A drop of ink lands on still water and stays on top. It opens into a ring the size of a coin. A second drop falls in its center and pushes the first ring wider, then a third, until the tray holds a floating target of color. One slow breath across the surface and the rings bend into currents. Lay paper on it, lift, and the pattern comes away whole, a print nobody can make twice.
Marblers in Japan and Turkey have practiced that trick for centuries. Liquified Abyss borrows its look for the dance floor: our digital art of violet, navy, teal and magenta poured through one another and threaded with gold, the way light slides over deep water as a beach party tips into night.
So, in all honesty, this is ocean clothing with no sea life in it: no whales, no fins, no scales. The jellyfish and tentacles live in our octopus and kraken guide. Here it's only the water, and what the water does with the last of the light.
What does the Liquified Abyss design show?
Deep water and the light on top of it. Magus Fawn's Liquified Abyss is digital marbling with no creatures in it: violet, navy, plum, teal, magenta, coral and apricot folding through each other in wide loops, dusted with gold, like an oil sheen spreading across a dark sea. On the cloaks and hoodies it runs edge to edge.
Navy and plum are the depths; teal, rose and gold are the bright skin of color floating on top. From across a field it reads as ocean, and up close it dissolves into abstraction, which is how we like our symbolism: felt first, explained later.
Ocean cloaks for the deep end of the night
Magus Fawn lists the Liquified Abyss zip-up festival cloak twice, once for women and once for men, and no piece in the line gives the marbling more room to move: a single current poured from the crown of the hood to the hemline.
Both listings share one build. The outer is micro-mink poly with a listed fabric weight of 200 g/m², over a faux-fur lining you pick in black or white. The hood pulls in with heavy drawstrings, a double zipper closes the front, and four pockets carry the night's essentials: a deep side pocket on each hip, plus two stash pockets inside, one with a zipper. The unisex sizing runs XS to 5XL, and every cloak is made to order.
Hood up, front open. The Liquified Abyss Women's Festival Cloak ($250) turns daylight into a tide pool: teal and copper rising through plum, rose melting into gold. Wear it open over one dark color and let the cloak do the talking; when the breeze comes off the water after midnight, zip it and the current closes around you.
One tall current. Zipped all the way up, the Liquified Abyss Men's Festival Cloak ($250) becomes a column of moving color, marbling spilling over the shoulders with no plain panel to break it. It's the one for the closing set by the water, hood up and a hand deep in a side pocket.
Searching for an ocean blanket? Liquified Abyss isn't made as one, so for slow beach-camp mornings, look through our hooded blankets in other designs: $150 oversize pullovers in 300 g/m² fleece, all one size (4XL), each hood topped with cat ears.
Why does the deep ocean turn from blue to black?
Because seawater soaks up the red end of sunlight, and NOAA compares it to a filter that leaves the blues for us to see. Deeper, even the blues run out: NOAA says significant light rarely reaches past 200 meters, and below roughly 1,000 meters sunlight never arrives, day or night.
Oceanographers sort the water into layers by how much light is left. Between 200 and 1,000 meters lies the twilight zone, where daytime light still lets animals see but is far too faint for plant life to grow (Woods Hole Oceanographic Institution). Under it, the midnight zone stays dark around the clock, and lower still comes the abyssal zone, which WHOI's guide to the ocean zones also calls, simply, the abyss.
Hold Liquified Abyss up to that column of water and the palette lines up: navy and plum are twilight-zone colors, the last blues before the dark, and the gold is the sun, still playing on the surface far above.
Shallows to midnight, in cotton. Magus Fawn's ocean hoodie, the Cotton Unisex Pullover Hoodie | Liquified Abyss ($100), wears the whole water column at once: apricot shallows across the shoulders, navy pooling at the chest, a flare of magenta by the hem. It's 100% cotton at 310 g/m², the color sublimated right into the fiber, plus a drawstring hood, a kangaroo pocket up front and a relaxed regular cut from XS to 6XL. It draws in 3–5% the first time it's washed. It's also the layer Edie pulls on at dawn in Item Thirty, our Baja gray whale lagoon story.
