Velocity

COLLECTION: THE MAKING

BY TESSA HALLIWELL

EXPERIENCE PLATFORM

ROBLOX HOPES THAT THE GUCCI GARDEN, WHICH SHOWS OFF ITS LATEST DEVELOPER TOOLS AND LIGHTING TECHNOLOGY, WILL ATTRACT A NEW AUDIENCE AND ENCOURAGE OTHER DEVELOPERS TO DIVE IN. “WHEN CHRISTINA [WOOTTON] AND HER TEAM BROUGHT THE OPPORTUNITY TO US, WE THOUGHT A LOT ABOUT HOW WE COULD TAKE A BRAND THAT IS UBER LUX IN THE REAL WORLD AND TRANSLATE INTO THE METAVERSE?” SAYS ROBLOX’S TUCKER, WHO ALSO WORKED ON THE LIL NAS X CONCERT. “HOW COULD WE CREATE AN EXPERIENCE THAT EXEMPLIFIED WHAT GUCCI STOOD FOR AND BRING IN EXISTING AND NEW USERS INTO THE SPACE? IT’S NOT JUST ABOUT GAMES.” BRANDS CAN PARTICIPATE IN A NUMBER OF WAYS, WOOTTON SAYS. AN OPEN-MINDED ATTITUDE IS BENEFICIAL. ALREADY, MANY CREATORS HAVE CREATED DIGITAL VERSIONS OF LUXURY GOODS THAT ARE NOT FORMALLY ENDORSED BY BRANDS. GOING FORWARD, WOOTTON NOTES THAT BRANDS ARE BEGINNING TO CONSIDER CREATING METAVERSE TEAMS INTERNALLY, JUST AS THEY DID WITH SOCIAL MEDIA TEAMS ROBLOX MAKES IT EASY AND RELATIVELY LOW COST FOR CREATORS TO DEVELOP CONTENT, MEANING THE BARRIER TO ENTRY IS LOW AND A USEFUL FORUM TO TEST THE WATERS, SAYS CATHY HACKL OF FUTURE METAVERSE LABS. MEANWHILE, HACKL DISHES OUT HER KIDS’ ALLOWANCES IN THE FORM OF “ROBUX”. INSTEAD OF $10, THEY RECEIVE AN APPROXIMATE EQUIVALENT IN ROBLOX CURRENCY. SHE RECENTLY PAID $200 IN ROBUX FOR A STELLA MCCARTNEY BAG AND $90 FOR A PAIR OF SUNGLASSES, WHICH EQUATES TO ABOUT $2 AND $ 90 RESPECTIVELY IN DOLLARS WHILE YOUNGER PLAYERS MIGHT NOT BE INTERESTED IN MOST LUXURY BRANDS, THEY DO CARE ABOUT THE LIKES OF SUPREME AND GUCCI, SHE SAYS. “MY KIDS DON’T WANT COLD, HARD CASH. THEY WANT DIGITAL CURRENCY. AND IF THEY BLOW $200 ROBUX ON A STELLA MCCARTNEY PURSE? THAT’S THEIR PREROGATIVE.” THE FASHION INDUSTRY’S UNSUSTAINABLE BUSINESS MODEL REQUIRES IMMEDIATE CHANGES TO COMBAT THE NEGATIVE IMPACT OF OVERCONSUMPTION COMPREHENSIVE DIGITAL TRANSFORMATION COULD OFFER ONE PATHWAY TO SUSTAINABLE FASHION BY ENABLING FULLY DIGITAL DECISION-MAKING AND DATA-BACKED COLLABORATION, AS WELL AS UNLOCKING ON-DEMAND, LOCALISED MANUFACTURING HUBS. MATERIALS WASTE, POOR FORECASTING, AND THE LIMITS OF TRADITIONAL MANUFACTURING HAVE CREATED AN UNSUSTAINABLE BUSINESS MODEL IN THE FASHION INDUSTRY. THIS IS A CALL TO ACTION TO MAKE IMMEDIATE CHANGES AND REVERSE THE NEGATIVE IMPACT OF OUR FASHION OVERCONSUMPTION ON THE GLOBAL ENVIRONMENT ACCORDING TO RECENT FINDINGS PUBLISHED BY THEROUNDUP.ORG: THE WORLDWIDE APPAREL INDUSTRY PRODUCED AN ESTIMATED 92 MILLION TONS OF TEXTILE WASTE IN 2022 ALONE. GARMENT PRODUCTION AND TRANSPORTATION ACCOUNT FOR APPROXIMATELY 10% OF GLOBAL CO2 EMISSIONS. CONVENTIONAL CLOTHING PRODUCTION WASTES UP TO 21% OF FABRIC IN THE CUTTING PROCESS. AT THE SAME TIME, 15-20% OF CLOTHES ARE WASTED IN UNSOLD INVENTORY, AND 60% OF PURCHASED CLOTHES ARE DISCARDED AFTER JUST ONE YEAR THE TEXTILE INDUSTRY’S SUPPLY CHAIN CAN ONLY BE DESCRIBED AS COMPLEX, MAKING FASHION VALIDATION CHALLENGING FOR DESIGNERS AND ENGINEERS. BUT CENTURIES LATER—MANY BELIEVE THERE IS HOPE. WE ARE CURRENTLY EXPERIENCING A SEISMIC SHIFT IN THE DEMAND FOR INCREASED EFFICIENCY AND TRANSPARENCY DRIVEN BY POLICYMAKERS, MATERIALS SUPPLIERS, PRODUCTION OPERATIONS, DISTRIBUTORS, AND CUSTOMERS. AND THE INDUSTRY’S TRANSFORMATION INTO A VERTICALLY ORGANISED, SUSTAINABLE VALUE CHAIN IS DEPENDENT ON DIGITALISATION MOVING FORWARD, IN ORDER FOR COMPANIES TO COMPETE IN THE TEXTILE INDUSTRY, THEY NEED TO LEVERAGE THE DEPLOYMENT OF DIGITAL TECHNOLOGIES AND MISSION CRITICAL DATA. NEW-AGE CONSUMERS WANT SUSTAINABLY PRODUCED PRODUCTS, DRIVING CHANGE IN BUSINESSES’ BUYING HABITS TO MEET SUCH DEMAND. BRANDS AND RETAILERS ARE ALREADY BEING ASKED TO SHOW HOW THEY ARE TACKLING CLIMATE CHANGE, ENSURING COMPLIANCE WITH SOCIAL AND HUMAN RIGHTS REQUIREMENTS NOT JUST IN THEIR OWN ORGANISATIONS, BUT MORE IMPORTANTLY, FOR THE ENTIRE LOGISTICS NETWORK FROM FIBRE TO FINISHED PRODUCT. COMPLETE DIGITALISATION WILL CHANGE THE SUSTAINABILITY AND RESOURCE EFFICIENCY IN TEXTILE PRODUCTION BY MAKING SUPPLY CHAINS AND PRODUCTION PROCESSES TRANSPARENT AND THEREBY, EASIER TO MAINTAIN THROUGH CLOUD-BASED COMMUNICATION SYSTEMS. DIGITALISATION IS NECESSARY TO UNLOCK ON-DEMAND PRODUCTION THROUGH LOCALISED HUBS THIS WILL BRING MANUFACTURING BACK ONSHORE TO NEIGHBOURING COMMUNITIES AND CUT THE CARBON FOOTPRINT OF TRANSPORTING MATERIALS AROUND THE GLOBE— BETTER SERVING CUSTOMERS, DESIGNERS, AND BRANDS, WHILE REDUCING WASTE DURING THE DESIGN ITERATION AND MANUFACTURING PROCESS (VARIANT3D). DIGITAL TRANSFORMATION PROVIDES AN END-TO-END SOLUTION STREAMLINING THE COLLABORATION BETWEEN STAKEHOLDERS ACROSS THE GLOBE, ENABLING EVERYONE TO WORK TOGETHER MORE EFFICIENTLY AND ULTIMATELY MORE PROFITABLY. A SWITCH TO DIGITAL ASSETS MEANS A MORE AUTOMATED WORKFLOW — INCREASING ACCURACY, REDUCING COSTS, AND ACCELERATING PRODUCT PRODUCTION. FOR INSTANCE, IT ENABLES ANY 3D MODEL TO BE CONVERTED INTO KNIT-TO-SHAPE PROGRAMS, CREATING VIRTUAL PROTOTYPES FIRST. DESIGNERS CAN WORK ON CREATIONS ONLINE, THEN APPROVE AND TEST THEM. VIRTUAL TRY-ON TECHNOLOGY IS ALREADY REVOLUTIONISING THE ENTIRE SHOPPING EXPERIENCE, SUPPORTING CUSTOMISED SIZING, COLOUR SELECTION, AND ON-DEMAND PRODUCTION; BENEFITING BOTH CONSUMERS AND RETAILERS IT PROVIDES A RICH AND COMPELLING INTERACTIVE EXPERIENCE WHILE DRAMATICALLY REDUCING WASTE WITHIN THE INDUSTRY. AND WHAT I HAVE REALISED IS ROBLOX IS REALLY EYE OPENING TO ME, AND HELPING ME PROVE MY POINT OF THE GAP IN THE MARKET FOR A DIGITAL SPACE FOR LUXURY FASHION.

