Vagabonds
De nombreux projets d’Oxman utilisent des techniques d’impression et de fabrication 3D. Ils incluent le pavillon de la soie, filé par des vers à soie sur un cadre en nylon, 3 Ocean Pavilion, une plate-forme de fabrication à base d’eau qui a construit des structures de chitosane, 4 G3DP, la première imprimante 3D pour verre optiquement clair, et un ensemble de verre produit par elle, 5 et collections de vêtements imprimés en 3D et utilisables dans les défilés haute couture. Voyager vers des destinations au-delà de la planète Terre implique de voyager dans des paysages hostiles et des environnements mortels. La gravité écrasante, l’air ammoniacal, l’obscurité prolongée et les températures qui feraient bouillir le verre ou geleraient le dioxyde de carbone, éliminent presque toute probabilité de visite humaine.

Ryunosuke Okazaki 001
For his graduate project from the Tokyo University of the Arts, Ryunosuke Okazaki created a collection consisting of three couture dresses in bold colours and shapes titled JomonJomon that are informed by Japanese Jōmon-era pottery and Shinto, an ancient religion that originated in Japan. The striking designs are modelled and decorated on Jōmon-era pottery, where vessels were decorated through pressing rope and coils into wet clay to create ornate designs. The JomonJomon collection was made using polyester, cotton and ribbed knits, in red, blue, black and white as the primary colours.

Rook Jurk
Collega-ontwerper Valerie Lamontagne schrijft: “SMOKE DRESS is een samenwerking tussen fashiontech-ontwerper Anouk Wipprecht [NL] en technoloog Aduen Darriba [NL]. De jurk is een draadloze en draagbare tastbare couture “rookgordijn” doordrenkt met het vermogen om zichzelf plotseling visueel uit te wissen door de uitscheiding van een rookwolk. Omgevingsrookwolken worden gecreëerd wanneer de jurk een naderende bezoeker detecteert en zichzelf zo camoufleert in zijn eigen materialiteit. De ROOKJURK, met zijn losse net van metalen draden en elektrische draad, werkt op de schaal van de magische illusionistentruc, waardoor een hypothetische assistent van een goochelaar haar eigen verdwijnende act kan uitvoeren.

Moncler Genie Herbst 2020
Seit seiner Gründung hat das Moncler-Genie-Projekt Designer aus verschiedenen Kulturen gebeten, Kapselkollektionen zu kreieren, die von der legendären Moncler-Pufferjacke inspiriert sind. Der in London lebende Designer Richard Quinn besuchte für seine Kollektion den Retro-Futurismus der sechziger Jahre. Mit klaren Einflüssen wie Stanley Kubricks 2001: A Space Odyssey und Twiggy verbindet die Kollektion perfekt Maximalismus, kräftige Farben und Couture-Formen. Natürlich wurden Quinns Blumendrucke – Teil seiner Design-DNA – nicht zurückgelassen.

Spring Summer 2019
Quinn’s clothes conjure a couture fantasy, with unabashedly extravagant shapes and lavish embellishments. This season the look veered between thigh-grazing confectionary frocks and a more dramatic voluminous silhouette that tumbled to the ground and swept the floor. The floral cocktail dresses of last season were even frothier this time around, bold in the shoulder and replete with handfuls of bows along the sleeves. If that sexy, legs-for-days line evoked frivolity, then the longer, grander gowns readdressed the balance.
FASHION LONDON

FLOW

Dall’inizio degli anni ’80, Pia MYrvoLD ha lavorato in un ampio campo di tecniche, sviluppando e combinando diversi mezzi: pittura, suono, video, design infrastrutturale, arte vivente e urbanistica e nuove tecnologie. La ricerca ibrida di MYrvoLD all’interno dei media visivi ha dato al mondo dell’arte e del design concetti nuovi e unici, tra cui CyberCouture, vestiti come editoria, opere multi-superficie, interfacce femminili e progetti nell’area di confine tra spazi virtuali e reali – con l’arte interattiva come un elemento ricorrente. MYrvoLD – che ha iniziato come pittrice – ha continuato anche con i media tradizionali e produce continuamente nuove serie di dipinti, grafica, sculture e video, dove la sua narrativa visiva si riferisce alla tecnologia, alla codifica del DNA, agli oggetti e alle interfacce sensoriali, dove la dialettica tra l’oggetto e lo spazio suggerisce linee guida e nuovi codici su come la società può utilizzare e sviluppare nuova sensualità.

