When Iris van Herpen opened her couture house in 2007 after a temporary position at Alexander McQueen, she considered it to be a valuable chance to expand on a few centuries of savoir-faire — and drive it into the future with creative mind and mechanical wizardry.
“A lot of things I do are based on intuition, and my heart is with haute couture — it always has been,” she said in a meeting in front of her fifteenth commemoration show on July 4 in Paris. “Design to me is a type of workmanship, and couture is truly encapsulating the craftsmanship and the creative side of fashion.
“Even though we are in 2022, people value craftsmanship, and I don’t think that will perish,” she proceeded. “I really believe in the value of couture, also for the future of fashion. It’s a place where there is time and space for the development of new techniques, and new materials. And within the modern challenges of evolving sustainability within fashion, couture can also play a very important role.”
For model, Van Herpen said her group works for three to four months before every assortment to devise new reasonable materials, and these innovations are made accessible to other prepared to-wear brands.
It ought to shock no one that her show won’t be a review by any stretch of the imagination. “Focus on the future,” said Van Herpen, quite possibly of style’s most creative and careful professional, utilizing state of the art advancements to understand her ethereal, supernatural garments, from laser slicing to electromagnetic weaving.
Indeed, she may be the business’ most metaverse-prepared creator since she’s been making 3D-printed pieces of clothing starting around 2009, her programming anticipating the right computerized gadgets and CGI abilities to encounter them in blended reality.
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