Ganni Trend Forecasting Report

Trend Forecasting Report S/S23

executive summary

Trend forecasting utilises information gathered from the ever-changing macro environment to predict consumer trends, to ensure retailers are satisfying consumers and maximising profit (Hill, 2020). The following report will propose a trend package for Danish womenswear brand Ganni for Spring/ Summer 2023. The trend – ‘phygital futures’ – takes inspiration from the ‘sustainable consumption’ zeitgeist trend which has emerged over recent years, bringing it into the future through combining digital elements. Thorough research has been conducted to ensure the collection presented is suitable for the brand and target consumer and embodies the trend concept.

1

lifestyle shift: sustainable consumption

SECTIONThis trend package will centre around the zeitgeist trend ‘Sustaina ble Consumption’. Over recent years, ‘Sustainable Consumption’ has become a key cultural lifestyle shift. The main cohort of consumers that are adopting the ‘Sustainable Consumption’ trend are Generation Z, who chose to purchase from brands that prioritise both environmental and social sustainability over those who do not (D’Arpizio et al., 2021). However, D’Arpizio et al. (2021) also note that the older generation of consumers are also starting to move in this direction. 41% of the global population classifies as Generation Z (Vogue, 2021), and it is therefore more important than ever for all brands to put sustainability at the fore front of their businesses. This is why ‘Sustainable Consumption’ has been chosen as the focus of this report.

There are several key drivers for the trend, the most predominant being the escalation of the world’s climate crisis. The exponential increase in social media use over the COVID-19 pandemic has heightened consumer awareness of the climate crisis and the environmental impact of the fashion industry. The climate crisis has pushed companies to look for new ways to be more sustainable, due to the demand for transpar ency and traceability (Rubin, 2021). The climate crisis has also led to new legislations put in place to combat climate change, for example the Paris Agreement in 2016, which set goals to lower global warming by 2023 (United Nations, no date).

This trend package additionally considers the collaboration of the life style shift ‘Sustainable Consumption’ with another key consumer trend ‘The Digital Era’. The Future Laboratory (2022) notes the importance of the fashion industry placing the environment at the forefront of deci sions, and how digital elements can complement this. Digitalisation is the future of the ‘Sustainable Consumption’ trend, and while it may be a relatively novel concepts to Gen Z consumers, they are constantly looking for exciting new experiences, for example digital fashion and the metaverse (YPulse, 2022). The collaboration looks at the digitalisa tion of sustainability, and how consumers are using the digital world to explore their environmental values. Digital technologies are increasing ly helping businesses reduce their environmental impact, for example use of social media to promote their sustainable methods (Creanga, 2019). Digitalisation allows companies to be easily transparent about their supply chains (Rubin, 2021). Additionally, new technologies are leading to innovative sustainable fabrics, for example bioengineered fabrics (Sherman, 2019). As well as this, digital and virtual fashion mean consumers are able to purchase and wear garments virtually without the need to physically produce anything, helping to reduce overconsumption (Benson, 2021). Virtual fashion offers “a possible solution to our culture of disposable fashion” (Semic, 2019). Virtual fashion weeks, which have become popular over the pandemic years, help reduce the need for polluting air travel and help to reduce carbon emissions (Benson, 2021).

consumer profile

The target consumer is a digitally aware, climate conscious, young professional female between ages 21 and 30. The following profile and day in the life are an example of the target consumer’s persona and daily life. Looking at Rogers’ (1962) diffusion of innovations curve, the target consumers are early adopters and have endorsed sustainability as a trend for a while now, so it will be important to be innovative. They are intrigued by the metaverse and digital fashion. They are looking for new developments, are ready for new technologies and want to make a change in the world in all aspects of their lives. Fashion is something they have an interest in and they are aware of the negative impacts of the industry - they aim to only shop from sustainable brands or brands that have transparent and traceable supply chains and are willing to spend more to ensure this (Vogue, 2021). Therefore, to satisfy the consumer, the collection will need to incorporate elements of sustainability alongside new, attractive digital components. A consumer trend canvas has been completed (see appendix 1) to investigate potential innovations for ‘Sustainable Consumption’ trend.

Target consumer

Figure 3: Nordberg, 2019

Figure 4: Rogers, 1962

Figure 5: Getty, 2021

Georgie Moore

DEMOGRAPHICS:

PSYCHOGRAPHICS:

Figure 6: Kulikauskiene, 2020

7: Consumer Mood Board (This Study, 2022)

Wakes up early to enjoy a relaxing morning checking social media, doing skincare, and catching up on the news.

in the life

Has a healthy breakfast and walks to work, grabbing a take away coffee on the way.

