AUTHORS

Disruptomatic
Angela Natividad
Angela Natividad is a freelance copywriter, journalist and strategist based in Paris. She co-founded AdVerveBlog.com, a blog and podcast about ads and design, and writes MarketingProfs' “Get to the Point!: Social Media” newsletters. She likes people and animals, but not as much as books.
Tweet her @luckthelady.
James Martin
James Martin is the community manager of music & TV tradeshows midem & MIPTV/MIPCOM. He edits their respective industry news & trends blogs (blog.midem.com & mipblog.com) and also covers video games and technology for French cultural weekly A Nous Paris
Tweet him at @jamesmart_in
Stuart Dredge
Stuart Dredge is a freelance journalist based in the UK. He writes about digital music for Music Ally, and about apps and mobile for The Guardian, The Sunday Times and The Appside, as well as his own Apps Playground site.
Tweet him @stuartdredge

Everpurse: The Clutch that Charges Your Mobile Phone

Everpurse, a Kickstarter project by Dan and Liz Salcedo, enables users to wirelessly charge their mobile devices wirelessly and on the go.

Using the Qi standard for inductive charging, the purse itself must be charged for six hours on a charging pad before use. Dan Salcedo says that give your iPhone two times more battery life — meaning that when your phone’s going dead at a party, you need only pop it into the bag to get it back into service with a minimum of downtime.

There is no dock, but a magnetic charger within the purse pulls your phone down into the plug and starts charging it once you’ve slipped it inside. And the technology isn’t heavy: in total, the battery and receiver combined weigh a grand total of six ounces.

Find it in a variety of colours on Everpurse.com. Guys are also welcome — isn’t function the perfect excuse to go man-bagging? But if the murse is too girly for your taste, the Salcedos say they’re working on suit jackets and pants with similar technology. They likely won’t appear, though, until the Kickstarter campaign is over.

No worries, though — the campaign ends in six days and they’ve already more than doubled their hoped-for $100,000 funding goal. Minimum pledges for the bag are sold out, but you can still lock yours down for just $129!

3D-Printed Shoes + Swimsuits for Futuristic Fashionistas.

Design studio Continuum, which specialises in “user-designed fashion”, is now selling shoes made with a 3D printer. Get either a pair of pumps or some sandals from the Strvct line of footwear; colours, styles and heel lengths are totally customisable.

Shoes include a patent leather inset with a textured rubber-coated bottom, which makes for somewhat wearable conversation pieces. (They don’t look super comfortable, though.) At $900 a pair though, you better be committed.

Continuum also sells 3D-printed bikinis under its N12 line, which seem like a less painful experiment in print-out fashion:

Continuum does its printing through Shapeways, where you can find still more 3D-printed paraphernalia with which to ornament yourself. Turnaround time is between two and four weeks. If all this, price, time or style-wise, is still too chic for you, you can always just wait until the Makerbot’s launched a fashion printer.

Pulsating Clothing that Mimics Bodily Response

Here’s some prime weirdness. For Technosensual, an Austrian exhibition at the MuseumsQuartier Wien, Dutch firm Local Androids produced “Like Living Organisms,” a fabric that mimics your organism’s natural activity when you’re upset, nervous or … interested.

The “skin” and “veins” that compose the garment beat visibly in the company of others, then deflate when touched as a “sign of trust”, according to the designers.

The hand-painted outfit includes two sensors and air pumps. When a person approaches you, one sensor makes air flow through the outfit’s “veins”, simulating a pulse. The second sensor flattens the veins when you are touched.

From the designers:

It is made out of a silicone named ‘dragon skin,’ the same silicone is used to make props for the film industry, like masks or flesh wounds. We painted it with a special silicone paint named ‘psycho paint.’ The psycho paint is also a form of silicone and can be mixed with regular oil paint or pigment to give it color. We carved skin textures in our molds so when we painted it with thinned reddish psycho paint the skin texture became more visible as you can see on the skin texture closup picture. Then another thin layer of base skin color to give it more depth and finally we added some freckles. The beautiful thing about dragon skin is that you can mix it close to the transparency of human skin. And then build it up like layers of skin starting with the base color then adding a layer of red and finishing with another layer of base skin color.

