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The Rise of Drones in Fashion

via Not Just A Label

The world leaps forward in technology reminiscent of futuristic sci-fi films. The fashion world, made up of fabrics, cloths, colours, and threads is slowly accepting new technologies into its sector in unexpected ways. First and foremost, we can explore new documentation methods, such as the recent use of drones in fashion. An unmanned aerial vehicle, drones are smaller and quieter than a helicopter or light aircraft. They can therefore move much closer to their subject while still being able to record imagery from angles which people cannot, like aerial shots

At the end of 2014, Montreal-based e-store SSENSE worked with Stella McCartney on their first “Drone Portraits” video. They created an “intimate fashion film,” using drones to capture the landscape from the air and highlighting their use in the project’s title. Their second “Drone Portraits,” this time with Hood By Air, equally portrayed a new way for drones to document new points of view for a fashion film. Aerial, spanning shots add a different atmospheric element to the films; going beyond the realms of human capability and allowing us to progress in the ways we capture a collection.

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The mere fact that the wearable electronics market is valued in the multiple billions is a ready sign that the worlds of fashion and technology are becoming increasingly intertwined.

Just two months after Fendi’s show, the use of drones in fashion reprised itself at another Fashion Week, this time in Sydney. The Ten Pieces show, from Maurice Terzini, at Bondi’s Icebergs in Sydney, was recorded by Josh Brookes-Allen of Alphaflight Aero. A drone photography and film business, Alphaflight Aero had previously focused primarily on property and landscape. The collaboration came about so as to capture a striking setting, the iconic, drained Bondi Icebergs pool, in a totally unexpected way. Josh shares that it was the “low level aerial shots achievable by use of a drone,” that secured his involvement.

In particular, a vantage point which was not achievable in the usual way – that from the ocean side looking back towards the scene and the audience. The use of a drone rather than a helicopter or light aircraft allowed the intimacy of the show to remain, while providing previously unattainable large aerial vistas. The aesthetics of the Ten Pieces collection, simple and modern, also seemed to be complemented by the drone’s presence. An aesthetic amalgamation of fashion and technology, alongside a collection underscored by material restriction is curious but effective.

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