Don’t get me wrong. Freedom is great. Power to the people. Without it, I wouldn’t be able to write a scathing op-ed about what of it makes me weary (thanks, Ancient Greece, birthplace of modern democracy). Trust me, as both a consumer and producer of content, I fully acknowledge the irony.
Dispersing legislative and judicial authority prevents a single entity or individual from abusing their position—which is generally the direction you’d want to head as a civilisation. It’s this civic participation that promotes accountability, but what happens when the opportunity to participate is too freely available? And active participants are only composed of select personalities that are naturally inclined to, well, participate?
Let me steer away from the notion of government and focus on culture. The Internet was obviously the great usher of an equitable albeit virtual society. With effectively no one owning or governing it, in the words of Berkeley astronomer Clifford Stoll, “It’s the closest thing to true anarchy that ever existed.”
Anyone with access could contribute as much as they could partake. From requiring expensive equipment, experience and connections to make and market an album or a movie, to the ability to do so without all that save a smartphone, dramatically levelled the playing field (resulting in stats like the one about lifetimes worth of hours needed to watch all existing videos on YouTube alone).
It would be beyond ungrateful to lament about the extremely wide spectrum of choice. We will never run out of things to watch when we train the machine to automatically feed us with at least four more you might like this.
Talk to anyone from the days of yore (specifically, before digital TV), and you’ll find most of them are able to bond over what was on screen at prime time. Author of The Nineties called it “the last era that held to the idea of an objective, hegemonic mainstream before everything began to fracture” in his exposition on the defining decade.
It may not be direct causation but is it possible one factor pushing an all-time high divisive climate of opinions and temperaments is the fact that we remain chowing down only what appeals to us, made by people who already share the same perspectives as us?
Our last major shared experience was probably COVID. And maybe Tiger King. Now, at the seeming height of streaming, enter Sora. OpenAI’s next big thing since ChatGPT constructs realistic videos from text prompts at a standard that is frightening. It’s great that tools to create are available for anyone to express their ideas (maybe not so much for graduates who spent years earning qualifications to use earlier versions of said tools, but c’est la vie).
It means more diversity, representation, and recognition. However, at this zenith of infotainment free-for-all, opening ourselves to alternative viewpoints is definitely going to take a little more conscious diligence than sitting back to let an algorithm decide what to watch.
You’ve heard of VR games and concerts but what about VR dance shows? The first of its kind, LE BAL de PARIS de Blanca Li is a multi-sensory virtual experience. A show that seamlessly integrates music and dance to give audiences an award-winning theatrical spectacle. As an audience member, you are part of the act. Operating in a virtual space, the audience partakes in a storyline of unrequited love filled with anthropomorphic animals.
Created by the world-renowned choreographer and filmmaker, Blanca Li, the immersive and participatory experience is made possible with a room-scale virtual reality. Unlike most VR applications which allow stationary users to engage with their virtual surroundings, a room-scale VR allows for users to manoeuvre around a physical space. Think of it as playing a video game. But the controller is your body in a physical space: you move your right foot forward and your avatar echoes the action.
Running for about 35 minutes, the show is brought to life through the use of the HTC Vive Focus 3 and HTC Vive Trackers (for full body tracking). CHANEL provides the outfits your avatars will don during the session. Players are presented with a line-up of 15 CHANEL outfits to choose from in a virtual dressing room. Once chosen, players are outfitted in a garb that's fitting for a grand Parisian ball. And yes, you can even crossdress, no judgment in a virtual space. In the VR world, you can admire your duds in the mirror and you can see your hands and feet in the space as well.
At each show, 10 audience members can indulge in this shared experience. Due to the nature of the show, interaction among audience members is enforced. You're encouraged to dance or move within the space as music and audio is played through the VR headset. Follow along the story of two lovers, Adèle and Pierre. We meet them in a crowded grand ballroom and then transported to a hedge maze. There's even a travel across a lake on a boat and a jaunty ride on a tram. All these and more, within the confines of a room and in the expense of the imagination.
LE BAL de PARIS de Blanca Li brings its grandeur to Singapore's Infinite Studios and runs until 17 March 2024. Tickets are priced at SGD73 for weekdays and SGD87 for weekends. Get your tickets here.
Video games and luxury watches are not necessarily two categories you’d put together. But the two have teamed up more often than you might think.
Tag Heuer has produced two limited edition watches with Super Mario Bros. Panerai has partnered with Razer, the hardware company known for its PCs and peripherals. And Hamilton worked with the developers of Far Cry 6, the first-person shooter game, to create a commemorative field watch, the likeness of which your character could also wear in the game, a model ‘ready for virtual and real-world adventures’.
Now Bulgari, the luxury watchmaker known for its complex movements and ultra-thin engineering, has announced a watch in partnership with the enduring racing simulation franchise Gran Turismo—and designed a concept car to drive in the game, too.
While many of the world’s greatest car brands have developed virtual ‘Vision GT’ custom cars to drive in Gran Turismo—the Jaguar Vision Gran Turismo Coupé; the McLaren Ultimate Vision Gran Turismo; the Ferrari Vision Gran Turismo, and so on—Bulgari is the first non-automotive brand to do so. (Nike did produce an electric ‘sci-fi buggy’, the Nike One 2022, that could be powered by a human body via a ‘spark suit’ that converted body movements into electricity, for 2024’s Gran Turismo 4, but it was not available for purchase in the game and could only be used in practise mode.)
This year marks the 10th anniversary of the game’s Vision GT programme.