What is the difference between suminagashi and ebru?
Both float color on liquid and lift it onto paper. Japanese suminagashi, "floating ink," drops ink onto plain water, and its earliest known examples date to the 12th century. Turkish ebru sprinkles and brushes pigment onto a thickened bath, then pulls it into patterns. Ebru grew from 16th-century Persian marbling and is now UNESCO-listed heritage.
Suminagashi. Legend credits Jizemon Hiroba, said to have felt divinely inspired after prayers at the Kasuga Shrine in Nara, who wandered Japan in search of the right water and settled in Echizen, in today's Fukui Prefecture. His family says it has made the paper since 1151, across 55 generations (Wikipedia). In the 19th century, the Kyoto master Tokutaro Yagi began stirring the colors with a split piece of bamboo, which spins the rings into spirals.
Ebru. Here the colors float on a viscous bath called size. Persian sources called the paper abrī, "clouded paper," and the art spread from Persia and Central Asia to Ottoman Turkey, where the earliest examples may be the margins of a manuscript finished in 1539–40. In 2014, UNESCO inscribed the Traditional Turkish art of Ebru on its Representative List of the Intangible Cultural Heritage of Humanity (UNESCO). Its listing describes pigments mixed with a few drops of ox gall and set swirling on the bath, with motifs that range from flowers and foliage to latticework and moons.
Liquified Abyss is digital art, dye-sublimated into the fiber rather than floated in a tray, yet it chases what every marbler chases: color caught mid-current.
Marbling with a sheen. The Liquified Abyss Women's Crushed Velvet Crop Hoodie ($75) is the closest thing in the line to a fresh pull from the tray. Crushed pile tilts the light with each step, so the swirls seem to drift across your shoulders. It's a 95/5 poly-spandex blend at 240 g/m², long-sleeved and cropped above the waist, its hood gathered by drawstrings, in S to 2XL. Pack it for the hour after sunset at a beach stage.
Why does an oil slick shine in so many colors?
Thin-film interference. Light bounces off both the top and the bottom of an oil film floating on water, and the two reflections overlap, boosting some wavelengths and dimming others. Because the film's thickness varies, the colors shift across the surface and change as you move, from gold and teal to purple and magenta.
The same physics paints soap bubbles, and it's at work in the antireflection coatings on eyeglasses and camera lenses (Wikipedia). The colors rarely line up as a tidy rainbow, because each spot reflects a blend of wavelengths. Instead, Wikipedia lists browns, golds, turquoises, teals, bright blues, purples and magentas. Read that list twice and you're holding the Liquified Abyss palette card.
What top goes with marbled ocean leggings?
A plain one. Magus Fawn's Liquified Abyss leggings pour marbling from waistband to ankle, so a single bright white or solid black top, chunky boots and one marbled accessory finish the look. At a beach or lake festival, wear the matching swimsuit up top instead, and add a hat for the long afternoon.
Currents to the ankle. The Women’s Yoga Leggings | Liquified Abyss ($70) wrap each leg in tangerine and magenta eddies over deep violet and teal, like a current watched from a pier at sunset. Our photo shows the formula: white lace-up crop top, white boots, and the leggings carry the color. The knit is a 225 g/m² blend of recycled poly (75%) and elastane (25%), with four-way stretch and a raised waistband, XS to XL. Keep them off rough benches and bark, where microfiber can snag.
Same current, skinny cut. The Liquified Abyss Men's Festival Leggings ($65) swirl violet and navy shot with rose, teal and gold, and they need nothing louder than a black tee on top. They're a body-hugging 90/10 poly-spandex microfiber, XS to 3XL.
