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
MULTIFILE
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.
DOCUMENT
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
DOCUMENT
The short-term aim of this R&D project (financed by the Centre of Expertise Creative Industries) is to develop a virtually simulated textile database that renders 3D visual representations of these fabrics. The idea is for this database to be open source and be able to interface with 3D design applications such as those of Lectra. The textile database will include a number of different digital datasets per textile that contain information about the fabric’s drape, weight, flexibility etc., to virtually render prototypes in a 3D simulated environment. As such, in building garments via a 3D software design application, designers will be able to see how a garment changes as new textiles are applied, and how textiles behave when constructed as different garments. This will take place on 3D avatars, which may be bespoke body scans, and will allow for coordinated and precise fitting and grading.
DOCUMENT
Fashion design has rapidly become a digital process where textiles are simulated as soft, conformable materials on a digital body. The embodied experience and physical interaction with the textile have been replaced by screen-based media, resulting in a gap in understanding between physical and digital textile material. Consequently, understanding digitized textile properties and characteristics has become challenging for practitioners. This research investigates fashion designers’ implicit understanding when selecting textiles, specifically how interactions with physical textiles influence design considerations. Twenty digital fashion designers interacted with ten physical textile materials via tangible and scientific drape measurements, reflecting upon their design considerations. In digital environments, a tangible understanding of material properties is vital, and scientific drape measurements add significant understanding to digital design. The research advances our understanding of integrating digital tools in textile and soft material practices, where a postphenomenological approach is employed to help formulate the design considerations in selecting materials.
DOCUMENT
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.
DOCUMENT
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.
MULTIFILE
Fashion and textile practice transitioned over the past decade from a physically engaged design practice into a screen-based design practice with textiles simulated on digital bodies. Digital designers use tangible interaction with textiles for post-phenomenological design considerations. Our research indicates a complementary relationship between tangible interaction and drape observation, which allows for new approaches when considering textile materials. The drape observation based on drape measurement methods developed in textile science equips designers with a deeper material understanding. As the flat textile is placed in the scientific setup, the deformation and the designer's experience co-shape design considerations. The physical-to-digital paradigm shift disconnects designers from the tangible interaction with the textile. Fashion designers' approach contrasts with textile science methods to measure textile properties (needed to simulate textiles) and drape. Equipping designers with this understanding of textile technology requires interdisciplinary developments to make combined tangible drape tools accessible in physical and digital design spaces. Understanding design considerations in physical-digital practices and material drape, utilizing simulated textile properties, is essential for this endeavor. Cross-disciplinary understanding of textiles and similar soft materials between fashion designers, design researchers, textile and computer researchers, and cultural heritage researchers seems valuable in reducing measurement hurdles and creating tools to increase relationships between the physical and digital textiles and improving visual analyses and assessment of textiles. Our reflection to sharpen the post-phenomenological lens and cross-disciplinary collaborations of our past and future research contributes to understanding physical-digital textile design considerations and required cross-disciplinary interaction.
MULTIFILE
This study explores the relationship between second-hand fashion retailers’ marketing tactics and the purchasing drivers of Generation Z (GenZ) consumers, defined as individuals born between the mid-1990s and early 2010s, in the Netherlands. This study aims to identify areas of alignment and misalignment between retailer marketing tactics and GenZ motivations. The study identifies five key gaps between retailers’ perspectives and those of GenZ consumers: (1) a misalignment of focus on rational and emotional drivers, (2) a convenience – expectations gap for offline retailers, (3) a trust gap for inexperienced consumers, (4) a digital disconnect for thrift stores and (5) a market segmentation perception gap. By offering a nuanced understanding of retailers’ marketing tactics and GenZ’s drivers to purchase second-hand fashion, this study offers a unique perspective while applying the SHIFT framework to the second-hand fashion context. The findings provide actionable insights for retailers aiming to better align.
DOCUMENT