In the future where we’re all androids anyway, garments like these could probably be used to simulate vestiges of our organic origins.

Yves Saint Laurent's Fans-Only Makeup Palette

The YouTube how-to girls will be going crazy for this one. To demonstrate its social love, Yves Saint Laurent Beauté is pulling a first in its industry and launching a makeup palette sold exclusively to Fans on Facebook.

The “Devoted to Fans” product line, produced in partnership with Facebook, goes live with the “Pantone Facebook” palette, of which only 1650 will be produced for the brand’s fan page. 

In an interview with FrenchWeb, marketing and digital director Carla de Préval of Yves Saint Laurent said, “Before I arrived there’d already been a number of cool productions, and since my arrival we’ve tried to push things a little further, to have a complete and global vision of digital — to separate ourselves from a completely internet-oriented vision and to really digitalize all points of contact.”

Definitely a hype worth following. The playful spirit that goes into producing a quality product for Facebook fans also reminds us of Jimmy Choo’s Catchachoo effort for Foursquare. Because we’re in a time when the fun and frivolous energy of fashion is being democratised, breaking out into the world and becoming contagious, like a fever. Ironically it took a screen to do that.

Fashion 2.0: 14 Dresses in a Single Ballgown For the launch of his Fall/Winter 2012-2013 collections on July 4 in Paris, designer Franck Sorbier saved a nightmarish amount of fabric and thread by going almost fully digital: sharing 14 new dresses with the world by projecting each creation onto one enormous flowing white ball gown. Two models were used as his designs unfolded in the form of a fairy tale. One played the princess and one played the sorceress. The sorceress (at right) used a laptop to cycle through the collection projected onto the gown while recounting Donkeyskin, the tale of a king determined to marry his daughter to fulfill his wife’s dying wishes. The daughter, hoping to avoid this destiny, finds a fairy godmother who tells her to make impossible dowry demands, like a dress the colour of the sky and a frock as bright as the sun. “It’s about how with a little imagination you can bring together two worlds that are diametrically opposed,” said Sorbier, “and it is about how we can take haute couture into the future to ensure it survives.”  There are worse bedmates than tech and high fashion. Remember when Johanna Blakley said non-copyrighted industries — including fashion — tend to innovate and compete more readily than copyright-protected ones? It’s right up there with cars and food. To be fair, Jeremy Danté points out the show bears a reasonable resemblance to Viktor & Rolf’s Blue Screen Collection in 2002 — another really cool concept where small elements of couture hosted luminous and ever-changing projections. But if this is the future, we don’t ever want to go back. Not if it means the stress of staring into the cavernous depths of The Closet could be wiped away forever, relegated to quaint past as our chic white space jumpsuits change colour swatches for us. See the full gallery of images at Hello Magazine.Fashion 2.0: 14 Dresses in a Single Ballgown For the launch of his Fall/Winter 2012-2013 collections on July 4 in Paris, designer Franck Sorbier saved a nightmarish amount of fabric and thread by going almost fully digital: sharing 14 new dresses with the world by projecting each creation onto one enormous flowing white ball gown. Two models were used as his designs unfolded in the form of a fairy tale. One played the princess and one played the sorceress. The sorceress (at right) used a laptop to cycle through the collection projected onto the gown while recounting Donkeyskin, the tale of a king determined to marry his daughter to fulfill his wife’s dying wishes. The daughter, hoping to avoid this destiny, finds a fairy godmother who tells her to make impossible dowry demands, like a dress the colour of the sky and a frock as bright as the sun. “It’s about how with a little imagination you can bring together two worlds that are diametrically opposed,” said Sorbier, “and it is about how we can take haute couture into the future to ensure it survives.”  