It is too early to judge, as we became residents only a month ago, and most of that time fell during the New Year holidays. However, even before residency, the Technopark helped us develop controllers and then invited us to their stand at the Russian Industrialist, where we were featured on three TV channels. So, I believe the benefit will be significant. Last week we had our first meeting with our consultant; it was very productive, with many prospects and ambitious plans. Now we just need to get everything done!
Roughly every two years, we release a new generation of controllers and apparel. This is always a major step forward, featuring new functionality and a reimagining of production technology. For the controllers, for example, last year we added an AI-processing chip, an SD card, a microphone input, various protections, battery charge management, and much more. It is no longer a niche board, but a "Swiss Army knife" that covers all technical requirements in its top-tier version.
A pair consisting of a glowing vest and a skirt made of Italian neoprene.
We also released 4 new controller models for different tasks and 4 models of glowing apparel. Troubleshooting is ongoing, as is software development.
The main advantage is that they are flexible and jointless. Other manufacturers usually build them on a rigid base, similar to motorcycle armor. This is simple and cheap, but uncomfortable to move in, and it is best not to lean against anything with the diodes. Ours fit snugly and bend along their entire length. Every movement is visible. You can somersault in them, fall, or crawl on the floor. As far as I know, no one else in the world makes them like this yet.
At the same time, they do not restrict movement or hinder expressiveness. This allows for multi-layered, long choreographic numbers with complex elements. We often encounter the belief that LED costumes are only for short, energetic, angular dances, but that is not the case. Our main task was to preserve the living and human element within digital technology, which is why we use warm, "analog-style" light. Now we want to stage a ballet in them.
For the jumpsuits, it is performers and producers, as well as creative teams of various scales: from dancers to theater actors. We have a rental service, and sometimes artists from very unexpected genres reach out. For the other apparel, it is young people from three to eighty-five years old. You can perform in it, or just put it on and go somewhere. Essentially, it is anyone who works with lighting. This includes professionals, DIY enthusiasts, and students. We have just received a grant to lower the entry barrier and are writing AI-powered software. The application sectors cover almost everything: stages, interiors, buildings, clothing, installations, objects, and, of course, advertising. In short, anything that can glow.
This business started as a hobby. I just made a glowing costume for a play once... and it took off!
Since I have been working as a director and involved in digital marketing since 2004, the hardest part was realizing that this was no longer a hobby, and then allocating the necessary time and resources. But that is a long story. I will only say that the product was always launched to an enthusiastic public reaction and to the great pleasure of all participants in the process.
The core idea is to make the language of light accessible. We want technologies not to "dehumanize," but on the contrary, to "humanize," breathe, and feel. We also create clothing that conveys the artist's experiences.