For its tenth anniversary, the studio Flora Miranda presents Serum at SO/ Vienna, an installation in which a flow of digital colour freezes at the touch and forms a generative dress. It remains on view in the hotel lobby until 15 November 2026.
Flora Miranda marked its tenth anniversary by presenting Serum, its new creation, at SO/ Vienna, whose architecture is by Jean Nouvel. The installation, set up in the lobby, remains on view until 15 November 2026. The studio links it to the works by Pipilotti Rist on display at the venue, whom it hails as a pioneer of video art and media.
A flow of colour that touch interrupts
Serum is a constantly evolving digital flow of colour, charged with personal associations. It combines generative design, performance and clothing. Users can suspend the flow by touching it and form their own associations. By stroking their own body, they massage the digital paint like a liquid garment and thus compose a generative dress.
This digital creation informs new made garments, intended to be worn in the physical world. The studio presents Serum as a counterpoint to the commodification of creation by AI. Its vision fits in one sentence: a slow, aesthetic digital world, where software is a creative act, personalises digital designs and makes them tangible.
Stage costumes and scanned dresses
The year has been marked by dance. Richard Siegal’s Ballet of Difference has found a permanent home at the Staatstheater Nürnberg, where the studio continues to design the costumes. In My Generation, “Smudge” paintings printed on the costumes comment on online culture. In Le Boeuf, the costumes visually come undone as the piece unfolds, with materials such as woven copper. Rausch is made solely from objects found in the theatre’s archives: large stage sets become dresses.
Choreographer Charlotte Triebus has also created two pieces on AI and agency, for which the studio designed viscous garments for the dancers. At IDAF in Istanbul, in an exhibition curated by Node Media Lab, it showed “Ready To Die”: historical dresses scanned in 3D, then physically recreated.
Serum, the costumes for Rausch and the dresses of “Ready To Die” follow the same path: starting from a digital medium or from archives to arrive at a garment that exists physically.
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