«Pour moi, la couture est la meilleure source d’excitation de la mode. Notre première collection était un mélange entre mode orientée couture et prêt-à-porter. Avec AV Couture, j’espère créer un véritable atelier de couture, synonyme de savoir-faire traditionnel et de perfection.
Travailler pour mon propre label a toujours été mon plus grand rêve. AV Couture est un instrument pour visualiser nos pensées, et toutes les absurdités de la société que nous pensons essentielles à affronter. ” Vincent Lapp

Roots of rebirth
During such rarefied times, the designer explores a symbiosis of high technology and the artisanal craftsmanship of couture, through a collection that references the intricacy of fungi and the entanglement of life that breathes beneath our feet. Through ‘Roots of Rebirth’, Van Herpen notions towards the miraculous lacery of interconnectedness from the natural ‘wood wide web,’ weaving a dialogue between the terrestrial and the underworld. ‘Roots of Rebirth’ extends its own branch, an invitation to a sequence of 21 looks inspired by roots and spores. During the show, the models seem to magnetise a living lace of spores with each stride, the entanglement of each garment resembles roots of regeneration.

Smoke Dress
Fellow designer, Valerie Lamontagne, writes: “SMOKE DRESS is a collaboration between fashiontech designer Anouk Wipprecht [NL] and technologist Aduen Darriba [NL]. The dress is a wireless and wearable tangible couture “smoke screen” imbued with the ability to suddenly visually obliterate itself through the excretion of a cloud of smoke. Ambient clouds of smoke are created when the dress detects a visitor approaching, thus camouflaging itself within it’s own materiality. The SMOKE DRESS, with its loose net of metallic threads and electrical wire, works at the scale of the magical illusionists trick, permitting a hypothetical magician’s assistant to perform her own disappearing act.

АЙРИС ВАН ЭРПЕН
イリス ヴァン ヘルペン
Prodige de la mode, l’artiste plasticienne défie la nature et les lois de la physique en donnant vie à des sculptures sur lesquelles l’espace n’a pas d’emprise. Façonnés dans des matériaux innovants (polyamide, rhodoïd, Magiflex, plexiglas…), aussi étonnants qu’inquiétants, les créations futuristes d’Iris van Herpen relèvent d’une approche expérimentale de la couture où la virtuosité technique se conjugue à l’intelligence artificielle d’une technologie digitale (la stéréo-lithographie).

“To me couture is the best source of excitement in fashion. Our debut collection was mix between couture orientated fashion and ready-to-wear. With AV Couture, I hope to create a true couture atelier, which stands for traditional craftsmanship and perfection.
Working for my own label was always my biggest dream. AV Couture is an instrument to visualize our thoughts, and all the society’s absurdities we think are essential to tackle.” Vincent Lapp

Moncler’s Genius Fall 2020
Since its inception, the Moncler genius project has asked designers coming from diverse cultures to create capsule collections inspired by the iconic Moncler puffer jacket. For his collection, london-based designer Richard Quinn visited the retro-futurism of the sixties. With clear influences like stanley Kubrick’s 2001: A Space Odyssey and Twiggy, the collection perfectly blends maximalism, bold colors and couture shapes. Of course, Quinn’s flower prints — part of his design DNA — were not left behind.

أوسكار كارفالو
奥斯卡卡尔瓦洛
En Julio 2014, Oscar Carvallo lanzó su colección couture Otoño/Invierno 2014, en París, bajo el título Save Our Souls (SOS). La innovación en el uso de materiales novedosos se destaca mucho en los diseños de Carvallo, utilizando accesorios realizados con balas y cartuchos auténticos. La colección de Carvallo finalizó con la participación del artista plástico Pancho Quilici, quien invitó a reflexionar a través de una estructura corporal acerca del papel de la vestimenta como refugio de supervivencia.

Spring Summer 2020
Rick Owens’ Bauhaus Aztec priestesses were some kind of bad-asses. Gliding around the Palais de Tokyo fountain, they presided over a ceremony of wands and bubbles while sporting chrome headdresses glinting like car hood ornaments. It was a kick. Owens was feeling nostalgic, as it turns out. Using blasts of Luis Barragán color, folkloric sequins and volumes with the grandiosity of couture, Owens mined his Mixtec heritage. (His mom, Connie, is Mexican, and his dad, John, worked in the public court system as a Spanish-English translator defending farm workers’ rights.)

Haute Couture Busts
Emmanuel Bossuet é um diretor de arte francês que trabalha com obras decorativas e intensas, recentemente ele realizou um projeto em parceria com a “Stockman” marca famosa que fabrica clássicos manequins desde 1867. A intenção do artista era clara: utilizar as formas clássicas dos manequins como um suporte virgem para imagens em preto e branco, inspiradas em caleidoscópios, colocando em valor tanto o mundo da moda, como o design.