Arrives at work, creates a to-do list for the day to stay on top of her workload.

Enjoys a packed lunch outside in a nearby park on her break to get some fresh air from the office.

Finishes work and heads straight to a yoga class to destress after the day, walking home after.

Arrives home, catches up with housemates and cooks a vegetarian dinner with them. Relaxes watching tv for the evening.

Gets ready for bed, reading on her kindle and checking social media and the news again before going to sleep. Early night to be ready for work.

brand profile: ganni

Ganni is a Danish womenswear apparel brand which embodies the Scandi-cool girl style (Business of Fashion, 2022). Ganni can already be considered a sustainable brand, although they prefer to identify as ‘responsible’, noting that they are a fashion brand and therefore encourage consumption, which contradicts sustainability (Ganni, 2022). A SWOT analysis of Ganni has been completed on the following page (Table 2) to highlight areas of opportunity and expansion for the brand. This showed that though Ganni already makes large sustainable efforts, there are potential innovations they could embody, for example sustainable bioengineered fabrics and digital expansion. This therefore suggests that the ‘Sustainable Consumption’ lifestyle shift aligns very well with the brand. Additionally looking at the consumer trend canvas (Appendix A), the future innovations of the lifestyle shift focus on the digital aspects, which is a key opportunity for Ganni as well. The reason for Ganni’s success can be accredited to their adaptable business model – reactive approaches taken during the pandemic years, for example introducing sleepwear and loungewear lines, ensured the brands survival during a period of uncertainty (Edited, 2021). This adaptivity makes Ganni perfect for this trend package, as they are a brand open to new innovations.

The brand onion model (figure 13) highlights Ganni’s brand essence, which has been summarised as ‘affordable sustainable luxury’. Key elements of their personality and values that will need to be considered in the trend package are community, confidence, and responsibility (Ganni, 2022). The ‘GanniGirl’ is a community and character created by Ganni to embody their consumer – a confident, playful woman of any demographic (Reffstrup, no date). This fits well with the consumer profile generated for this trend package. The consumers values align with those identified in Ganni’s brand onion (figure 13) and it is clear she would be a Ganni consumer.

Figure 13: Brand Onion, based on Posner, 2015, p158

-

- Focuses on responsibility in 4 pillars –people, planet, product, and prosperity (Ganni, 2021)

Authentic and transparent

Premium quality and materials

- Sense of community through #gannigirls

Strong social media presence

- Recently extended their sizing (De Klerk, 2021)

- Rental service Ganni Repeat (Wright,2019)

S

- Competitors offering similar styles and equally sustainable options at lower price points

- Expensive so less accessible to the masses

- Fast fashion and ultra-fast fashion (e.g. Shein and Ali Express) replicating designs for cheaper

- Weak UK market presence - only 2 stores and both in London

Metaverse and digital expansion

New sustainable technologies e.g. bioengineered fabrics

- Unisex and menswear

- Climate conscious consumers are willing to spend more on sustainable fashion

- Develop a mobile app

TO W

- Brexit affecting imports to UK market could affect supply

- Strong ompetition from similar UK brands like & Other Stories and House of Sunny, and other Scandinavian brands like Saks Potts

- COVID-19 meaning consumers are more frugal and less willing to purchase expensive clothing (Westbrook and Angus, 2021)

trend concept: phygital futures

The trend concept has been titled ‘Phygital Futures’ and embraces a positive outlook to the digital future ahead of us, whilst also considering the sustainable changes needed to ensure our environment can survive for future generations. The world ‘phygital’ refers to the blending of the physical and digital worlds (Maggioni, 2021). The trend will incorporate core elements of the zeitgeist, sustainable consumption, whilst taking inspiration from the metaverse and the digitalisation. The collection will encapsulate the trend through bright, mood-boosting colours inspired by nature, combined with digital-inspired prints, innovative sustainable fabrics, and digitalised omni-channel retailing aspects. New sustainable practices such as digital printing will be used. The use of the word ‘future’ in the title reinforces the future-thinking, sustainable aspect of the trend.

An additional key aspect of the trend concept relates to the outdoor boom seen over the pandemic years (Salpini, 2021). Consumers are spending more and more time outside, exploring and appreciating nature. WGSN additionally notes this trend in relation to fashion as ‘maximalist outdoors’ (Maggioni, 2021). This additionally incorporates the casualisation of fashion following the COVID-19 pandemic. This aspect will be embodied in the silhouettes, fabrics, and details of the trend package. This fits the consumer profile constructed for this trend package as though she is tech-focused and enjoys life’s luxuries, she additionally enjoys spending time outdoors.

