Abstract

3D printing technologies are among the new developments in fashion design. The Dutch designer Iris van Herpen is one of the forerunners of 3 D printing in fashion design. She is particularly known for her 3 D printed designs of “fractal folds”: designs of inimitable curves, bends, and loops. Morphing art, fashion and technology, she developed productive collaborations with scientists and artists. Through a mixed method, this article provides background information and gives insight into the design practice of the fashion house of Iris van Herpen in Amsterdam. Iris van Herpen combines highly technical specifications with a commitment to esthetic design. In her designs, she intertwines the digital and the material and the human and the non-human. Such intertwinements are characteristic of posthumanism that postulates a dynamic notion of life in which human bodies are inextricably entangled with the non-human—like fibers, silicones, garments, and technologies. The article interprets Van Herpen’s work within the context of posthuman theory, so as to make sense of its avant-garde esthetic. Out of innovative technologies, new materials, and assiduous craftsmanship, Van Herpen creates a visual and material language of fractal folds that expresses the affective mood of a posthuman world.

摘要

3D打印技术是时装设计的新发展之一。荷兰设计师 Iris van Herpen 是时装设计中 3D 打印的先驱之一。她尤其以她的“分形褶皱”的 3D 打印设计而闻名：独特的曲线、弯曲和环形设计。她将艺术、时尚和技术变形，与科学家和艺术家开展了富有成效的合作。本文通过混合方法提供背景信息，并深入了解 Iris van Herpen 在阿姆斯特丹的时装屋的设计实践。Iris van Herpen 将高度技术规格与对美学设计的承诺相结合。在她的设计中，她将数字与材料、人类与非人类交织在一起。这种交织是后人类主义的特征，它假设了一种动态的生命观念，在这种观念中，人体与非人类的纤维、有机硅、服装和技术密不可分。文章在后人类理论的语境下解读范赫本的作品，以理解其前卫美学。凭借创新技术、新材料和精益求精的工艺，范赫本创造了一种分形褶皱的视觉和材料语言，表达了后人类世界的情感情绪。