Can Digital Printing Technology Open Up A New Era Of Fabric Industry?

A digital print fashion exhibition unveiled at the Phoenix Museum of art in P is like a roadmap to the future.

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< p > the exhibition focuses on the development of digital printing technology in the fashion industry in recent years: the Issey Miyake branch brand Pleats Please, the classical oil painting pattern printed on the crush fabric, the digital printing series of Alexander McCune's last marine world theme, Mary Katrantzou and Peter Pilotto, the two digital print debut British "a" target= "Pilotto", "the" "designer".

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< p > there is no lack of Miuccia Prada, Ralph Rucci and other fashion brands in this field bold attempt.

The achievements of these new technologies, as well as the doping display of traditional printing design works, can be seen on the two different time axes, the past and the future of printing a target= "_blank" href= "http://www.91se91.com/" > clothing < /a >.

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< p > < strong > > a href= "http://www.91se91.com/news/" > printing industry < /a > revolution < /strong > /p >

The P roaring machine set off a major revolution in wardrobe in the 20s of last century. Artisans in handicraft shops were replaced by workers on the assembly line, and the concept of garment designers formed.

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< p > a large number of ready-made garments, the reproducible characteristics, will be the United States today's appearance - industrial standardization, affordable and affordable.

The salon style of the lady and designer ceased to exist. Fashion became a global template.

As Eve Szentloran lamented before retiring, poetry gradually drained away.

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P, the old man, must have neglected it. It is the innovation of technology that will bring him into the new era with his contemporary designers.

In the past or in the future, "breakthrough" is still a wording that needs to be carefully mentioned.

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Less than P, digital printing has provided a revolutionary breakthrough in technology for the "a href=" http://www.91se91.com/news/index_c.asp "fashion industry" /a. Compared with the printed fabrics in the past, the most fundamental difference between the digital printing fabrics is that the pattern itself is digitalized, and the source is more free and open. The designer can even print the photos that she shares on the Instagram and print them into fabrics.

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< p > digital printing does not need to produce printing templates according to the quantity of chromatic printing, nor does it cause annoying starting printing. Designers can fully request the production of digital printing studios according to their own demand.

More intimate is that digital printing even provides an attempt - the design of an independent designer, and after the completion of the press conference and the order meeting, the small batch production is done according to the order quantity.

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< p > < strong > another poetic meaning < /strong > < /p >.

"P" meander through the complex and extensive system of the industry, digital printing technology has always been attached to the surface of the material, but is not committed to the formation of new values. After all, the breakthrough at that level has climbed to the top in the last century.

If a href= "http://www.91se91.com" > Fashion "/a" still needs poetic existence, what people are now facing is the situation of the broken era after the golden age, and the visual debris of the consumer world is congested by the road, and exports are extremely narrow.

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< p > to trace back to the process of Pellis's pattern pfer to the surface of the fabric, there is always a pair of steady and skilled hands, paints colors and patterns with paintbrush.

The layout of these patterns still needs to be weighed repeatedly by experience and practice.

In 1990s, it was pformed into Eley Kishimoto, a designer's combination. It was originally a designer of Louis Vuitton, Marc Jacobs, Alexander McQueen and Jil Sander. Its creator, Mark Airey, was born in a small town in southern England, Welsh, and began to learn traditional printing technology since she was 13 years old.

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< p > hand-painted pattern, made template, color printing, < a href= "http://www.91se91.com" > printing fabric < /a > the initial printing quantity that can not be ignored in production.

All of these decide that the traditional printing fabric is bound to go through a rather short process and need careful decision from birth to making garments.

On the other hand, the richness of color matching is usually limited to 6-8 types.

In such a process, designers undoubtedly need to face the feasibility problems repeatedly. The operation mode of traditional printing is obviously not matched with the current world.

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< p > digital printing technology is very different. It can realize photo printing on many kinds of fabric surfaces.

Take Heltmut Lang as an example. In 2010, the printed patterns used by designers Nico Corofs (Nicole Colovos) and Michael Corofs (Michael Colovos) were their travel pictures taken by iPhone.

