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FASHION

‘Invisible thread’ can help fight fashion pirates

Name brand fashion designers may soon have a new tool in their fight against pirated knockoff garments thanks to an "invisible thread" developed at Chalmers University of Technology in western Sweden.

'Invisible thread' can help fight fashion pirates

The thread, produced in the lab by Chalmers researcher Christian Müller, has unique optical properties that can be used to create patterns invisible to the naked eye, but which can be seen under polarized light.

“I made the discovery in conjunction with a rather fundamental study looking at the optical properties of different polymers,” Müller told The Local.

“I found that, by weaving the threads I could create different, unique patterns.”

He explained that clothing manufacturers could start using the thread right away to put a signature pattern in their products.

“The production process itself is very simply,” he said.

Müller created the thread using polyethylene and a dye molecule that absorbs visible light. The thread can be weaved into a pattern that can only be seen when viewed under polarized light.

The thread can be made using synthetic textile such as nylon, but the dye molecule can also be bonded to natural fibres such as wool and silk.

The new thread can help fashion houses and clothing manufacturers protect against textile pirating by creating their own combination of fibres and dye molecules.

“It is very difficult for pirate manufacturers to copy the unique combination,” Müller explained, adding there are “loads” of different dye molecules available.

“They can obtain the equipment needed to read the pattern and ascertain the optical spectrum produced by a specific signature, but they cannot know which combination of components will produce the specific spectrum.”

Use of the new “invisible thread” can extend beyond the fashion industry and into specialty fabrics used in vehicles, but textile manufactures from around the world have already been in touch with Müller about his discovery, which was first outlined in a study published in August 2012 in Applied Physics Letters, the journal of the American Institute of Physics.

“The clothes we wear are actually only a small fraction of the textile industry,” he said.

“If you are purchasing huge quantities of specialty fabric for Volvo, for example, you want to be sure you are getting the real thing.”

The new thread could aid customs officials in their hunt for counterfeit goods by making it easier to tell the difference between knockoffs and the genuine article.

Müller’s discovery could also be used to manufacture “smart textiles” of other sorts such as clothing that can change colour based on an electrical charge.

Another application could be weaving a “virtual bar code” into fabrics that would allow suppliers to track inventory and ensure quality control.

“Once I find the right partner, I’d estimate we could be on the market within six months,” Müller told The Local

David Landes

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FASHION

Paris exhibition celebrates 100 years of French Vogue

A new exhibition in Paris will tell the story of 100 years of French Vogue - from the post-war 'New Look' of Christian Dior through the sexual liberation of the 1960s to the dangling-cigarette waifs of the 2000s.

French Vogue celebrates 100 years
French Vogue celebrates 100 years. Photo: Thomas Olva/AFP

But as well as celebrating the magazine’s storied history, the exhibit comes at a time of turbulence for the publication.

Just last month, it was confirmed that its editor of 10 years, Emmanuelle Alt, was out and wouldn’t be replaced.

She was not alone.

Looking to cut costs, owner Conde Nast International has axed editors across Europe over the past year, and put international Vogue editions under the direct control of global editorial director, Anna Wintour, in New York.

New York-based Anna Wintour now has overall control of French Vogue. Photo by Christophe ARCHAMBAULT / AFP

Like much of the media industry, Vogue is struggling with tumbling sales and ad revenue in the digital era.

But the latest twist is also part of the endless push and pull between New York and Paris going back to its early days.

“The whole history of French Vogue is one of back-and-forth with Conde Nast in New York – growing more independent for a while, then being reined back in,” said Sylvie Lecallier, curator of the new exhibition, “Vogue Paris 1920-2020″, which opened this weekend after a year’s delay due to the pandemic.

The Paris edition was often the loftier, more bohemian sibling to its more hard-nosed New York version.

But it was also the hotbed in which much of 20th century style and womenhood came to be defined.

“Paris was the place to hunt out talent and content and bring it to New York,” said Lecallier.

The exhibition charts the evolution from art deco drawings of the 1920s through the erotic image-making of photographers like Helmut Newton in the 1960s and 1970s.

Its last peak was under editor Carine Roitfeld in the 2000s, who brought back a provocative Gallic identity by ridding the newsroom of foreign staff and becoming a fashion icon in her own right.

Her successor, Alt, was a quieter presence, though she still oversaw key moments including its first transgender cover star, Brazilian Valentina Sampaio, in 2017.

But internet culture has created “a perfect storm” for Vogue, says media expert Douglas McCabe of Enders Analysis.

“The first 80 years of Vogue’s life, it had the market to itself, it was the bible for fashion,” McCabe told AFP.

“But online today, there are so many other ways to get your information. Influencers, Instagram, YouTube — everyone’s a threat.”

In a world where new fashion trends can blow up around the world in seconds, it has become much harder for a monthly magazine to set the pace.

“It’s not that they can’t survive for another 100 years — but they will be differently sized,” McCabe said.

Vogue has tried to branch out into different areas, including events.

“I used to work for a magazine, and today I work for a brand,” Alt said on the eve of French Vogue’s 1,000th issue in 2019.

But the big money was always in print, and Vogue Paris sales are dropping steadily from 98,345 in 2017 to 81,962 to 2020, according to data site ACPM.

It is perhaps unsurprising that the new top job in Paris, redefined as “head of editorial content”, went to Eugenie Trochu, who was key to building the magazine’s online presence.

She declared herself “thrilled to be part of Vogue’s international transformation”.

For the curator of the exhibition, it is ironic timing.

“We had no idea it would end like this when we started work on the exhibition,” said Lecallier.

“Who knows where it will go from here.”

The exhibition Vogue Paris 1920-2020 is at the Palais Galliera in Paris’ 16th arrondissement. The gallery is open 10am to 6pm Tuesday to Sunday and is closed on Mondays. Tickets for the exhibition are €14 (€12 for concessions and under 18s go free) and must be reserved online in advance. 

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