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The Show Is Like The Circus &Nbsp, But It Can'T Save The Fashion World Of Design.

2010/9/24 15:58:00 113

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From Holland

Fashion Designer

Iris van Herpen and the architect Daniel Widrig cross the border to launch a group of 3D stereoscopic fashion fashions. Without wearing 3D glasses, you can feel its visual impact.

Until the high quality personal 3D display devices become mass consumer goods, how long 3D can walk in the fashion industry is still unknown.

"3D has always been like a circus who has been performing in cities. After the audience's freshness, the circus should leave."

Just like in the movie world where story is king, 3D can't save the bad film. 3D can't save the fashion industry that designs the king.

2010 has become the 3D year of the fashion industry.

Open the September issue of international famous fashion magazines such as GQ, V Magazine and Interview. You will be pleasantly surprised to find that there are many fresh and completely unfamiliar faces -- a pair of 3D glasses.

But this is definitely not to remind you to remember to go to the cinema to give the just released 3D version of Shrek 4, but to mark 2010 as the first year of 3D in the fashion world.

What most people expected was that the 3D glasses caught in fashion magazines had no relationship with DreamWorks, Picks and any film production company in the world, and the veteran fashion designer Armani from Italy was the "leader" behind it.

Armani Exchange

Marketing Director

Tom Jorrold is obviously at stake in the 3D plan: "two years ago, our survey showed that at least half of our customers own iPhone or BlackBerry."

For this group of new and old consumer groups, Armani's 3D card really hit the mark.

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In June this year, German fashion photographer Max Abadian again used 3D as a killer in the blockbuster shot for Kill Magazine summer special.

Vogue Vanguard

In fact, as early as August 2009, the British fashion magazine Dazed &Confused presented 60000 pairs of 3D glasses with the publication to match the theme of the 3D discussion.

The readers wear the paper 3D glasses donated by the magazine. Through the red and green polarizing lenses, we can see the stereoscopic cover and interior pages of the Terry Tsiolis synthesized by 3D technology. With the interpretation of the text, the readers first experience the unique charm of 3D and fashion intermingled for the first time.

After entering the 2010, along with the 3D movie's worldwide popularity, fashion photographers are also unable to restrain their creative passion and pplant 3D vision technology to the magazine blockbuster.

Although it can not be compared with the high specification technology requirements of 3D dynamic movies, it is not easy to shoot static 3D blockbusters.

Because there is a distance between the left and right eyes, the angle of the two eyes is different when looking at any object, that is, there are two angles of view.

This subtle angle difference is pmitted through the retina to the brain, which can distinguish the distance between the front and the back of the scene, and produce a strong sense of three-dimensional.

This is the secret of 3D imaging -- the principle of polarized light.

The shooting of 3D blockbuster is clever use of "polarized light".

The photographer simulates the method of observing the scene by the human eye, and uses two cameras that are placed side by side (or a dual lens camera), representing two sides of the left and right eyes respectively, and synchronously photographing images with slightly horizontal parallax.

After the later computer production, the two photos will be synthesized, forming a slight double image. Finally, through the special polarizing glasses, we can see the images full of three-dimensional sense.

Because of this, 3D blockbuster will cost more time, energy and money than ordinary blockbuster.

But this does not affect the 3D blockbuster as a popular photographer and fashion enthusiast.

Sebastian Denz, a pioneer photographer from Germany, collaborated with a century old street brand Carhartt in the United States to complete a photography project called SKATEBOARDING.3D.

Sebastian's persistence and love for 3D images is beyond words. "Compared with 2D images, 3D photography includes a lot of information and spatial sense.

If you wear 3D glasses, the space will open and you will be dragged in.

In my view, the charm between these images and the audience is formed through continuous contrast conflict.

3D glasses let them uncover the password outside the virtual space, and see a covered world.

Sebastian's works in Hamburg.

Robert Morat Galerie

The Sara Tecchia Gallery in New York and the Dada Post Gallery in Berlin exhibited the audience's response quite enthusiastically: "these images seem very similar to my real experience, which can stimulate the memory generation process, which is not the two-dimensional image.

I feel that I am interacting with the whole space, not a mere observer. "

German pioneer photographer Sebastian Denz collaborated with the 100 year old street brand Carhartt of the United States to complete a photography project called SKATEBOARDING.3D.

Peanuts show, no 3D is not mainstream

If we say that in the autumn and winter fashion week in 2006, the late fashion master Alexander McQueen, using 3D laser imaging technology to create a living Kate Moss on the stage, is a milestone in opening the door to 3D fashion. Then, in February 23, 2010, on the weekdays, it was known that the old fashioned and unfashionable Burberry was the first step to launch a global synchronized live broadcast of the autumn and winter fashion conference in 2010.

On the same day, Burberry 2010/11 autumn winter dress was released at 4 o'clock p.m. in London's The Chelsea College of Art.

Burberry cooperates with TV Sky Television, making use of its innovative 3D technology to make films, sending the show site of London Fashion week to New York's Skylight studio studio, Paris's concept store Colette, Dubai's The Address Hotel, Tokyo's La Fabrique "night of the campaign" by streaming technology, and can not go to London to watch the VIP guests, just sit on the big screen before playing the screen, and put on a pair of glasses.

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This 3D show has almost become the most heated topic during the 2010 autumn and winter four fashion week. Burberry has chosen to win the chase after tasting the sweetness brought by 3D, and continues to tap the unlimited potential of 3D technology in the fashion industry.

So in July 2010, Burberry released the 2010 autumn winter 3D interactive blockbuster worldwide.

Unlike the traditional 3D blockbuster, the 2010 autumn winter blockbuster made by the famous fashion photographer Mario Testino does not have any color separation from red, yellow and green. Therefore, it is not necessary for spectators to wear 3D glasses.

Instead of using the 360 degree holography, when watching the group led by the model Rosie Huntington Whiteley, the viewer can reproduce the scene completely from any angle by clicking, dragging, or rotating the picture through the mouse, without any visual dead angle.

It is reported that the internationally renowned 3D supplier Xpand even worked with the Paris advanced custom fashion week organizers to produce all the 3D video of all the events.

According to this trend, 3D will soon become the mainstream display mode of fashion show.

In 2009, 3D, the old fashion magazine "Dazed &Confused", donated 60000 pairs of 3D glasses in the 8 monthly magazine to match the theme of the 3D discussion.

Without glasses, there is visual impact.

Speaking of the real application of 3D technology to fashion design itself, it is still in the exploratory stage of a few pioneer designers.

On the 2010 Copenhagen fashion week, which just ended in August, Iris fashion designer van from Holland and Daniel Widrig, the architect Daniel Widrig, launched a group of 3D stereoscopic carving fashions. The four dimensional stereoscopic hollowed out materials were won by the scene.

Of course, you can feel its visual impact without wearing 3D glasses.

How far 3D can go in the changing fashion world is unknown.

But no matter in fashion circles or fashion circles, before a unified 3D image specification was introduced, and high-quality 3D playback equipment became popular consumer goods, in 1839, British scientist von styton discovered the 3D phenomenon for more than 100 years, and it still maintained infinite potential avant-garde quality.

Daniel Simmons, a veteran in the field of 3D technology, said: "3D has always been like a circus that has repeatedly entered the city. After the audience's freshness is over, the circus should leave."

Just like in the movie world where story is king, 3D can't save the bad film. 3D can't save the fashion industry that designs the king.

We don't want Simmons's words to be cashed.