This Exhibition Allows You To Know What Machine Production And Manual Production Are.

In 2016, the new exhibition of New York Metropolitan Museum of Art Manus x Machina: Fashion in an Age of Technology was finished. From May 5th, the exhibition showed a number of advanced tailored garments and advanced garment works from 20th Century and 21st Century.

Martin Margiela is blurred.

The 1997 spring summer "Semi-couture" series with the boundaries of human form; Dior in the 2005 year old autumn and winter advanced customization series, imitating the half finished form of deconstruction.

Mariano Fortuny, Madame Gr Gr s, Hussein Chalayan's LED skirt and so on.

In general, the exhibition wants the audience to compare the final effects of different decorative designs, trying to discuss the boundaries between machine production and manual production.

In addition, the exhibition also introduced a list of the same names.

In the introduction of this book, curator Andrew Bolton traces back to the origin of the rule that advanced customization must be handmade: "the 1910 year old French custom association has made the delimitation of handicrafts and machinery not only more deeply rooted in modern fashion creation systems, but also more institutionalized.

This is especially true in the 1945 year of the year when the guild came to the conclusion that the explicit provision for manual customization of advanced customization became more obvious.

The implication of reviewing the history seems to be that the regulations on manual creation of advanced customization are for the purpose of protecting the economic interests and industrial production of France, with specific historical factors in it, but they should not be stubborn as time goes on.

That is to say, this exhibition wants to use contemporary vision and values to communicate with you what is machine production, what is manual production, and whether the definition of these two changes and crossover.

As the exhibition is coming to an end, the news website focusing on popular culture has interviewed Andrew Bolton.

Of course, the curator talked about the original intention of the exhibition. What's more interesting is that he also shared his application of 3D technology in the field of fashion, ethics and fashion.

A sense of humor and democracy.

This is a serious, profound but interesting interview.

We picked up some of them.

1. this exhibition is to discuss the boundary between machine production and manual production.

"This exhibition is to discuss the boundary between machine production and manual production.

Traditionally, manual production is always associated with luxury, individualism and originality. Machine production is regarded as homogeneous, large industrial production and non humanized.

But it shouldn't be so simple.

In my opinion, in the history of the development of the fashion industry, there are always things that are produced by machines, which are more time-consuming and expensive than manual production.

This is what Manus x Machina wants to discuss. "

2. is there any criticism from the audience that you can't digest?

In fact, what surprised me most was the openness of the audience's mind.

There are many people who come to see the exhibition, but there are also many objections.

Someone who sees the two word in the name of an exhibition will be mistaken for an exhibition of wearable technology.

Before I started, I was worried that the content of the exhibition could not match the expectations of the audience. We had a punk show a long time ago, and there was a similar problem.

What we wanted to do at that time was the influence of punk culture on the high fashion industry, but the audience at the exhibition said they thought the exhibition was related to street punks in the 1970 era.

"Generally speaking, the audience is very tolerant of this exhibition.

They notice the information we want to express, such as the concern for matter.

They are really concerned about clothes themselves, such as what is handmade and what machines are produced.

3. 3D printing technology is not the only way to bring fashion and technology together.

The third revolution, or the electronic revolution, has been discussed for a long time.

Since the first industrial revolution, fashion and technology have been closely linked (not now talking about the technology of 3D printing), though it was more used in the textile industry before.

Fashion is a rapidly embracing new technology industry.

Now, fashion and technology are evolving relationships, rather than coming to another stage. "

4. are consumers more accepting of machine made products?

"I think consumers are more concerned about quality. They are more concerned about the impact of big machine production, not just quantity. Many people have doubts and fears about technology.

And I always want to make an exhibition to show this fear in fashion, which is also a manifestation of fear technology. "

The combination of fashion and technology is very practical.

When 3D technology comes, we are not sure how it will affect fashion in the end.

But I think it will be revolutionary in the end.

This technology may make fashion more democratic. You can have a printer at home, and you can print out your favorite T-shirt.

This is the ultimate form of fashion, but for today's technology, it's too early to distance.

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5. moral fashion is a way of balance.

In the introduction of Manus x Machina, Andrew Bolton cited Diderot's Encyclopedia as saying: "the garment industry and art and technology are all on the same moral basis."

Then Andrew Bolton made an analogy: "the clothing industry is as valuable as poetry and medicine."

Now, in the field of fashion, the word "morality" has a new extension, which is more used to refer to the influence of production on environment and people.

"I think morality is a responsibility in fashion.

The fashion industry has a lot of pollution. Designers and factories should be responsible for the environment.

Of course, for many designers, it is very difficult to achieve this. For fabrics, for the sake of beauty, they will sacrifice environmental protection, and considering environmental protection in the first place, the fabric will be less attractive.

(moral fashion) is a way of balance.

6. now the use of 3D printing technology is to copy nature.

Iris Van Herpen has several works on the Manus x Machina show. It uses snail shells, coral reefs and some other natural things. It looks very "organic".

