All the questions, asked in the previous post, were answered after I finished walking through the exhibition. Whether you are a fashion lover or not, you cannot but marvel at human creativity and ingenuity. Putting the hand-made against the machine-made is as if you are trying to put mind against body. How can the body exist independently of its mind’s commands? There is continuity and interconnectivity. And there always will be. And the curators of the exhibition expertly show off this continuity by displaying all garments, whatever their age and technological achievement, on the same old-fashion mannequins as if they are still in the designer’s atelier.
But this continuity can be disrupted, and it is being disrupted already. Take away a key ingredient in the process of conceptualisation-experimentation-creation, and disruption becomes disorientating. Take away the ingredient of time and the process becomes a case of chasing your own tail.
Alber Elbaz at a lecture associated with the exhibition, very eloquently sums-up why ‘Manus x Machina’ is important. He said “It was almost an exhibition that was done for designers and with designers’ work. It was about workmanship, about know-how, about time, and the one thing that impressed me the most was that it was almost silent. . . .” (from vogue.com). But how does this kind of silence go with our obsession of over-exposure, and shouting about everything we do from the rooftop?
In this post, we are looking at technologically brilliant garments; where technology marries well with traditional ways of dress-making. These garments could be science fiction but are truly wearable. We look at avant-garde pieces made of resin and plastic. But, we also look at techniques such as pleating and plisse making. These techniques were considered ground-breaking, almost science fiction when they were first used, but now can be found everywhere…