Paris'S Advanced Private Custom Is No Longer A Patent For Wealthy People.

It is more common in theatrical circles.

The The Paris Opera House ballet, which has a long history and world-famous, performs in The Paris Opera House all the year round. Behind this stage of the theatre in nineteenth Century, there is a division of labor and meticulous performance. Each team has its own responsibilities: some are responsible for tailoring, others are knitted, some are responsible for jewelry, others are women's hats, some are responsible for embroidery, others are responsible for dyeing, and others are responsible for drawing.

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In the studio, the tailor cut and sewn the rigid linen model, and finished the design draft. Finally, the cloth was made into ready-made clothes and decorated with hand-made silver flowers and gold trim.

Chief Ballet

Xavier Ronze explains: "our work includes repairing and redoing those old costumes. There are many details that need to be improved by many viewers."

They make their own paint and dye the cloth themselves.

They are familiar with tradition.

Tailoring techniques, such as making a thin ballet skirt by multi-layer tailoring, making the piano string or guitar string into a lightweight female crown ornaments.

This studio not only makes traditional costumes, but also makes use of modern technology to create unique styles.

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In 2014, Mr. Ronze was wandering around.

During the exhibition, it was found that the human body model sold by Alvanon was very special.

This is a multinational clothing trade company, which provides mannequin for every major clothing brand. Its customers include Diesel (Diesel), Levi's (Levi 's), Nike (Nike) and so on. Their models are made according to the 3D scanning of the human body type.

Ronze has been inspired. What will be the effect if 3D technology is applied to dance costumes?

The clothing department of The Paris Opera House produces 100 new custom items every few weeks.

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The complexity of this process is that several costumes for each of the 154 dancers in the troupe are tried out to ensure that each garment is not only good-looking, but also does not affect the body movements of the dancers.

In addition, the head of the clothing department must sit in the auditorium to watch the rehearsal. This is to ensure that the colors and accessories of the costumes can produce ideal results under stage lighting.

If the effect is not satisfactory, then

Departments need to be improved, such as

Draw a shadow around the lapel or stick some shining artificial diamonds.

Mr. Ronze said: "only in this way can the audience understand the content of the performance more accurately."

Ronze told his own idea to Benjamin Millepied, the theater director at that time.

When Janice Wang, chief executive of Alvanon, a family run company from Hongkong, held an annual convention in Paris, Ronze and Millepied invited her to visit the theater to see if the company could provide a mannequin that meets the needs of the theater.

"I saw the equipment they were using at the time," Ms. Wang recalls. "I thought silently that they were not scientific."

At that time, the theater

The Department members used the traditional stuffed mannequin to simulate the dancer's figure.

Wang says that under normal circumstances, dancers have wider breasts and full hips, which are quite different from the standard models of the fashion world.

Ms. Wang suggested that the 3D of the theatre dancers should be scanned for comprehensive analysis of a new standard dancer model.

The project costs a lot of money and costs about 25-28 euros, which is not affordable for a state-run theater.

Alvanon has offered to offer this service free of charge.

In 2015, the Alvanon team flew to Paris to scan the figure of more than 100 adults and children dancers in the troupe. Large, medium and small mannequin models were drawn for men, women and children dancers respectively.

Now, the human body model made by Alvanon has been put into use in The Paris Opera House. The latest work is a eighteenth Century Vienna style dance drama. The costumes are designed by the old Buddha, Carle Lagrange, and will be formally met with the audience in July 15th.

When Mr. Ronze evaluated Alvanon's body models, he said: "they greatly save our time.

The first edition of costumes is already much better than before, and we will not be wasting time and effort in the subsequent adjustment process.

Many theatrical groups have begun to get in touch with Alvanon and other high definition brands in Paris.

MS Wang said: "the market value of this product is very gratifying.

However, we believe that the cooperation with the troupe is not only about making money, but also promoting the art.

The skillful hands of the producers are priceless. We hope that these techniques will continue to circulate, so that the audience can enjoy the feast of visions.