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MFW – ANNAKIKI FW24-25 The Era of Artificial Iintelligence

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“The era of artificial intelligence has arrived, should we embrace it or be cautious?”
“The next fifty years will be the era of AI.”
Kevin Kelly

“The next fifty years will be the era of AI.” These are the profound words of digital culture scholar Kevin Kelly, who in his book “The Next 5000 Days” predicts that AI will be equated with automation and the industrial revolution, leading a new revolution: just as humanity has changed the planet through wisdom, artificial intelligence will continue to bring new changes to the world.

 As Kelly said, while we are not yet able to clearly define what “artificial intelligence” is, we have already been swept away by the tide of time, beginning to learn how to coexist with it. We are fascinated by its powerful data processing capabilities, speed of response, and ease of use. While we joyfully welcome a new wave of technological revolution, we are also concerned: does AI need to have self-awareness like humans? Does it truly exhibit “creativity” and “imagination”? Does it deprive us of job opportunities or create new possibilities for employment?

These questions have sparked deep reflections in the mind of designer Anna Yang, who states: “Currently, we cannot ignore the impact of AI technologies like ChatGPT and Midjourney on the industry. I’m thinking if AI creativity is different from human creativity. Can we distinguish the creative differences between the two? Does AI truly have the creativity we imagine?”

The ANNAKIKI Fall-Winter 2024 collection is themed “the era of artificial intelligence” and presents 50 looks in a retro-futuristic style through a digital runway format, exploring the theme of coexistence and co-creation between artificial intelligence and humanity. This season, Anna Yang used the fusion of real photography and AI technology as a creative concept, creating a virtual runway from set design to audience, and specially presenting eight virtual looks generated with the assistance of AI. The innovative capacity and broad imagination demonstrated by AI have left the designer amazed. What originally required a week or more of work can now be accomplished in an extremely short time thanks to AI technology, and the reality of the finished products is difficult to distinguish. This seems to herald a significant reduction in the technical complexity of design, allowing anyone in the future to design their own clothing line thanks to the power of technology.

However, Anna soon realized that AI is not omnipotent. For designers full of creativity and dedicated to bringing ideas to life, fashion is the ideal manifestation. Although AI can generate “fashion” through data, it often lacks coherence and feasibility in design and cannot be fully transformed into real products, especially during the sampling process. This has led Anna to recognize that AI still has limitations at this stage and cannot fully replace human creativity and aesthetic sense, nor establish emotional connections that touch the heart. Humans can not only create art but can also turn concepts into physical reality, uniquely appreciate art, and experience the transmission of information; this is a unique and irreplaceable characteristic of humanity.

Imagining living in an era where artificial intelligence and humanity coexist and thrive, Anna has created a series of futuristic warriors wearing armor, symbols of power that subvert traditions and question the conventional, bravely fighting against the excessive invasion of artificial intelligence while protecting the precious creativity and imagination of humans. This season, Anna has committed to challenging the new limits of silhouette design, using only black and white as the main colors to explore the infinite possibilities of the absolute. In addition to common materials like leather, coated denim, and composite materials, she actively introduced new technological fabrics. The first nine looks of the runway were inspired by the concept of “shell,” emphasizing that while artificial intelligence can create, it lacks emotions and soul, producing only soulless “shells.” Based on this concept, Anna used a variety of composite fabrics like fishbones and combined materials of leather and aluminum, combined with three-dimensional stitching technology, to create designs with wide silhouettes and unique visual effects.

Armor is the focal point of this season, thanks to three-dimensional design technology and details of removable armaments, allowing the wearer to easily transform between everyday life and more dramatic scenes, demonstrating great adaptability and versatility. The iconic three-dimensional wave sleeves appear throughout the collection, celebrating feminine strength. The brand’s symbol, the four-pointed star, is ubiquitous, artistically carved on the chest, revealing the hidden beauty of the body or concealed in the details, maintaining the naturalness of movement and emphasizing the brand’s unique identity.

Additionally, Anna used memory technology fabrics to design evening dresses, breaking the limits of traditional materials and showing the diversity and avant-garde of design. While questioning the creativity of AI, Anna also chose to collaborate with it creatively, transforming abstract patterns generated by AI into concrete forms, such as printing AI-designed human face images with realistic details on garments in a retro-futuristic style; or using leather and experimental cord-binding techniques to transform AI-designed tubular armor into reality, showing the unlimited potential of human creativity.

Anna Yang concludes her reflections with the following words: “We should look to the future of humanity with optimism. AI, as a technological tool, can certainly help us solve many problems, but at the same time, we should approach the new challenges that this technology may bring with caution.”

