Em 2016, a aliança da moda com a tecnologia tem merecido particular destaque dentro dos programas dos museus. O exemplo mais flagrante da atenção dada à catalogação da interseção dos dois universos aconteceu no Met, em Nova Iorque, que lhe dedicou o tema da gala anual e respetiva mostra. Porém, se “Manus vs Machina: Fashion In The Age Of Technology” pesou tecnologia e trabalho artesanal, “#techstyle” analisa apenas a intervenção da primeira no desenvolvimento dos mais radicais híbridos da moda.
Patente até dia 10 de julho no Museum of Fine Arts, em Boston, a exposição “ #techstyle ” explora as conexões entre moda e tecnologia através do trabalho de designers e starups que têm transformado peças de vestuário em verdadeiros gadgets.
Um vestido que, captando energia solar, pode recarregar a bateria de um telemóvel, um casaco que muda de cor em resposta ao calor e à luz ou mesmo a prótese tipo compasso “The Spike” integram a exposição.
O The Wall Street Journal explorou as diferentes áreas da mostra e deixou um convite aos que ainda podem vir a percorrê-la e um resumo àqueles que não vão conseguir visitá-la.
Das 60 peças expostas, as mais antigas datam de 2005 e as restantes foram desenvolvidas de 2010 em diante.
Numa região dona de uma história rica em inovação – a máquina de costura Singer foi patenteada em Boston, em 1851 –, os curadores do Museum of Fine Arts, Pamela Parmal, Michelle Finamore e Lauren Whitley, que coorganizaram a mostra, decidiram cruzar as experiências de designers locais com o trabalho influente de gurus internacionais do avant-garde.
A prótese acima mencionada, por exemplo, foi feita para a artista pop “biónica” Viktoria Modesta, que colaborou na sua conceção, em Londres, e que agora está a trabalhar com o grupo de biomecatrónica do MIT Media Lab.
Os visionários
O primeiro espaço da exposição apresenta quatro designers visionários: Hussein Chalayan, Alexander McQueen, Issey Miyake e Rei Kawakubo.
O “Remote Control Dress”, assinado por Chalayan em 2005, é considerado pelos insiders como emblemático. Feito de fibra de vidro, e com o auxílio da robótica, o vestido tem abas que podem ser abertas e fechadas à distância, mudando-lhe a forma.
Performance e produção
A exposição abre-se depois para duas galerias intituladas “Performance” e “Production”. As peças expostas na galeria “Performance” são, cada uma à sua maneira, uma forma de arte em movimento.
A camisa de Ying Gao “Incertitudes” (2013) é um dos itens revistos. A peça é feita com fluoreto de polivinilideno e, graças a sensores, a sua superfície é ativada pela voz. O “CuteCircuit MFA Dress”, um vestido de seda com milhares de microLEDs incorporados, foi criado para a mostra pela designer Francesca Rosella e pelo especialista em computação Ryan Genz. Um iPad permite que os visitantes mudem o padrão do vestido.
«Questiono-me muitas vezes», pode ler-se numa citação da designer holandesa Iris van Herpen incluída na mostra, «se vou usar tecido no futuro ou se o ato de vestir se vai tornar algo não material, algo que não é visível, tangível ou palpável» (ver As interseções de Iris van Herpen).
Esta questão deixa uma introdução à galeria “Production”, espaço que aborda os designers que recorrem à tecnologia para repensar os materiais e processos produtivos.
Aqui, a impressão a três dimensões (3D) tem particular destaque. As “Molecule” de Francis Bitonti (2015), umas sandálias plataforma que se parecem com castelos de areia, são o resultado de um algoritmo que simula o crescimento celular. Já o vestido “Kinematics 8” (2016), criado pela Nervous System, é uma peça única, em poliamida impressa a 3D.
Futuro verde
Enquanto isso, seguindo os passos dos mestres Miyake e Kawakubo, muitos jovens designers estão agora a jogar com o poliéster (outrora uma palavra excluída dos dicionários da alta moda), pelo pendor reciclável das fibras e, portanto, sustentável, que tem também maior durabilidade, solidez de cor e resistência à ruga.