FASHION LUXURY'S DIGITAL JOURNEY AND WHAT TO EXPECT NEXT

BUYING A DIGITAL OUTFIT MIGHT SEEM RIDICULOUS TO SOME, BUT FOR MANY OTHERS, THIS IS JUST THE NATURE OF THE GAME. THIS DISCOURSE AROUND THE IMPLICATIONS OF DIGITAL FASHION IS NOT NEW. THE SEEDS OF THE TREND, SUBTLE AND SLOW-MOVING BUT THE SAME TREND NEVERTHELESS, WERE SOWN IN THE EARLY 2010S THIS MIX OF TECHNOLOGICAL INNOVATIONS AND THE BACKDROP OF THE GLOBAL SITUATION THAT WAS RAPIDLY UNFOLDING PAVED THE WAY FOR THE EMERGENCE AND NOTORIETY OF THE WEB3, AT LEAST THE PROSPECT OF IT HOW IT ALL STARTS DIGITAL FASHION – AND THE CONSEQUENCES AND IMPLICATIONS IT BROUGHT WITH IT – TRULY TOOK OFF IN 2015. DESIGNERS BEGAN CREATING NEW DIGITAL COLLECTIONS AND REPLICAS OF REAL CATWALK STYLES, WITH CAT TAYLOR LEADING THE TREND. THE 3D DESIGNER CREATED THE DIGI-GXL PROJECT, BRINGING THE BRANDS BALENCIAGA, GUCCI AND OFF-WHITE ONLINE FOR THE FIRST TIME AND SO, GENTLY, THE MOVEMENT STARTED TWO YEARS LATER, THE APP BITMOJI, ALLOWED USERS TO DRESS UP THEIR BITMOJIS USING CLOTHES FROM REAL FASHION BRANDS. AT THE SAME TIME, BACK IN 2016, TREVOR MCFEDRIES AND SARA DECOU – FOUNDERS OF THE ROBOTICS START-UP BRUD – CREATED THE FIRST DIGITAL INFLUENCER, LIL MIQUELA, A COMPLETELY DIGITAL PERSONA AND DEEPFAKE WHO RENDERS HUMAN PHYSICAL REALITY OBSOLETE IN 2018, THE VIRTUE AGENCY – WHICH WORKS ON PROJECTS FOR THE TECH INDUSTRY’S LARGEST COMPANIES – AND THE SCANDINAVIAN BRAND CARLINGS SOLD CLOTHES DIGITALLY FOR THE FIRST TIME. TESLA TWEETED PICTURES OF THE DIGITAL CYBERTRUCK SHOES THAT BECAME AN INTERNET HIT IN 2020, FUELING DEMAND FOR THE REAL ITEM. AT THE START OF THE PANDEMIC, IN 2020, THE FIRST DIGITAL FASHION SHOW TOOK PLACE, ORGANISED BY EPHESUS IT WAS BROADCAST VIA A LIVESTREAM PLATFORM, AND QUICKLY BECAME NEWS. IT INTRODUCED THE VERY IDEA OF DIGITAL FASHION TO A WIDER AUDIENCE. THE DEMOCRATISATION OF A CONCEPT THAT HAD BEEN OUT OF REACH FOR MANY, OR EVEN FOR JUST ABOUT ANYONE, BECAME A MASSIVE TREND IN THE CONTEXT OF COVID-19. THE PANDEMIC KEPT PEOPLE HOME AND BROUGHT A HUGE DEMAND FOR DIGITAL FASHION AS A SUBSTITUTE FOR VIRTUAL REALITY: IN SHORT, TO REMAIN CONNECTED TO THE OUTSIDE WORLD AND FIND A CREATIVE OUTLET.

THESE BRANDS AND DESIGNERS STARTED ISSUING PIECES AND PRODUCTS THAT HAVE NO TANGIBLE EXISTENCE – THE FIRST TIME IN HUMAN HISTORY WHERE PEOPLE BOUGHT VIRTUAL GOODS THAT DON’T PHYSICALLY EXIST THE TERM DEMATERIALISATION REFERS TO THE MOVEMENT OF TANGIBLE ITEMS AND GOODS TO AN INTANGIBLE FORMAT; LITERALLY TAKING THESE PRODUCTS TO THE CLOUD AND STRIPPING IT OF WHAT IT ACTUALLY IS – WHICH IS A PHYSICAL, MATERIAL MATERIAL OF OUR WORLD. WHEN IT COMES TO DIGITAL FASHION, THE TERM REFERS TO THE MOVEMENT OF REALWORLD ITEMS AND GARMENTS FROM MATERIAL EXISTENCE TO A FOUR-DIMENSIONAL VIRTUAL WORLD IT ISN’T MERELY A METAL ON THE ENVIRONMENT, IT STARTS A NEW WAVE OF CREATIVITY, WHERE LIMITATIONS OF THE MATERIAL WORLD FUELS INVENTION IN A NEW SPACE, BEYOND AND WITH A NEWFOUND BREATH OF FREEDOM DIGITAL FASHION ‘OPENED UP THE GEOGRAPHICAL AND PHYSICAL BARRIERS’ AND MADE THE LUXURY PRODUCT ACCESSIBLE TO A GLOBAL AUDIENCE FURTHERMORE, DEMATERIALISED FASHION MAKES THE SPACE FOR THE NEW DIGITAL CREATOR TO EXPLORE AND PRODUCE IN A WAY THAT HAS NOT PREVIOUSLY EXISTED IN HUMAN CREATORSHIP. ‘EVERYONE WHO HAS ACCESS TO THE INTERNET CAN NOW VIRTUALLY ATTEND THE VIRTUAL FASHION SHOWS,’ SAYS LESLIE HOLDEN, THE CO-FOUNDER OF THE DIGITAL FASHION GROUP, A MEDIA AND EDUCATION GROUP THAT TRAIN FASHION PROFESSIONALS FOR THE DIGITAL ERA. ‘AND LUXURY BRANDS CAN NOW CURATE LIMITED-EDITION DIGITAL ITEMS, CREATING MORE BRAND LOYALTY.’ IN THE WORLD OF DIGITAL FASHION, NOT ONLY DOES THIS RISE TAKE INTO ACCOUNT THE ONGOING ENVIRONMENTAL CONCERNS OF FASHION’S GROWTH, THIS NEW SPACE CATALYSES A NEW WAVE OF CREATIVITY BY ALLOWING THE LIMITATIONS OF THE MATERIAL WORLD TO FUEL INVENTION IN A NEW SPACE, BEYOND, WITH A NEWFOUND BREATH OF FREEDOM. WHETHER THEY ARE GLOBALISED FASHION BRANDS WITH A HISTORY DATING BACK YEARS AND SOMETIMES DECADES, OR YOUNG BRANDS JUST TAKING THEIR FIRST PLUNGE ON THE FASHION TIMELINE, THE VISIBILITY AND REACH OF THEIR OFFERING IS MADE MORE ACCESSIBLE, AVAILABLE TO THE POTENTIAL AUDIENCE, THROUGH THEIR VIRTUALITY. AS A MEDIUM, DIGITAL FASHION AND ACCESSORIES ALLOW USERS TO EXPRESS THEIR ONLINE PERSONAS FREELY, WITHOUT PURCHASING INTO ONE SET TEMPLATE OR ANOTHER, WITHOUT BEING BOUND INTO A FINITE NUMBER OF OPTIONS AS WITH THE TRADITIONAL FORMAT THIS IS IMPORTANT, AS THE NEW DIGITAL SPACE OFFERS A CANVAS FOR SELF-EXPRESSION BEYOND THE BOUNDARIES OF THE FASHION INDUSTRY. YET DIGITAL COUTURE AND WEARABLES MEAN MORE THAN SARTORIAL SELF-EXPRESSION BLOCKCHAIN AND ITS DIGITAL COLLECTIBLES STILL HAVEN’T REACHED THEIR FULL POWER. PUT TOGETHER UNDER THE NOTION OF DIGITAL FASHION AND BEAUTY PRODUCTS, THIS STRATEGY HELPS TO PROPEL THESE BRANDS INTO A LARGER GEOGRAPHICAL AUDIENCE AND A BUZZ AROUND THAT COMMUNITY, WHETHER THEY ARE GLOBALISED MULTIBILLION-DOLLAR BRANDS SUCH AS THE GERMAN SPORTSWEAR CONGLOMERATE ADIDAS OR YOUNG BRANDS TRYING THEIR LUCK ON THE FASHION TIMELINE ON 17 DECEMBER 2021, ADIDAS RELEASED A COLLECTION OF VIRTUAL FOOTWEAR, DROPPED AS DIGITAL COLLECTIBLES. IT MAKES SENSE THAT ADIDAS WOULD CAPTURE THE ATTENTION OF THE WEB3 COMMUNITY AS WELL AS PRIMARILY THE METAVERSE FASHION AND BEAUTY SPACE – NOT JUST BECAUSE THEY ARE BECOMING AS EQUALLY AS INFAMOUS FOR THEIR WORK IN THE SPACE OF THE DIGITAL AVATAR AND MAKEUP THIS ALSO SPEAKS TO THE SUSTAINABLE ASPECT THAT COMES ALONG WITH DIGITAL FASHION.

