Björk Guðmundsdóttir (1965-) has been mesmerising the world of music since the early 1990s by dismantling and reimaging the conventional presentation and expectations of contemporary female musicians.
Björk’s conceptual approach to storytelling via the medium of music celebrates a holistic creative practice through immersive spectacles that defy conventional live performance. The curated performative spaces of her live shows allow us to question the boundaries of body, space, and technology; where does one end and the other begin within the beguiling narrative performances?

Cornucopia (2019) presented the spectacle of a postapocalyptic multi-species world. The pop sci-fi proposition is the result of cross-disciplinary endeavors of music, fashion, scenography, and digital art. The creation of a fantastical mise-en-scène embellished with Iris Van Herpen’s avant-garde costumes which subsume the body to form portable spatial sculptures which are transformed through Tobias Gremmler’s futuristic digital fairy tale landscapes which interface with the choreography of Chiara Stephenson’s 3D sculptural scenography This curation of collaborative synergy creates a dialogue between human and machine, science and technology, body and space, in a hyper-eco-political dramaturgy of our time and speculative future existence on this planet.

The paper will seek to interpret Björk’s ingenuity and innovative milieu of Cornucopia transcends the ambiguous edges of fashion, space, and art. The analysis via the lens of interior design’s interdependence of body and space to offer an alternative insight to Björk’s Cornucopia. The analysis will draw upon theoretical propositions of fashion as performance art including Granata (2017), Quinn (2003), van der Zijpp (2022), and Smelik (2020). Furthermore this is grounded by theoretical considerations; Coates (2012), Oxman (2017) and Anderson & Weinthal (2022) which galvanise the overlaps of fashion, spatial and digital.