"If you chat with designers like Iris Van Herpen and Noa Raviv, they will tell you that the practical application of 3D printing technology should lead itself to a more organic form.

This is a more practical way of thinking, but I think there is also a philosophical element in it.

Now the use of 3D printing technology is to copy nature.

"

7. Manus x Machina's original intention is to challenge consumers' perception of manual and machine production with aesthetics.

Manus x Machina shows some of the less designers' works, such as Noa Raviv and Maiko Takeda, so Andrew Bolton how do they know their works?

"Actually, I read the magazine to recognize the two designers, and the two of them is the avant-garde combination of hand and machine."

"Noa Raviv started using 3D printing technology through computer trial and error.

I have always been fascinated by the fact that machines are self made without human intervention.

Similarly, in the absence of human intervention, can the machine be creative? Part of the works of Noa Raviv is Platon's romantic temperament and Greek aesthetic rules -- symmetry and perfection.

And if the machine is used to accomplish this style design, will the machine destroy this style? I am very keen to discuss the reconciliation between perfection and blemish, or to understand the difference between human error and machine deliberate error.

The funny thing about Maiko Takeda is that her aesthetics made by machine and high technology is actually done by hand.

I appreciate this very much.

The original intention of the Manus x Machina exhibition is to challenge consumers' perception of the difference between handwork and machine production with aesthetics.

Sometimes, you think nine times out of ten machines are actually made by hand.

At the same time, if you look at the works of Christopher Kane, you will be mistaken for being made by hand, but actually by machine. "

8. the reason for choosing Christopher Kane is that it is the contemporary portrayal of Christian Dior 1950 year design.

Some flower skirts of Christopher Kane were selected for the Manus x Machina exhibition.

"Mainly because I think the design of Christopher Kane is a contemporary portrayal of Christian Dior 1950 year old design.

So we put together the works of the two designers.

The two designers used flowers, embroidery and pparent hard yarn to design, to emphasize the beauty of women.

Take a closer look at the works of Christopher Kane. The design of these hard yarn and flowers is a kind of "unbridled sexual provocation".

For me, it reminds me of the classic flower micro painting of American painter Georgia O Keefe.

This is to connect sex and flower skillfully -- you want to think about the body and the body of a woman.

9. is there a way to protect the intellectual property rights of designers while avoiding the waste of fast fashion, but making fashion more democratic?

"I think culture has natural plagiarism, and I never think that plagiarism in fashion is a problem.

A writer has been dead for many years, and you can see his point of view, you can still use it in the contemporary era.

I still hold this attitude towards high fashion. "

"Fashion has become increasingly diverse.

(to be a brand) requires designers, plate makers, stylists, this is a kind of cooperation, is a kind of deep communication.

In fashion industry, there is less and less desire to thrive.

"The most interesting part of fashion is the shaping of personal style, such as how people put fast fashion and retro fashion together, and how to make DIY.

On the other hand, pure originality is becoming less and less difficult in T and Taiwan.

Because we are living in a homogenized world, and I still cherish the memory of the era of original creation.

10. economic depression will lead to fashion liberalism.

"Now it seems to be a time of self satisfaction.

Look at the days when fashion and creativity flourished in the past, usually in a recession.

For example, the punk culture of London in the age of 1970, the time when the economy was the most depressed in British history, was also the most creative style of personal fashion.

In the same period, it was also true in New York East Village.

I believe that economic depression will lead to fashion liberalism and fashion expression and interpretation of different personal styles. People always need some rebellious spirit to achieve "victory" in their personal sense.

"The same thing is happening in other economies.

In terms of street style, Japan is an interesting example.

Cosplay is very attractive to me. This is a complex way to express personal cognition in fashion.

Tokyo is now the world center for personal fashion expression.

11. fast fashion is anti Utopia.

"Fast fashion" business model emphasizes that fashion can be disposed of or disposed of in essence.

Fast fashion brand products also can not reflect the designer's talent, or even their failure.

In short, they do not give them room for creativity.

I think fast fashion is a simple mode of consumption - disposable, disposable.

Fast fashion is anti Utopia, to a certain extent, it has vanished the artistic quality of fashion.

However, I also appreciate fashion democratization. (fast fashion) can bring fashion to consumers in a relatively cheap way. I just don't like this business mode's obliteration of creativity. "

12. some people use design to convey sense of humor, others use design to express their intelligence.

"There are a lot of humour in the fashion industry. In fact, many European designers are showing different sense of humor and satire, but few American designers do so.

For example, Thom Browne is a typical example. Jean Paul Gaultier, John Galliano, Commes des Gar ons ons, Chuan Chuan, Jiu Bao Ling are also listed here.

More and more designers want to put their sense of humor into design.

But on the other hand, some designers prefer to show their intelligence or wisdom through their works, such as Martin Margiela and many Belgian designers.

But the two factions do not intersect each other.

John Galliano and Alexander McQueen are taken from them.