FASHION LUXURY'S DIGITAL JOURNEY AND WHAT TO EXPECT NEXT

ADVERTISING STYLES

LOEWES AD CAMPAIGN

LOEWE‘S CREATIVE DIRECTOR JONATHAN ANDERSON HAS BEEN EXPLORING THEMES OF SCALE AND PROPORTION, EMPHASIZING CONTRASTS LIKE BIG AND SMALL OR HIGH AND LOW. THIS CONCEPT IS BROUGHT TO LIFE IN THE FALL WINTER 2024 PRECOLLECTION CAMPAIGN,WHICH PLAYS WITH THESE RATIOS IN BOTH CLOTHING DESIGN AND IMAGERY. THE CAMPAIGN WAS SHOT IN THE BEKONSCOT MODEL VILLAGE, THE WORLD’S OLDEST ORIGINAL MODEL VILLAGE, BUILT IN 1929 FEATURING A DIVERSE CAST OF ARTISTS AND CREATIVES, INCLUDING ALISON OLIVER, ARCHIE MADEKWE, DAN LEVY, ENZO VOGRINCIC, KIT CONNOR, LESLEY MANVILLE, SOPHIE WILDE, AND 070 SHAKE, WITH A SPECIAL APPEARANCE BY ANDERSON’S NEPHEW, ALFIE ANDERSON, THE CAMPAIGN CAPTURES A SENSE OF COMMUNITY AND CREATIVITY THAT SURROUNDS LOEWE. PHOTOGRAPHER JUERGEN TELLER, KNOWN FOR HIS RAW AND INTROSPECTIVE STYLE, ONCE AGAIN BRINGS HIS UNIQUE VISION TO LOEWE’S CAMPAIGN. THE IMAGES JUXTAPOSE THE PLAYFUL, MINIATURE SETTINGS OF BEKONSCOT WITH THE SERIOUS, ALMOST PUZZLING EXPRESSIONS OF THE MODELS. THIS BLEND OF WHIMSY AND STARKNESS REFLECTS THE COLLECTION’S MIX OF CROPPED AND STRETCHED SHAPES, OVERSIZED BOWS, AND SCULPTURAL DRAPING ICONIC LOEWE BAGS LIKE THE PUZZLE FOLD TOTE, FLAMENCO PURSE, ANDSQUEEZE BAG ARE FEATURED IN SOFT, MALLEABLE ITERATIONS, FURTHER HIGHLIGHTING THE PLAY OF SCALE. TELLER’S APPROACH ADDS A DOCUMENTARY FEEL AND A TOUCH OF DRY HUMOR. THE CAMPAIGN’S SETTING IN BEKONSCOT MODEL VILLAGE ADDS AN ELEMENT OF NOSTALGIA AND WONDER. THE DETAILED, DOWNSIZED ARCHITECTURE IS A WHIMSICAL BACKDROP FOR THE FALL WINTER 2024 PRECOLLECTION, CREATING A SENSE OF FAMILIAR YET FANTASTICAL SCENARIOS. MODELS ARE POSED IN PLAYFUL YET THOUGHT-PROVOKING WAYS: SOPHIE WILDE LEANS AGAINST A CASTLE WALL WITH A DENIM SQUEEZE BAG, WHILE ALISON OLIVER STANDS IN A FORTRESS WITH THE FLAMENCO PURSE. ENZO VOGRINCIC TEETERS OVER A RAILWAY TUNNEL IN CORDUROY, HOLDING A FLAMENCO BACKPACK, AND LESLEY MANVILLE CARRIES A GIANT SUNFLOWER ALONGSIDE THE SQUEEZE BAG 070 SHAKE, WITH A MINIATURE DEER ON HER HEAD, GAZES AT THE CAMERA.

KIKO MILANO AD CAMPAIGN

THE CULT KIKO MILANO LIQUID LIPSTICK IS BACK IN THIS SIX LIMITED-EDITION SHADES, MODELLED BY THE BRAND’S FLAGSHIP CAMPAIGN FACE, THE ACTRESS AMERICAN-BORN ROBERTS. FROM GLOWY, BAREFACED BEAUTY TO FULL-ON GLAMOUR, IT’S A MAKEUP LOOK THAT FEELS AS FREEDOM AND SPACE AS IT IS URBAN JUMPING BETWEEN SOME OF MILAN’S MOST ICONIC MONUMENTS (THE DUOMO, PINACOTECA DI BRERA, SANTA MARIA DELLE GRAZIE, THE CASTELLO SFORZESCO), ROBERT’S CAMPAIGN SHOOT WITH SARAH SILVER AND DAMIEN KRISL’S CAMPAIGN VIDEO SWAPPED OUT AN ARCHITECTURAL SYMMETRY FOR AN EFFORTLESS AND MORE THAN SHINING BEAUTY LOOK. MATCHING THE EXCESS OF THE ITALIAN CAPITAL, THE FULL LIP AND DEEP COLOURS OF UNLIMITED DOUBLE TOUCH BUILD OFF THE STAR’S DOWN-TO-EARTH BEAUTY TO SHINE HARD AND EVEN. UNCONTESTED AS ONE OF THE MOST INTENSE AND LONG-LASTING MAKEUP ICONS IN THE WORLD, KIKO MILANO’S LIQUID LIPSTICK IS A FORMULA FOR CELEBRITIES MADE FOR STARS OF ROBERTS’S STATUS. ITS TWO STEP LIQUID LIPSTICK COLOUR STARTS WITH A CONCENTRATED MATT PIGMENT AT ONE END AND A GLOSSY AND RICH COLOUR FINISH AT THE OTHER, READY TO COMBINE FOR ADDED SHEEN AND EFFECTS. DIRECTLY FOLLOWING THE COLOUR IS A SHEER MIRROR-EFFECT GLOSS WITH A SOFT BRUSH FOR APPLICATION, READY TO ADD SHINE AND DÉGRADÉ, AND PLAY BOTH ENDS OF THE FORMULA ARE WATER-RESISTANT, AND THERE’S NO RISK OF COLOUR TRANSFER FROM BASE TO FINISH. FOUNDED IN 1977 BY THE PERCASSI FAMILY, TODAY KIKO MILANO IS A PIONEERING COMPANY IN THE ITALIAN AND GLOBAL LANDSCAPE OF COSMETICS REVISIONISM. A COMPANY COMMITTED TO MAKING ACCESSIBLE THE MAJOR BEAUTY TENDENCIES OF THE MODERN WORLD TODAY, THE BRAND OFTEN STEPS AHEAD OF THE PROVERBIAL CURVE, CONSTANTLY THINKING, WORKING, SWATCHING, MIXING AND CALCULATING TO PROVIDE THE MOST INNOVATIVE APPROACH TO COMBINE THE LONG-LASTING CONSTRUCTION TECHNOLOGIES IN THE MAKE-UP WORLD WITH THE FINEST MATERIALS COMING WITH MORE AND MORE VARIETIES OF SHADES, TONES, TEXTURES, AND TECHNOLOGIES, FOREVER EVOLVING, THE COMPANY IS ALWAYS DRIVEN BY THE MODERN MERGING OF RESEARCH AND PATENTS WITH ENTREPRENEURIAL COMPETITIVENESS, AND IS CONSTANTLY FOCUSED ON THE EXPERIMENTAL WEALTH OF VARIETIES AND OPPORTUNITIES, ALWAYS AND ONLY FOR CREATIVITY AND SELF-EXPRESSION THROUGH MAKEUP. THIS CAMPAIGN ACTUALLY CAME OUT AFTER I HAD MY IDEA FOR MY CAMPAIGN, WHICH HAS MADE ME FEEL SO SEEN AND THAT MY IDEA IS FORECASTED CORRECTLY.

A mood board of cgi campaign images that have inspired me, or. I feel relate to my work.