The trend concept is a good fit for the brand as it is expanding Ganni’s existing sustainable essence, bringing it into the future by incorporating digital elements. This will help position Ganni above its sustainable competitors who have not yet considered digitalisation. Phygital futures will also engage Ganni’s existing consumer base as it embodies their brand values but could also help the brand expand into a new market and attract a new consumer segment by increasing digitalisation. The trend concept additionally considers the oppression of fashion and individual expression over the pandemic years, and how this has now been liberated (Maggioni, 2021). Consumers are seeking positivity, this will be manifested in the colours, mood, and marketing of the collection.

moodThe mood of the trend package represents the harmony between the physical and digital worlds and how this can assist sustainability efforts. Additionally, the mood will encapsulate the need for positivity following the uncertainty of the pandemic years (Maggioni, 2021). There is a general feeling of optimism and positivity for the future, and this can be expressed and supported through fashion. The mood has been summarised through key words and the mood board shown in figure 15. The key words collaborate all aspects of the ‘phygital futures’ trend discussed in the previous section. At the heart of the collection will be eco-consciousness and sustainability, as this is a core value of the target consumer (Vogue, 2021).

positivity exploration future-thinking self-expression phygital eco-conscious

Figure 15: Phygital Futures Mood mood board (Keith, 2022)

rose

optic white

The colours and colour names selected for the trend package have all been chosen from WGSN’s S/S23 Womenswear

lavender

blue

mist oat milk

Colour forecast (Appendix B). A selection of bright colours and complementary neutrals have been precisely chosen to fit the ‘Phygital Futures’ trend concept. As WGSN notes, ‘uplifting, mood-boosting brights… will appeal to those who spend their time between the physical world and the virtual metaverse’ (Baidoo, 2021). Ganni frequently use bright colours in their collections and therefore the varied selection of brights align well with both the brand and the trend concept. The calming neutral shades help balance and contrast the brights and provide the consumer with some wearable, core wardrobe items.

printsTo go alongside the solid colours in the collection, 3 prints have been selected from WGSN’s catalogue. Using prints means more outfit combinations and versatility between the collection. The 3 patterns are quite different, but each incorporate the colours of the range and fit the futuristic, digital essence due to their abstract styles. These will be used to complement the solid colour pieces in the range. The prints take influence from 2 of WGSN’s forecasted S/S23 print trends – ‘unnatural nature’ and ‘digital cosy’ (Watkins, 2021). Both trends consider the influence of the digital world and the blending of the phygital worlds on print, a key part of the ‘Phygital Futures’ trend concept. Ganni often uses bold prints in their collections so these will fit in well with the rest of the products. Additionally, the consumer uses fashion as a tool of self-expression and to stand out, and bold prints are an excellent way to do this.

mint

16: WGSN, 2021

17: WGSN, 2021

18: WGSN, 2021

fabrics, printing & dyeing

When considering the fabrics suitable for the trend package, sustainability and innovative fabrics will be at the forefront. S/ S23 will see an increase in the already large use of recycled materials in womenswear (Palmer, 2021). Circularity will become the major focus of design (Palmer, 2021). WGSN states that as the phygital worlds blend in 2023, the design process will become effortlessly digitalised and make full use of science and technology (Palmer, 2021). This will be demonstrated through the use of fabrics which are formed through new recycling technologies, like Econyl (Econyl, 2022). Alongside these new fabrics will sit sustainable fabrics that area already used by Ganni, to ensure continuity between their ranges.

Ganni states, in their Responsibility Report (2021), that they intend to implement circularity in their ranges by designing for longevity, using responsible materials that can be recycled. The materials that are selected need to fit these criteria to embody the brand values. Thorough research has been conducted to ensure the most appropriate materials have been selected. Table 3 shows the breakdown of selected fabrics to be used in the collection, and why they have been selected.

Digital Printing

Digital printing is an environmentally friendly method of printing fabric, involving a large ink jet printer which the fabric is fed through (Brady, 2019). It is recommended that this is the method used to print the patterns on the chosen fabrics as it creates less waste and uses less water than traditional printing methods, in keeping with the sustainable essence of the collection.

Dyeing Processes

Textile dyes can be extremely harmful to the environment as the dyeing process uses up a lot of water and the dye effluent ends up in water systems, polluting them (Shahid, 2021). A proposed innovative sustainable alternative is the use of bioengineered bacteria as dyes – bacteria have been genetically modified by scientists to produce a spectrum of dyes that can colour synthetic and natural fabrics (Willis, 2021). This has already been utilized by Puma (Willis, 2021), and would therefore be a great method to use for a sustainable forward-thinking brand like Ganni.

