If you are physically present at a fashion show and watching it with full attention, the view that unfolds is entirely different to that presented in a fashion film.
That was thanks to a seven-section split screen format that allowed you to choose which angle you wished to see in the foreground. Some of the angles were mobile, shot by hand but gimbal-smooth, while others came from cameras set into the square spiral staircase of the Mobilier National.
During a gimbal-free, handheld phone transmitted preview, Nichanian referred repeatedly to “télescopage”—which means collision, buffering and merging—as a central tenet of both a presentation and collection that was conceived as an adaptation to our currently diminished, but arguably intensified fields of vision and experience, “inside, outside and silicon.
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