REAL VS CGI CAMPAIGNS

CREATIVE DIRECTORS AND THOSE WITHIN THE WIDER INDUSTRY HAVE OFTEN ARGUED FURIOUSLY OVER THE PERSUASIVE POWER OF CGI, RAISING QUESTIONS AS TO WHETHER THEIR USE REPRESENTS A GENUINE THREAT AGAINST THE AUTHENTICITY AND BEAUTY OF TRADITIONAL WAYS OF PRODUCING ADVERTISING. DOES CGI WORK? DOES IT RESONATE? OR IS IT JUST A CHEAP TRICK REPLACING DECADES WORTH OF HONING A CRAFT? EVOLUTION OF ADVERTISING UNPACKING THIS DILEMMA, IT’S IMPORTANT TO LOOK AT HOW FAR THIS INDUSTRY HAS COME IN THE PAST FEW DECADES TO EMBED ITSELF WITHIN BOTH TRADITIONAL AND EMERGING CHANNELS. A WHIRLWIND OF A JOURNEY, IT’S SAFE TO SAY, WORTHY ENOUGH OF BEING DEFINED AS AN INDUSTRY IN FLUX. FILLING SCREENS AND HAVING TO SPAN APPLICATION TO SURVIVE: FROM THE MAD MEN DAYS TO THE ‘INFORMATION AGE’, IT HAS SEEN SEISMIC SHIFTS CAMPAIGNS THAT ARE TRADITIONALLY PIPELINED, PROCESS-HEAVY AND HUMAN-CONTROLLED, REPRESENT THAT MOST SUCCESSFUL METHOD OF BRAND PROMOTION – AND YET THE 21ST CENTURY IS ONE IN WHICH ALGORITHMS, ARTIFICIAL INTELLIGENCE, AND COMPUTER-GENERATED CONTENT RULE. A TECHNOLOGICAL MARVEL, CGI HAS REVOLUTIONISED THE LANDSCAPE, OFFERING NEW POSSIBILITIES FOR THE VISUAL STORY-DOOR. SOMETIMES USED TO PORTRAY THE IMPOSSIBLE A LONDON UNDERGROUND TRAIN THAT WEARS MASCARA AND HAS EYELASHES (MAYBELLINE), OR OVERSIZE LUXURY HANDBAGS WITH WHEELS, THAT ARE DRIVEN AROUND THE STREETS OF DOWNTOWN PARIS (CREATED BY IAN PADGHAM FOR JACQUEMUS). HYPER REAL AND FANTASTICAL WORLDS, SET DESIGN AND AMAZING SCENES OF VISUAL GENIUS THAT LOOK SO REAL; OUR MINDS WANT TO BELIEVE ARE ACTUAL, FIRSTHAND EXPERIENCES. CGI HAS ENABLED THE ABILITY FOR A BRAND TO TAP INTO A CONCEPTUAL SPACE, AND INJECT A ROGUE INJECTOR THAT PERHAPS TAKES A NEW HOLLYWOOD-ESQUE, COMPUTER-GENERATED IDEA AND GIVES IT THE RICH, QUALITATIVE, COMMERCIAL AUTOPILOT REQUIRED TO TAKE THIS TO MASS. THE FINAL, IMAGINED CONCEPT THAT CAPTURES VIEWERS, CLEANSING THE PALATE OF DISTRACTIVE SHIFTS TOWARD PHONES, LAPTOPS, AND GENERAL BOREDOM ASSOCIATED WITH THE ADVERTISING INDUSTRY. HAS THIS CHANGED WHAT CONSUMERS EXPECT TO SEE AS THE OUTPUT OF CREATIVE WORK? THE PROS ARE PLAIN TO SEE CGI IS ADAPTABLE AND FLUID. RESULTS ENABLE OPPORTUNITIES FOR A BRAND TO PRODUCE CONTENT THAT’S NOT BOUND BY GEOGRAPHICAL OR TOPOGRAPHIC LIMITATIONS. VISUAL ASSETS CAN BE REALISED WITHOUT THE PRODUCTION REQUIREMENT OR COST OF SHOOTS AND LOCATIONS, AND A QUICK AND MAINTAINABLE SOLUTION. ALSO TO HELP BUST TIME-CUT RESTRICTIONS OR, WITH THE INCREASE OF SUPER-FAST COMMISSIONING WHERE QUALIFIED INDIVIDUALS ARE REQUIRED BUT LIMITED TIME TENDS TO DICTATE WHAT ACTUALLY IS COMMISSIONED BY A CLIENT, THE ANSWER APPEARS TO BE CGI.

FINAL IMAGES

An edit from my final shoot, and this progression to where I edited it to, I included these all together to show the image development with photoshop.

An edit from m progression to whe these all togeth development with p

An edit from my final shoot, and this progression to where I edited it to, I included these all together to show the image development with photoshop.

A croqui created by me, using images from my final shoot for the campaign images, in an attempt to croqui them.

A croqui created by me, using images from my final shoot for the campaign images, in an attempt to croqui them.

An edit from my final shoot, and this progression to where I edited it to, I included these all together to show the image development with photoshop.

A final edit from all of my progress throughout this editing process.

CAMPAIGN LAYOUT

WHILE HAVING ONE OF MANY LECTURES WITH SOPHIE, WE DISCUSSED HOW WE WOULD CAMPAIGN OUR FINAL IMAGES FOR THIS CONCEPT AND WHERE WE WOULD DO SO. AS PREVIOUSLY DISCUSSED IN MY RESEARCH I AM TARGETING MY CONCEPT TO GEN Z AND TO REACH MAXIMUM CONSUMERS, I WILL BE USING TIKTOK AND INSTAGRAM. IN THESE EDITS, WITH THE HELP OF PHOTOSHOP, I HAVE MOCKED UP WHAT THE POSTS WOULD LOOK LIKE. HAVING THE CAPTION AS THE VELOCITY LOGO WHICH I CREATED BY WARPING THE SAINT LAURENT FONT, TO GIVE IT THAT DYSTOPIAN EDGE THAT MY CAMPAIGN IS HINTING AT, IS INTRIGUING TO THE VIEWER, MAKING THEM CHECK THE PAGE WHERE THEY WILL FIND THE LINK IN THE BIO TO THE VIRTUAL WORLD FOR VELOCITY. ALSO USING THE IMAGES I CREATED FROM MY FINAL SHOOT, INDICATING TO THE ‘NEW’ DIGITAL WORLD.

Another mock up of the campaign images I created, to show the project being dropped in Paris. Which is the location of my project.

CAMPAIGN VIDEO

AFTER LOVING THIS CGI STYLE THROUGHOUT ALL OF MY RESEARCH I NEEDED TO TRY IT OUT WITH THE CONTENT I GOT FROM MY FINAL SHOOT. WHICH I THEN EDDED INTO A MOCK UP FOR A SOCIAL MEDIA POST. HOWEVER I ENDED UP REALLY DISLIKING THE OUTCOME. IT WAS REALLY DIFFICULT AND DISAPPOINTING FOR ME TO DISLIKE THESE, IM NOT SURE IF IT WAS THE SOFTWARE THAT I USED, OR IF I JUST NEEDED DIFFERENT STYLE VIDEOS. BUT MY VISION DID NOT TRANSLATE IN THESE VIDEOS, WHICH IS OKAY AND I AM GLAD I TESTED IT OUT TO REALISE IT WAS NOT THE OUTCOME I WANTED. AS IT IS A VIDEO AND I CANNOT PLAY IT IN THIS PROGRESS FILE, IT WILL BE ATTACHED TO MY LINKTREE.

FOR GEN Z

THE RESEARCH EMPHASISED JUST HOW MUCH DIGITAL SELFEXPRESSION HAS BECOME IMPORTANT TO THIS DEMOGRAPHIC, WOOTTON SAYS, AS MORE THAN HALF OF THOSE SURVEYED SAID THAT STYLING THEIR AVATAR IS MORE IMPORTANT TO THEM THAN STYLING THEMSELVES IN THE PHYSICAL WORLD (COMPARED TO 42 PER CANT LAST YEAR, THE FIRST YEAR THAT THIS TYPE OF SURVEY WAS CONDUCTED). MEANWHILE, 85 PER CENT THINK THAT THE IMPORTANCE OF DIGITAL FASHION HAS GROWN IN THE PAST YEAR, DESPITE HYPE FATIGUE.

GEN Z’S APPROACH TO METAVERSE SPACES AND GAMES ISN’T RELEGATED TO THE DIGITAL REALM. PHYSICAL TRENDS ARE INFLUENCING AVATAR STYLE, AND DIGITAL STYLE IS INFLUENCING WHAT PEOPLE BUY AND WHAT THEY WANT TO LOOK LIKE. AT LEAST 84 PER CENT OF GEN ZS SURVEYED SAY THAT THEIR PHYSICAL STYLE IS AT LEAST SOMEWHAT INSPIRED BY WHAT THEIR AVATAR AND OTHER AVATARS WEAR. AVATARS HAVE INSPIRED THEM TO CHANGE THEIR HAIRSTYLES, WEAR BOLDER FASHION AND EVEN BECOME MORE COMFORTABLE DRESSING IN MORE GENDER-FLUID STYLES IN THE PHYSICAL WORLD ADDITIONALLY, 84 PER CENT SAY THAT THEY ARE AT LEAST SOMEWHAT LIKELY TO CONSIDER TRYING A BRAND IN THE PHYSICAL WORLD AFTER WEARING OR TRYING ON A BRAND’S ITEM VIRTUALLY.

