Arising from Nick Knight’s earliest (and ongoing) experimentation with 3-D imaging technologies, Sweet used stylist Jane How’s foil and cellophane sweetie wrapper recreations of Spring/Summer 2000 Ready-to-Wear collections to record intriguing ‘landscapes’ of 360-degree images using a CT head scanner. The gentle naivety of the confectionery packaging was intentionally offset against the latest cutting edge technology, with its malevolent Sci-fi connotations (as expressed through fictional representations such as the computer Hal in the film 2001: A Space Odyssey [1968]). Knight’s fascination with the scanner’s inability to distinguish between reflections, shadows and solid matter, and between an object that is receding or advancing, also meant that he could partly relinquish control of the final image. Such opportunity for experimentation suggested that Artificial Intelligence could have an artistic bent. Many complex relief maps were made of the heads of two models wearing How’s elaborate interpretations of garments by designers including Hussein Chalayan, Comme des Garçons, Thierry Mugler and Yohji Yamamoto. The computer then clad these images with Knight’s digital photographs to produce a striking and surreal sequence of still images in an interactive rotoscope that allows its user to manually explore a garment from all angles. The film animation is accompanied by a specially-commissioned soundtrack by Kieran Hebden and CLINIC.