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Digital Realism at the Edge of Simulation
Kim Laughton doesn't just create digital art he subverts the visual machinery of the modern world. Operating out of Tokyo after more than a decade in Shanghai's underground scene, the UK-born artist bends real-time game engines and pristine CG into hyper-realistic, unsettlingly familiar visions.
His output spans the full spectrum of media: immersive VJ visuals for cult electronic labels like Hyperdub and PC Music, collabs with Mechatok, physical 3D sculptures, custom interiors and limited apparel. With past exhibitions at Beijing’s X MUSEUM and the Carnegie Museum, Laughton’s work sits firmly in the uncanny space where raw digital architecture bleeds into physical reality.
Some brands are built; others are born from myth.
NISHIMOTO IS THE MOUTH belongs to the latter. Launched in 2017 by Nishimoto, artist, director, and self-described “mouth of the baby god,” the brand grew from a surreal blend of underground culture, personal philosophy, and instinctive creation. It began with T-shirts handed out freely, drifting into the hands of global icons like Drake and Virgil Abloh, and gradually formed into a world of cult-like imagery, tribal energy, and emotionally charged design.
Today, NISHIMOTO IS THE MOUTH continues to expand its universe through small-batch collections, visual storytelling, and Nishimoto’s unmistakable presence: a living artwork in motion.
The Last 2 Million Years, P.A.M.’s AW26 collection, looks at clothing as a surface shaped by time. The title recalls a broader history of human mark-making, from the first scratches on stone to the endless layers of text, paint, and scuffs that build up on walls today. Like patina, these marks aren’t about a single moment, but about accumulation: gestures layered over gestures, histories written on top of one another.
GB MOUTH is a Tokyo-based Japanese streetwear and lifestyle brand rooted in artistic exploration and contemporary cultural expression. Known for its experimental design language and conceptual storytelling, the label produces limited-edition apparel including outerwear, sweatshirts, and accessories, each defined by craftsmanship, symbolism, and narrative depth.
Future Loundry is the creative practice of Ican Harem and designer Manda Pinky, Bali-based artists working across fashion, music, performance, and visual culture.
Rooted in the exploration of subcultures and contemporary social phenomena, Future Loundry operates as an evolving platform for artistic experimentation and cultural commentary. Through garments, objects, and collaborative projects, the practice reimagines Southeast Asian culture through a quirky, kitsch-infused, post-apocalyptic lens, drawing inspiration from everyday Indonesian life and underground communities.
As subversive as the label is, Future Loundry’s brand ethos runs deep in upcycling and reconstructing; Utilising 70% second-hand garments found in markets in their construction, Future Loundry breathes new life into garments that are otherwise discarded, transforming them into unique 1 of 1 pieces that reeks of a not-too-far-into-the-future apocalypse.
Outside of Future Loundry, Ican produces music with his longtime collaborator Kas as part of Gabber Modus Operandi through the Gabber Unite label.
More than a clothing label, Future Loundry is an ongoing exploration of culture, identity, and creative expression. Blurring the boundaries between fashion, art, music, and lived experience.