Nesta onda “verde”, o consumo de água é igualmente abordado pela mostra. A indústria têxtil – entre tinturaria e acabamentos – é responsável por quase 20% da poluição mundial da água.
O “Water Splash Dress” de Van Herpen (2013), um “salpico” esculpido a partir de plástico aquecido, parece cristalizar essa verdade.
Para terminar, e com os olhos postos no futuro está o projeto conjunto da marca holandesa G-Star Raw com a empresa Bionic Yarn, que recolhe garrafas de plástico do fundo do oceano para as transformar em denim (ver O mergulho das marcas).
Cultura e conhecimento são ingredientes essenciais para a sociedade.
A cultura é o único antídoto que existe contra a ausência de amor
Vamos compartilhar.
--in via tradutordo google
HYBRID MUSEUM, Met in New York.
In 2016, the alliance of fashion with technology has received particular attention in the programs of museums. The most striking example of the attention given to cataloging the intersection of two universes happened at the Met in New York, which gave him the theme of the annual gala and respective shows. But if "Manus vs Machina: Fashion In The Age Of Technology" weighed technology and craftsmanship, "#techstyle" only looks at the first intervention in the development of the hybrid radical fashion.
Open until July 10 at the Museum of Fine Arts in Boston, the exhibition "#techstyle" explores the connections between fashion and technology, by designers and starups work that have transformed garments in real gadgets.
A dress, capturing solar energy, can recharge the battery of a mobile phone, a coat that changes color in response to heat and light or the prosthesis Caliper "The Spike" in the exhibition.
The Wall Street Journal explored the different areas of the show and made a call to those who may yet come to walk it and a summary to those who will not be able to visit her.
Of the 60 works on display, the oldest dating from 2005 and the remaining were developed from 2010 on.
In a region owns a rich history of innovation - Singer sewing machine was patented in Boston in 1851 - the curators of the Museum of Fine Arts, Pamela Parmal, Michelle Finamore and Lauren Whitley, who co-organized the show, they decided to cross the experiences local designers with the influential work of international gurus of the avant-garde.
The above-mentioned prosthesis, for example, was made for the pop artist "bionic" Viktoria Modesta, who collaborated in its design, in London, and is now working with biomechatronics group of MIT Media Lab.
visionaries
The first exhibition space features four visionary designers: Hussein Chalayan, Alexander McQueen, Issey Miyake and Rei Kawakubo.
The "Remote Control Dress", signed by Chalayan in 2005, is considered by insiders as emblematic. fiberglass made, and with the help of robotics, the dress has tabs that can be opened and closed by remote control, changing its shape.
Performance and production
The exhibition opens then to two galleries entitled "Performance" and "Production". The exhibits in the "Performance" Gallery are each in their own way, a moving art form.
The Ying Gao shirt "Incertitudes" (2013) is one of the reviewed items. The piece is made of polyvinylidene fluoride, and thanks to sensors, its surface is activated by voice. The "CuteCircuit MFA Dress", a silk dress with thousands of built microLEDs, was created for the show by Francesca Rosella designer and the computer expert Ryan Genz. An iPad allows visitors to change the pattern of the dress.
"I wonder often," you can read a quote from the Dutch designer Iris van Herpen included in the show, "if I use fabric in the future or if the act of dressing will become something not material, something that is not visible, tangible or palpable '(see intersections of Iris van Herpen).
This question makes an introduction to the gallery "Production" space that addresses designers who use technology to rethink the materials and production processes.
Here, printing three-dimensional (3D) has a particular emphasis. The "Molecule" Bitonti Francis (2015), a platform sandals which resemble sand castles, are the result of an algorithm that simulates cell growth. But the dress "Kinematics 8" (2016), created by the Nervous System, is a single piece, in printed polyamide 3D.
green future
Meanwhile, following the footsteps of Miyake and Kawakubo masters, many young designers are now playing with the polyester (once a deleted word of high fashion dictionaries), the recyclable inclination of the fibers and therefore sustainable, which has also increased durability , color fastness and resistance to wrinkle.
This "green" wave, water consumption is also tackled by the show. The textile industry - from dyeing and finishing - is responsible for almost 20% of the water pollution.
