Artisanal Meets AI Innovation: The Complete Guide to Romantica 2024

From the ancient school of tailors to the new generation using AI for embroidery, the "Romantica" event held at the Temple of Vibia Sabina and Hadrian has just wrapped up, marking a significant convergence of Artisanal and Artificial Intelligence within the fashion sector. As members of the RED-EYE editorial team, we had the honor of participating in this pioneering two-day event that focused on the symbiotic relationship between traditional craftsmanship and cutting-edge technology.

Organized by the Chamber of Commerce of Rome, "Romantica" was born out of a desire to spotlight the dynamic shifts in the fashion industry, particularly examining the integration of artificial intelligence with artisanal techniques.

Clara Tosi Pamphili, the esteemed historian of applied arts and curator of the event, explained the core intent behind "Romantica": "We aimed to look at the very roots of creation—not just how an artist crafts his piece, which is already an advanced stage, but starting from the foundational cell—how it is studied, designed, and what tools are employed. Here at Romantica," she explained, "there is a grand table where everyone sits and works together—from the oldest tailoring school in Italy, The Accademia Nazionale dei Sartori, established in 1575, to young designers utilizing AI models for embroidery.”

The event was not confined to students and speakers; it was open to tourists and anyone interested in seeing the fusion of past and future in fashion. Michelangelo Melchionno, a member of the Chamber of Commerce of Rome, highlighted the significance of the event, "For us, this is a crucial initiative as the Chamber has always been forward-thinking, focusing on youth and innovation. 'Romantica' serves as a platform where fashion schools and businesses can network and collaborate, fostering a community around educational and commercial synergies.”

The venue itself, the Temple of Vibia Sabina and Hadrian, transformed into a vibrant hub of creativity. Students from 11 prestigious academies, including Accademia Costume & Moda, Accademia del Lusso, Accademia di Belle Arti di Frosinone, Accademia di Belle Arti di Roma, Accademia Italiana, Accademia Koefia, IED – Istituto Europeo di Design, Istituto di Moda Burgo, MAM – Maiani Accademia Moda, NABA – Nuova Accademia di Belle Arti e Rufa – Rome University of Fine Arts, showcased their innovative creations and engaged in live craftsmanship, turning the ancient site into a dynamic workshop space.

One of the most intriguing aspects of "Romantica" was the workshops that highlighted material transformation. Mensura, a company specializing in eco-friendly mannequins, demonstrated their manufacturing techniques. The Accademia Nazionale dei Sartori offered a glimpse into traditional tailoring, showing the precision and skill of ancient crafts. Perfumedia introduced an olfactory workshop, where a master perfumer demonstrated how raw materials are transformed into exquisite fragrances.

Four multidisciplinary talks were a significant feature of "Romantica," bringing together experts from various facets of fashion to explore the theme of integrating artisanal skills with new technologies and artificial intelligence.

The first panel "Businesses Between New Technologies, Memory, and Sustainability" featured Stefano Micelli, a Compasso d’Oro winner and professor at Ca' Foscari University of Venice; Simone Salomoni from Vitruvio Virtual Reality in Bologna; and Viktoriia Shiriaeva from Dedagroup SPA in Trento. They explored how companies integrate new technologies while maintaining sustainability and preserving the rich heritage of fashion.

"New Talents for New Pathways" was the talk moderated by Clara Tosi Pamphili, that included perspectives from Gianluca Traina, an AI artist and designer that co-created an AI fashion collection dedicated to Rome and the Tiber river; Leonardo Cruciano, prosthetic designer and founder of Imaginari Factory, a special and visual effects production company; and Roberto Scappaticcio from VesteMMundi. The focus was on how talents are forging innovative pathways in fashion towards enhanced creativity, detailed oriented craftmanship, love and dedication.

Clara Tosi Pamphili moderated also the third panel "The Culture of New Spaces", featuring Maria Luisa Frisa, a fashion theorist and curator, in conversation with Tiziana Amicuzi, a set designer and professor who explores virtual landscapes and environments, along with Fabio Viola, a game designer and lecturer who talked about metaverse explorations. They discussed the transformation of physical spaces in fashion—from rooms to exhibitions to museums.

