“I want to free myself from the fast fashion cycle, every idea, what you produce, you expire in four months or six months, and it’s no longer worth it.
If you close your eyes and imagine your future clothes, you may have serious angular cuts on synthetic fabrics such as Blade Runner. Ridley Scott’s future version, set in the 1980s, is still far away. In all probability, this is the right of spike Jones who has it with his 2013 film. One of the most closely watched aspects of the film is Joaquin Pheonix’s high-waisted trousers, which are different from the high-tech world they roam. Casey Storm, a fashion designer, told the New York times, “spike likes to describe them as your pants, letting you hug your waist. “It’s a feeling, we feel good.”
The echo of the tailor’s emotions by lg headquarters is located in Boston’s design chief Gihan Amarasiriwardena when he talked about fashion brand of automation and his 3 d coat, this is a seamless garment made of machine in 90 minutes, with customer’s $450 exact specifications. Customers say it feels like a “hug,” and Amarasiriwardena said, adding that consumers can now invest more in their clothing and production. “It allows us to build deeper relationships with our products, not just what you buy and throw away.” Amarasiriwardena, a trained chemical engineer at the Massachusetts institute of technology, was introduced into the clothing industry, hoping to bring professional work clothes to the future. “All of these performances are in outdoor space and sports space, but such performances rarely translate into what we wear every day,” he said.
By technical manufacturing process is different from other industries, popular fashion around the world chasing cheap Labour, moving factory from North America to Asia, and now move to some parts of Africa, rather than trying to find a new, effective and ethical way of production innovation. Because of its trendiness, fashion tends to focus on seasonal stylistic changes rather than functional innovations. But the rise of fashion automation and digital production has finally flowed into fashion.
Last year, Jonathan Zornow created the Sewbo, a chemical fortified fabric process that allows automatic sewing machines to produce entire garments. A software engineer at Zornow, based in Seattle, was inspired by “how to make jeans”. “It seems odd that we won’t have more automation in this area. I had assumed that robots were making all our clothes, “he told Fast Company. With the new process of fashion automation, this assumption may be realized. Brookfield Innovation and Entrepreneurship Institute (Brookfield Institute for Innovation and Entrepreneurship) in a 2016 study found that 42% of Canada’s workforce in the next one to two years of high risk affected by automation.
One component of fashion automation is 3D printing. Is usually considered a building, 3 d printers in the production of clothing in 2010 caused a sensation first, then the Dutch designer Iris van Herpen her award-winning fashion to Amsterdam on the runway fashion week. They may be an impressive imagination, but they are not wearable. Today, these unusual works are being knocked down by Canadian brands like Sid Neigum, who won a $50,000 grant in June to explore 3D printing. Even if he was surprised by the soft, flowing fabrics that the technology created.
“When you think of 3D printing, it’s not what you think, but I think it’s a very interesting way to pursue what we’re doing,” he said. Neigum follows Daniel Christian Tang, a jewelry store made up of two architects and an engineer who prints gold and silver gadgets from powder. Designer and co-founder Mario Christian Lavorato predicts that digital fashion automation is ready to take over. “At the moment, 3D printing is still a new industry looking for development in healthcare and other industries, but not really retail and mass production,” he said. “It’s going to be ridiculous given the speed of the industry. It will eventually become the only way to produce products. ”
For consumers, ordering custom clothing, whether it’s a machine or an artificial one, means re-engaging in the creative process. “People are longing for something, for them, rather than just the illusion of choice,” the designer said Philip spark, who runs his name tag in a studio near the intersection in Toronto. After creating the seasonal collection for eight years, Sparks transitioned to a new design in 2015, and tailored tailoring. “I want to liberate themselves from the cycle of fast fashion, in this cycle, you made every idea, four months or six months, and is no longer something of value, rather than do some people wear, maintain and take care of things,” he said. His one-of-a-kind style, which is mainly priced less than the top designer coats, takes eight to 10 weeks to complete. Along the way there are many accessories, and the end result almost always comes from the original concept. His clients were very involved in the creation process,
Seamless clothing made with high-tech machines may feel like a hug, but it’s not a substitute for hand-made love. “I want people to feel good about themselves,” Sparks said. “Wonderful. It makes me feel like I’m doing something important. I think that when you see a machine, you get more experience than the other person’s experience. “