By making fashion with data as a material, we believe that we can critically create for everyone; no matter what shape,size or color. Data is the key to personalized fashion as it empowers and enables individuality yet retains the social potential of fashion. Fashion has believed for centuries that clothes used to be personally tailored, we intend to make that true for all.This is an important moment for fashion. Much of the industry is bankrupt,creating opportunities to rebuild with new ideas surrounding technology and sustainability. Data is key to thedigital transformation of fashion,meaning new craftsmanship is also required. Furthermore,the unique qualities of fashion allow for our research to inform technology and data science.
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This article seeks to contribute to the literature on circular business model innovation in fashion retail. Our research question is which ‘model’—or combination of models—would be ideal as a business case crafting multiple value creation in small fashion retail. We focus on a qualitative, single in-depth case study—pop-up store KLEER—that we operated for a duration of three months in the Autumn of 2020. The shop served as a ‘testlab’ for action research to experiment with different business models around buying, swapping, and borrowing second-hand clothing. Adopting the Business Model Template (BMT) as a conceptual lens, we undertook a sensory ethnography which led to disclose three key strategies for circular business model innovation in fashion retail: Fashion-as-a-Service (F-a-a-S) instead of Product-as-a-Service (P-a-a-S) (1), Place-based value proposition (2) and Community as co-creator (3). Drawing on these findings, we reflect on ethnography in the context of a real pop-up store as methodological approach for business model experimentation. As a practical implication, we propose a tailor-made BMT for sustainable SME fashion retailers. Poldner K, Overdiek A, Evangelista A. Fashion-as-a-Service: Circular Business Model Innovation in Retail. Sustainability. 2022; 14(20):13273. https://doi.org/10.3390/su142013273
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Recent developments in digital technology and consumer culture have created new opportunities for retail and brand event concepts which create value by offering more than solely marketing or transactions, but rather a place where passion is shared. This chapter will define the concept of ‘fashion space’ and consumer experience, and delves into strategies for creating experiences that both align with a brand’s ethos and identity and build brand communities. It will provide insight on creating strong shared brand experiences that integrate physical and digital spaces, AR and VR. These insights can be used for consumer spaces but also for media and buyer events, runway shows, test labs and showrooms. Since its launch in 2007, international fashion brand COS has focused on creating fashion spaces that build and reinforce a COS fashion community. COS retail stores with their extraordinary architecture, both traditional and contemporary, contribute stories and facilitate intense brand experiences. Moreover, COS’ dedication to share the artistic inspirations of its people led to collaborating on interactive and multi-sensory installations which allow consumers to affectively connect to the brand’s personality and values. Thus, the brand was able to establish itself firmly in the lifestyle of its customers, facilitating and developing their aesthetics and values. This is an Accepted Manuscript of a book chapter published by Routledge/CRC Press in "Communicating Fashion Brands. Theoretical and Practical Perspectives" on 03-03-2020, available online: https://www.routledge.com/Communicating-Fashion-Brands-Theoretical-and-Practical-Perspectives/Huggard-Cope/p/book/9781138613560. LinkedIn: https://nl.linkedin.com/in/overdiek12345
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While consumers have become increasingly aware of the need for sustainability in fashion, many do not translate their intention to purchase sustainable fashion into actual behavior. Insights can be gained from those who have successfully transitioned from intention to behavior (i.e., experienced sustainable fashion consumers). Despite a substantial body of literature exploring predictors of sustainable fashion purchasing, a comprehensive view on how predictors of sustainable fashion purchasing vary between consumers with and without sustainable fashion experience is lacking. This paper reports a systematic literature review, analyzing 100 empirical articles on predictors of sustainable fashion purchasing among consumer samples with and without purchasing experience, identified from the Web of Science and Scopus databases.
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Hoewel consumenten aangeven duurzame aspecten van kleding belangrijk te vinden, vertaalt dit zich niet direct in de aankoop van meer duurzame kleding. Uit een enquête van TMO Fashion Business School onder de klanten van mkb multi-brand fashionretailers (steekproefgrootte= 363) blijkt dat 61% van de ondervraagden niet weet welke merken duurzaam zijn en behoefte hebben aan transparantie hierover. Daarnaast vindt 71% de communicatie van verkoopmedewerkers over duurzaamheid slecht (Van der Laan, 2022). Wat kunnen mkb multi-brand fashionretailers doen om hun assortiment duurzame kleding beter te verkopen? Om antwoord te geven op bovenstaande vraag is Next Fashion Retail (NFR) opgericht; een SIA onderzoeksproject van De Haagse Hogeschool, TMO Development Center, Cube Retail en branchepartners Modint, Inretail en Euretco. Next Fashion Retail onderzoekt hoe moderetailers de online en offline retailomgeving kunnen inzetten om de verkoop van duurzame kleding te stimuleren (Van der Laan, 2022). Het onderzoeksproject van NFR is gestart met de onderzoeksvraag: Hoe kunnen mkb multi-brand fashion retailers hun customer journey inrichten om de verkoop van duurzam(er)e kleding te vergroten? In het voorjaar van 2022 zijn op basis van deze eerste onderzoeksresultaten innovaties ontwikkeld door designstudenten, die retailers helpen hun duurzame mode-aanbod beter te verkopen (Van der Laan, 2022). Het winnende design idee van het NFR onderzoek zijn de informatieve hangers van Maaike Roos: Deze zogenaamde ‘conversation pieces’ stimuleren de dialoog tussen medewerkers en klanten over duurzaamheid en zorgen ervoor dat zowel medewerkers als klanten meer informatie over duurzamere keuzes krijgen. Er zijn 3 categorieën geformuleerd met 6 vragen, vijf op de hangers en éen op de ‘give away’ bij de kassa. De drie categorieën zijn: materialen, makers en care. De categorie materialen bestaat uit de materialen: katoen, polyester, viscose en wol. De categorie ‘ makers’ bestaat uit een shelftalker en een hanger eveneens de categorie ‘care’. Het onderzoek is zowel on- als offline: het offline gedeelte wordt uitgevoerd door studenten van TMO Fashion Business School en zal worden uitgevoerd bij negen retailers in de periode van 14 oktober tot 9 december 2022 (zie tabel 1.0). Het online gedeelte wordt uitgevoerd door studenten van de opleiding Ondernemerschap en Retailmanagement van de Haagse Hogeschool.