DIGITAL SELF-EXPRESSION AND AUTHENTICITY IN IMMERSIVE SPACES AIDS MENTAL HEALTH, WOOTTON ADDS, WITH 88 PER CENT SAYING THAT EXPRESSING THEMSELVES IN THESE SPACES HAS LIKELY HELPED THEM COMFORTABLY EXPRESS THEMSELVES IN THE PHYSICAL WORLD. THEY ALSO SAY THE METAVERSE FEELS “LESS JUDGEMENTAL”.

AS ROBLOX’S AVATAR ECOSYSTEM MATURES, INCLUDING NEW LAYERED CLOTHING OPTIONS, MORE DIVERSITY IN AVATARS’ BODY TYPES AND MORE WAYS TO COMMUNICATE ON THE PLATFORM, GEN Z’S INTEREST INCREASES. TO APPEAL TO GEN Z, THE MOST SUCCESSFUL BRANDS DEFER TO THE COMMUNITY, RATHER THAN LEADING WITH THEIR OWN PREFERENCES WOOTTON, WHO WORKS WITH BRANDS ON DEVELOPING THEIR ROBLOX STRATEGIES, SAYS THAT THEY HAVE BEGUN LISTENING MORE CLOSELY TO CREATORS.

AND HOW THEY ARE USING IT

“GEN Z WANTS TO HAVE INFLUENCE OVER WHAT THEY WEAR AND THEY WANT BRANDS TO LISTEN TO THEM. THERE IS A SHIFT IN HOW PEOPLE COMMUNICATE ON IMMERSIVE EXPERIENCES AND HOW BRANDS SEE THE FUTURE OF ENGAGING WITH GEN Z AND STAYING RELEVANT THEY ARE NO LONGER PUTTING SOMETHING IN FRONT OF AN AUDIENCE AND HOPING IT WORKS ” WHAT FASHION SHOULD KNOW IS BRANDS OFTEN APPROACH VIRTUAL WORLDS AS A MARKETING OPPORTUNITY FOR ENGAGING THE POTENTIAL NEXT GENERATION OF CONSUMERS, IN THE HOPES THAT DIGITAL INTEREST WILL EVENTUALLY CONVERT INTO PHYSICAL SALES. TOMMY HILFIGER, GUCCI, NIKE AND RALPH LAUREN ARE AMONG THE TOP FASHION BRANDS TO INVEST HEAVILY IN THE PLATFORM. ROBLOX’S RESEARCH HAS FOUND THAT BRAND RECOGNITION MATTERS, AND THAT IT CONVERTS INTO INFLUENCING PURCHASES THREE OUT OF FOUR GEN Z SAY WEARING DIGITAL FASHION FROM A RECOGNISED BRAND IS AT LEAST SOMEWHAT IMPORTANT TO THEM; THIS IS ESPECIALLY TRUE FOR THE 22-TO-27-YEAR OLDS, WOOTTON SAYS. FORTY-THREE PER CENT ARE LOOKING FOR “TWINNING” ITEMS THAT THEY CAN WEAR BOTH DIGITALLY AND PHYSICALLY. CLOTHING IS THE MOST IMPORTANT AVATAR ELEMENT TO UPDATE REGULARLY FOR 70 PER CENT OF GEN Z JUST LIKE IN THE PHYSICAL WORLD, PEOPLE IN VIRTUAL WORLDS VALUE LIMITED EDITION PIECES AND EXCLUSIVITY ROBLOX HAS A CATEGORY OF ITEMS CALLED “LIMITEDS”, AVAILABLE ONLY IN SMALL QUANTITIES FOR CERTAIN PERIODS OF TIME. OFTEN, THESE ITEMS ARE RESOLD AMONG PEERS FOR MORE THAN THEIR ORIGINAL PRICE. THIS IS WHY A LIMITED-EDITION DIGITAL GUCCI BAG ULTIMATELY RESOLD FOR THE EQUIVALENT OF THOUSANDS OF DOLLARS ON ROBLOX IN 2020, AND WHY A DIGITAL CAROLINA HERRERA GOWN (ORIGINALLY WORN BY MODEL KARLIE KLOSS ON THE RUNWAY) RESOLD FOR $5,000 ROBLOX RECENTLY EXPANDED WHAT TYPES OF CREATORS CAN SELL LIMITED ITEMS, AND HAS FOUND THAT THE MAJORITY OF COMMUNITY-CREATED “LIMITEDS” ARE RESOLD FOR MORE THAN THEIR ORIGINAL COST.

MANY OF THE TOP TRENDS ON SOCIAL MEDIA AND AMONG CELEBRITIES IN THE PHYSICAL WORLD ARE ALSO TOP TRENDS IN DIGITAL FASHION. THE TOP FIVE TRENDS HIGHLIGHTED BY GEN Z WERE “Y2K”, PINK, NEUTRAL COLOURS AND BEIGE, CARGO PANTS AND SHEER DRESSES. CULTURAL MOMENTS ARE ALSO REFLECTED DIGITALLY; THIS YEAR, MERMAIDCORE MEANT THAT PURCHASES OF ITEMS TAGGED WITH “MERMAID” INCREASED BY 182 PER CENT. THE BEAUTY OPPORTUNITY

HAIR COLOUR, SKIN TONE, BODY SIZE AND MAKEUP DECISIONS ARE INCREDIBLY IMPORTANT TO GEN Z IN THE METAVERSE, SO THEY WANT A NUMBER OF OPTIONS FOR PERSONALISING AND UPDATING THESE ATTRIBUTES. BRANDS CAN TAP INTO THIS NEED DIGITALLY, EVEN IF THEY DON’T OFFER COMPARABLE PRODUCTS PHYSICALLY, WOOTTON NOTES. WHEN ASKED WHICH AVATAR OPTIONS HELP PEOPLE FEEL FULLY REPRESENTED, HAIR, SKIN TONE, FACIAL ATTRIBUTES AND BODY SIZE WERE ALL RATED AT LEAST “SOMEWHAT IMPORTANT” BY ABOUT 90 PER CENT OF USERS. AVATARS CAN EVEN BUY LASH EXTENSIONS; CREATOR JENNI SVOBODA HAS SOLD “HUNDREDS OF THOUSANDS” THIS YEAR.

HAIR IS ESPECIALLY IMPORTANT, AND IT’S EASIER TO CHANGE HAIRSTYLES IN THE METAVERSE. ON AVERAGE, FEMALE USERS BOUGHT AN AVERAGE OF FIVE HAIRSTYLES IN THE FIRST NINE MONTHS OF THIS YEAR (MALE USERS BOUGHT THREE, AND USERS WHO DIDN’T SPECIFY GENDER BOUGHT FOUR). THIS TRANSLATES INTO MORE 139 MILLION PURCHASES OF HAIRSTYLES IN THE FIRST NINE MONTHS OF THE YEAR (WHICH IS 20 PER CENT MORE THAN LAST YEAR), INCLUDING MORE THAN SEVEN MILLION USERS WHO BOUGHT FIVE OR MORE HAIRSTYLES WOOTTON ENCOURAGES BRANDS TO CONTINUE TO EXPLORE NEW PRODUCT CATEGORIES; IN ADDITION TO HAIR, MAKEUP AND ACCESSORIES, THERE ARE EVEN SPECIAL “EMOTES”, WHICH ARE MOVEMENTS THAT PEOPLE CAN BUY, SUCH AS SPECIAL DANCES. BOTH ELTON JOHN AND TOMMY HILFIGER HAVE SEEN SUCCESS WITH SPECIAL EMOTES GUCCI HAS OFFERED LIMITED EDITION ICE CREAM CONES, HATS AND HAIR ITEMS, OFTEN OFFERED AS AWARDS FOR COMPLETING VARIOUS CHALLENGES. A TOTAL SUPPLY OF 30,000 GUCCI ANCORA ICE CREAM CONES WERE “SERVED” WITHIN EIGHT HOURS. WHILE GUCCI MIGHT NOT BRANCH OUT INTO PHYSICAL ICE CREAM CONES ANY TIME SOON, THIS TYPE OF QUIRKY PRODUCT CATEGORY ILLUSTRATES HOW BRAND AFFINITY AND CREATIVITY MIGHT LEAD TO SUCCESS IN NEW WAYS WHICH IS WHY I FEEL GEN Z FITS THE CONSUMER MARKET I AM AIMING AT, THEY WANT TO BE IN CHARGE OF THEIR ‘STYLE’ HOWEVER THEY STILL WANT TO BE INVOLVED IN THE EXCLUSIVITY OF HIGH FASHION.

