Courtesy Rolls Royce.
Following its premiere in 2016, [Rolls Royce Black Badge](https://www.rolls-roycemotorcars.com/en-US/ghost-black-badge.html) label has existed as an exclusive collection of cars inspired by daring artists. This year, in the spirit of their technical innovations and forward -looking aesthetics, Rolls Royce named [Viktoria Modesta](https://www.instagram.com/viktoriamodesta/) as their newest collaborator; an artist known for her bionic performance art and unique art direction. All made public in a short film produced by Modesta and Rolls Royce alike, the newest Black Badge fantasy directed by Jora Frantzis is one where human and tech-power collide to create a force embodied by Modesta herself; as her tesla coil prosthetic leg and tech-wear designed by Anouk Wipprecht echo Rolls Royce’s dedication to modern innovation. To give us a little more insight into the creative process, we got to chat with the Black Badge artist on what it was like working with the luxury-car brand.
**How would you describe the spirit of Black Badge and how do you resonate with it?**
When Rolls Royce first approached me, the question was, we think you as an artist really represent the essence of Black Badge, what is the wildest thing you can create? In most cases that would be just some corporate introduction but this felt like a true match.
The Black Badge series is a real lifestyle statement for Rolls Royce. Their traditional brand is iconic and historic and generally needs no introduction, however Black Badge is Rolls taking some risks, being more experimental and merging their history with concepts of the future.
Beyond their intention and attitude, the aesthetics could not have been more inspiring. The second I looked through the design elements I knew that I had to be the physical representation of the machine itself. Throughout my work, I am very interested in bringing technology and design with biology to a more intimate level, I guess a way for us to experience innovation from a less hostile and a more empowering place.
The final and most enticing element for me was to explore the creative language to address the allure and the darkness of the Black Badge. I am infinitely inspired by the depth of a darker expression throughout my performances and art direction, for me going to the edge and an extreme is a magical place of the unknown where you are connected to your most heightened senses, where you get to decide the rules. Emotionally charged, that's what art is to me.
Courtesy Rolls Royce.
**What has been the most exciting part of collaborating with Rolls Royce, do you feel you are technologically and conceptually aligned?**
I would say that conceptually this project was a breeze as we both fully committed to the idea but the process itself and the challenges we encountered with it being so experimental are definitely not for the faint-hearted. Imagine all of the process that goes into making an art film or a music video + a full product development and invention of new technology all one after the other. There's no real blueprint for that processbut that's really where the fun came from, everyone was collaborating on a real multidisciplinary and multi-industry level.
First came the concept based on loose conversations with my amazing squad of tech and prosthetic wizards, then at least 3 months of solely working on the design and experimentation of the tech wearables. That was the most challenging part as we literally had to invent most of this stuff!
The qualities of my team and collaborators all start with everyone having the 'Yes' attitude because the ideas and requests are often totally bonkers. Anouk Wipprecht ( Miami ) who is a world-leading tech fashion designer really helped bring the mood boards to life by suggesting we have a Jacob’s ladder electricity inside my leg. To do that, Anouk's pal Joe DiPrima ( Austin ) had to design the world's smallest tesla coil that could power the electricity. For a good few months, I really thought it would be standing on a brick of electronics, that's not even an exaggeration haha. Things moved along much more after I brought Sophie from the Alternative Limb Project ( London ) who has created most of my art legs and United Nude ( LA ), who would have to create the most elegant shoe that would house all of the electronics.
But the real heart of my alter ego character had to incorporate the engine of Rolls Royce at my core that's when I wanted to reimagine a hard shell bodice that paid homage to all of my favorite haute couture inspirations but created with latest 3D printing technology. Everything had to be finished with the blacker than black BB paint and arrived literally days before the shoot.
Courtesy Rolls Royce.
**What is the relationship between fashion, music, and technology like? How has it evolved over time since you’ve been experimenting with it?**
My introduction to working with technology came really after a deep dive into prosthetics design, specifically during the making of my viral video Prototype. It was like an SOS call across the globe to all the futurists in the innovation space that were like f' yes let's bring science and tech into pop culture for real. Before that, I was already orchestrating my own shows, shoots, and content but more in an avant-garde layer of London culture, even then I already had an obsession with storytelling in a traditional sense. You create the music, then movement and styling for it and here we all are understanding the meaning of a song much better. But that felt limiting and I really wanted to remix that sequence and experiment with it, starting with design or function/action that was aligned with a creative intention made much more sense.