Haute Couture Busts
Every fashion designer and fashion student has worked with dress forms. Dressing and draping on them while working on their future garments, before they get to fitting on a model. One of the most famous and historical brands for these dress forms is Stockman, and a lot of fashion lovers collect them and use them as decoration in their homes. Taking the fashion dress form as a piece of art, French art director Emmanuel Bossuet of EEM Agency collaborated with Stockman to produce limited edition “haute couture” busts. Limited to 10 copies of each model, the original 3 are currently on exhibit at the department store Bon Marche in Paris.

الكسندر ماكوين
亚历山大·麦昆
알렉산더 맥퀸
אלכסנדר מקווין
アレキサンダーマックイーン
Александра Маккуина
Android Couture
Presented on the cusp of the new millennium, Alexander McQueen’s Autumn/Winter 1999 collection for famed French fashion house Givenchy captured the new fascination with personalized digital technology in popular culture. At the culmination of the show, two models appeared outfitted in molded Perspex bodices studded with flashing LED lights and glowing leggings patterned like computer chips. The creation of a digital aesthetic and its intimate application to the body—an android-like amalgamation of the physical and digital—anticipated the “wearables” trend and the formation of the digital self. Known for his exquisite tailoring, meticulous detailing, and ambitious collections, McQueen also represented one of the remaining visionaries of haute couture extravagance.

Айрис Ван Эрпен
イリス ヴァン ヘルペン
Escapism
Iris van Herpen stands for a reciprocity between craftsmanship and innovation in technique and materials. She creates a modern view on Haute Couture that combines fine handwork techniques with futuristic digital technology .Van Herpen forces fashion to the extreme contradiction between beauty and regeneration. It is her unique way to reevaluate reality and to express and underline individuality.

КРИСТОФ КОППЕНС
bird’s nest
Christophe Coppens nació en Bélgica en 1969. Inicialmente tuvo una formación en teatro como director y actor. Rápidamente entendió que lo que mas le gustaba del teatro eran los sombreros y las prendas, por lo que saltar al couture fué solo una cuestión de tiempo. A partir de allí, comenzó a hacer sombreros para Yohji Yamamoto y Guy Laroche. Ha hecho sombreros para la realeza belga. Ha hecho exposiciones y performances. Flirtea con la moda, el teatro y las artes visuales.

Dutch based designer Anouk Wipprecht is working in the emerging field of “fashionable technology”; a rare combination of sartorial knowhow combined with engineering smarts and style, she has in a very short period created an impressive body of tech-enhanced designs bringing together fashion and technology in an unusual way. She creates technological couture; with background in fashion design combined with engineering, science and interaction design, she creates systems around the body that tend towards artificial intelligence; projected as ‘host’ systems on the human body, her designs move, breath, and react to the environment around them.

Chcąc umiejscowić ją w jakiejś określonej estetyce, należałoby wskazać miejsce gdzieś na pograniczu sztuki i mody, ponieważ jej projektom daleko do prostoty i banału codzienności. Halina Mrożek, jedna z najbardziej obiecujących projektantek młodego pokolenia, w 2009 roku ukończyła Wydział Rzeźby na Akademii Sztuk Pięknych w Krakowie. Za pracę dyplomową Sculpt-couture została wyróżniona Medalem ASP.

White Noise
Halina Mrozek considers fashion as a modern kind of sculpture, more demantoid than an independent piece of art, not just a gallery object. What excites her the most about Sculpt Couture is the fact that those projects, forms cannot be created without thinking about the human body, they live with and depend on it.

جان گالیانو
ג’ון גליאנו
ジョン・ガリアーノ
존 갈리아노
Гальяно, Джон
约翰·加利亚诺
John Galliano, in full John Charles Galliano, (born November 28, 1960, Gilbraltar), British fashion designer known for his ready-to-wear and haute-couture collections for such fashion houses as Christian Dior, Givenchy, and Maison Margiela.