THIS IS A FAST-GROWING INDUSTRY USING DIGITAL AVATARS AND DIGITAL MODELS TO SELL DIGITAL CLOTHING AND ACCESSORIES. CUSTOMERS CAN VIEW ITEMS ONLINE, TRY THEM IN STORE, OR EVEN BUY THEM WITHOUT LEAVING HOME. IN THE PHYSICAL WORLD, FASHION DESIGNERS ARE STILL LIMITED TO WHAT CLOTHES WE CAN MAKE OUT OF THE AVAILABLE FABRICS AND WHAT THE LAWS OF PHYSICS ALLOW US TO DO. NONE OF THAT APPLIES IN THE METAVERSE. DIGITAL FASHION DESIGNERS CAN CREATE ANY GARMENT OR FABRIC FOR CREATING EXCLUSIVE AND ONEOF-A-KIND DESIGN NEVER SEEN IN THE PHYSICAL WORLD. THE TREND IS AN EVOLUTION FROM 3-D PRINTING, WHICH HAS STARTED IN A SIMILAR WAY BUT WAS NOT POSSIBLE UNTIL RECENTLY, THANKS TO THE ADVANCEMENT OF TECHNOLOGY CATCHING UP WITH THE METAVERSE. NOW WITH THE ADVANCEMENT OF AUGMENTED AND VIRTUAL REALITY, YOU CAN TRY ON CLOTHES IN YOUR BEDROOM (OR EVEN FROM YOUR COMPUTER CHAIR WITHOUT MOVING A MUSCLE). MOST IMPORTANTLY, DIGITAL FASHION IS NOT ONLY ABOUT CLOTHES – DIGITAL FASHION IS ABOUT ANYTHING YOU CAN WEAR OR USE. HATS, SHOES, AND JEWELLERY ACCESSORIES, THE POSSIBILITIES ARE SEEMINGLY ENDLESS. AND IF YOU PUSH IT TO THE MOST NATURAL NEXT LEVEL, IT IS WHERE DIGITAL FASHION CAN CREATE FASHION ITEMS FROM GARMENTS THAT ONLY EXIST IN THE DIGITAL REALM AND ADD UTILITY TO THE FASHION ITEMS ONE OF THE COMPANIES EXCLUSIVELY WORKING ON DESIGNING DIGITAL FASHION IS THE COMPANY THE FABRICANT. BASED IN THE NETHERLANDS, THE DUTCH FASHION HOUSE IS A DIGITAL-ONLY FASHION BRAND AND DESIGNS CLOTHES ONLY FOR THE METAVERSE. USING THE LATEST ADVANCEMENT IN ARTIFICIAL INTELLIGENCE, IT CREATES NATURALLY LOOKING AND BEHAVING DIGITAL FASHION ITEMS SOMETIMES FROM CYBER GARMENTS SUCH AS LIQUID METAL DIFFERENT FROM TRADITIONAL FASHION, WHICH REQUIRES PHYSICAL INPUT MATERIAL LIKE THREADS IN CLOTH, DIGITAL FASHION ONLY REQUIRES DATA AND CODE. IT MEANS THERE IS NO LIMITATION TO WHAT DIGITAL-ONLY FASHION DESIGNERS CAN CREATE, ONLY CONSTRAINED BY THEIR IMAGINATION. IT ALSO MEANS THAT WE CAN CUSTOMISE ANYTHING TO YOUR NEEDS AND NOT LIMITED BY FITTING ON THE BODY OR LOOKING GOOD. A NEW GENERATION OF DIGITAL-SAVVY YOUNG DESIGNERS UTILISING DIGITAL TECHNOLOGY, THEY TAILOR THEIR DESIGN FOR RAPID PROTOTYPING AND FABRICATION THROUGH 3D PRINTING OR ONLY FOR THE DIGITAL WORLD. AFTER YEARS OF APPRENTICESHIP, DESIGNERS AND KIDS TURN THE CLOTHING INDUSTRY ON ITS HEAD. WITH EXPERIENCE AND DETERMINATION, THEY ADOPT NEW TOOLS AND LEVERAGE NOVEL PRODUCTION MODELS TO CREATE A SUSTAINABLE SUPPLY CHAIN THAT IS BOTH BEAUTIFUL TO LOOK AT AND GREEN, NATURALLY. NOT SURPRISINGLY, DIGITAL FASHION CREATES MANY BENEFITS THAT ARE UNIQUE TO THE DIGITAL REALM. HOWEVER, IT ALSO OPENS UP NEW WAYS TO INNOVATE FOR A WHOLE HOST OF INDUSTRIES

DIGITAL FASHION:

DIGITAL FASHION AND RETAIL CREATING MEANINGFUL DIGITAL CUSTOMER EXPERIENCES HELPS TO ENGAGE AND CREATE A LIVE EXPERIENCE THAT GOES WAY BEYOND DISPLAYING A PRODUCT. VIRTUAL RETAIL EXPERIENCE IS MORE IMMERSIVE AND ALLOWS SHOPPERS TO EXPERIENCE PRODUCTS BEFORE PURCHASING THEM. THE RETAIL SECTOR HAS CHANGED RADICALLY IN COMPARISON WITH THE PAST, ESPECIALLY AFTER THE LATEST VIRTUAL REALITY BREAKTHROUGH WHICH IS GOING TO ALLOW SHOPPERS TO HAVE THE FEELING OF BEING IN A REAL RETAIL ENVIRONMENT THIS FITS PERFECTLY IN THE ECOMMERCE WORLD WHERE USERS ARE NOW MORE ACQUAINTED WITH VIRTUAL REALITY AS A WAY OF LIFE. THIS ALLOWS THEM TO GET A BETTER UNDERSTANDING OF WHAT THEY’RE BUYING, THANKS TO IMMERSIVE AR AND VR SET-UPS MOREOVER, SHOPPERS CAN ‘WALK’ FREELY INSIDE A STORE, OR A WHOLE SHOPPING MALL, WITHOUT EVEN LEAVING THEIR HOUSE OR OFFICE DESKS. THIS IS A GREAT WAY TO ENGAGE NEW CUSTOMERS WHO WOULD OTHERWISE PREFER SHOPPING ONLINE, DUE TO CONVENIENCE OR FOR THE FACT THAT FEWER SHOPS WILL BE OPENED, REDUCING THE AMOUNT OF PHYSICAL SHOPS BY A STAGGERING 60 PER CENT TO CUT COSTS FOR BUSINESSES THE INTEGRATION OF AR IN ECOMMERCE IS A REALITY AND THANKS TO IT, USERS CAN EXPERIENCE THE PRODUCT BEFORE BUYING IT IN A VIRTUAL REALITY ENVIRONMENT. THE MOST POPULAR EXAMPLE IS ASOS’S SEE MY FIT SYSTEM, WHICH WILL ALLOW USERS TO CHECK HOW OUTFITS ADAPT TO THEIR BODY SHAPE, JUST BY UPLOADING THEIR PHOTO AND ASKING THE APP WHICH LOOK SUITS THEM. INTERESTINGLY, THIS WENT VIRAL BECAUSE OF THE COVID-19 PANDEMIC, WHICH DRASTICALLY CHANGED MANY REGULAR HUMAN HABITS FOR ONCE AND FOREVER, MAKING DIGITAL THE ONLY WAY TO PURCHASE FROM HOME AND KEEP OURSELVES SAFE.ONE OF THE MOST SUCCESSFUL EXAMPLES IS CLEARLY VIRTUAL FITTING ROOMS (VFCS), WHICH ARE QUICKLY BECOMING A NORM WHEN BUYING CLOTHES. AFTER ALL, CONSUMERS WANT TO SHOP WHENEVER, HOWEVER, AND WHEREVER IT SUITS THEM! USING A PHONE TO SHOP IS SIMPLE AND STRAIGHTFORWARD, AND THANKS TO VFCS THE SAME CAN HAPPEN FOR CLOTHES SHOPPERS. IS IT TOO GOOD TO BE TRUE? NOT REALLY. THE EXPERIENCE CAN BE AS REAL AS BEING IN AN ACTUAL FITTING ROOM OR AS SIMPLE AS TAPPING ‘FIT’ TO DISPLAY THE EXPERIENCE. VFCS ARE A GREAT WAY TO TRY CLOTHES ON WITHOUT HAVING TO LEAVE THE HOUSE OR GET OUT OF BED.IT DOESN’T END THERE VFCS WILL ALSO ALLOW USERS TO SHOP FROM HOME AND AVOID ENDLESS QUEUES AT THE SHOPPING CENTRES. ADDITIONALLY, PEOPLE WILL BE ABLE TO TAKE A SNAPSHOT OF WHAT THEY ARE WEARING BY UPLOADING A VFC SELFIE TO SOCIAL MEDIA IF THEY’RE FEELING GOOD ABOUT THEIR OUTFIT. FOR THOSE WHO PREFER TO BUY CLOTHING IN SHOPS, THERE ARE MAGICAL MIRRORS THAT CAN OFFER THE SAME ADVANTAGES, AND THIS IS ALREADY HAPPENING AT AN INDUSTRIAL SCALE IN CHINA THE INTELLIGENT DRESSING MIRROR ALLOWS YOU TO WEAR OUTFITS THAT ARE SUGGESTED BY THE MIRROR AND BOUGHT BY SCANNING THE QR CODE. MOREOVER, WHEN YOU PICK UP CLOTHES TO BE TRIED ON IN THE FITTING ROOM, THE MIRROR CAN GUIDE YOU WITH ITEMS YOU CAN PAIR WITH THEM. THE NEXT STEP IS THAT YOUR AVATAR WILL GET THE SAME DIGITAL COVERAGE, WHICH MIGHT POSSIBLY COME WITH MORE PERKS, AS YOU WILL SEE AGAIN IN A MINUTE.