The "Water Splash Dress" Van Herpen (2013), a "speckle" carved from heated plastic appears to crystallize this fact.
Finally, and with eyes fixed on the future is the joint project of the Dutch brand G-Star Raw with Bionic Yarn company, which collects plastic bottles from the ocean floor to turn into denim (see Diving brands).
Cultura e conhecimento são ingredientes essenciais para a sociedade.
A cultura é o único antídoto que existe contra a ausência de amor
Vamos compartilhar.
--in via tradutordo google
HYBRID MUSEUM, Met in New York.
In 2016, the alliance of fashion with technology has received particular attention in the programs of museums. The most striking example of the attention given to cataloging the intersection of two universes happened at the Met in New York, which gave him the theme of the annual gala and respective shows. But if "Manus vs Machina: Fashion In The Age Of Technology" weighed technology and craftsmanship, "#techstyle" only looks at the first intervention in the development of the hybrid radical fashion.
Open until July 10 at the Museum of Fine Arts in Boston, the exhibition "#techstyle" explores the connections between fashion and technology, by designers and starups work that have transformed garments in real gadgets.
A dress, capturing solar energy, can recharge the battery of a mobile phone, a coat that changes color in response to heat and light or the prosthesis Caliper "The Spike" in the exhibition.
The Wall Street Journal explored the different areas of the show and made a call to those who may yet come to walk it and a summary to those who will not be able to visit her.
Of the 60 works on display, the oldest dating from 2005 and the remaining were developed from 2010 on.
In a region owns a rich history of innovation - Singer sewing machine was patented in Boston in 1851 - the curators of the Museum of Fine Arts, Pamela Parmal, Michelle Finamore and Lauren Whitley, who co-organized the show, they decided to cross the experiences local designers with the influential work of international gurus of the avant-garde.
The above-mentioned prosthesis, for example, was made for the pop artist "bionic" Viktoria Modesta, who collaborated in its design, in London, and is now working with biomechatronics group of MIT Media Lab.
visionaries
The first exhibition space features four visionary designers: Hussein Chalayan, Alexander McQueen, Issey Miyake and Rei Kawakubo.
The "Remote Control Dress", signed by Chalayan in 2005, is considered by insiders as emblematic. fiberglass made, and with the help of robotics, the dress has tabs that can be opened and closed by remote control, changing its shape.
Performance and production
The exhibition opens then to two galleries entitled "Performance" and "Production". The exhibits in the "Performance" Gallery are each in their own way, a moving art form.
The Ying Gao shirt "Incertitudes" (2013) is one of the reviewed items. The piece is made of polyvinylidene fluoride, and thanks to sensors, its surface is activated by voice. The "CuteCircuit MFA Dress", a silk dress with thousands of built microLEDs, was created for the show by Francesca Rosella designer and the computer expert Ryan Genz. An iPad allows visitors to change the pattern of the dress.
"I wonder often," you can read a quote from the Dutch designer Iris van Herpen included in the show, "if I use fabric in the future or if the act of dressing will become something not material, something that is not visible, tangible or palpable '(see intersections of Iris van Herpen).
This question makes an introduction to the gallery "Production" space that addresses designers who use technology to rethink the materials and production processes.
Here, printing three-dimensional (3D) has a particular emphasis. The "Molecule" Bitonti Francis (2015), a platform sandals which resemble sand castles, are the result of an algorithm that simulates cell growth. But the dress "Kinematics 8" (2016), created by the Nervous System, is a single piece, in printed polyamide 3D.
green future
Meanwhile, following the footsteps of Miyake and Kawakubo masters, many young designers are now playing with the polyester (once a deleted word of high fashion dictionaries), the recyclable inclination of the fibers and therefore sustainable, which has also increased durability , color fastness and resistance to wrinkle.
This "green" wave, water consumption is also tackled by the show. The textile industry - from dyeing and finishing - is responsible for almost 20% of the water pollution.
The "Water Splash Dress" Van Herpen (2013), a "speckle" carved from heated plastic appears to crystallize this fact.
Finally, and with eyes fixed on the future is the joint project of the Dutch brand G-Star Raw with Bionic Yarn company, which collects plastic bottles from the ocean floor to turn into denim (see Diving brands).
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