Bulgari’s Italian-born design boss—or product creation executive director—Fabrizio Buonamassa Stigliani, went straight from design school to work for Fiat and Alpha Romeo before joining the watch brand in 2001, and cars remain a passion.
The company’s Bulgari Aluminium watch, first released in the late 1990s, was both a product of its times and something of a pioneer in sports watches, the first luxury wristwatch of its kind built using an aluminium case and a rubber strap and bezel—an unusual choice of materials said to be directly inspired by car design.
Relaunched in 2020, by the admission of the brand’s own CEO in order to target millennials, it won a Red Dot Design Award earlier this year, the jury praising its ‘perfect proportions and premium-quality materials’, a miniature ‘synthesis of the arts’. It is this model that’s provided the springboard for the new watch.
The chronograph comes in two versions, one with a yellow dial and black counters, produced in a limited edition of 500, and one with an anthracite dial with yellow indices, produced in a run of 1,200.
Both are sized at 41mm and come in an aluminium case with a titanium caseback with a DLC coating and a rubber bezel and strap. The watches are engraved with a ‘10th Anniversary Vision’ GT’ logo.
“It was inspired by the dashboard of one of the most important cars in rally history, a legendary Italian gran turismo car from the 1990s,” Stigliani tells Esquire, ahead of the project’s reveal at the Grand Turismo World Series Finals, the climax of the professional esports tournament, in Barcelona this afternoon.
The project began after Stigliani reached out to Fabio Filippini, the noted Italian car designer, former design director at the coachbuilder Pininfarina and executive director of the automotive design agency Acceaffe, having discovered his retrospective book Curve and contacted him on Instagram.
Filippini, in turn, knew of Stigliani and his automotive background—and also knew the people at PlayStation.
“I said ‘Fabio! You know I am a great fan of Gran Turismo?’’ Stigliani says. “I played for decades, when I was young—during the night!’
“It was just Gran Turismo on my PlayStation, no other games. But now I have kids, they start to play FIFA, other games… But Gran Turismo for me, is a legend.”
The pair hatched a plan to design a Vision car, the Bulgari Aluminium Vision GT. It was to take its design cues from the industrial aesthetics of the Bulgari Aluminium watch—“Big wheel arch, big screw that reminds you immediately of the screw on the side of the watch,” according to Stigliani. “Geometry of the windshield and the lower part of the body of the car that is totally black.”
PlayStation’s Gran Turismo team then designed the project in-house—the first time they’d done this.
“We said immediately, ‘We don’t have the skills, we don’t have the software to make this kind of thing’,” Stigliani says. “‘So please, you can make the 3D for us?’ And Kazunori Yamuachi, one of the masters of Gran Turismo 3D [department] became the link between Bulgari and Gran Turismo.”
(At this point Stigliani shows Esquire a folder of work-in-progress sketches for the project. It is enormous. “This is a selection!”)
While a brief to design your own virtual race car for PlayStation might conjure up ideas of letting your imagination run at record-breaking lap speeds, Stigliani points out that there are rules. Fairly strict ones.
“This car [should be able to] be built and driven [in the real world],” he says. “Gran Turismo say from the very beginning ‘We do not want to have a ‘watch with a wheel’. We want to have a real car!’ You have to imagine that Gran Turismo, it is so precise for the simulation, that you have some very important [car brands] in the automotive industry that ask Gran Turismo to make a simulation. ‘I have this car, with this [build], with this kind of engine, with this kind of suspension, and I want to [test it out with a view to] participate in 24 hours of Le Mans. Tell me the performance of the car.'”
In other words, car companies use the Gran Turismo Vision GT programme as a proof of concept.
“It is super, super precise,” says Stigliani.
Still, designing such a project was, he says, something of a boy’s dream come true.
“The idea was to make a very cool, Italian-style car, inspired by the [models produced at] the end of the 1960s, inspired by the lightweight Alpha Romeos, with the very pure shape. The amazing exotic cars of the Porsche builder, or Pininfarina. Or other cars from [designer Flaminio] Bertoni, [Marcello] Gandini, [Gruppo] Bertone, the Lancia Stratos, all these kind of cars. Very lightweight. Like the Lotus, the Maserati… This was the idea. Because the Aluminium is a lightweight watch… it’s an amazing design in terms of shape, in terms of high-tech design.”
To get the drive the car in Gran Turismo, you need to first buy the watch—which comes with a QR code.
It is also possible to purchase it in-game, but for that you need one million credits. (Since your correspondent has never played Gran Turismo, Stigliani assures me this is a lot. “And when you achieve this kind of result, you don’t want to spend one million credits on just one car, because you can buy a lot of different cars. And you can make a lot of fine-tuning [to your existing cars].”)
As for how the car handles in the game, Stigliani had some ideas for that, too. “The idea for this car was pushed a lot by me, because I would love to drive a very easy and fun car. Lightweight without a huge engine without thousands of horsepower, because for me that doesn’t make sense. I just [wanted] to enjoy the pleasure of driving the car. In a very pure way. So it’s a bit like a go-kart. With a certain finish.”
As for Stigliani’s own Gran Turismo performance—he admits he’s not quite the demon he once was. “You need a lot of training,” he sighs. “Because, you know, the cars are super-reactive. And the tracks are very precise. When you get older your reaction is less quick.”
“My son Julio started playing Gran Turismo when he was eight, and he’s still playing now he’s 10. When you get older your reactions are less quick.
“At that point, for kids, it’s easier.”