THE NEXT FRONTIER IN FASHION

H&M, THE WORLD’S LARGEST FAST-FASHION RETAILER, IN 2020 USED INSTAGRAM’S ADVANCED AR TECHNOLOGY WHEN LAUNCHING ITS VAMPED-UP ‘70S-THEMED NEW COLLECTION. PRESENTED IN SEPTEMBER 2020 AS INSTAGRAM’S FIRST IN-APP, SHOPPABLE AUGMENTED REALITY FILTER, THE H&M RETAIL CAMPAIGN IN ESSENCE WAS AN ATTEMPT TO MOUNT ITS MARKETING EFFORTS IN THE KANGOL COLLECTION ON INSTAGRAM AND KEEP WITHIN THE CONFINES OF A TARGET CONSUMER BASE OF GENERATION-Z HENCE CATCHING THE PUBLIC EYE WITH ITS LOOK AND ITS COLLECTION AT THE SAME TIME, IT WAS AN INDIRECT ATTEMPT BY THE FAST-FASHION RETAILER TO ENTICE CONSUMERS BEYOND THE BRACKETS OF THE SHORT-LIVED MARKETING APPEAL OF TIKTOK SINCE THE PARTICIPANTS WERE INCENTIVISED TO CREATE THEIR OWN CUSTOM MUSIC VIDEOS AND SHARE THE SAME BEYOND THE CONFINES OF TIKTOK AS THE H&M AD CAMPAIGN URGED FANS TO DO SO BY SHARING THEM ELSEWHERE ON DIFFERENT SOCIAL MEDIA PLATFORMS IN A NOVELTY MOVE FOR AN APPAREL RETAILER, THE WORLD’S LEADING FASHION BRAND, INDITEX, LAUNCHED THE ABOVE-MENTIONED AR GAME LAST NOVEMBER IN TANDEM WITH ITS NEW COLLECTION CALLED ‘PACIFIC GIRLS’, COURTESY OF FACEBOOK LAST YEAR, THE COMPANY’S DIGITAL SALES ACCOUNTED FOR A GOOD THIRD OF ITS MULTIBILLION-DOLLAR REVENUES – AND NOW IT PLANS TO ‘TRIPLE SPENDING’ TO UP ITS DIGITAL OUTREACH TO $3 BILLION OF INVESTMENT SPENDING OVER THE COMING YEARS DIGITAL FASHION RETAILER DRESSX ENTERED XR RETAIL SCENE BY JOINING META’S AVATAR STORE SINCE LAST JUNE, THE BRAND, WHICH HAS GROWN TO ACCOMMODATE NUMBERS OF INTERNATIONAL BRANDS, HAS JOINED THE RANKS OF LUXURY FASHION MERCHANDISERS INCLUDING BALENCIAGA, PRADA, DUNDAS AND OTHER CELEBRITIES’ FASHION DESIGNERS LAUNCHING THEIR OWN MERCHANDISING LINES WITH THE LUXURY FASHION DESIGNER KARL LAGERFELD’S OWN FASHION BRAND BEING THE MOST RECENT ONE TO ENTER THE METAVERSE VYING TO TRULY RESHAPE LUXURY FASHION INTO VIRTUAL FASHION ACROSS THE METAVERSES. WITH EXAMPLES SUCH AS THE ABOVE, IT’S EVIDENT WHY ANY BRAND WOULD BE PAYING SUCH SERIOUS ATTENTION TO METAVERSE DEVELOPMENT BECAUSE IT’S A GREAT OUTREACH OPENING INTO A LARGER PUBLIC FANBASE WILLING TO SPEND THEIR DIGITAL DOLLARS ON VIRTUAL FASHION GOODS AIMED AT BEING BOUGHT AND OWNED, NOT TO BE RENTED ALONE, LIKE WE USED TO BEFORE. BUT ONE THING WE KNOW ABOUT DIGITAL FASHION IS THAT IT’S INVARIABLY A DISRUPTIVE FORCE THAT HAS ALREADY TRANSITIONED OUT OF THE METAVERSE, INTO THE PHYSICAL WORLD!

WHAT ARE THE CHALLENGES OF AI IN FASHION?

PEOPLE ARE CONCERNED ABOUT THEREFORE THAT USING AI IN FASHION WILL STIFLE CREATIVITY. FOR EXAMPLE, IF PEOPLE OVERUSE AI SYSTEM AND REPEAT THE SAME WAY OF USING IT, THEY COULD BE UNABLE TO SEE SOMETHING NEW AND THEREFORE IT MIGHT NOT PROIDE NEW IDEAS. HOWEVER, IT HAS BEEN SAID REGARDING JUSTIFY THIS CONCERN BY STATING THAT IT ONLY RECYCLES THE IDEA NOT BY USING HUMAN’S IMAGINATION BIAS: IF THE DESIGNERS OF AN ALGORITHM DO NOT MAKE ALGORITHMS CORRECTLY, ALGORITHMS TEND TO REPRODUCE EXISTING INEQUALITIES. FOR INSTANCE, HR HIRING TOOLS CAN HELP BRANDS TO DECREASE THE WORKLOAD BY AUTOMATICALLY RECRUITING AND HIRING PEOPLE. HOWEVER, STUDIES HAVE SHOWN THAT THESE RECRUITMENT AND SCREENING AI ARE LIKELY TO CONTRIBUTE TO A BIASED SELECTION, WHICH RESULTS IN THE UNDERREPRESENTATION OF CERTAIN GENDER OR MINORITY, ACCORDINGLY.

THE REASON FOR THIS IS THAT THESE ALGORITHMS LEARN FROM THE DATA’S BIAS. THEREFORE, THESE ALGORITHMS TEND TO REPEAT OR EVEN OVEREMPHASISE THESE PATTERNS THIS IS SUCH A CRUCIAL PROBLEM FOR THE FASHION INDUSTRY THAT IS STRIVING FOR DIVERSITY AND INCLUSIVITY.PRIVACY: AI NEEDS A LOT OF INPUT DATA IN ORDER TO FUNCTION AND DEVELOP. ONE OF THE PROBLEMS THAT PEOPLE ARE CONCERNED ABOUT IS WHERE THE DATA IS COMING FROM. IS IT PERSONALLY IDENTIFIABLE DATA? HOW WOULD THE SECURITY BREACHES AFFECT IF PERSONAL IDENTIFIABLE DATA IS LEAKED?

FASHION BRANDS HAVE TO ANSWER THE QUESTION AS WHAT KIND OF DATA THEY COLLECT FROM THE CUSTOMER AND HOW THEY USE IT ETHICALLY.JOB DISPLACEMENT: AUTOMATION AND AI USE POSES MANY FASHION ROLES AT RISK. FOR EXAMPLE, MARKETINGS, AUGMENTED PATTERN MAKING , DATA INPUTTING, CUSTOMER SERVICE, CLOTHING PRODUCTIONS, MODELLING AND DESIGN ITSELF MIGHT ALL BE AT RISK.

ALTHOUGH POTENTIALLY THERE IS A NEW JOB CREATION, NO ONE KNOWS HOW PROFOUND THIS CHANGE WILL BE COST: AI TECHNOLOGY COULD BE EXPENSIVE TO DEVELOP AND APPLY. IT COULD BE THE CASE EXPENSIVE FOR SMALL FASHION BRANDS AS THEY ARE STRUGGLING FOR INITIAL FUND.

IT COULD NEED A LONG TIME COMPLICATED AND EXPENSIVE TO GAIN A FULL EXPERTISE IN BOTH AI AND FASHION INDUSTRY, THEREFORE MANY BUSINESSES COULD ONLY HAVE A PARTIAL KNOWLEDGE OR RESOURCES, HENCE TO APPLY THIS TECHNOLOGY MIGHT MAKE BIG DIFFERENCES BETWEEN THE PRODUCT DESIGNS OF LARGER COMPANIES AND THE EMERGING TALENT. THIS COULD RESULT IN INEQUALITY PROBLEMS.

N CHIC!

