About the designer:  

Hussein Chalayan designed a series of laser LED dresses in collaboration with luxury label Swarovski which was showcased in Tokyo in 2008

"Higher forces” was the theme for Hussein Chalayan’s 2008 Spring/Summer collection. The clothes are adorned with moving laser beams, a feat made possible by the expertise of London-based designer Moritz Waldemeyer.

The lasers are attached to the fabric – also adorned with Swarovski crystals – with tiny brass hinges controlled by servo motors, which are pre-programmed to dictate the beams’ direction and timing. “When the lasers shine up at the crystals, they glow like lava – it’s an amazing effect,” says Waldemeyer.

The collection was inspired by the idea of ancient sun worship along with the current obsession with celebrity, and was presented in a short film by photographer Nick Knight shown during Paris fashion week.

The lasers “refract light from the body and bounce off mirrors surrounding it,” says Chalayan. “This represents the interplay between a scrutinised figure and the audience.”
The laser dresses for Swarovski were the finale to Chayalan's Spring Summer 2008 collection, called Readings, and were inspired by ancient sun worship and contemporary celebrity status.
 Hundreds of moving lasers were embedded in the clothing, together with crystals that refracted the rays of red light.

Hussein Chalayan is one of the most innovative and experimental fashion designer of this time. His graduate collection looked at the aesthetic of decomposition and featured silk garments covered with iron filllings called the tangent flows in 1993. 

''Hussein is clearly fueled by the desire to tell stories through clothing. Inventing new realities through the use of unconventional technologies and methods of manipulation, he creates a narrative through each new collection. Chalayn’s first innovative conceptual exploration came in his 1993 FW graduate collection from Central Saint Martins entitled “The Tangent Flows”. It consisted of silk garments that had been buried for six weeks, and then exhumed before beginning the show.

The process of oxidation which occurred during the burial created garments that appeared to be decomposed and rotten, showing earthy stains and a rusty red tone. Chalayan described his initial interest in this process was because “At the time, I liked the idea that you could look at a garment and tell that it had gone through something or might be the result of an action.”

The round coffee table turned into a long slinky wooden dress.

The chairs transformed into a suitcase.

micro-motors and smart wires, which enabled the dresss to change cut, fabric to be pulled or dropped, the waist to enlarge and zippers to open and close.

https://denimglasses.com/hussein-chalayan-1993-in-tangent-flows/
https://wwd.com/fashion-news/fashion-features/hussein-chalayan-2000-autumn-winter-fashion-show-1203660346/
https://www.anothermag.com/fashion-beauty/11507/hussein-chalayan-best-shows-coffee-table-dress-airplane-dress-led-dress
https://courageousexpectations.wordpress.com/2015/10/25/the-dress-that-transform-hussein-chalayan/
https://blog.aassttiinn.com/en/1397/06/14/hussein-chalayan-from-architecture-to-laser-beam-dresses/