There are worse bedmates than tech and high fashion. Remember when Johanna Blakley said non-copyrighted industries — including fashion — tend to innovate and compete more readily than copyright-protected ones? It’s right up there with cars and food. To be fair, Jeremy Danté points out the show bears a reasonable resemblance to Viktor & Rolf’s Blue Screen Collection in 2002 — another really cool concept where small elements of couture hosted luminous and ever-changing projections. But if this is the future, we don’t ever want to go back. Not if it means the stress of staring into the cavernous depths of The Closet could be wiped away forever, relegated to quaint past as our chic white space jumpsuits change colour swatches for us. See the full gallery of images at Hello Magazine.Fashion 2.0: 14 Dresses in a Single Ballgown For the launch of his Fall/Winter 2012-2013 collections on July 4 in Paris, designer Franck Sorbier saved a nightmarish amount of fabric and thread by going almost fully digital: sharing 14 new dresses with the world by projecting each creation onto one enormous flowing white ball gown. Two models were used as his designs unfolded in the form of a fairy tale. One played the princess and one played the sorceress. The sorceress (at right) used a laptop to cycle through the collection projected onto the gown while recounting Donkeyskin, the tale of a king determined to marry his daughter to fulfill his wife’s dying wishes. The daughter, hoping to avoid this destiny, finds a fairy godmother who tells her to make impossible dowry demands, like a dress the colour of the sky and a frock as bright as the sun. “It’s about how with a little imagination you can bring together two worlds that are diametrically opposed,” said Sorbier, “and it is about how we can take haute couture into the future to ensure it survives.”  There are worse bedmates than tech and high fashion. Remember when Johanna Blakley said non-copyrighted industries — including fashion — tend to innovate and compete more readily than copyright-protected ones? It’s right up there with cars and food. To be fair, Jeremy Danté points out the show bears a reasonable resemblance to Viktor & Rolf’s Blue Screen Collection in 2002 — another really cool concept where small elements of couture hosted luminous and ever-changing projections. But if this is the future, we don’t ever want to go back. Not if it means the stress of staring into the cavernous depths of The Closet could be wiped away forever, relegated to quaint past as our chic white space jumpsuits change colour swatches for us. See the full gallery of images at Hello Magazine.Fashion 2.0: 14 Dresses in a Single Ballgown For the launch of his Fall/Winter 2012-2013 collections on July 4 in Paris, designer Franck Sorbier saved a nightmarish amount of fabric and thread by going almost fully digital: sharing 14 new dresses with the world by projecting each creation onto one enormous flowing white ball gown. Two models were used as his designs unfolded in the form of a fairy tale. One played the princess and one played the sorceress. The sorceress (at right) used a laptop to cycle through the collection projected onto the gown while recounting Donkeyskin, the tale of a king determined to marry his daughter to fulfill his wife’s dying wishes. The daughter, hoping to avoid this destiny, finds a fairy godmother who tells her to make impossible dowry demands, like a dress the colour of the sky and a frock as bright as the sun. “It’s about how with a little imagination you can bring together two worlds that are diametrically opposed,” said Sorbier, “and it is about how we can take haute couture into the future to ensure it survives.”  There are worse bedmates than tech and high fashion. Remember when Johanna Blakley said non-copyrighted industries — including fashion — tend to innovate and compete more readily than copyright-protected ones? It’s right up there with cars and food. To be fair, Jeremy Danté points out the show bears a reasonable resemblance to Viktor & Rolf’s Blue Screen Collection in 2002 — another really cool concept where small elements of couture hosted luminous and ever-changing projections. But if this is the future, we don’t ever want to go back. Not if it means the stress of staring into the cavernous depths of The Closet could be wiped away forever, relegated to quaint past as our chic white space jumpsuits change colour swatches for us. See the full gallery of images at Hello Magazine.Fashion 2.0: 14 Dresses in a Single Ballgown For the launch of his Fall/Winter 2012-2013 collections on July 4 in Paris, designer Franck Sorbier saved a nightmarish amount of fabric and thread by going almost fully digital: sharing 14 new dresses with the world by projecting each creation onto one enormous flowing white ball gown. Two models were used as his designs unfolded in the form of a fairy tale. One played the princess and one played the sorceress. The sorceress (at right) used a laptop to cycle through the collection projected onto the gown while recounting Donkeyskin, the tale of a king determined to marry his daughter to fulfill his wife’s dying wishes. The daughter, hoping to avoid this destiny, finds a fairy godmother who tells her to make impossible dowry demands, like a dress the colour of the sky and a frock as bright as the sun. “It’s about how with a little imagination you can bring together two worlds that are diametrically opposed,” said Sorbier, “and it is about how we can take haute couture into the future to ensure it survives.”  