AUTHORS

Disruptomatic
Angela Natividad
Angela Natividad is a freelance copywriter, journalist and strategist based in Paris. She co-founded AdVerveBlog.com, a blog and podcast about ads and design, and writes MarketingProfs' “Get to the Point!: Social Media” newsletters. She likes people and animals, but not as much as books.
Tweet her @luckthelady.
James Martin
James Martin is the community manager of music & TV tradeshows midem & MIPTV/MIPCOM. He edits their respective industry news & trends blogs (blog.midem.com & mipblog.com) and also covers video games and technology for French cultural weekly A Nous Paris
Tweet him at @jamesmart_in
Stuart Dredge
Stuart Dredge is a freelance journalist based in the UK. He writes about digital music for Music Ally, and about apps and mobile for The Guardian, The Sunday Times and The Appside, as well as his own Apps Playground site.
Tweet him @stuartdredge
Fashion 2.0: 14 Dresses in a Single Ballgown For the launch of his Fall/Winter 2012-2013 collections on July 4 in Paris, designer Franck Sorbier saved a nightmarish amount of fabric and thread by going almost fully digital: sharing 14 new dresses with the world by projecting each creation onto one enormous flowing white ball gown. Two models were used as his designs unfolded in the form of a fairy tale. One played the princess and one played the sorceress. The sorceress (at right) used a laptop to cycle through the collection projected onto the gown while recounting Donkeyskin, the tale of a king determined to marry his daughter to fulfill his wife’s dying wishes. The daughter, hoping to avoid this destiny, finds a fairy godmother who tells her to make impossible dowry demands, like a dress the colour of the sky and a frock as bright as the sun. “It’s about how with a little imagination you can bring together two worlds that are diametrically opposed,” said Sorbier, “and it is about how we can take haute couture into the future to ensure it survives.”  There are worse bedmates than tech and high fashion. Remember when Johanna Blakley said non-copyrighted industries — including fashion — tend to innovate and compete more readily than copyright-protected ones? It’s right up there with cars and food. To be fair, Jeremy Danté points out the show bears a reasonable resemblance to Viktor & Rolf’s Blue Screen Collection in 2002 — another really cool concept where small elements of couture hosted luminous and ever-changing projections. But if this is the future, we don’t ever want to go back. Not if it means the stress of staring into the cavernous depths of The Closet could be wiped away forever, relegated to quaint past as our chic white space jumpsuits change colour swatches for us. See the full gallery of images at Hello Magazine.Fashion 2.0: 14 Dresses in a Single Ballgown For the launch of his Fall/Winter 2012-2013 collections on July 4 in Paris, designer Franck Sorbier saved a nightmarish amount of fabric and thread by going almost fully digital: sharing 14 new dresses with the world by projecting each creation onto one enormous flowing white ball gown. Two models were used as his designs unfolded in the form of a fairy tale. One played the princess and one played the sorceress. The sorceress (at right) used a laptop to cycle through the collection projected onto the gown while recounting Donkeyskin, the tale of a king determined to marry his daughter to fulfill his wife’s dying wishes. The daughter, hoping to avoid this destiny, finds a fairy godmother who tells her to make impossible dowry demands, like a dress the colour of the sky and a frock as bright as the sun. “It’s about how with a little imagination you can bring together two worlds that are diametrically opposed,” said Sorbier, “and it is about how we can take haute couture into the future to ensure it survives.”  There are worse bedmates than tech and high fashion. Remember when Johanna Blakley said non-copyrighted industries — including fashion — tend to innovate and compete more readily than copyright-protected ones? It’s right up there with cars and food. To be fair, Jeremy Danté points out the show bears a reasonable resemblance to Viktor & Rolf’s Blue Screen Collection in 2002 — another really cool concept where small elements of couture hosted luminous and ever-changing projections. But if this is the future, we don’t ever want to go back. Not if it means the stress of staring into the cavernous depths of The Closet could be wiped away forever, relegated to quaint past as our chic white space jumpsuits change colour swatches for us. See the full gallery of images at Hello Magazine.Fashion 2.0: 14 Dresses in a Single Ballgown For the launch of his Fall/Winter 2012-2013 collections on July 4 in Paris, designer Franck Sorbier saved a nightmarish amount of fabric and thread by going almost fully digital: sharing 14 new dresses with the world by projecting each creation onto one enormous flowing white ball gown. Two models were used as his designs unfolded in the form of a fairy tale. One played the princess and one played the sorceress. The sorceress (at right) used a laptop to cycle through the collection projected onto the gown while recounting Donkeyskin, the tale of a king determined to marry his daughter to fulfill his wife’s dying wishes. The daughter, hoping to avoid this destiny, finds a fairy godmother who tells her to make impossible dowry demands, like a dress the colour of the sky and a frock as bright as the sun. “It’s about how with a little imagination you can bring together two worlds that are diametrically opposed,” said Sorbier, “and it is about how we can take haute couture into the future to ensure it survives.”  