Japanese manufacturer Shima Seiki is the
world-leader in computerised flat knitting machine technology. Compared to
its circular knitting and warp knitting counterparts, flat knitting is the
only knit manufacturing method that is capable of producing shaped pieces
for garments. Shima Seiki has
as presented a new and unique solution -- the BALExpress, which is a fully
automated baling system for spinning mills. Claimed to be the first of its
kind in India, it has certain salient features:
i) Easily implementable in any existing
or new mill (unlike the solutions available worldwide now, which
taken this technology to its
extreme by realising the world’s first 3D shaped knitting of garments in
whole without seams. Since its pioneering introduction of WholeGarment
knitting technology in 1995, Shima Seiki has been the only manufacturer that
has been so dedicated to the advancement of this new form of knitting, with
over 200 patents realised in its development.
WholeGarment knitting actually has its
origins in Shima Seiki’s very first product. The company was founded with
the purpose of developing the world’s first seamless glove knitting
machine, itself a small version of today’s flat knitting machine. The end
product of that machine, the seamless
glove, can be considered a miniature version of a WholeGarment pullover.
Turning a glove upside down and combining the three middle fingers together,
one discovers that the thumb and pinky resemble the sleeves, with the three
middle fingers forming the body and the cuff becoming the neck opening. In
this way, WholeGarment knitting had been in the mind of Shima Seiki’s
founder and current president Dr. Masahiro Shima over 45 years ago.
WholeGarment knitting has become
increasingly popular as an alternative to conventional knitting. Its
benefits are many, including better fit and comfort through 3D shaping,
improved draping through elimination of seams, and minimum materials usage
through one-piece construction. The reduction in sewing and linking
processes also results in quick-response production, less dependence on
diminishing skilled labor sources, and of course, savings in labor costs. In
this way, WholeGarment knitting can be considered the final solution to the
ongoing problems facing knitting companies of consumer nations (such as the
EU, the United States and Japan) where knitters are finding it more and more
difficult to survive under the onslaught of inexpensive imports from Asia.
But WholeGarment knitting should not be
considered as merely an effective alternative to existing production. The
technological breakthroughs that make WholeGarment knitting possible have
also resulted in previously unknown knitting techniques that expand the
range of knitwear as fashion. New shapes, new patterns and new textures can
now be knit using a wider range of new materials. Shima Seiki wishes to
extend these new capabilities to designers, and that is the intention behind
the exhibit WholeGarment by Saverio Palatella.
Saverio Palatella is known for his
collection of knitwear with new shapes that use high quality materials. In
addition he has had a history of collaboration projects for the advancement
of fashion technology. For these reasons, Shima Seiki felt he would be ideal
for designing WholeGarment knitwear. Indeed, the designs he has created for
the WholeGarment by Saverio Palatella exhibit are deceivingly simple, yet a
closer look reveals the complex twists and folds that make his designs
unique and interesting. Several of the resulting designs have even been
patented for their originality.
This is the second opportunity for
Saverio Palatella and Shima Seiki to collaborate together on a WholeGarment
collection, the first time being for the Pitti Filati Spring/Summer exhibit
of 2007. In addition to designing WholeGarment knitwear for Shima Seiki,
Palatella is also adopting WholeGarment knitting for his own collection,
becoming a true spokesperson for WholeGarment technology.
Similarly, with the WholeGarment by
Saverio Palatella exhibit, Shima Seiki welcomes designers to discover the
potential of WholeGarment knitwear for themselves. It also hopes that the
exhibit will serve as a forum among designers and knitters for discussing
future collaboration projects.
It’s a story of forbidden love, filmed
inside a historical Milanese building. It ignites in the rooms of an antique
apartment and flees from the grand staircase. An eighteenth-century Milanese
residence is theatre to the intriguing and ambiguous liaison between a man
and a woman. Just twenty shots are needed to tell this intricate story of
seduction and remorse.
Alexandro Martinengo and Amilcare
Incalza take turns behind the camera.
The photos, born on a classical set, take on their definitive form during
post production, which sees them ferried from the world of fashion to the
world of art.
The story was the theme of a
photographic exhibition, which was open in Milan in February at Supertudio
13 in via Forcella, 13 during the Milan fashion week. The inspiring subject
is Wholegarment by Saverio Palatella, an avant-garde project from the
Italian designer. For his official debut, Milan was chosen as the ideal
stage and the art photography as his first interpretation.
The new collection of knitwear suits by
Palatella, contemporary in both content and technology, expresses itself
year by year through the most congenial contemporary art, against a
background of international cities selected on each occasion, as the most
suitable location to host it.
“The idea – explains the designer
– is to accompany my Wholegarment by Saverio Palatella project with a
project of artistic communication, from videoart to performance that has its
own meaning. Beyond the spirit of the garments that in some way it wishes to
Wholegarment by Saverio Palatella is a
design research project that stems from the collaboration between the
Italian designer, one of the leading knitwear designers, and Shima Seiki, a
leading Japanese company specialised in knitwear technology and production
machinery. Its machinery and knowhow are used by the world’s most
important international fashion houses.
Alexandro Martinengo and Amilcare
Incalza, worked together both on set and during post production.