After becoming a fellow at the MIT Media Lab and being exposed to tech innovation I really felt that it can be harnessed as an artistic expression, it doesn't have to stop at being a consumer product it can be adapted to be so much more, I'm a bit of a future romantic in that sense. So creative intention, tech function, design then soundtrack felt a lot more natural and exciting because all of a sudden you can create a whole new universe and a music score. If you allow yourself not to be pinned down with genre, content can be a beautiful mutation, using whatever mediums necessary to tell the story that's at the core of the concept.
With this project the intention was clear, we got the tech ideas to where it needed to be and then came another chain reaction of translating the story. And here is where all stars aligned, I still am in awe with Rolls Royce team for fully supporting so many young female artists on the project including myself. The director - I had full admiration with Jora Frantzis since I moved to LA a few years ago, and after doing a quick shoot together, I knew there would come a time where she and I will be able to bring our visions together.
This was just before her explosion onto the music scene with the Cardi-B's Money video and I knew this was THE project. That's where her fresh position in the industry became a total strength. We didn't have to debate if it's a fashion film or a brand ad or a music video that we were creating, we just wanted to nail an unforgettable vibe that spoke to people in an abstract but impactful way. She brought her production and visual team addressing the world we were gonna be in, and I brought mine, designing mine and dancers looks with Aliona Kononova throughout the film and keeping the overall art direction true to the vision. The Music Producer - There's only one music producer that I know that's wild enough to go along with this experimental vibe and that is Madeaux. We have worked together on pop\\dance tracks, he scored some experimental live projects for me at Art Basel and this was the best challenge yet, creating this music together from scratch we mixed so many genres and bps here, I'm really excited to share more on this.
Courtesy Rolls Royce.
**What was most important to you when it came to creating your custom prosthetic limb and carbon fiber bodice?**
I had to transcend my physical body when I had my elected amputation a while back, it really forced me face to face with the invisible obsession that we have with every bit of our skin and the idea that our natural biology is superior, and that process sort broke me free from being imprisoned in the skin-suit so to speak and view the body as an opportunity to express yourself, to redesign, and have fun with it.
With that in mind, the first time I truly felt the power and impact of altering the physical body silhouette was with the black 'spike' leg I designed for Prototype. That captured the theme that I have been exploring since that the physical body is the only thing that is truly yours, it is your vehicle that powers you through your experiences and can be your canvas. So working on this project the attention to detail was crucial. I wanted to capture the strength of the machine while keeping the female elegance.
Unlike the 'Spike' this leg had to be anatomically correct, following the calf contours with a beautifully arched foot but in contrast, be able to see into the leg with electricity charging through the leg. Similarly, with the bodice, we really explored the biological and artificial blend in a way that I find inspiring, that altering your body, changing your abilities can be positive and acceptable. This is a more conceptual take on smart fashion, the idea that technology can be seamlessly incorporated into our lifestyle on a major level to assist with health, abilities, and expression. In some ways, you could say I'm interested in exploring the future of fashion, music, and entertainment in a very conceptual way, it doesn't have to be practical but it should provoke that primal feeling of evolution.
Courtesy Rolls Royce.
**You are a powerhouse. How did you find your confidence? What has helped you get to where you are now?**
I find injustice very motivating, that is definitely something that powered me for a very long time. Having to prove that physical ability alone isn't the sole qualifier to be a worthy human being kind of nurtures a determination into a superpower. Some very primal situations dominated my early life where survival instincts forced me to adapt, to really understand my weaknesses and spotlight the qualities that seemed to be most aligned with things that mattered to me and that I could imagine getting better at. Kind of crazy really that hardship does that somehow if you don't die you triumph.
I can definitely own up to being a Disney af kind of person, that sometime in my years in the hospital as a kid I just decided that a problem is an opportunity and that we create our own reality so everything can be changed. Without sounding like a cliche it's your perspective and attitude that drives everything in your life. That is not to say this is easy! I consistently work on my mind and body, working out kinks that no longer have a positive effect on my life and growth but also embracing changes. You are your own architect and the more you can believe that and live that, life keeps unlocking the next level just like a video game.
**Do you think the title, “The Bionic Woman,” represents who you are?**
I prefer Bionic Pop Artist.
**What is next for you?**
This year has really been such fun, doing a residency at the Crazy Horse in Paris and now this campaign, my next moves are still keeping fingers in many pies. I am working on new music and a live show, there are still many things I want to do in the entertainment space. Another project close to heart is a fashion 'high heel prosthetic foot' business that I cannot wait to get out into the world that I know will simply transform the lives of so many women! I feel like this is only the beginning
Courtesy Rolls Royce.
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