There are worse bedmates than tech and high fashion. Remember when Johanna Blakley said non-copyrighted industries — including fashion — tend to innovate and compete more readily than copyright-protected ones? It’s right up there with cars and food. To be fair, Jeremy Danté points out the show bears a reasonable resemblance to Viktor & Rolf’s Blue Screen Collection in 2002 — another really cool concept where small elements of couture hosted luminous and ever-changing projections. But if this is the future, we don’t ever want to go back. Not if it means the stress of staring into the cavernous depths of The Closet could be wiped away forever, relegated to quaint past as our chic white space jumpsuits change colour swatches for us. See the full gallery of images at Hello Magazine.Fashion 2.0: 14 Dresses in a Single Ballgown For the launch of his Fall/Winter 2012-2013 collections on July 4 in Paris, designer Franck Sorbier saved a nightmarish amount of fabric and thread by going almost fully digital: sharing 14 new dresses with the world by projecting each creation onto one enormous flowing white ball gown. Two models were used as his designs unfolded in the form of a fairy tale. One played the princess and one played the sorceress. The sorceress (at right) used a laptop to cycle through the collection projected onto the gown while recounting Donkeyskin, the tale of a king determined to marry his daughter to fulfill his wife’s dying wishes. The daughter, hoping to avoid this destiny, finds a fairy godmother who tells her to make impossible dowry demands, like a dress the colour of the sky and a frock as bright as the sun. “It’s about how with a little imagination you can bring together two worlds that are diametrically opposed,” said Sorbier, “and it is about how we can take haute couture into the future to ensure it survives.”  There are worse bedmates than tech and high fashion. Remember when Johanna Blakley said non-copyrighted industries — including fashion — tend to innovate and compete more readily than copyright-protected ones? It’s right up there with cars and food. To be fair, Jeremy Danté points out the show bears a reasonable resemblance to Viktor & Rolf’s Blue Screen Collection in 2002 — another really cool concept where small elements of couture hosted luminous and ever-changing projections. But if this is the future, we don’t ever want to go back. Not if it means the stress of staring into the cavernous depths of The Closet could be wiped away forever, relegated to quaint past as our chic white space jumpsuits change colour swatches for us. See the full gallery of images at Hello Magazine.Fashion 2.0: 14 Dresses in a Single Ballgown For the launch of his Fall/Winter 2012-2013 collections on July 4 in Paris, designer Franck Sorbier saved a nightmarish amount of fabric and thread by going almost fully digital: sharing 14 new dresses with the world by projecting each creation onto one enormous flowing white ball gown. Two models were used as his designs unfolded in the form of a fairy tale. One played the princess and one played the sorceress. The sorceress (at right) used a laptop to cycle through the collection projected onto the gown while recounting Donkeyskin, the tale of a king determined to marry his daughter to fulfill his wife’s dying wishes. The daughter, hoping to avoid this destiny, finds a fairy godmother who tells her to make impossible dowry demands, like a dress the colour of the sky and a frock as bright as the sun. “It’s about how with a little imagination you can bring together two worlds that are diametrically opposed,” said Sorbier, “and it is about how we can take haute couture into the future to ensure it survives.”  There are worse bedmates than tech and high fashion. Remember when Johanna Blakley said non-copyrighted industries — including fashion — tend to innovate and compete more readily than copyright-protected ones? It’s right up there with cars and food. To be fair, Jeremy Danté points out the show bears a reasonable resemblance to Viktor & Rolf’s Blue Screen Collection in 2002 — another really cool concept where small elements of couture hosted luminous and ever-changing projections. But if this is the future, we don’t ever want to go back. Not if it means the stress of staring into the cavernous depths of The Closet could be wiped away forever, relegated to quaint past as our chic white space jumpsuits change colour swatches for us. See the full gallery of images at Hello Magazine.Fashion 2.0: 14 Dresses in a Single Ballgown For the launch of his Fall/Winter 2012-2013 collections on July 4 in Paris, designer Franck Sorbier saved a nightmarish amount of fabric and thread by going almost fully digital: sharing 14 new dresses with the world by projecting each creation onto one enormous flowing white ball gown. Two models were used as his designs unfolded in the form of a fairy tale. One played the princess and one played the sorceress. The sorceress (at right) used a laptop to cycle through the collection projected onto the gown while recounting Donkeyskin, the tale of a king determined to marry his daughter to fulfill his wife’s dying wishes. The daughter, hoping to avoid this destiny, finds a fairy godmother who tells her to make impossible dowry demands, like a dress the colour of the sky and a frock as bright as the sun. “It’s about how with a little imagination you can bring together two worlds that are diametrically opposed,” said Sorbier, “and it is about how we can take haute couture into the future to ensure it survives.”  There are worse bedmates than tech and high fashion. Remember when Johanna Blakley said non-copyrighted industries — including fashion — tend to innovate and compete more readily than copyright-protected ones? It’s right up there with cars and food. To be fair, Jeremy Danté points out the show bears a reasonable resemblance to Viktor & Rolf’s Blue Screen Collection in 2002 — another really cool concept where small elements of couture hosted luminous and ever-changing projections. But if this is the future, we don’t ever want to go back. Not if it means the stress of staring into the cavernous depths of The Closet could be wiped away forever, relegated to quaint past as our chic white space jumpsuits change colour swatches for us. See the full gallery of images at Hello Magazine.Fashion 2.0: 14 Dresses in a Single Ballgown For the launch of his Fall/Winter 2012-2013 collections on July 4 in Paris, designer Franck Sorbier saved a nightmarish amount of fabric and thread by going almost fully digital: sharing 14 new dresses with the world by projecting each creation onto one enormous flowing white ball gown. Two models were used as his designs unfolded in the form of a fairy tale. One played the princess and one played the sorceress. The sorceress (at right) used a laptop to cycle through the collection projected onto the gown while recounting Donkeyskin, the tale of a king determined to marry his daughter to fulfill his wife’s dying wishes. The daughter, hoping to avoid this destiny, finds a fairy godmother who tells her to make impossible dowry demands, like a dress the colour of the sky and a frock as bright as the sun. “It’s about how with a little imagination you can bring together two worlds that are diametrically opposed,” said Sorbier, “and it is about how we can take haute couture into the future to ensure it survives.”  