ECONYL® Regenerated Nylon Agraloop™ Biofibre

Econyl is a recycled nylon fabric made from fishing nets, old carpets, and pre-consumer waste (Econyl, 2022). Additionally, Econyl is water-repellent, making it a great fit for the outdoor-wear aspect of the ‘Phygital Futures’ trend. Although the collection is for S/S, as the Ganni consumer is mainly Europe based, this material is appropriate for the cooler, wetter, summer weather. WGSN additionally notes the increase in use of recycled Nylon over recent years (WGSN, 2022). This is a material that has not previously been used by Ganni, but it is believed it will fit in well.

Agraloop is an innovative fiber which recycles food and medicine crop leftovers into fabrics (Circular Systems, 2022). The fabric is 30% CBD hemp biofibre and 70% organic jersey cotton, giving it a lightweight, stretchy feel. This is unique, novel concept of recycling materials to create fabrics, and therefore fits well with the innovative aspect of the trend concept. Ganni already use organic cotton in their collections, so this is a logical advancement in their sustainability efforts (Ganni, 2021).

Lenzing Ecovero Viscose

Lenzing Ecovero Viscose is a sustainable fabric which already makes up 27% of the viscose presently used by Ganni (Ganni, 2021). It is produced from renewable wood sources and is accredited by the NGO canopy for sustainable practices (Lenzing Ecovero, 2022). It has a lower water impact and lower CO2 emissions than regular viscose, making it a fantastic sustainable alternative (Lenzing Ecovero, 2022). It has a fluid, silk-like texture making it great for spring summer (WGSN, 2022).

2022

Figure 19: Funkifabrics, 2022

Figure 20: Infinitedfiber, 2022

Figure 21: Lenzing Ecovero Viscose, 2022

silhouette inspiration

Ganni has a wide product portfolio, with each collection featuring between 10-20 items. As this collection aims to be sustainable, only 9 silhouettes have been chosen in order to discourage over-consumption. The 9 pieces in the collection have been chosen to be worn together and can be dressed up or down. The versatility and wearability embody the ‘Sustainable consumption’ trend. Figure 22 demonstrates some of the initial inspiration when collating the trend package. The silhouettes themselves take inspiration from the outdoor-wear trend, but also have a futuristic element to them, which incorporates the essence of the metaverse and digitalisation. As the target consumer is UK based, the silhouettes selected are appropriate for the varied climate in of spring and summer, with trousers and tops of varied lengths. The flowy silhouettes also help to ensure versatility of the pieces no matter the weather.

chosen silhouettes

details & trims

The details and trims for this trend package will take inspiration from the ‘Maximalist Outdoors’ trend (Barnes, 2021; Maggioni, 2021). A few of the silhouettes chosen feature ties, zips, toggles, and cords, and the designs of these will take inspiration from the images in figures 3236. This encapsulates the ‘exploration’ mood of the trend concept. The details balance functionality with design. The bright colours of the collection will be used for the details to continue the positive mood.

Figure 37: Ganni, 2022

Figure 32: YKK, n.d.

Figure 33: Paracord creations, n.d.

Figure 36: Renshaw-Smith, n.d.

Figure 34: Paracord Planet, 2022

Figure 35: MacCulloch and Wallis, 2022.

range plan

TIE SLEEVE BLOUSE

Description: Long balloon sleeve blouse with ruching and ties at wrist.

Material: Lenzing Ecovero Viscose

Composition: 90% Lenzing Ecovero

Viscose, 10% Elastane

CUT OUT TANK TOP

Description: Fitted tank top with cut out detailing at the shoulders and waist.

Material: Agraloop Biofibre

Composition: 70% Agraloop Biofibre, 30% Elastane

ZIP LIGHTWEIGHT JACKET

STRAIGHT CARGO TROUSERS

Description: Lightweight zip up jacket with wide sleeves and hood

Material: Econyl Regenerated Nylon

Composition: 100% Econyl Regenerated Nylon

Description: Straight leg cargo trousers with pocket detailing, adjustable toggles at waist and zip detail at ankles.

Material: Econyl Regenerated Nylon

Composition: 90% Econyl Regenerated Nylon, 10% Elastane

RELAXED FIT SHORTS

Description: Tie waist relaxed fit shorts with adjustable length popper detail.

Material: Lenzing Ecovero Viscose

Composition: 90% Lenzing Ecovero Viscose, 10% Elastane

ZIP DETAIL MIDI SKIRT

Description: Nylon balloon midi skirt with expandable zip detail, adjustable waist and hem, and large pocket.

