Orig­i­nal Origami折纸艺术造新装

ZbBZ (Singapore) - - TREND - TEXT NG KING KANG / 吴庆康

In­spi­ra­tion can come from any­where and for Ital­ian be­spoke la­bel Ber­luti’s spring/sum­mer 2015 menswear, it lies in the Ja­panese art of pa­per-fold­ing有男装界劳斯莱斯之称的Ber­luti,2015春夏系列以日本折纸艺术为创作灵感,以传统手艺结合独特材质和创新科技,带来让人无法抗拒的作品。

Ber­luti, the mas­ter shoe­maker from Italy, is turn­ing its ex­per­tise in be­spoke leather footwear to menswear. Its artis­tic direc­tor Alessan­dro Sartori sees to this per­son­ally, be­ing re­spon­si­ble for both footwear de­sign and the ready-to-wear col­lec­tions of the luxury brand that dates back to 1895 Paris.

Sartori, who was born in Biella, Italy, started de­vel­op­ing Ber­luti’s menswear col­lec­tions three years ago, com­bin­ing clas­sic looks with a mod­ern twist, and has in­jected new vi­tal­ity into the brand as a re­sult.

He re­cently said in Hong Kong when pre­sent­ing Ber­luti’s spring/sum­mer 2015 col­lec­tion, which of­fers light and sporty tailor­ing: “I wanted to in­tro­duce Sports Cou­ture with the most in­no­va­tive, lux­u­ri­ous ma­te­ri­als from the fore­front of fab­ric re­search, put to use with the most ex­quis­ite crafts­man­ship.”

Drawing from the Ja­panese art of origami, he ex­plored new pat­tern-cut­ting meth­ods and man­u­fac­tur­ing tech­niques to cre­ate a sense of light­ness and strength in the clothes.

The origami in­flu­ence is ap­par­ent in such hand­worked de­tails as pock­ets, pleat col­lars and lapels — en­tirely orig­i­nal constructions us­ing folds that do away with the need for cut­ting, sewing and in­ter­lin­ing. The origami tech­niques are ev­i­dent in the very build­ing of the pieces too — they have been as­sem­bled like geo­met­ric col­lages. The Origami coat stands as a prime ex­am­ple of the way in which this new ap­proach to de­sign el­e­vates a familiar piece of cloth­ing to a new level of ar­chi­tec­tural re­fine­ment.

Other fab­rics this sea­son are sim­i­larly thin, fresh and light: So­laro, in var­i­ous blends of silk and linen, some with cash­mere and cot­ton; light­weight silk mo­hair; and a sum­mer Shet­land silk that uses fine In­dian silk mixed with cot­ton to keep it light, hand­wo­ven on man­ual looms. Its knitwear uses four to six lay­ers of cot­ton cash­mere. There are also two new fab­rics: a pa­per-touch waxed linen; and a silk and linen po­plin treated with a ce­ramic glaze to give it a leather-like fin­ish, mak­ing it hard-wear­ing and wa­ter­proof.

The same nat­u­ral en­zyme treat­ment has been ap­plied to the in­te­rior sur­face of fab­rics to re­in­force them and give them a crisp drape while keep­ing their sur­face soft to the touch. This process does away with the need for the heavy can­vas in­ter­lin­ings that are con­ven­tion­ally used for re­in­forc­ing fab­rics, giv­ing the gar­ments strength with­out

Ber­luti’s spring/sum­mer 2015 col­lec­tion draws in­spi­ra­tion from the Ja­panese art of origami.

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