There are worse bedmates than tech and high fashion. Remember when Johanna Blakley said non-copyrighted industries — including fashion — tend to innovate and compete more readily than copyright-protected ones? It’s right up there with cars and food. To be fair, Jeremy Danté points out the show bears a reasonable resemblance to Viktor & Rolf’s Blue Screen Collection in 2002 — another really cool concept where small elements of couture hosted luminous and ever-changing projections. But if this is the future, we don’t ever want to go back. Not if it means the stress of staring into the cavernous depths of The Closet could be wiped away forever, relegated to quaint past as our chic white space jumpsuits change colour swatches for us. See the full gallery of images at Hello Magazine.Fashion 2.0: 14 Dresses in a Single Ballgown For the launch of his Fall/Winter 2012-2013 collections on July 4 in Paris, designer Franck Sorbier saved a nightmarish amount of fabric and thread by going almost fully digital: sharing 14 new dresses with the world by projecting each creation onto one enormous flowing white ball gown. Two models were used as his designs unfolded in the form of a fairy tale. One played the princess and one played the sorceress. The sorceress (at right) used a laptop to cycle through the collection projected onto the gown while recounting Donkeyskin, the tale of a king determined to marry his daughter to fulfill his wife’s dying wishes. The daughter, hoping to avoid this destiny, finds a fairy godmother who tells her to make impossible dowry demands, like a dress the colour of the sky and a frock as bright as the sun. “It’s about how with a little imagination you can bring together two worlds that are diametrically opposed,” said Sorbier, “and it is about how we can take haute couture into the future to ensure it survives.”  There are worse bedmates than tech and high fashion. Remember when Johanna Blakley said non-copyrighted industries — including fashion — tend to innovate and compete more readily than copyright-protected ones? It’s right up there with cars and food. To be fair, Jeremy Danté points out the show bears a reasonable resemblance to Viktor & Rolf’s Blue Screen Collection in 2002 — another really cool concept where small elements of couture hosted luminous and ever-changing projections. But if this is the future, we don’t ever want to go back. Not if it means the stress of staring into the cavernous depths of The Closet could be wiped away forever, relegated to quaint past as our chic white space jumpsuits change colour swatches for us. See the full gallery of images at Hello Magazine.Fashion 2.0: 14 Dresses in a Single Ballgown For the launch of his Fall/Winter 2012-2013 collections on July 4 in Paris, designer Franck Sorbier saved a nightmarish amount of fabric and thread by going almost fully digital: sharing 14 new dresses with the world by projecting each creation onto one enormous flowing white ball gown. Two models were used as his designs unfolded in the form of a fairy tale. One played the princess and one played the sorceress. The sorceress (at right) used a laptop to cycle through the collection projected onto the gown while recounting Donkeyskin, the tale of a king determined to marry his daughter to fulfill his wife’s dying wishes. The daughter, hoping to avoid this destiny, finds a fairy godmother who tells her to make impossible dowry demands, like a dress the colour of the sky and a frock as bright as the sun. “It’s about how with a little imagination you can bring together two worlds that are diametrically opposed,” said Sorbier, “and it is about how we can take haute couture into the future to ensure it survives.”  There are worse bedmates than tech and high fashion. Remember when Johanna Blakley said non-copyrighted industries — including fashion — tend to innovate and compete more readily than copyright-protected ones? It’s right up there with cars and food. To be fair, Jeremy Danté points out the show bears a reasonable resemblance to Viktor & Rolf’s Blue Screen Collection in 2002 — another really cool concept where small elements of couture hosted luminous and ever-changing projections. But if this is the future, we don’t ever want to go back. Not if it means the stress of staring into the cavernous depths of The Closet could be wiped away forever, relegated to quaint past as our chic white space jumpsuits change colour swatches for us. See the full gallery of images at Hello Magazine.Fashion 2.0: 14 Dresses in a Single Ballgown For the launch of his Fall/Winter 2012-2013 collections on July 4 in Paris, designer Franck Sorbier saved a nightmarish amount of fabric and thread by going almost fully digital: sharing 14 new dresses with the world by projecting each creation onto one enormous flowing white ball gown. Two models were used as his designs unfolded in the form of a fairy tale. One played the princess and one played the sorceress. The sorceress (at right) used a laptop to cycle through the collection projected onto the gown while recounting Donkeyskin, the tale of a king determined to marry his daughter to fulfill his wife’s dying wishes. The daughter, hoping to avoid this destiny, finds a fairy godmother who tells her to make impossible dowry demands, like a dress the colour of the sky and a frock as bright as the sun. “It’s about how with a little imagination you can bring together two worlds that are diametrically opposed,” said Sorbier, “and it is about how we can take haute couture into the future to ensure it survives.”  There are worse bedmates than tech and high fashion. Remember when Johanna Blakley said non-copyrighted industries — including fashion — tend to innovate and compete more readily than copyright-protected ones? It’s right up there with cars and food. To be fair, Jeremy Danté points out the show bears a reasonable resemblance to Viktor & Rolf’s Blue Screen Collection in 2002 — another really cool concept where small elements of couture hosted luminous and ever-changing projections. But if this is the future, we don’t ever want to go back. Not if it means the stress of staring into the cavernous depths of The Closet could be wiped away forever, relegated to quaint past as our chic white space jumpsuits change colour swatches for us. See the full gallery of images at Hello Magazine.