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The advent of the twenty-first century ushered in a new generation of fashiondesigners who merge design, artistic practice and research in a natural way. Theyuse artistic and activist interventions to revision fashion as a cultural and symbolicvalue-adding component integral to post-industrial restructuring and repositioningit as a much broader and more significant role than as an industry that makes andsells apparel (Craik 2019: 133). This generation is not necessarily operating fromfashion capitals such as London or Paris, but quite often based in the outskirts ofthe fashion areas (such as Australia, the Netherlands, Sweden or Austria). Beingaware of the social and environmental issues and the failures of the current fashionsystem, they are fundamentally rethinking and redefining the fashion system byimplementing new values and new imaginations approaching fashion design asan embodied practice and as an activist tool (Bourriaud 2009: 51–52; Teunissen2005: 8–23; Teunissen 2014: 12–72). Based on the research for the exhibitionsThe Future of Fashion in Now (2014) and State of Fashion (2018) – where I showcased these ground-breaking designers – I would like to draw and define this ‘newhybrid designer’ and highlight how they as activists and practitioners effectivelycontribute to some of the fundamental changes of the current fashion system(Teunissen 2018).
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An interactive full-length mirror that allows you to browse through an endless collection ofclothing and see immediately whether something fits you, including when you turn around, and which also allows you to send a picture quickly to your family and friends to hear what they think. This mirror is a technological development that is already possible and which is being introduced in fashion stores here and there. But how probable is it that this technological innovation will become a permanent feature of our shopping experience? To answer this question we shall describe the expectations that exist about the developments in shopping over the coming years. We shall then examine to what extent these developments already play a role in shopping now, in 2014. In order to maintain an overview, we shall introduce a typology based on the STOF model. All of the innovations mentioned are ultimately aimed at offering added value for the consumer, but who is that consumer and what does he or she need? An inventory of how the shopping consumer is regarded makes it clear that new perspectives are required in order to do justice to the complexity of the retail behaviour and the retail experience. Finally, we will briefly examine specific cross-media aspects of shopping, such as the multichannel strategy of retail outlets and the role of the physical store in relation to the webshop. We end by offering a research framework for the 'service encounter' in the retail process based on the concept of Servicescapes. This framework allows to chart and answer a number of essential questions surrounding the probability of innovations more systematically.
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Management of fashion (related) companies need to become convinced that circularity delivers positive financial results and incentives. This research aims to provide the first information requirement insights needed to enable the transition to a circular fashion industry. Due to easy access and abundant information ‘Jeans’ were selected as example item. Using the Design Science research approach the required information within in a closed loop supply chain (CLSC) in fashion was derived. Semi-structured interviews validated the CLSC information requirements derived from literature. Next, observations and additional literature findings supported the interview results. The outcomes show that information to support integration and collaboration of both: supply and recycle chain is necessary. Independently operating recycle organizations miss ‘central loop management’, ‘information integration’ and ‘a chain-common objective’ to successfully adopt circularity. The main bottlenecks found in relation to circularity are: ‘overlooking the customer as stakeholder’ and ‘a lack of chain integration’, this applies not only to jeans items. Therefore, the indicative study outcomes contribute to the body of knowledge of circular fashion value chain information requirements in general
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When conducting research in and for the creative industries, there are a wealth of different possible research approaches that can be taken - reflecting the diverse nature of the disciplines (design, arts and crafts, advertising, architecture, fashion, film, music, TV, radio performing arts, publishing and interactive software) and academic contexts (art schools, business schools and universities) involved. The result is that there are variations in the emphasis and approach taken to how students are taught to link theory with practice, and how they view and engage with the concept ʻresearchʼ. The need for understanding and awareness of a range of approaches is critical for anyone learning about and working within design, business and the creative industries today.
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