There are worse bedmates than tech and high fashion. Remember when Johanna Blakley said non-copyrighted industries — including fashion — tend to innovate and compete more readily than copyright-protected ones? It’s right up there with cars and food. To be fair, Jeremy Danté points out the show bears a reasonable resemblance to Viktor & Rolf’s Blue Screen Collection in 2002 — another really cool concept where small elements of couture hosted luminous and ever-changing projections. But if this is the future, we don’t ever want to go back. Not if it means the stress of staring into the cavernous depths of The Closet could be wiped away forever, relegated to quaint past as our chic white space jumpsuits change colour swatches for us. See the full gallery of images at Hello Magazine.Fashion 2.0: 14 Dresses in a Single Ballgown For the launch of his Fall/Winter 2012-2013 collections on July 4 in Paris, designer Franck Sorbier saved a nightmarish amount of fabric and thread by going almost fully digital: sharing 14 new dresses with the world by projecting each creation onto one enormous flowing white ball gown. Two models were used as his designs unfolded in the form of a fairy tale. One played the princess and one played the sorceress. The sorceress (at right) used a laptop to cycle through the collection projected onto the gown while recounting Donkeyskin, the tale of a king determined to marry his daughter to fulfill his wife’s dying wishes. The daughter, hoping to avoid this destiny, finds a fairy godmother who tells her to make impossible dowry demands, like a dress the colour of the sky and a frock as bright as the sun. “It’s about how with a little imagination you can bring together two worlds that are diametrically opposed,” said Sorbier, “and it is about how we can take haute couture into the future to ensure it survives.”  There are worse bedmates than tech and high fashion. Remember when Johanna Blakley said non-copyrighted industries — including fashion — tend to innovate and compete more readily than copyright-protected ones? It’s right up there with cars and food. To be fair, Jeremy Danté points out the show bears a reasonable resemblance to Viktor & Rolf’s Blue Screen Collection in 2002 — another really cool concept where small elements of couture hosted luminous and ever-changing projections. But if this is the future, we don’t ever want to go back. Not if it means the stress of staring into the cavernous depths of The Closet could be wiped away forever, relegated to quaint past as our chic white space jumpsuits change colour swatches for us. See the full gallery of images at Hello Magazine.Fashion 2.0: 14 Dresses in a Single Ballgown For the launch of his Fall/Winter 2012-2013 collections on July 4 in Paris, designer Franck Sorbier saved a nightmarish amount of fabric and thread by going almost fully digital: sharing 14 new dresses with the world by projecting each creation onto one enormous flowing white ball gown. Two models were used as his designs unfolded in the form of a fairy tale. One played the princess and one played the sorceress. The sorceress (at right) used a laptop to cycle through the collection projected onto the gown while recounting Donkeyskin, the tale of a king determined to marry his daughter to fulfill his wife’s dying wishes. The daughter, hoping to avoid this destiny, finds a fairy godmother who tells her to make impossible dowry demands, like a dress the colour of the sky and a frock as bright as the sun. “It’s about how with a little imagination you can bring together two worlds that are diametrically opposed,” said Sorbier, “and it is about how we can take haute couture into the future to ensure it survives.”  There are worse bedmates than tech and high fashion. Remember when Johanna Blakley said non-copyrighted industries — including fashion — tend to innovate and compete more readily than copyright-protected ones? It’s right up there with cars and food. To be fair, Jeremy Danté points out the show bears a reasonable resemblance to Viktor & Rolf’s Blue Screen Collection in 2002 — another really cool concept where small elements of couture hosted luminous and ever-changing projections. But if this is the future, we don’t ever want to go back. Not if it means the stress of staring into the cavernous depths of The Closet could be wiped away forever, relegated to quaint past as our chic white space jumpsuits change colour swatches for us. See the full gallery of images at Hello Magazine.Fashion 2.0: 14 Dresses in a Single Ballgown For the launch of his Fall/Winter 2012-2013 collections on July 4 in Paris, designer Franck Sorbier saved a nightmarish amount of fabric and thread by going almost fully digital: sharing 14 new dresses with the world by projecting each creation onto one enormous flowing white ball gown. Two models were used as his designs unfolded in the form of a fairy tale. One played the princess and one played the sorceress. The sorceress (at right) used a laptop to cycle through the collection projected onto the gown while recounting Donkeyskin, the tale of a king determined to marry his daughter to fulfill his wife’s dying wishes. The daughter, hoping to avoid this destiny, finds a fairy godmother who tells her to make impossible dowry demands, like a dress the colour of the sky and a frock as bright as the sun. “It’s about how with a little imagination you can bring together two worlds that are diametrically opposed,” said Sorbier, “and it is about how we can take haute couture into the future to ensure it survives.”  