Future Memories
shape, material, body
In molti hanno definito i miei abiti «architetture tessili». La definizione mi piace. Rende bene l'idea di quello che per me è l'abito: il risultato di un incontro tra forma e materia, "guidato" dalla mano del creatore. Non userei altre definizioni. Semplicemente completerei questa: i miei abiti sono architetture tessili pensate per il corpo. Che il corpo rende vive.
technical research
The robe à la française are renowned for the beauty of their textiles, the cut of the back employing box pleats and skirt decorations, known as robings, which showed endless imagination and variety.
Robe à la Française 1765–70, France
japanese trans fusion
japanese trans fusion
Fashion historian Enrica Morini highlighted the derivation from the kimono from la Robe à la Française. The back of the overcoat was made, like the kimonos, with rectangles of fabric long from the shoulders to the hem. In the case of the Robe à la Française, however, the fabric was bent into a cannon. Kimono, with its geometric outline and standard size, can easily be perceived as a flat garment. As a matter of fact, the focus of the production process is based on the 2D study of the fabric itself rather than its tailoring tradition.
Fashion historian Enrica Morini recently highlighted the derivation from the kimono of another type of women’s clothing in vogue in the eighteenth century: “la Robe à la Française”. The back of the overcoat was made, like the kimonos, with rectangles of fabric long from the shoulders to the hem. In the case of the Robe à la Française, however, the fabric was bent into a cannon. Kimono, with its geometric outline and standard size, can easily be perceived as a flat garment. As a matter of fact, the focus of the production process is based on the 2D study of the fabric itself rather than its tailoring tradition.
balenciaga
balenciaga
In the 1950s and 60s, Balenciaga changed the shape of women’s fashion, creating sculptural forms that stood away from the body, framing the figure rather than restricting it. He increased volume only on the back of his 'semi-fit' lines.
In the 1950s and 60s, Balenciaga changed the shape of women’s fashion, creating sculptural forms that stood away from the body, framing the figure rather than restricting it. He increased volume only on the back of his 'semi-fit' lines. Dresses and jackets became fitted at the front but with voluminous, loose-fitting backs.
The one-seam coat was designed in 1961. Made from a single piece of fabric, it is an example of Balenciaga's supreme sartorial mastery.
The one-seam coat was designed in 1961. Made from a single piece of fabric, it is an example of Balenciaga's supreme sartorial mastery. A single seam ran under the arms and twenty darts gave it shape.
shaping bidimensional
shaping bidimensional
The two front and back parts of the model are cut into a single piece rounded at the bottom so that the centre back is much shorter than the two front parts. The inspiration from the Eastern design approach is clear, especially in the construction. The two-dimensional plates acquire shape and volume thanks to an in-depth study of the pattern. Through large volumes, both in the sleeves and in the overall composition of the garment, the exaltation of the body is evident.
The two front and back parts of the model are cut into a single piece rounded at the bottom so that the centre back is much shorter than the two front parts. The inspiration from the Eastern design approach is clear, especially in the construction. The two-dimensional plates acquire shape and volume thanks to an in-depth study of the pattern. Through large volumes, both in the sleeves and in the overall composition of the garment, the exaltation of the body is evident.
semantic research
The space between clothes and body is a concept extremely present since the initial proposals of Kenzo, Miyake, Yamamoto and Kawakubo. The deconstructed and fluid shapes, tendentially oversize, have the effect of restoring freedom to the body: “the empty space that was inevitably created between dress and body in their loose clothing was closely related to the Japanese concept of MA, generally translated as interval, space between.
Akiko Fukai
It is more than just a void: it is a rich space that has immeasurable energy
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“The construction directly involves the material that allows you to create volumes that envelop the body without forcing it, to enhance it and discover it
”glorification of shapes
Among the multiple operational dynamics used by the designer, it could be said that the emphasize one best represent and explain the topic: “The dress is called to express the idea of a dream, the comparison between forms becomes a search for emphasis, opulence; conceive large, sumptuous, enveloping volumes that also derive from elementary shapes and must also take into account the needs of movement and portability.”
issey miyake
Miyake perceives the void between the body and the garment as a possibility of inclusion. His large volumes enhance the body, without the need to show it. They are a means of defining the body, which is expressed in its shapes without the need to be shown.
In Yohji Yamamoto, the space between body and fabric is translated through the expression of the oversize. This is closely linked to fantasy and imagination. Oversizing and exaggeration serve to allow the beholder to imagine the shapes of the body underneath the garments. The empty/ full combination is connected to glamour and sensuality.
yohji yamamoto
Rei Kawakubo, for Comme de Garcons on the 2014 collection.
“... this time he works on volume, as if to say that you have to occupy a space, even against the will of others. It is the volume of presence.”
rei kawakubo
loewe
synflux
Anderson’s experiments with fibreglass and metal pose a question: do they prohibit movement or help the women who wear them occupy space?
biogarmentry synflux
Building the scenario, Synflux was analyzed for the use of AI to create prints, the Symbiotic nature project by paola Escalona and Biogarmentry projects for the balance between the human body and nature, through the development of living materials.
symbiotic nature project
algorithmic couture
Duality plays a key part in our direction, investigating the relationship between tech & couture, between symmetry & asmmetry, and the classic textile & bio-textile.
what if we were dressed in data? where hybrid apparel and regenerative fashion are balanced by dualism. this is the new biology 4.0, a nature-tech symbiosis
algaex vision raise awareness about the finite character of nature, emphasising space between body and dress as a distance and coexisting space. what if nature and tech can coexist?
algaex mission
Educate, influence, involve a generation about the new and important intergration of biomaterials into our everyday lives.
CONCEPT
microalgae woven cotton
The starting point is Biogarmentry by Roya Aghighi and the research project on the same material by Hazal Ertürkan, in collaboration between TU - Delft and the Materials Science Research Centre of the Royal College of Art in London. The material involved in the project is a yarn that combines cotton and live microalgae: chlamydomonas reinhardtii, a type of single-cell green algae, are spun together with nano polymers.
wear your living textile
microalgae life cycle
3 months material activation
During the first month and half the algae works to purify the air through the photosynthesis.
Then it begins to lose its colour, because it can no longer live on cotton.
At the end of its cycle the material comes back to the original color due to vitality’s loss.
The Jacquard pattern is the result of the association between a row and a nitrogenous base of the algae Chlamydomonas Reinhardtii selected and repeated randomly by AI. Each nitrogenous base of the DNA, adenine (A), guanine (G), cytosine (C) and thymine (T), corresponds to a type of row chosen by the customer in length and width. The pattern is realised by a computerised chassis that weaves black organic cotton and the microalgae cotton. Thus technology and nature are merged and intertwined in a symbiotic collaboration.
algaerythm pattern example A of motif variation
WHAT IF WE WERE DRESSED IN DATA?
algaerythm pattern
The Jacquard pattern is the result of the association between a row and a nitrogenous base of the algae Chlamydomonas Reinhardtii selected and repeated randomly by AI. Each nitrogenous base of the DNA, adenine (A), guanine (G), cytosine (C) and thymine (T), corresponds to a type of row chosen by the customer in length and width. The pattern is realised by a computerised chassis that weaves black organic cotton and the microalgae cotton. Thus technology and nature are merged and intertwined in a symbiotic collaboration.
example B of motif variation
WHAT IF WE WERE DRESSED IN DATA?
collection piece material microalgae cotton cotton
tecnique coat jaquard knitted tights
collection piece material microalgae cotton microalgae cotton
tecnique jacket jaquard jaquard skirt