Material: Econyl Regenerated Nylon

Composition: 85% Econyl Regenerated Nylon, 15% Elastane

TOGGLE MAXI DRESS

NYLON MIDI DRESS

Description: Lightweight maxi dress with toggle detailing at waist and wrists.

Material: Lenzing Ecovero Viscose

Composition: 90% Lenzing Ecovero Viscose, 10% Elastane

Description: Nylon midi dress with toggle detailing at underbust, knees and shoulder

Material: Econyl Regenerated Nylon

Composition: 95% Econyl Regenerated Nylon, 5% Elastane

MINI DRESS

Description: A-Line mini dress with contrast zip and circular hardware. Material: Agraloop Biofibre

Composition: 80% Agraloop Biofibre,

Elastane

retail & experiential suggestions

The retail and experiential aspects of the trend package will effectively communicate the mood and message of the trend concept. In particular, the aim for this section will be to highlight the ‘Phygital’ aspect and bring the retail environment into the future with new, exciting technologies.

Virtual Fashion Show

QR Code Labels

QR codes will be presented on the labels of each garment in the collection. When consumers scan, they will be able to access a wealth of information about the product they just bought, including traceable supply chains and fabric origins. This will help position Ganni as a leader in sustainability as they are offering their consumers full transparency and traceability (Rubin, 2021).

Ganni Repeat

Ganni Repeat is Ganni’s own clothing rental system (Ganni, 2022). To ensure sustainable consumption, the collection will be exclusively available to rent and through DressX. This ensures that minimal clothing is being produced, keeping to Ganni’s ‘responsibility’ promise. As the target consumer values sustainability this is something she would be interested in.

The collection will be shown through a virtual fashion show as opposed to one in real life as Ganni have done before. This will help reduce the carbon footprint of the brand (Benson, 2021). The key theme of the fashion show styling will be the blending of the physical and digital worlds, so a digitally constructed, futuristic natural landscape is recommended as the backdrop.

AR Fitting Rooms

Augmented reality fitting rooms allow consumers to live try on an item of clothing virtually, using a mirror with an integrated application or a smartphone app (Dopson, 2021). This will be especially helpful as the collection is only available to rent and virtually, through collaboration with DressX. This means that consumers are able to see what the item looks like on them before investing in it as a rental or virtual piece. This service will be available in Ganni stores, but also through a smartphone app so they can try on at home.

Collaboration with DressX

DressX is an innovative retailer of digital clothing (DressX, 2022). They aim to reduce the amount of apparel items produced through creating clothing that exists purely digitally (DressX, 2022). A collaboration with DressX for this collection will really make Ganni stand out amongst competitors and reinforce Ganni’s sustainable message. This additionally reinforces the ‘Phygital Futures’ trend concept.

Omnichannel Marketing Campaign

The promotional campaign to launch the collection will be promoted in stores (although the collection will only be able to rent, not purchase), on social media and through traditional billboard marketing. The main drive will be through social media, as McKinsey notes the current importance and power of digital marketing (Gonzalo et al. 2020).

38: R Collective, 2022

Figure 39: Three, 2020

Figure 40: FXGear, 2018

Figure 41: DressX, 2022

appendices

Appendix A: Consumer Trend Canvas (Based on TrendWatching,

Appendix B: Women’s Colour Forecast S/S23 (Baidoo, 2021)

reference list figure list

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Watkins, H. 2021. Women’s Prints & Graphics Forecast S/S23: Full Spectrum. [Online]. [Accessed 18 April 2022]. Available from: https://www.wgsn.com/fashion/article/91409 Westbrook, G. and Angus, A. 2021. Top 10 Global Consumer Trends 2021. London: Euromonitor International

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Figure 1: Ganni, 2021. Ganni love forever. [Online]. [Accessed 14 April 2022]. Available from: https://www.ganni.com/ en-ie/ganni-love-forever-live.html

Figure 2: Jakob Landvik, 2021. Ganni Copenhagen Spring 2021. [Online]. [Accessed 14 April 2022]. Available from: https://www.vogue.com/fashion-shows/copenhagen-spring-2021/ganni

Figure 3: Nordberg, P., 2019. It’s time for fashion brands to lead the charge in sustainability. [Online]. [Accessed 13 April 2022]. Available from: https://www.futurebrand.com/news/2019/its-time-for-fashion-brands-to-stop-playing-it-safe-andlead-the-charge-in-sustainability

Figure 4: Rogers, E. M. 1962. Diffusion of innovations curve. New York: The Free Press

Figure 5: Getty. 2021. Ganni is bringing back some of its most iconic dresses. [Online]. [Accessed 14 April 2022]. Available from: https://www.marieclaire.co.uk/news/fashion-news/ganni-the-outnet-728938

