Garage Magazine pushed the boundaries of print media by integrating cutting-edge augmented reality (AR) technology into its pages, creating an interactive experience unlike any other. For a special feature, SCANable provided 3D body scans of prominent figures like Cara Delevingne, Kendall Jenner, Joan Smalls, Lara Stone, Binx Walton, and Karen Elson, transforming their magazine covers into dynamic AR experiences.
To witness this groundbreaking fusion of fashion and technology, readers were directed to download the official Garage Magazine app, available for both Android and iOS. By simply pointing their smartphones or tablets at the physical magazine covers, users unlocked a revolutionary augmented reality experience, making the cover stars come to life directly from the page.
Business of Fashion reported from London that the five cover models – Cara Delevingne, Kendall Jenner, Joan Smalls, Lara Stone, and Binx Walton – were set to unveil their individual covers to their massive combined Instagram following of 30 million. The magazine covers themselves were a blend of artistic makeup by Pat McGrath and visual effects expertise from The Mill, a studio renowned for its work with major brands like Nike, Sony, and Google. However, the true innovation was revealed when the magazine hit newsstands; using the Garage app, each cover star would virtually “jump off” the page, complete with sound effects created by Alex da Kid.
Charlotte Stockdale, fashion director at Garage, explained the evolution of this concept. “It started with the Jeff Koons cover in the previous issue, where we transformed Anja [Rubik] and Binx [Walton] into metallic Koons bunnies, which was incredibly well-received. Following that, an enthusiastic conversation with Pat McGrath sparked the idea to animate the cover, add music, and extend this treatment to all cover stars,” Stockdale elaborated.
The augmented reality layer wasn’t limited to the cover. Inside the magazine, readers could discover an augmented fashion editorial, also conceived by Stockdale and captured through the lens of fashion photographer Nick Knight. Stockdale expressed her long-held fascination with the potential of print media to offer more than just static images. “I’ve always been intrigued by the notion that a page can hold more than what is immediately visible,” she stated. “I envisioned a fashion shoot that existed ‘behind the page’ rather than simply ‘on the page,’ and Nick Knight was the perfect collaborator to bring this vision to life.”
Knight described the editorial images as having a “scene-of-the-crime” aesthetic. “In reality, nothing is happening in the still images: burnt earth, a solitary leaf on a tree. I aimed to create a sense of emptiness and anticipation, prompting viewers to intuitively sense that there’s more to discover and encourage them to engage with the app – and then, they uncover the ‘crime’!” he explained.
Each “crime” unfolded as a three-minute film accessible through the app. To enhance the immersive experience, Garage Magazine even curated or created Wikipedia pages related to the themes of these short films. Knight mentioned a conversation with Spanish filmmaker Rei Nadal, who suggested adding a layer of perceived reality to amplify the impact, drawing a parallel to H G Wells’ War of the Worlds radio drama in the 1950s, which blurred the lines between fiction and reality.
Further demonstrating Garage’s commitment to innovative technology, the issue included a limited-edition cover featuring a 3D scanned bust of Karen Elson. This scan was then sculpted into Carrara marble and “restored” by artist Francesco Vezzoli, employing vibrant colors reminiscent of classical statuary’s original painted appearance. This cover highlighted the blend of digital scanning and traditional art forms.
Stockdale remarked on this shift in perspective, “I find it increasingly challenging to conceive of a ‘mono-page’ now. My thought process has evolved to constantly consider how to animate content, add music, or introduce another dimension. I’ve enthusiastically embraced the idea of potentially augmenting every page.”
Knight echoed this sentiment, emphasizing the collaborative and sharing nature of the digital space. “The Garage story feels like a shared experience. The internet thrives on generosity, sharing, and information, even in its visual language. It’s breaking down conventional barriers between media – music and sculpture. Charlotte’s concept of a cross-platform narrative, unfolding across various levels, perfectly exemplifies this evolving landscape.”
The article concluded by pondering the future of print in a digital age. Stockdale expressed optimism about the interplay between print and digital, anticipating further technological advancements in the coming years. Knight, however, offered a more tempered perspective, suggesting that the relationship between print and digital film might be transient due to the slower production cycles of magazines compared to the immediacy of digital media. He noted the changing reading habits of younger generations, who increasingly rely on the internet for news and information, questioning the long-term relevance of traditional magazines.
Despite differing views on the longevity of print, both Stockdale and Knight agreed that magazines are in a period of transformation, needing to redefine their purpose and explore novel methods of communication to engage contemporary audiences. Garage Magazine’s augmented reality issue served as a compelling example of this evolution, demonstrating how print can innovate and offer readers richer, more interactive experiences in the digital age.
