and pink tendrils — Levine looked to another area of nature for inspiration. “A lot of the references were bioluminescent insects (and) translucent fungi with illuminated veins running through the petals,” said Levine. “People have been putting nature on themselves for thousands of years: flowers, animal prints. But now (I’m thinking) what’s exotic 2.0?” For Levine, that approach meant fusing prehistoric creatures with futuristic technology — something he’s done before with his Terrelli clutch bag, which was inspired by the 300-million-year-old extinct fish Dunkleosteus Terrelli. “What I like to do with my designs is create chimeric organisms (and build) a new, evolved, exotic extension of this character,” he explained. Each of the 20-something luminescent tendrils worn by Lisa featured a fiber optic light that created an extra-terrestrial glow. “We started experimenting with embedded illumination in 2011,” said Levine, recalling a project a decade earlier with the Grammy-winning artist Will.i.am. “He was like, ‘Can you embed lights in clothes?’ And me being very enthusiastic said, ‘Yeah, let’s figure it out.’” Since then, he’s hooked Gaga, Aguilera and Grimes up to featherweight lights for a variety of shows, and has perfected his use of flexible, glass-like materials for built-in luminosity. For her Coachella performance, Lisa wore a series of clear petals across her chest that “looked like glass but bent like leather,” said Levine, holding a petal up to the camera and manipulating it with his hands to demonstrate. “This is the future that Blade Runner predicted.” One of the biggest challenges for Levine is producing a technologically advanced outfit that allows high-octane artists to move freely. After all, these are not static looks, such as those that might feature in a magazine editorial. “Building these pieces for a performance is literally like building for a sports athlete,” he explained. However, Levine recognizes that a second-skin scaly bodysuit may only appeal to specific entertainers, but so far, he’s found likeminded clients who seek to push boundaries not only with their work but also in their style. “These are the kinds of people that I’ve been focused on evolving,” he continued. “That’s who my customer is. You’re the other, you’re avant-garde. Asher Levine isn’t for everyone.”
Exclusive: Meet the designer behind Lisa’s reptilian Coachella look
TruthLens AI Suggested Headline:
"Designer Asher Levine Discusses Lisa's Innovative Coachella Performances"
CNN
7.9
TruthLens AI Summary
Blackpink's Lisa made a striking entrance at Coachella, performing her first solo set while donning a dramatic reptilian bodysuit crafted by designer Asher Levine. Initially concealed under a giant black puffer coat, the outfit was unveiled to reveal a stunning ensemble covered in intricate scales, embodying a 'reptilian villain' aesthetic. Levine, known for his innovative designs for high-profile artists like Lady Gaga and Doja Cat, was commissioned to create two technologically advanced looks for Lisa just weeks before the festival. The creation process involved a meticulous body scan of Lisa to ensure a perfect fit, followed by the use of advanced digital tailoring techniques to produce a unique geometric scale print. Each individual scale was handcrafted, showcasing Levine's commitment to detail and craftsmanship. He emphasized his vision of evolving beyond traditional materials, aspiring to produce cruelty-free alternatives to leather and exotic skins in the future.
For Lisa's second performance look, Levine drew inspiration from bioluminescent insects and translucent fungi, resulting in an ethereal sheer catsuit adorned with glowing 3D-printed tendrils. This futuristic design featured embedded fiber optic lights, a concept Levine has been refining since his collaboration with Will.i.am over a decade ago. He described his work as creating 'chimeric organisms' that blend elements of nature with cutting-edge technology, pushing the boundaries of performance wear. Levine acknowledged the challenges of designing outfits that allow for freedom of movement, likening it to creating gear for athletes. His focus on avant-garde aesthetics attracts a specific clientele, as he aims to cater to artists who are willing to explore bold and unconventional styles. Levine's work at Coachella not only highlighted his innovative approach to fashion but also reinforced the ongoing evolution of performance attire in the music industry.
TruthLens AI Analysis
The article presents an intriguing insight into the fashion world, particularly highlighting the innovative design choices made for K-pop star Lisa's performance at Coachella. It emphasizes the intersection of technology and fashion, showcasing how modern methods are reshaping the way costumes are created for high-profile performances.
Designer Spotlight
Asher Levine, the designer behind Lisa's reptilian look, is portrayed as a forward-thinking figure in the fashion industry. His use of body scanning and AI-generated design highlights a trend toward more personalized and technologically advanced fashion. This suggests an ongoing evolution in the fashion industry where traditional methods may be replaced or enhanced by digital processes.
Cultural Implications
The article touches on themes of identity and representation in performance art. By opting for a "reptilian villain" aesthetic, the design not only stands out visually but also invites discussions about the roles artists play and the narratives they choose to embody. This resonates particularly well with fans of K-pop, who often appreciate bold and innovative visuals that accompany music.
Hidden Agendas
While the article focuses on the creative process and the designer's vision, it may also serve to distract from more pressing issues in the entertainment industry, such as sustainability and the ethical implications of fashion. The emphasis on technology and innovation might obscure discussions about labor practices in the fashion industry or the environmental impact of costume production.
Manipulative Aspects
There is a degree of manipulation in how the narrative is framed. By glorifying the use of AI and digital tools without addressing the underlying ethical considerations, the article could be seen as promoting a superficial understanding of the complexities involved in fashion design. The designer's vision of cruelty-free alternatives to exotic leathers is commendable but feels somewhat disconnected from the realities of the fashion industry.
Comparison with Other Reports
In comparison to other recent articles covering fashion at major events, this piece stands out due to its focus on innovative technology. Many reports tend to emphasize the glamour and celebrity culture, but this one leans into the technical aspects of costume design, appealing to a niche audience that values craftsmanship and innovation.
Potential Societal Impact
The buzz around Lisa's performance could have various implications, including a heightened awareness of fashion technology and its potential uses in broader contexts. This can energize discussions about sustainability in fashion and may encourage other artists to pursue unique and innovative designs.
Target Audience
The article seems to cater to fashion enthusiasts, tech-savvy individuals, and the K-pop community. By showcasing cutting-edge design methods, it attracts those interested in the fusion of art and technology, as well as fans who admire Lisa's bold fashion choices.
Market Influence
While this article may not directly impact stock markets, it highlights trends in the fashion industry that could influence brands and designers. Companies focused on sustainable fashion or innovative technologies might find new opportunities for growth as consumer awareness of ethical practices increases.
Global Context
The focus on innovative design and technology resonates with current global trends in fashion and sustainability. As discussions around climate change and animal rights become more prevalent, articles like this may play a role in shaping public perception and expectation from the fashion industry.
AI Involvement
It's possible that AI tools were utilized in crafting this article, particularly in the sections discussing the designer's methods. The inclusion of technical jargon and a focus on innovation suggest a narrative shaped by contemporary discussions in fashion technology.
The article overall appears reliable, as it provides specific details about the designer and the creation process, but it does lean towards promoting a specific narrative that may gloss over more complex issues in the fashion industry.