Figure 6: Kulikauskiene, R. 2020. Copenhagen Fashion Week. [Online]. [Accessed 14 April 2022]. Available from: https:// www.vogue.co.uk/fashion/gallery/ganni-street-style

Figure 7: Keith, M. 2022. Consumer mood board. Leeds: University of Leeds

Figure 8: Jakob Landvik, 2021. Ganni Copenhagen Spring 2021. [Online]. [Accessed 14 April 2022]. Available from: https://www.vogue.com/fashion-shows/copenhagen-spring-2021/ganni

Figure 9: Christensen, Y. 2020. Ganni Spring 2020 Finale. [Online]. [Accessed 2 May 2022]. Available from: https:// fashionista.com/2019/08/ganni-spring-2020-review

Figure 10: Ganni. No date. Ganni Repeat. [Online]. [Accessed 2 May 2022]. Available from: https://www.coggles.com/life/ fashion/sustainability-in-fashion-with-ganni/

Figure 11: Ganni, 2019. Ganni unveils london flagship store. [Online]. [Accessed 2 May 2022]. Available from: https:// showstudio.com/news/ganni-unveils-london-flagship-store

Figure 12: Ganni, 2021. Ganni is introducing extended sizing for the first time. [Online]. [Accessed 2 May 2022]. Available from: https://www.harpersbazaar.com/uk/fashion/fashion-news/a37925468/ganni-extended-sizing/

Figure 13: Posner, H. 2015. Brand Onion. [Diagram]. In: Posner, H. 2015. Marketing Fashion: Strategy, Branding and Promotion. 2nd ed. London: Laurence King

Figure 14: Ganni, 2021. PS21. [Online]. [Accessed 2 May 2022]. Available from: https://www.vanityfair.com/ london/2020/11/ganni-founder-ditte-reffstrup-shares-her-inspirations

Figure 15: Keith, M. 2022. Phygital Futures Mood Board. Leeds: University of Leeds

Figure 16: WGSN Original CADs/Flats. 2021. Ombre/Tie-Dye. [Online]. [Accessed 14 April 2022]. Available from: https:// www.wgsn.com/library/results/77fbd126ab595504c5270b0485befe0c

Figure 17: WGSN Original CADs/Flats. 2021. Outer Space. [Online]. [Accessed 14 April 2022]. Available from: https://www. wgsn.com/library/results/77fbd126ab595504c5270b0485befe0c

Figure 18: WGSN Original CADs/Flats. 2021. Abstract. [Online]. [Accessed 14 April 2022]. Available from: https://www. wgsn.com/library/results/77fbd126ab595504c5270b0485befe0c

Figure 19: Funkifabircs, 2021. RENEW PRIME ECONYL REGENERATED STRETCH NYLON URBAN. [Online]. [Accessed 2 May 2022]. Available from: https://www.funkifabrics.com/product/renew-prime-econyl-regenerated-stretch-nylon-urban

Figure 20: InfinitedFiber, 2022. Agraloop biofiber. [Online]. [Accessed 2 May 2022]. Available from: https://infinitedfiber. com/our-technology/

Figure 21: Lenzing Ecovero, 2022. Lenzing Ecovero. [Online]. [Accessed 2 May 2022]. Available from: https://yaro-tex.pl/ ecovero-viscose-fabric/

Figure 22: Keith, M. 2022. Silhouette Inspiration Mood Board. Leeds: University of Leeds

Figure 23: WGSN Original CADs/Flats. 2021. Blouse. [Online]. [Accessed 14 April 2022]. Available from: https://www.wgsn. com/library/results/922c45a21aa09a4b123904f3af4e3847

Figure 24: WGSN Original CADs/Flats. 2021. Top. [Online]. [Accessed 14 April 2022]. Available from: https://www.wgsn. com/library/results/922c45a21aa09a4b123904f3af4e3847

Figure 25: WGSN Original CADs/Flats. 2021. Skirt. [Online]. [Accessed 14 April 2022]. Available from: https://www.wgsn. com/library/results/922c45a21aa09a4b123904f3af4e3847

Figure 26: WGSN Original CADs/Flats. 2021. Dress. [Online]. [Accessed 14 April 2022]. Available from: https://www.wgsn. com/library/results/922c45a21aa09a4b123904f3af4e3847

Figure 27: WGSN Original CADs/Flats. 2021. Trousers. [Online]. [Accessed 14 April 2022]. Available from: https://www. wgsn.com/library/results/922c45a21aa09a4b123904f3af4e3847

Figure 28: WGSN Original CADs/Flats. 2021. Shorts. [Online]. [Accessed 14 April 2022]. Available from: https://www.wgsn. com/library/results/922c45a21aa09a4b123904f3af4e3847