They directly input it to the computer, do the post processing with the drawing software, and print it on the fabric.

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< p > for designers, this means that their private experience can also be directly pformed into design power.

The same is true of Akris's 2009 spring and summer series. One of the printing themes is a picture of a garden pond seen by the designer. After a year's autumn and winter series, lakes and mountains also appeared in the printing design.

"I want to be more mysterious."

Designer Albert Albert Kriemler said.

To achieve this goal, he used photo processing software to change the color and texture of the natural landscape in the photo, then intercepted some of them, and printed them on the knitted fabric as patterns.

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For P, the designer's vision has been opened up. For this reason, in the past two years, people have seen so many digital printing designs of nebulae, universes, oceans and religions.

This phenomenon and the strong revival of handicrafts represent the two desires of the fashion industry to seek breakthroughs.

It is a way for the brand to establish its own status to go back to the handicraft workshop, which is handed down from generation to generation.

It is responsible for tracing back to the past.

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The large use of < p > and < a href= "http://www.91se91.com > > digital printing > /a" is very much in line with this world that emphasizes sharing, diverse needs and faster tempo. They mark brands easily.

With a less expensive budget, you can get unlimited results.

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< p > < strong > between the past and the future < /strong > /p >

< p > digital printing is responsible for communicating the present and the future.

Digital printing pioneers such as Mary Catlanzo and Peter Pilotto also use digital printing as a new collage design method.

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< p > their work exhaustion patterns in clothing possibilities - the pattern itself is the structural line, the human body lines are submerged in a large number of carefully arranged prints.

The force of the plane is maximized. It can be skin, structure, contour, and even serves as a guide for dark contrast and orientation.

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< p > digital printing is more cutting-edge and in-depth, as well as 3D printing technology.

But somehow, it is still a bit frustrating to see a pair of pure 3D printed high-heeled a target= "_blank" href= "http://www.91se91.com/" shoes or /a knitted gloves.

Suzy Menkes, British Fashion Critic, has also shown some reservations in the face of the digital print design of the 2013 autumn winter London Fashion week.

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< p > she mentioned Jonathan Saunders's bra, and Peter Pilotto got a comment on her: it's better to say it than to say it's weird.

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The 2013 autumn and winter series of < p > Paul Smith and Matthew Williamson are obviously more popular with her. She seems to be using her own praise of the two designer brands to show her attitude: designers should not forget themselves in the face of new technology, no matter how unrestrained they are, a target= _blank, href=, http://www.91se91.com/, clothing or /a should be integrated with the body.

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P stands between the past and the future, trying to get stuck in the right place. In the 2013 autumn and winter, fashion designers coincidentally carried out such an attempt.

Away from London, Paris fashion week, which is particularly keen on printing design, Ground Zero is using digital printing to present the future theme of shuttle space and time. The costume on the model seems to come from comics such as space fortress.

Jean Charles Decastelbajak (Jean-Charles de Castelbajac) used milray's oil painting "OPI Leah" on skirts and suits. As for the stereoscopic fox head pattern on those grid skirts, it is no doubt an embarrassing but irreversible product: the fox is the design of the surface of the garment, and it has two sharp ears to stand up on the shoulders to create the visual effect of the shrugs.

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When p digital is dazzled by digital printing, the design of Hussein Chalayan Chalayan may bring some inspiration. He is not obsessed with whether or how to use digital printing technology, but always tries to make an attempt in terms of structure and functionality. "Hussein"

He uses digital printing in moderation. It looks very abstract. It can quickly pform into another style of deconstruction design, and strike a balance between technology and avant-garde.

Looking back at the Milan fashion week gathered by the time-honored fabric merchants, Etro, famous for its printed fabrics, has quietly used the new "a href=" http://www.91se91.com "digital technology < /a". The arrangement of the tone and the picture is beautiful and elegant, which shows a wonderful harmony between tradition and new leather.

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