Finally "Narratives and Communication by New Creatives" moderated by Alessio de Navasques, an art historian, fashion curator and professor, featured Diane Pernet, Paris-based American-born international fashion icon and founder of the international ASVOFF festival, and Gloria Maria Cappelletti, RED-EYE's editor in chief and creative director, professor and AI reseracher. They examined how AI influences creativity and communication in fashion, and further discussed AI as a manifestation of the contemporary sublime—a blend of beauty and creativity intertwined with the mystery and caution towards an evolving unknown.

The event concluded with a special session on the digital archiving of fashion and costumes by D_ARCHIVE, highlighting a new model for cataloging and studying fashion heritage digitally, which resonated strongly with our editorial team.

A critical insight emerged on the opportunity that new technologies offer to digitalize archives of ancient costumes, which represent an immense cultural heritage. The session highlighted how the most advanced available tools today can significantly benefit museums and foundations aiming to preserve these valuable textiles.

Ancient costumes, often enclosed in special display cases due to their fragility, remain largely inaccessible to the public. This lack of accessibility not only prevents a fuller appreciation and understanding of these artifacts but also limits academic and educational opportunities. Here, digital archiving can play a transformative role.

Here are some thoughts that we at RED-EYE have developed around the benefits of digitalizing fashion archives, inspired by our attendance at the D_ARCHIVE presentation during 'Romantica.'

Restoration and Research Support: 3D replicas—a dynamic digital representation of a physical object—enable researchers and conservators to analyze the wear and tear on ancient textiles without physically interacting with them. This reduces the risk of further damage and provides a valuable tool in restoration planning. For example, if a specific fabric thread has weakened over time, conservators can use the digital model to simulate and plan reinforcement or repair strategies effectively.

Preservation of Delicate Fabrics: Digitization helps in documenting the exact condition of textiles at the time of their scanning. This is crucial for fragile items that deteriorate over time. Digital models act as a benchmark for future restorations and conservation efforts, ensuring that every detail, down to the thread level, is recorded and preserved.

Educational and Cultural Outreach: Digital archives make it possible to bring historical costumes into classrooms and public exhibits without geographical or physical constraints. This democratizes access to cultural heritage, allowing students, designers, and history enthusiasts to study and draw inspiration from these artifacts. Educational programs can include interactive modules that let users design their virtual exhibits of ancient costumes, fostering a deeper connection with cultural history.

Enhanced Accessibility and Interaction: Digital archives allow for the creation of accessible, interactive platforms where users can explore detailed reproductions of costumes. Technologies like Virtual Reality (VR) and Augmented Reality (AR) can provide a virtual touch and feel experience, simulating the texture and fabric of these ancient costumes without risking damage to the originals. This not only makes the heritage more accessible but also more engaging for a global audience.

Potential for Blockchain Integration: By integrating blockchain technology, each costume’s 3D replicas can have a verified, immutable record of its provenance, restoration history, and exhibition record. This ensures transparency and security in the sharing and usage of digital assets, which is particularly important for high-value cultural artifacts.

Revitalizing Costume Workshops and Archives: Consider for example the archives of Cinecittà, where numerous historic film costumes are stored. Digitization can not only help preserve these costumes but also bring them back to life by making them available for digital exhibitions. Viewers could see costumes in their original context—worn by actors in specific film scenes—through 3D visualization technologies.

In conclusion, the digital archiving of ancient costumes presents a significant opportunity to preserve, study, and share Italy's rich fashion design and textile heritage in innovative and sustainable ways. It ensures that this invaluable cultural heritage continues to inspire and educate future generations, maintaining its relevance in a rapidly digitalizing world. The insights from "Romantica" emphasize the pivotal role that technology can play in bridging the gap between past craftsmanship and future innovations in fashion and heritage conservation.

"Romantica" has successfully set a new benchmark for fashion events, blending Rome's rich historical and artistic heritage with the possibilities of modern technology and sustainability practices, leaving us and all participants extremely inspired about the future of fashion.

Text by RED-EYE Editorial Team

Photographs by Rosario Rex Di Salvo

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