Figure 29: WGSN Original CADs/Flats. 2021. Jacket. [Online]. [Accessed 14 April 2022]. Available from: https://www.wgsn. com/library/results/922c45a21aa09a4b123904f3af4e3847

Figure 30: WGSN Original CADs/Flats. 2021. Dress. [Online]. [Accessed 14 April 2022]. Available from: https://www.wgsn. com/library/results/922c45a21aa09a4b123904f3af4e3847

Figure 31: WGSN Original CADs/Flats. 2021. Dress. [Online]. [Accessed 14 April 2022]. Available from: https://www.wgsn. com/library/results/922c45a21aa09a4b123904f3af4e3847

Figure 32: YKK. No date. YKK zip. [Online]. [Accessed 2 May 2022]. Available from: https://www.wgsn.com/fashion/ article/91166

Figure 33: Paracord Creations. No date. Paracord. [Online]. [Accessed 2 May 2022]. Available from: https://www.wgsn. com/fashion/article/91166

Figure 34: Paracord Planet. 2022. Lavender- 95 Paracord. [Online]. [Accessed 2 May 2022]. Available from: https://www. paracordplanet.com/lavender-95-paracord/

Figure 35: MacCulloch and Wallis. 2022. Double Cord Lock. [Online]. [Accessed 2 May 2022]. Available from: https://www. macculloch-wallis.co.uk/p/9937/cord-ends-locks/mw/double-cord-lock-15mmx6mm

Figure 36: Renshaw-Smith, C. No date. Trim. [Online]. [Accessed 2 May 2022]. Available from: https://www.wgsn.com/ fashion/article/91166

figure list (continued)

Figure 37: Ganni. 2022. Ganni home. [Online]. [Accessed 2 May 2022]. Available from: https://www.ganni.com/en-gb/ home

Figure 38: R Collective. 2022. QR Code labels. [Online]. [Accessed 2 May 2022]. Available from: https://www.qrcodetiger.com/qr-codes-in-fashion#:~:text=The%20QR%20code%20on%20clothes,production%20process%20of%20the%20 garment.

Figure 39: Three, 2020. Three unveils immersive 5G show at London Fashion Week. [Online]. [Accessed 2 May 2022].

Available from: https://www.campaignlive.co.uk/article/three-unveils-immersive-5g-show-london-fashion-week/1674056

Figure 40: FXGear, 2018. FXMirror. [Online]. [Accessed 2 May 2022]. Available from: https://www.trendhunter.com/trends/ fx-gear

Figure 41: DressX. 2022. About. [Online]. [Accessed 2 May 2022]. Available from: https://dressx.com/pages/about

Figure 42: Ganni, 2019. Ganni’s New Store Is an Ode to Scandinavian Sustainability [Online]. [Accessed 2 May 2022].

Available from: https://www.architecturaldigest.com/story/gannis-new-store-is-an-ode-to-scandinavian-sustainability

Figure 43: Ganni, 2019. Ganni Releases Spring 2019 Capsule with MyTheresa. [Online]. [Accessed 2 May 2022]. Available from: https://www.teenvogue.com/story/ganni-spring-2019-capsule-mytheresa

list of tables

Table 1: Keith, M. 2022. Consumer Profile. Leeds: University of Leeds

Table 2: Keith, M. 2022. SWOT analysis. Leeds: University of Leeds

Table 3: Keith, M. 2022. Fabrics part 1. Leeds: University of Leeds

Milla Keith

Critical Reflection

End Week 14

Critical reflection: Wins, challenges, fails….

Challenges:

• This week we were properly introduced to the project. I felt nervous as the examples were incredible and I fear I couldn’t do work to that visual standard

• Felt a bit confused over what was expected of the assignment

• Felt unhappy with the work completed in semester 1 and therefore stressed as I have a lot of research to do.

Wins:

• Completed trend canvases for 2 of the trends I identified in the semester 1 group project

Fails:

• No fails as of yet!

End Week 15

Critical reflection: Wins, challenges, fails….

Challenges:

• This week we developed a consumer profile , however I did not have time to complete it in the seminar.

Wins:

• Asked questions in seminar after reading over examples and marking criteria so I knew exactly what I needed to do

Fails:

• Have not yet picked a brand between Ganni and With Jean

End week 16

Critical reflection: Wins, challenges, fails….

Challenges:

• Did not manage to complete consumer mood board, may need to postpone this until easter break now

• This week focused on brand selection so helped me brainstorm some more ideas for each.