Into the water. For a swim between sets, the Psychedelic Rave Wear Liquified Abyss Women's One-Piece Swimsuit ($65; $68 in 2XL, $69 in 3XL) swirls coral, magenta, indigo, teal and tangerine all the way around. It has a scoop neckline, a low scooped back and a front cut in two layers, in four-way-stretch recycled poly (75%) and elastane (25%) at 225 g/m², regular fit, XS to 3XL. Pull the leggings on over it when the sun drops, and head from the swim straight to the sunset set.
Bucket-hat weather. The Liquified Abyss Bucket Hat ($50) wraps the marbling around crown and brim and tucks a Flower of Life pattern in white underneath, peeking out whenever you tip your head. The polyester weighs 275 g/m²; sizes are XS, S/M and L/XL.
Or a flat brim. The Snapback Hat | Liquified Abyss ($40) carries the same water on a 150 g/m² polyester cap; a plastic snapback strap sizes it for most heads. George's review of this exact cap, from May 2023, followed it through a four-day open-air music festival: "no clouds in the sky, and it was beautiful!"
A size up, a few weeks' lead, a cold rinse
Layers change the math. If the cotton hoodie is going under the cloak, our FAQ advises going up a size for outerwear, "sometimes even 2 sizes up to fit extra layers under." Still unsure? Our inbox at art@magusfawn.com helps with sizing from your measurements, usually replying within 1–2 business days.
Plan backward from the beach: allow 7–11 business days for your piece to be made to order and 6–14 more for the courier, about five weeks in all. The US shipping fee is $8 and drops to zero at $70; overseas orders start at $10. Every piece comes with one free size exchange, plus a 14-day cooling-off window for EU customers.
After a salty day, everything goes in cold, with like colors and without bleach, then onto a line to dry (a low tumble is fine too); irons and dry cleaners can sit this one out. Because the ink is sublimated into the fiber, the marbling won't crack or fade.
Back up for air
Ink floating on a Kyoto tray, ebru colors swirling on a bed of size, blue thinning to black two hundred meters down, gold trembling on an oil sheen. Liquified Abyss gathers all of it into one current. Choose your depth, cloak or hoodie or swimsuit, and wear the water.
Shop the current: women's cloaks · men's cloaks · all festival cloaks
More to read: festival swimsuits for lake days and pool parties and our guide to hooded blankets for festivals
Frequently asked questions
What is the ocean's midnight zone?
The midnight zone, or bathypelagic zone, is the layer of ocean below the twilight zone, from about 1,000 meters down to roughly 4,000 meters, according to Woods Hole Oceanographic Institution. No sunlight reaches it, so it stays dark around the clock. Beneath it lie the abyssal zone and, in the deepest trenches, the hadal zone.
Is suminagashi the oldest form of marbling?
It appears to be. Suminagashi, Japanese for "floating ink," drops ink onto plain water and lifts the floating rings onto paper. Its earliest known examples sit in a 12th-century manuscript, the Sanjuurokuninshuu, held at Nishi Honganji in Kyoto, and no older marbled paper is known.
When was ebru added to UNESCO's heritage list?
In 2014. UNESCO inscribed the Traditional Turkish art of Ebru on its Representative List of the Intangible Cultural Heritage of Humanity at the committee's ninth session. The listing notes that ebru is taught orally and hands-on, master to apprentice, and that reaching basic skill takes at least two years of practice.
Who first studied iridescent colors like a peacock's?
Robert Hooke made one of the first known studies, in his 1665 book Micrographia, suggesting that thin alternating layers in peacock feathers caused their shimmer. Isaac Newton also pointed to thin layers in 1704, Thomas Young explained interference in 1801, and in 1919 Lord Rayleigh named such pigment-free effects "structural colors."
Written by Magus & Lylyth Fawn, the Los Angeles artists behind Magus Fawn. Magus makes VR and digital visionary art and produces Psy EDM. Lylyth makes fractal digital art and runs design and customer care. We've been selling wearable art since 2020 (4.8★ from 147 reviews as of October 2026), and every piece is made to order here at magusfawn.com. Come say hi on Instagram @magusfawn.
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