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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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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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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Tijdens de COVID-19 crisis heeft een aantal MKB-winkeliers zonder webwinkel op succesvolle wijze winkelbeleving op afstand toegepast. Met behulp van digitale technologieën werden klanten hierbij, ongeacht hun locatie, bij de fysieke winkel betrokken en in staat gesteld elementen van deze omgeving te beleven. Dit zou, gezien de verwachte toegenomen behoefte van klanten aan winkelen zonder fysiek in de winkel te zijn, het onderscheidend vermogen en de concurrentiepositie van de MKB-winkelier kunnen versterken. Vooralsnog ontbreekt echter toegepaste kennis van de manieren waarop winkelbeleving op afstand effectief toegepast kan worden. Drie MKB-winkeliers, namelijk DroomHout, Chase Concept Store en MeubelBaas, hebben ons consortium verzocht deze kennis te verstrekken. Dit verkennende onderzoek beoogt dergelijke kennis te creëren door het beantwoorden van deze onderzoeksvragen: • Wat zijn geschikte manieren om winkelbeleving op afstand toe te passen? • Wat zijn de (beoogde) effecten van deze toepassingen voor MKB-winkeliers, hun personeel en klanten? • Welke succes- en faalfactoren beïnvloeden deze effecten? • Welke stappen kunnen MKB-winkeliers gegeven deze succes- en faalfactoren zetten ten einde winkelbeleving op afstand effectief toe te passen? Het Centre for Market Insights van de Hogeschool van Amsterdam, TMO Fashion Business School en het lectoraat Regio Ontwikkeling van Saxion zullen dit project in samenwerking met de drie winkeliers uitvoeren. Hiertoe zullen een literatuuronderzoek, interviews, observaties, een survey en experimenten worden gedaan. Dit onderzoek biedt niet alleen waardevolle inzichten voor de retailsector, maar is ook een eerste stap in het opzetten van een langduriger onderzoeksprogramma. Het project zal resulteren in een rapportage over de effectieve toepassing van winkelbeleving op afstand, consortiumbijeenkomsten over de resultaten, een stappenplan voor winkeliers, twee vakpublicaties, een academisch working paper, bijeenkomsten om het consortium uit te breiden, een eindpresentatie aan het consortium en geïnteresseerden, en een RAAK-mkb opzet.
Fashion has become inextricably linked with digital culture. Digital media have opened up new spaces of fashion consumption that are unprecedented in their levels of ubiquity, immersion, fluidity, and interactivity. The virtual realm continuously needs us to design and communicate our identity online. Unfortunately, the current landscape of digitised fashion practices seems to lack the type of self-governing attitude and urgency that is needed to move beyond commercially mandated platforms and systems that effectively diminish our digital agency. As transformative power seems to be the promise of the virtual, there is an inherent need to critically assess how digital representation of fashion manifests online, especially when these representations become key mediators within our collective and individual public construction of self. A number of collectives and practitioners that actively shape a counter movement, organized bottom up rather than through capital, are questioning this interdependence, applying inverted thinking and experimenting with alternative modes of engagement. Starting from the research question ‘How can critical fashion practitioners introduce and amplify digital agency within fashion’s virtual landscape through new strategies of aesthetic engagement?’, this project investigates the implications of fashion’s increasing shift towards the virtual realm and the ramifications created for digital agency. It centers on how identity is understood in the digital era, whether subjects have full agency while expected to construct multiple selves, and how online environments that enact as playgrounds for our identities might attribute to a distorted sense of self. By using the field of critical fashion as its site, and the rapidly expanding frontier of digital counter practices as a lens, the aim of this project is to contribute to larger changes within an increasingly global and digital society, such as new modes of consumerism, capital and cultural value.
A major challenge in the textile sector is achieving true circularity while preventing fraud, including false sustainability claims and material mislabelling. The complexity of supply chains and outdated certification systems have resulted in a lack of accountability and transparency. This project addresses these issues by developing and implementing Digital Product Passports, integrated with digital trust mechanisms as verifiable credentials, to create a transparent, responsible, and accountable textile supply chain. The project traces the journey of a corporate fashion t-shirt from cotton sourcing in India to production and distribution in the Netherlands, ensuring full transparency and traceability. Its goal is to drive a shift towards a circular economy by fostering collaboration across the supply chain and empowering stakeholders, particularly Tiers 3 and 4 in the Global South. Schijvens Corporate Fashion leads the effort with regenerative cotton sourcing through Raddis®Cotton, utilising Aware™’s technology solution. Adopting a ‘Fibre-Forward’ approach, the consortium ensures traceability by integrating data from raw material sourcing to end-user. This approach benefits all stakeholders, from farmers to garment producers, by providing verifiable information on fibre origins, social conditions, and ecological impacts. By tracking each fibre and collecting direct data, the project removes the opacity that can undermine sustainability claims. The project enhances accountability and sustainability compliance by utilising decentralised technologies for product verification. Integrating digital identity wallets for individuals and organisations, secured with verifiable credentials, enhances trust and accountability, fostering circular economy practices. Rather than seeing DPPs as the end goal, the project views them as catalysts for systemic change. It prioritises continuous improvement, collaboration, and shared benefits, aiming to establish a regenerative circular economy. Through a practical toolkit, the project will help organisations and policymakers navigate DPP adoption, strengthening transparency and creating a scalable, inclusive system for supply chains across the Global South and -North.