Wins:

• Chose ‘digital era’ as lifestyle shift I will focus the project on

• Finalised customer profile

Fails:

• Still have not chosen a brand! Need to stop faffing, feel like I am worrying too much over the final details

Your Actions: What are you going to do next? How do you respond the issues from the past week?

• Read through the examples to explore the depth of research

• Read through marking criteria to fully understand expectations

• Brainstorm some brand ideas

Your Actions: What are you going to do next? How do you respond the issues from the past week?

• Continue working on customer profile

• Create a consumer mood board

• Re-visit research from semester 1 to decide which lifestyle shift to focus on

Your Actions: What are you going to do next? How do you respond the issues from the past week?

• Decide on a brand and trend concept ready to look at mood and colour next week

• Feel like I am losing momentum from the start of term with university work

End week 17

Critical reflection: Wins, challenges, fails….

Challenges:

• This week we looked at mood and colour. I still hadn’t picked my brand for the seminar so I felt stressed and pressured to do so, however this finally drove me to stop procrastinating

Wins:

• Decided on a trend concept metaverse exploration, focused on the digitalisation of the world and the excitement for the future. Sustainability is a core focus too, as we need to make changes to ensure bright futures

• Finally chose a brand I went with Ganni. The lifestyle shift and trend concept fit well with the brand

Fails:

• Looked at mood and colour but as I had not decided on a brand, I didn’t get time to decide specifically.

End week 18

Critical reflection: Wins, challenges, fails….

Challenges:

• This week in our contact hours we looked at yarns and materials

Wins:

• This week I really knuckled down and wrote up all of phase 1.

Fails:

• Due to focusing on phase 1, I have not done anything on yarns and materials, however I feel much more on top of the project which is good.

End week 19

Critical reflection: Wins, challenges, fails….

Challenges:

• This week we looked into silhouettes

Wins:

• I really enjoyed this week and picked my key silhouttes alongwith the yarns I will be using. I gained momentum with the project again this week.

Fails:

• Still have not completed mood. Will look into this when I create my final trend package now.

Your Actions: What are you going to do next? How do you respond the issues from the past week?

• I need to write up phase 1 of the project, I fear this will require a lot of extra research as I was not happy with the depth of research from the semester 1 project

• Need to decide on mood and colour for the collection

Your Actions: What are you going to do next? How do you respond the issues from the past week?

• Look more into mood, colour, yarns, and materials

Your Actions: What are you going to do next? How do you respond the issues from the past week?

• I have been working hard this week so this needs to continue to next.

• I need to prepare my presentation for next week

End week 20

Critical reflection: Wins, challenges, fails….

Challenges:

• Felt nervous for the presentation in week 22

Wins:

• Created a rough layout for the design of my trend package which I am happy with

Fails:

•

End of week 21

Critical reflection: Wins, challenges, fails….

Challenges:

• This week we had an independent study week where I continued exploring everything from phase 2 in more detail.

Wins:

• Practiced my presentation

Fails:

• Did not utilise drop in sessions

End week 22

Critical reflection: Wins, challenges, fails….

Challenges:

• Had left quite a lot of my presentation until the last minute so I felt pushed for time. Need to improve on speed and productivity.

Wins:

• Pleased with the ideas I have in my presentation and feel like everything is coming together

Fails:

• Missed my individual feedback meeting due to a personal scheduling clash.

End week 23

Your Actions: What are you going to do next? How do you respond the issues from the past week?

•

Create presentation outline and summarise what I have written so far into bullet points

Your Actions: What are you going to do next? How do you respond the issues from the past week?

• Finalise presentation for the feedback session

Your Actions: What are you going to do next? How do you respond the issues from the past week?

Over the easter break I aim to:

• Write up section 2

• Write up section 3

• Put everything into InDesign

• Aim to have all writing and most of design done by first week back so I can get in depth feedback

Critical reflection: Wins, challenges, fails….

Your Actions: What are you going to do next? How do you respond the issues from the past week? This week I completed my range plan, and completed the retailing section.

Upon reflection, I should have booked a feedback slot with one of the tutors to check how I was getting on and give myself more confidence with the project I had done most of what I aimed to do at the end of week 22, however I had not yet put everything into indesign.

End week 24

Critical reflection: Wins, challenges, fails….

• Read over report to check I have all information I need

Check references

• Put everything into indesign

Your Actions: What are you going to do next? How do you respond the issues from the past week?

Challenges:

Struggling to find appropriate images for mood boards

Finalise images and sort out image references

Cut down text into tables

Wins:

Main body of text is all done

Put everything into indesign Fails:

• Have not finalised my images and mood boards for my trend package

• I am over the word count to reduce this I am going to put some text into tables