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Is digital the future of fashion?

  Virtual apparel is the modern trend of the era in which digitization is playing a primary position within the destiny of the style industry. Between production, advertising communications and making plans, technology are converting the very idea of style all through the pandemic.  techsmartinfo The predominant gamers within the enterprise have already carried out a few virtual studies before, but, the virtual transformation of the fashion enterprise has come tons later compared to different industries. The fashion enterprise has been the hardest hit by using the pandemic,   and 2020 has been the 12 months of acceleration for virtual style solutions such as virtual catwalks and AR wearables. This transformation has sparked persisted hobby in digital garb and virtual clothing. So what's digital mode and the way does it absolutely paintings?   lifebloombeauty During the pandemic, which prevents bodily touch between designers and manufacturers, the virtual transformation of a

Very colorful Dior

As part of the celebrations of this current Paris Fashion Week that are taking place until next October 5 on the French capital, the Dior house presented its women's ready-to-wear collection for the next season this past Tuesday Spring / Summer 2022. A proposal designed by the current creative director of her lines for women, the Italian designer Maria Grazia Chiuri, who surprised locals and strangers both by her overflowing color and by the refined, athletic and minimalist lines of inspiration. 1960s that dominated the entire collection.

As the inspirational background for this latest collection, Chiuri set aside the most foundational Dior that had been serving him as a creative source during a good part of his previous works, to now place all his attention on the period in which the house remained under the creative direction of Marc Bohan. French designer who replaced the acclaimed Yves Saint Laurent in the direction of Dior after he was called up for military service, in a position he held from 1960 to 1989. Date on which his ties with the French house were terminated, to which he had remained attached for more than 30 years, making such celebrated collections as the 1966 inspired by the film Doctor Zhivago, or the 1961 “Slim Look” collection. This is a proposal that the fashion critics of the time celebrated as revolutionary. , underlining that "it completely changes fashion, just as the New Look did in 1947", and that it is precisely what Chiuri has now decided to revisit. A compliment like this to a Bohan who knew how to run the house during a long period of great social changes and upheavals - there he was that May 68 that led to Balenciaga's withdrawal - and that in many terms is very similar to this current climate in the that, as a consequence of the coronavirus pandemic, a series of social revolutions have ended up accelerating, especially with regard to values such as sustainability, inclusion or concern for maintaining a healthy lifestyle.

"There is a change in how we feel," explained Maria Grazia Chiuri herself in statements to the French agency AFP. "We all see ourselves as more vulnerable, and each responds in their own way, some wish to isolate themselves and others to live intensely." "For me," he adds, "you have to live every day." A statement behind which many of the reasons that have led the Italian to focus her attention on this specific collection by Bohan, a designer who was also responsible for opening Dior to ready-to-wear and designing the first collections, are supported. sporty cut from the French house, with the launch of the first Dior technical garments specially designed for skiing.

"I wanted to show that there is not only the bar jacket," adds Chiuri about one of the most iconic garments of the house, and to which she herself has dedicated a prominent space in each of her proposals. From which she has not hesitated to revisit and reconstextualize a piece that we will also find present in this collection, now in a square cut and with more sporty lines, following the same spirit that permeates the entire collection, and with what the designer does not. It does nothing but respond to those changes that we pointed out that have been promoting in the shadow of the pandemic. Period during which “we understood the importance of sport”, but not only in the “sense of practicing it but also in the idea of feeling good”. "We were locked up and we had the need to take care of ourselves physically."

Brazilian colors and 60s rhythms

Throughout a physical parade, which was attended by the public and which could be followed live through the different channels and profiles of Dior and the platform of the French Fédération de la Haute Couture et de la Mode (FHCM ), a succession of garments were shown on the catwalk with which the designer entered to revisit the decade of the 1960s. Dior artisan teams know how to make a good gala, but also a daring color palette dominated by the usual black and white, this time together with acid and fluorescent reds, oranges, greens, yellows and blues that entered into a dialogue in perfect harmony with the environment.An atmosphere on that occasion built by the artist Anna Paparatti.

A very prominent artist on the Roman scene of the 1960s, Paparatti used his creativity to build a kind of board game inspired by his work "II Gioco del Nonsense" (The game of nonsense). Piece from which he ended up lighting a disco-looking environment, inspired in turn by the legendary Roman club "The Piper Club" and the bohemian "Le Palace" in Paris, on which the garments were shown in what was It seemed like a perfect dance floor from the 60s. An action that celebrated both the hunger for freedom of that decade and of the present, while the bermuda shorts, the refined coats, the skirts, the shorts and, yes, also evening dresses,

"The collection was born from the need to show to what extent fashion is a game with very important playful aspects, but also educational", concludes Chiuri. “People use fashion as a form of expression, to play games, to represent themselves. In the end, fashion is a great performance ”.

"It is minimalist, very geometric and with rigid fabrics," said Pascal Coppin, head of the Dior workshops where the dresses and baggy outfits in the collection came from. "It hardly has any embroidery", and "compared to what we usually do, it is very different." Having incorporated technical materials, such as neoprene, unusual in the collections of the French house and for which it took "several trials to achieve the finishes." A change like this in style, spirit, materiality and rhythm, which seemed to satisfy both those attending the presentation and Coppin himself, who added in this regard that “I like it a lot, it is a radical change, it is beautiful, young, optimistic. ”. It is "what we need, colors, leaving black and navy blue", and "almost Brazilian patterns".


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