There are worse bedmates than tech and high fashion. Remember when Johanna Blakley said non-copyrighted industries — including fashion — tend to innovate and compete more readily than copyright-protected ones? It’s right up there with cars and food. To be fair, Jeremy Danté points out the show bears a reasonable resemblance to Viktor & Rolf’s Blue Screen Collection in 2002 — another really cool concept where small elements of couture hosted luminous and ever-changing projections. But if this is the future, we don’t ever want to go back. Not if it means the stress of staring into the cavernous depths of The Closet could be wiped away forever, relegated to quaint past as our chic white space jumpsuits change colour swatches for us. See the full gallery of images at Hello Magazine.Fashion 2.0: 14 Dresses in a Single Ballgown For the launch of his Fall/Winter 2012-2013 collections on July 4 in Paris, designer Franck Sorbier saved a nightmarish amount of fabric and thread by going almost fully digital: sharing 14 new dresses with the world by projecting each creation onto one enormous flowing white ball gown. Two models were used as his designs unfolded in the form of a fairy tale. One played the princess and one played the sorceress. The sorceress (at right) used a laptop to cycle through the collection projected onto the gown while recounting Donkeyskin, the tale of a king determined to marry his daughter to fulfill his wife’s dying wishes. The daughter, hoping to avoid this destiny, finds a fairy godmother who tells her to make impossible dowry demands, like a dress the colour of the sky and a frock as bright as the sun. “It’s about how with a little imagination you can bring together two worlds that are diametrically opposed,” said Sorbier, “and it is about how we can take haute couture into the future to ensure it survives.”  There are worse bedmates than tech and high fashion. Remember when Johanna Blakley said non-copyrighted industries — including fashion — tend to innovate and compete more readily than copyright-protected ones? It’s right up there with cars and food. To be fair, Jeremy Danté points out the show bears a reasonable resemblance to Viktor & Rolf’s Blue Screen Collection in 2002 — another really cool concept where small elements of couture hosted luminous and ever-changing projections. But if this is the future, we don’t ever want to go back. Not if it means the stress of staring into the cavernous depths of The Closet could be wiped away forever, relegated to quaint past as our chic white space jumpsuits change colour swatches for us. See the full gallery of images at Hello Magazine.Fashion 2.0: 14 Dresses in a Single Ballgown For the launch of his Fall/Winter 2012-2013 collections on July 4 in Paris, designer Franck Sorbier saved a nightmarish amount of fabric and thread by going almost fully digital: sharing 14 new dresses with the world by projecting each creation onto one enormous flowing white ball gown. Two models were used as his designs unfolded in the form of a fairy tale. One played the princess and one played the sorceress. The sorceress (at right) used a laptop to cycle through the collection projected onto the gown while recounting Donkeyskin, the tale of a king determined to marry his daughter to fulfill his wife’s dying wishes. The daughter, hoping to avoid this destiny, finds a fairy godmother who tells her to make impossible dowry demands, like a dress the colour of the sky and a frock as bright as the sun. “It’s about how with a little imagination you can bring together two worlds that are diametrically opposed,” said Sorbier, “and it is about how we can take haute couture into the future to ensure it survives.”  There are worse bedmates than tech and high fashion. Remember when Johanna Blakley said non-copyrighted industries — including fashion — tend to innovate and compete more readily than copyright-protected ones? It’s right up there with cars and food. To be fair, Jeremy Danté points out the show bears a reasonable resemblance to Viktor & Rolf’s Blue Screen Collection in 2002 — another really cool concept where small elements of couture hosted luminous and ever-changing projections. But if this is the future, we don’t ever want to go back. Not if it means the stress of staring into the cavernous depths of The Closet could be wiped away forever, relegated to quaint past as our chic white space jumpsuits change colour swatches for us. See the full gallery of images at Hello Magazine.

