L'Officiel Indonesia's Interview with Francis Bitonti

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Francis :

THE PROPHET OF FASHION In an issue that celebrates the advancement of technology, L’Officiel Indonesia talks with multidisciplinary designer, Francis Bitonti, who is taking fashion where no one has taken it before.

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MAKEUP AND HAIR CHRISTINA MARTHA SHOT ON LOCATION AT GOODRICH GALLERY

CARISSA VICKY

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J

ust last month, the Metropolitan Museum of Art announced “Manus X Machina” as their theme for the next Costume Institute exhibition that will be held in May 2016. Fashion in age of technology has been a talking point as more and more designers are looking into technology to revolutionise fashion.

Iris Van Herpen is known to be one of the designers that incorporate digital technology with fine handwork technique to send a set of astonishing designs down the runway and just recently, Karl Lagerfeld presented its classic two-piece suit, created with 3D printed element in Chanel’s latest casino-themed couture collection.

“I think it’s interesting that it is happening now,” says New York based architect-turned-designer, Francis Bitonti, a forefront in 3D printing in the fashion industry, regarding the amalgamation of technology and fashion that has been getting in the limelight recently, “If you think about it, the core value in the fashion industry, what we always hold in the highest regard, is this idea that something is for somebody, just like couture. It’s about creating a service that is very special, that is tailored to an individual and technology has a way of doing that for everybody.”

Back in 2014, Francis Bitonti created a buzz in both the field of fashion and technology by creating a wearable head-to-toe 3D-printed dress in collaboration with Shapeways for burlesque dancer, Dita Von Teese. The notion of 3D printing is nothing new, but its influence in fashion is still considered neoteric. The dress immediately garnered public’s attention upon its debut in Ace Hotel New York. Francis Bitonti, who has no background in fashion, successfully blur the lines between design, fashion and technology altogether.

But, will 3D printing replace a traditional method?

For Bitonti, it is a possibility. “It will definitely replace a lot of what we do right now, many aspect in industrial design will absolutely be replaced. A big question in my mind what it will going to be for the textile industry? I don’t think that it is going to replace cotton, but we might create a new kind of textile that maybe going to be better than cotton.” As he goes on and explains how materials for 3D printing have been evolving from the use of simple plastics to a wide range of materials from nylon, wood, cement and salt. Even the latest development in medical industry has gone as far as printing the first human blood vessels and organs through the use of 3D printing

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“With luxury brand or heritage brand, they are who they are because of their techniques. It is not because of their innovative design, in actuality, it is a very old design. With technology, It is what it is because of how it is made. This production technology has their own materials, they have their certain construction that work better than the other.”

technology. “I think the moment we started working with biological material, that is when it is going to be more interesting to the textile side. Right now, company such as Modern Meadow are growing lab-grown leathers, which has the same quality, if not better, than the traditional means. So, there is definitely a chance in creating a whole new material. If it is possible to print human cells, other natural fibers would be the next step in 3D printing for fashion industry.”

Not everyone embraces the disruptive change though.

Kanye West once stated that 3D printers will ruin the fashion industry, just like how the internet has ruined the music industry. To this, Bitonti expresses, “I don’t think that it is going to destroy the industry. It doesn’t mean that it is not a distant future and I don’t think he is totally wrong. The thing is the product has to become better.

I think what everybody should get is that with music, it immediately becomes valuable. When we downloaded a new song, it doesn’t sound worse. There is no loss in quality.

On the other hand, right now, if I were to download a new Chanel accessories and print it, the result won’t be as good as buying the real thing on the store. Until we reach

a superior level of quality, or something comparable, 3D printing is not a threat and that is something that we should keep in mind.”

Bitonti, then, adds, “With luxury brand or heritage brand, they are who they are because of their techniques.

It is not because of their innovative design, in actuality, it is a very old design. With technology, it is what it is because of how it is made. This production technology has their own materials, they have their certain construction that work better than the other.” At the end of the day, he concludes, “The one thing about embracing technology, is that in a lot of way, it’s going to evolved the market. What we might see is that a single brand might be able to stand many demographics.”

With many collaboration at hands, including a project with United Nude in generating a gold-plated 3D printed shoes as well as a recent collaboration with Wonderluk in creating an algorithm-based 3D printed jewellery, Francis Bitonti continues to push the boundaries that can be achieved through the means of technology, transposing ideas from design methodologies to a tangible consumer experiences.

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“It will definitely replace a lot of what we do right now, many aspect in industrial design will absolutely be replaced. A big question in my mind what it will going to be for the textile industry? I don’t think that it is going to replace cotton, but we might create a new kind of textile that maybe going to be better than cotton.”

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“I don’t think that it is going to destroy the industry.

The thing is the product has to become better. Until we reach a superior level of quality, or something comparable, 3D printing is not a threat.”