Fashion is Technology is not the same term. However, two different innovators in the fashion world have blurred the boundaries between performance, art, environment and technology with their avant-garde efforts. We’re not talking couture lab coats (… yet), but we’re talking about magically disappearing clothes, skirts that double as furniture, and British models that you can macromolecule. They can say that they are naked faster than that.
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Designer Hussain Chilian is a man who has brought these circles together. The use of frivolous material, which is generally considered to be exclusive to the realm of non-fashion, is unparalleled, except for the prototypical fashion designer. She has created a metamorphosing dress that serves as a fast-paced history of the evolution of fashion, producing history in a matter of minutes with emerging hemlines and a variety of salutes ranging from long Victorian to modern mini. Such transformative feats should be engineered by serious technicians: for his shows, he did nothing less than peep animators in the Harry Potter movie.
An earlier exhibition of his work is on display at the London Design Museum (until May 17). The display includes fraudulent showpieces from past collections, revealing a wealth of unexpected content that he has created in unimaginable incarnations. Apart from the clothes, they are like exquisite toys and art objects that change and rearrange. A piece of clothing is presented as furniture. Meanwhile, the clothing of its “Airborne” collection is covered with more than 15,000 flickering LED lights. A variety of clothing made from aircraft construction equipment gives the wearer the ability to fly. Okay, not really, but it changes shape with the remote control. Definitely in any case, wearing button down and jeans feels quite unimaginable.
While many designers reinforce the stagnation of wear and tear, Chilean creations destabilize the fashion of easy access. By mixing hyper-modern technical elements, he effectively strikes a chord with the fashion world, forcing him to deviate from his inner trends.
The challan is not alone in combining fashion and technology to advance the envelope. Helen Story, a professor at London College of Design, combines fashion and technology to promote green change. Often, “green fashion” means something good-natured but ugly and made of hemp. Yet in Helen Story’s hands, fashion provides a vehicle for environmental awareness without sacrificing creativity or aesthetics. Story has created the Wonderland Project, among other endeavors, to raise awareness about the waste of production. In partnership with Tony Ryan, a professor of science in Sheffield, he created the smartest dress, missing from his respective background.
How does clothing disappear?
The Wonderland project employed a textile designer (Trish Belford University of Ulster) who made fabrics from polymers – such as those used in washing detergents. Once completed, the cloth was hung from scaffolds and slowly lowered into large water containers. Accordingly, the polymers in the water cause the material to dissolve, creating a visual underwater spectacle. The show has seemed a bit unfocused in recent episodes, however, the act toured the UK and Ireland, gaining much interest and acclaim along the way.
I wish you were there?
Watch a video of the show by fashion photographer Nick Knight. In it, the British model / socialite Alice Dale is brought in, wrapped in a polymer dress, immersed in a water tank and stripped naked in seconds (this is a European production, so there is absolutely zero nudity censorship). Is! Yowza!)
This performance of the Wonderland Project raises many questions about product performance, sustainability and above all the need: How can we be sustainable in production? How can we govern excessively to curb waste? What should be done even first? Garment acts as a “caveat amplifier” for both producers and buyers, highlighting the environmental waste and industrial excess found in production.
For storytelling as well as for challan, engaging with these innovative issues is not only an urgent need but also an opportunity for unlimited innovation. Provocative and visually pleasing ideas should grow as practical solutions.
Fashion and its social agenda
Class, gender and identity in clothing
It is said that clothes are made by men (or women), but is that still true today? If so, how has informational clothing changed over the years? Using a wide range of historical and modern materials, Diana Crane demonstrates how the social significance of clothing has changed.
Crane compares nineteenth-century societies — France and the United States — where social class was the most prominent aspect of social identity, manifested in clothing with late twentieth-century America, where lifestyle, sex, sexual orientation, Age and race are more important. Individuals build their closets. Today, the clothes worn at work represent the social class, but the casual clothing expresses meanings ranging from treat to political. In today’s multi-code societies, clothes prevent communication between highly scattered social groups as well as facilitate communication.
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