Fashion 2.0: 14 Dresses in a Single Ballgown

For the launch of his Fall/Winter 2012-2013 collections on July 4 in Paris, designer Franck Sorbier saved a nightmarish amount of fabric and thread by going almost fully digital: sharing 14 new dresses with the world by projecting each creation onto one enormous flowing white ball gown.

Two models were used as his designs unfolded in the form of a fairy tale. One played the princess and one played the sorceress. The sorceress (at right) used a laptop to cycle through the collection projected onto the gown while recounting Donkeyskin, the tale of a king determined to marry his daughter to fulfill his wife’s dying wishes.

The daughter, hoping to avoid this destiny, finds a fairy godmother who tells her to make impossible dowry demands, like a dress the colour of the sky and a frock as bright as the sun.

“It’s about how with a little imagination you can bring together two worlds that are diametrically opposed,” said Sorbier, “and it is about how we can take haute couture into the future to ensure it survives.” 

There are worse bedmates than tech and high fashion. Remember when Johanna Blakley said non-copyrighted industries — including fashion — tend to innovate and compete more readily than copyright-protected ones? It’s right up there with cars and food.

To be fair, Jeremy Danté points out the show bears a reasonable resemblance to Viktor & Rolf’s Blue Screen Collection in 2002 — another really cool concept where small elements of couture hosted luminous and ever-changing projections. But if this is the future, we don’t ever want to go back. Not if it means the stress of staring into the cavernous depths of The Closet could be wiped away forever, relegated to quaint past as our chic white space jumpsuits change colour swatches for us.

See the full gallery of images at Hello Magazine.

Non Copyright-Protected Industries Fare Better Than Their Counterparts

Pop Culture Pirate Elisa Kreisinger’s shared this great TED talk by Johanna Blakely from 2010. It may be old but the lesson remains pertinent (and largely ignored): non copyright-protected industries, like fashion, innovate more and compete more readily than heavily copyright-protected ones. Their gross sales are better too:

This flies in the face of traditional wisdom that without ownership, there is no incentive to innovate.

“Right now those industries with a lot of copyright protection are operating in an atmosphere where it’s as if they don’t have any protection. And they don’t know what to do,” Blakely observes. 

Fashion house Oscar de la Renta is live-pinning photographs from its bridal show today on Pinterest. “Pinterest has got a lot of momentum right now, and we want to be involved with people who have momentum,” CEO Alex Bolen tells Mashable. This could only be more zeitgeist-grabbing if they were Instagramming the shots first…

Fashion house Oscar de la Renta is live-pinning photographs from its bridal show today on Pinterest. “Pinterest has got a lot of momentum right now, and we want to be involved with people who have momentum,” CEO Alex Bolen tells Mashable.

This could only be more zeitgeist-grabbing if they were Instagramming the shots first…

Ordering cheeseburgers will never be the same again!