Interactive Fashion: Project 2
[cyber] angel
2025
Designer: TQ Vuu
Model: Peyton Washington
Model for Documentation (fixed wings): TQ Vuu
[cyber] angel is a wearable sculptural work that explores the intersection of body, technology, and spirit through a cyberpunk lens. Drawing inspiration from Ghost in the Shell and its concept of the “ghost” as the essence of humanity persisting within mechanical bodies, the piece expands on how technology becomes an extension of identity rather than a separation from it. The design merges biomimicry, cybernetic augmentation, and interactivity to create a garment that feels simultaneously mechanical, alive, and ethereal.
The wearable consists of white and silver sculptural elements resembling angelic armor. Laser-cut acrylic wings featuring cybersigilism patterns are animated by servo motors, mimicking organic flapping motion, while a heat-formed acrylic bodice creates smooth, flesh-like folds that blur the boundary between protection and exposure. Layered metallic fabrics add boldness, softness, and vibrancy to the dress.
Interactivity plays a central role in the piece: when a viewer approaches, a distance sensor activates the bowls (open organs of the angel), causing the skirt to “come alive.” This responsive behavior emphasizes the idea of clothing as an extension of the body, one that senses, reacts, and communicates presence, positioning [cyber] angel as a post-human form where technology functions as both armor and soul.
Conclusions
This project emphasized the importance of experimentation, iteration, and resilience in wearable design. Throughout the process, I encountered multiple technical and material challenges, from failed TPU 3D prints and servo malfunctions to difficulties balancing structure, flexibility, and comfort. These setbacks ultimately pushed me to make more thoughtful conceptual and technical decisions, and to better understand how material behavior directly impacts motion and wearability.
One of the most challenging moments occurred just minutes before the runway show, when the wings unexpectedly stopped functioning despite my extensive prior testing. This was incredibly devastating to me, especially after weeks of work and sleepless nights. When I was fixing the project for documentation, I realized that there was heat damage to a servo holder caused by fabrication decisions, and a code loop that malfunctioned after last-minute sensor distance changes. Although the wings were partially repaired for documentation, the experience highlighted how fragile complex wearable systems can be, especially under time pressure. Although I tested the mechanisms consistently and even tried on the entire outfit multiple times, I should have been more attentive and careful.
Despite this, I am deeply proud of the project. This was my first time seriously designing a wearable for presentation, and I invested a significant amount of time in crafting the acrylic bodice, sculpting clay elements, hand-cutting silicone bowls for a breathing mechanism, and hiding all electronics to maintain a seamless appearance. While the breathing system did not fully achieve the organic effect I envisioned due to material stiffness of silicone and servo strength limitations, it clarified how closely interaction, material choice, and mechanical strength must align (which also calls for more prototyping iterations). Technical-wise, I also faced challenges integrating multiple systems, including Arduino wiring, external power sources, a PCA driver, servos, and sensors, all while concealing them within the garment’s structure.
Overall, this project solidified my interest in wearable fabrication, interactive skins, and cyber-organic aesthetics. Combining digital fabrication, hands-on sculpting, and Arduino-based interactivity reshaped my perspective of technology not just as machinery, but as something that can become intimate and embodied. I leave this course feeling more confident, curious, and motivated to continue exploring wearable design, whether for future projects, performance, or cosplay. Most importantly, I’ve learned to test one last time before a show and to see failures not as endpoints, but as essential steps in the creative process as growth will always happen.
Documentation