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Chanel – Fall-Winter 2024/25 Ready-To-Wear Collection

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Deauville is where everything started for the House. 1912, the creation of her hat shop and then very quickly the first clothes with their visionary, radical style. It’s where it all began for Gabrielle Chanel. This story is very close to my heart,” confides Virginie Viard. On the racecourse, on the seaside, at the gaming table, in restaurants and palaces, on the “Planches” boardwalk: everything is about elegance and self-staging.

For this collection, we recreated the Deauville boardwalk, she adds. Giant screens on which long, romantic silhouettes stroll in the light from dawn to dusk.” Shrouded in mystery, the models walk along the beach. The 1920s and 70s cross paths and intertwine.

Androgynous and cinematic, the CHANEL Fall-Winter 2024/25 Ready-to-Wear collection imagined by Virginie Viard draws its femininity from Gabrielle Chanel’s own wardrobe and its masculinity from the subtle elegance of winter sojourns by the sea. Broad-shouldered peacoats and long dressing-gown-style belted coats are worn over tweed suits – box-pleated skirts, culottes or cropped trousers –, drop-front trousers or trousers with tabs at the back.


Chunky sailor sweaters and knits featuring the landscapes of Deauville alternate with silk blouses with middy collars, herringbone prints, low-cut tops with flounces, jumpsuits and negligees whose delicacy evokes gentle waves breaking and a soft wind blowing.

The palette takes its vibrant or pastel shades of pink, mauve, orange and pale blue from the ever-changing colours of the Deauville sky, along with brown and gold lamé. 35mm film and cinema tickets: prints refer to the town’s connection with the 7th art, its American Film Festival and Claude Lelouch’s A Man and a Woman, to which Inez and Vinoodh’s film opening the show pays tribute.

The silhouette of David Bowie, the magnetism of film stars walking on the sand, like Anouk Aimée, a great friend of Gabrielle Chanel… this collection pays homage to these familiar figures.”

The iconic bags are omnipresent, as are the pastel-hued wide-brimmed hats, colourful silk scarves, heeled knee-high boots and thigh-high boots in sheepskin, a direct nod to Anouk Aimée’s coat in A Man and a Woman.

It’s a very warm collection, with layers of materials, colours and volumes. It pays tribute to Deauville, the legendary place where Gabrielle Chanel’s destiny changed forever.”

Copyright CHANEL

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Paloma Wool presents their Autumn-Winter 2024 Collection

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The collection follows spontaneous effortlessness with further emphasis on a defined silhouette. From the iconic graphic knitwear to the brand’s elevated streetwear with technical materials; paloma wool’s collection exudes a sense of sophistication and versatility. Velvet pieces imbue femininity and elevate the overall aesthetic with a touch of luxury, while multiposition pieces offer various styling options. The inclusion of silk garments facilitates effortless layering, and argyle-printed knitwear sets a distinctive tone throughout the collection.

The show was led by a performance directed by Carlota Guerrero, in which a group of women carried out an experimental pétanque game, and styled by Emilie Kareh.

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ALEXIS MABILLE FW 2024 – PARIS FASHION WEEK

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Society
1. Long strapless sheath dress in brick-red crepe with a draped décolleté.

2. Billowy shirtdress in blood-red crepe.

3. Long wrap dress in pinky-red crepe with bow-belt.

4. Long wrap dress in red crepe with long slit sleeves, waist with brandenburgs appliqués.

5. Long tailored dress in red silk piqué, waist and shoulders with brandenburgs appliqués.

6. Evening shirtdress in raspberry silk piqué with flounced skirt.

7. Shirt-gown in raspberry silk piqué, with fixed inverted pleats at the waist.

8. Long corolla shirtdress in black radzimir, shoulders inlaid with matching lace, sleeve belt.

9. Trapeze dress in black silk piqué and satin, fastened by ties in the back.

10. Long, twirling sheath dress with asymmetrical scarf neckline crafted from black crepe.

11. Black crepe batwing jumpsuit with brandeburgs belt.

12. Long jacket-dress in navy blue crepe with satin facings and buttons.

13. Long shirtdress crafted from off-white silk faille and inlaid with Lyon lace, satin belt.

14. Shirtdress with batwing sleeves and corolla skirt crafted from champagne silk piqué and satin, matching knotted belt.

15. Long gown in champagne silk piqué, with a matching satin bow-neckline and panel.

16. Grand slip dress in nude radzimir with brandenburgs appliqués.

17. Long asymmetrical dress crafted from flesh-colored jersey satin, with front-and-back satin panels and a split shirt sleeve.

18. Long shirtdress in blush-colored crepe with split cape-sleeves, matching satin belt.

19. Long square shirtdress in peach-colored crepe with stitched satin collar.

20. Long corolla boat neck dress crafted from pale pink silk piqué, with satin kimono belt.

21. Long bustier dress in pale pink silk piqué, with a crepe scarf hold by brandenburgs.

CREDITS
Photo
Marcel Nestler

Hair & Make-up
Beautick

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