The word jouissance derives from Jacques Lacan's (1992: 184) seminar The Ethics of Psychoanalysis, where he considered an opposition between jouissance and the pleasure principle which compels the subject to constantly attempt to transgress the prohibitions on his enjoyment.

3D printed bone-like structures have been computationally designed as a metaphor for the concept of jouissance, influenced by the ongoing massacre event of shark finning for the purpose of self-indulgence. The 'aestheticism' of its taste also appears in the decadent culture of fashion. Subtle textural qualities appear on the 3D printed surfaces as if the shark's skin tissue is still alive but slowly deteriorating. The bone structures coming through the laser-cut neoprene sleeveless cape dress is an emblem of the shark's struggle to fight back, when its body is discarded back into the ocean whilst still alive. The missing armholes of the cape makes the wearer feel completely trapped in their own body, making them the container for the epidemic corpse machine of mass consumption.


Through a controversial analogy between jouissance and fashion fetishism, the project plays with the relation of perception and opposition as a visceral approach. An intellectual fetishism is proposed, one that explores the paradoxical psychology of fashion through the lens of jouissance - between pleasure and pain. The final outcome of integrating 3D printing and traditional fashion design skills aims to further open discussions and design thinking techniques of how printed wearables can become more than a high-tech functional garment. Furthermore, it seeks to delve into the uncomfort or provocative stances of the fashion system, by looking into psychology, philosophy and societal issues.

Showcased as part of Milan Design Week 2017 in Lambrate.

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