Fashion 2.0: 14 Dresses in a Single Ballgown

For the launch of his Fall/Winter 2012-2013 collections on July 4 in Paris, designer Franck Sorbier saved a nightmarish amount of fabric and thread by going almost fully digital: sharing 14 new dresses with the world by projecting each creation onto one enormous flowing white ball gown.

Two models were used as his designs unfolded in the form of a fairy tale. One played the princess and one played the sorceress. The sorceress (at right) used a laptop to cycle through the collection projected onto the gown while recounting Donkeyskin, the tale of a king determined to marry his daughter to fulfill his wife’s dying wishes.

The daughter, hoping to avoid this destiny, finds a fairy godmother who tells her to make impossible dowry demands, like a dress the colour of the sky and a frock as bright as the sun.

“It’s about how with a little imagination you can bring together two worlds that are diametrically opposed,” said Sorbier, “and it is about how we can take haute couture into the future to ensure it survives.” 

There are worse bedmates than tech and high fashion. Remember when Johanna Blakley said non-copyrighted industries — including fashion — tend to innovate and compete more readily than copyright-protected ones? It’s right up there with cars and food.

To be fair, Jeremy Danté points out the show bears a reasonable resemblance to Viktor & Rolf’s Blue Screen Collection in 2002 — another really cool concept where small elements of couture hosted luminous and ever-changing projections. But if this is the future, we don’t ever want to go back. Not if it means the stress of staring into the cavernous depths of The Closet could be wiped away forever, relegated to quaint past as our chic white space jumpsuits change colour swatches for us.

See the full gallery of images at Hello Magazine.

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