Haute Couture Spring Summer 2016

设计师Viktor Horsting及Rolf Snoeren同样是荷兰人，同是于一九六九年出世，因就读Arnhem Academy of Art时装设计系而认识，由于大家的作风均自由大胆，在九二年毕业时便萌合作之意。其后，两人终于组成名为Viktor & Rolf的品牌，主力推出Haute
Couture 系列。而在九九年秋冬季举行的Haute Couture Fashion Show，两人破天荒只请来一位模特儿演绎其作品，一口气为模特儿披上九件外衣，展出形式令人惊讶。到二○○○年正式推出首个Ready-to-wear 系列，以美国国旗为布料图案，实时吸引各传媒报道。
战美学极限
自推出第一个Ready-to-wear系列，Viktor & Rolf便正式踏上时装舞台，其带点玩味的设计及独特的时装美学概念，一直是时装传媒的焦点。以歌舞剧形式包装的○一年春夏骚，戴上绅士帽的模特儿以牛仔装束配上Smoky
Eyes，创意不凡。之后的○一年秋冬系列，就以全黑Look示人，连各模特儿及两位设计师的面孔都涂黑了，挑战All Black的极限。到○二年春夏忽然换来全白，华丽的晚装换上了白色的配搭，两位设计师的鬼主意似乎仲未间断。来到○二年秋冬，则来个蓝色为主调的系列，绝对令大家对二人独特的美学概念赞叹不绝。

Butterfly
E.V. Day ist ein in New York ansässiger Installationskünstler und Bildhauer, dessen Arbeit Themen wie Sexualität und Humor unter Verwendung schwerkraftwidriger Aufhängungstechniken untersucht. Sie hat ihre Arbeit als “futuristische abstrakte Malerei in drei Dimensionen” beschrieben. Day erhielt ihren MFA in Skulptur von der Yale University School of Art. Die erste Arbeit in ihrer Exploding Couture-Reihe, Bombshell, wurde in die Biennale 2000 des Whitney Museum of American Art aufgenommen und befindet sich jetzt in der ständigen Sammlung des Museums. Sie hatte zahlreiche Einzelausstellungen, darunter die Installation G-Force von 2001 im Whitney Museum in Altria, in der sie Hunderte von Riemen in Kampfjetformationen von der Decke hängte, und eine zehnjährige Übersichtsausstellung im Jahr 2004 im Herbert F. Johnson Museum of Art an der Cornell University. Bride Fight, eine Hochspannungsreihe aus zwei sich duellierenden Brautkleidern, wurde 2006 im Lever House als Teil ihrer Sammlung ausgestellt.

ВИКТОР ХОРСТИНГ И РОЛЬФ СНЕРЕН
Couture Fall/Winter 2015

Matija voulait créer des vêtements qui s’inspiraient de types historiques sans s’appuyer sur des techniques de construction traditionnelles. Il s’est consciemment abstenu de tricoter, de coudre ou d’adhérer pour développer un système expérimental de fabrication: les scans 3D du corps sont manipulés à l’aide d’un logiciel de modélisation, transposés en motifs découpés au laser 2D, puis rationalisés à travers des scripts en formes qui peuvent être imbriquées comme un puzzle. pièces. L’objet résultant est un polyèdre complexe sans aucune couture. Plus important encore, le processus qui le crée est une variation entièrement originale du tissage avec des possibilités illimitées pour un design novateur et une nouvelle construction. En associant manuellement des centaines de pièces uniques découpées au laser à un savoir-faire techno-couture, il rend tangible une pensée ambitieuse et intégrée. L’œuvre de Matija esthétise la curiosité en s’efforçant constamment d’authentifier la possibilité d’une véritable innovation dans la mode contemporaine.

Matija wanted to create garments that drew upon historical types without relying on traditional techniques of construction. He consciously abstained from knitting, sewing, or adhesion to develop an experimental system of fabrication: 3D scans of the body are manipulated using modelling software, transposed into 2D laser-cut patterns, and then rationalised through scripts into shapes that can be interlocked like puzzle pieces. The resultant object is a complex polyhedron without any seams. More significantly, the process that creates it is an entirely original variation of weaving with unlimited possibilities for novel design and new construction. Manually interlocking hundreds of unique laser-cut pieces with techno-couture craftsmanship, he makes ambitious and integrated thought tangible. Matija’s work aestheticises curiosity by striving constantly to authenticate the possibility of genuine innovation in contemporary fashion.

Con la passione per la specialità di opere uniche, i pezzi che crea sono in parte assemblati da oggetti trovati prodotti in serie che potremmo riconoscere dalla nostra vita quotidiana ed esistono solo come pezzi unici di Haute Couture. L’intrigo per oggetti che rimandano sia al linguaggio della manifattura industriale che al naturale, sono ciò che compone i suoi materiali, gli assemblaggi vengono poi rivestiti in resina modellata a mano. Usando questo processo modifica le funzioni letterali del singolo oggetto in un pezzo che parla all’immaginazione.