HE BRAND’S YOUTHFUL STREET-READY LOOKS MENTED IN DIRT FOR OERS. ACTION-PACKED MBLED DARING MOVIE RAY-PAINTED MODELS OOKS FROM ANOTHER DVENTUROUS LEATHER IGNITED IN FLAMES, NG “D” GRAPHICS THE SS24 COLLECTION SLEW OF GOLDEN PLASTIC-LIKE TOPS, ON DRESSES HUG THE FORM. ELSEWHERE, PAINT, MIMICKING THE WHILE METALLIC PAINT UE SKIN, POINTING TO GLAMOROUS FUTURE. NOT WITHOUT SEX R-SATURATED SHEER REVEAL CONTRASTING GSIDE TIGHT-FITTING ODDING TO THE NAKED IS DEFINITELY A NEW ND WILL BE EMERGING .

Spark AR Work

I CREATED THIS FILTER TO HELP ME ADD DEPTH AND DETAIL INTO MY WORK AND PROGRESS THROUGHOUT THIS FMP. I USED SPARK A R TO CREATE THIS FILTER, WHICH IS A SOFTWARE I HAVE NOT USED BEFORE. IN PERVIOUS MODULES I HAVE CREATED FILTERS USING SNAPCHAT SOFTWARE, HOWEVER I WANTED TO SEE THE DIFFERENCE BETWEEN SOFTWARES. AND AS I HAVE SAT MORE COMFORTABLY INTO PHOTOSHOP THIS TRIMESTER, HAVING SOPHIE AS A GUIDE, I FELT CONFIDENT ENOUGH TO UNDERSTAND THIS SOFTWARE. AND I WAS HAPPILY SURPRISED BY HOW EASY I PICKED IT UP. I USED IMAGES THAT I HAD CREATED WITHIN PHOTOSHOP, AND CREATED A LOGO FOR MY BRANDING. I WANTED THIS FILTER AS I FEELS IT ADDS MORE DEPTH AND REALITY TO MY CAMPAIGN, HAVING SOMETHING WITH MY BRANDING ON THAT IS PROMOTING MY CONCEPT FELT REALLY BENEFICIAL FOR MY DEVELOPMENT. ALTHOUGH I AM PLEASED WITH THIS FILTER AND THE EXPANSION ON MY SKILL SET IT HAS ADDED, I WOULD OF MADE SOMETHING SLIGHTLY MORE INTERACTIVE IF I HAD THE TIME TO LEARN THE SOFTWARE. BECAUSE OF THIS, I AM NOT ATTACHING THE FILTER TO BE USED IN MY WORK, HOWEVER I HAVE INCLUDED IMAGES OF CONSUMERS USING THE TEST FILTER. TO SHOW HOW REAL CONSUMERS WOULD OF USED IT.

I INCLUDED THE LOGO I CREATED FOR THE NAME OF THIS CONCEPT, BY USING THE SAINT LAURENT FONT AND WARPING IT TO ADD THE HINT OD DYSTOPIAN THAT ID GRIPPING ONTO THIS PROJECT. I CREATED THIS FONT IN PHOTOSHOP, AND I THINK IT PERFECTLY ADDS TO THIS CONCEPT.

THIS IS THE CLEAR VISION OF THE FILTER EFFECT AND THE IMAGES I USED. WITH THE LOGO I CREATED AND ONE OF THE IMAGES FROM MY FINAL SHOOT.

THE FILTER IN ACTION

T H E F I L T E R I N A C T I O N

POTENTIAL LAYOUT

FOR PRINT OUT

WORKING OUT THE LAYOUT FOR MY PRINT OUT IMAGES FOR LAUNCH NIGHT, HAVING ONE TO ONE MEETINGS WITH TRACY, MY MENTOR, HELPED ME TO SETTLE DOWN ON WHAT LAYOUT STYLE AND IMAGES I WOULD LIKE DISPLAYED AT LAUNCH NIGHT.

THIS IS THE FIRST LAYOUT I WAS WORKING WITH, BEING ONE BIG IMAGE AND NEXT TO IT 8 SMALLER IMAGES WITH A QR CODE TO THE LINKTREE I HAVE CREATED FOR THIS CAMPAIGN. AFTER DISCUSSION AND FEEDBACK WITH TRACY, WE DECIDED TO GO IN A DIFFERENT DIRECTION, SO THAT I HAD THE STRONGEST OUTCOME.

THIS IS THE SECOND OUTCOME WE LANDED ON, AS I AM CONSTANTLY REFERRING TO THIS MAGAZINE STYLE AND MY WORK IS LAYED OUT IN THIS WAS, WE TRIED IT WITH TWO STYLES. ONE MORE EDITORIAL, AND ONE MORE CONCEPTUAL.

FOR THESE OPEN ‘MAGAZINE’ PAGES I PLAYED AROUND WITH THE SHAPE ON PHOTOSHOP UNTIL I FOUND A TEMPLATE, I THEN PLAYED AROUND WITH THE LOGO AND QR PLACEMENT. AND WHAT I LANDED ON WAS NO QR CODE AS THEY ARE VERY FRAGILE, I AM GOING TO PRINT ONE OUT CLOSER TO LAUNCH NIGHT SO IT WORKS AND IS EFFECTIVE.

LINK TREE DETAILS

THIS IS THE LAYOUT OF MY LINK TREE WITH ALL VIDEO FOOTAGE THAT CANT BE SHOWN IN THIS DEVELOPMENT FILE. THE AESTHETIC AND COLOUR PALETTE OF THIS FLOWS COHESIVELY WITH THE REST OF MY WORK, WHICH WAS ESSENTIAL FOR ME. THIS IS APART OF MY DEVELOPMENT AND RESEARCH. HTTPS://LINKTR.EE/VELOCITY204

WEBSITE DESIGNING VELOCITY

CREATING THIS WEBSITE WAD JUST AN EXTRA STEP I WANTED TO TAKE TO ENSURE THE IDEA OF MY CONCEPT IS FULLY GRASPED BY THE CONSUMERS. IN MY STRATEGY I SPOKE ABOUT THIS IDEA OF A WEBSITE , HOWEVER I USED SECONDARY IMAGES AND IT WAS LESS DEVELOPED. WITH THIS NEWER WEBSITE, I HAVE USED IMAGES I CREATED POST PRODUCTION OF MY FINAL SHOOT, AND DESCRIBED THEM MORE ACCURATELY. ALTHOUGH THIS WEBSITE ISN’T FULLY INTERACTIVE, IT IS HUGELY BENEFICIAL TO PORTRAY MY PROPOSAL. OVERALL I AM EXTREMELY HAPPY WITH THE LAYOUT AND OUTCOME OF THIS AND IT DEFINITELY HELPS TO ADD DEPTH TO MY CAMPAIGN. THE WEBSITE IS ATTACHED TO MY LINKTREE, WHICH I CREATED SPECIFICALLY FOR THIS CAMPAIGN AND IS ACCESSIBLE.

VELOCITY LINKTREE

TO HELP SUPPORT MY CAMPAIGN AND FINAL IMAGERY FOR THIS CONCEPT, I MOCKED UP HOW THE SOCIAL POSTS WOULD LOOK. BY DOING THIS I AM GAINING A MORE REALISTIC VISION ON HOW THIS CAMPAIGN WOULD LOOK. I REALLY ENJOY MOCKING UP THESE TYPE OF CAMPAIGNS, AS I FEEL IT ADDS ANOTHER LAYER INTO MY DEVELOPMENT. ALSO PLAYING AROUND WITH THE DISPLAY OF THIS, BY ADDING IT INOT PHONES AND SHOWING THAT PERCEPTION OF IT.

CONCLUSION

TO CONCLUDE ON THIS FINAL MODULE, I THINK REFLECTING ON THIS PROJECT OUTCOME AND WHERE I WOULD IMPROVE. AT THE BEGINNING OF THIS MODULE, I WAS TRYING TO FIGHT MY CREATIVE, VISUAL ILLUSTRATION STRENGTH AND REPLACE IT WITH A MORE EDITORIAL, CLEAN STYLE. HOWEVER, WHEN REVIEWING MY WORK I COULD SEE WHAT WORKED THE BEST FOR ME AND WAS THE STRONGEST. WHICH IS MY CROQUING AS IT IS THE BEST WAY I CAN EXPRESS MY IDEAS AND TRANSLATE THEM IN MY WORK. I AM GLAD THAT I CAME TO TERMS WITH THE WAY I EXPRESS MY WORK, HOWEVER IF I WAS TO DO THIS MODULE AGAIN I WISH I COULD HAVE REALISED EARLIER. THIS WOULD HAVE SAVED ME A LOT OF QUESTIONING MY WORK, AND THE OUTCOMES. ALTHOUGH THIS DID HELP ME TO DEVELOP MY OUTCOMES FURTHER UNTIL I WAS HAPPY WITH THEM. THIS WAS MY STRONGEST MODULE IN MY OPINION, AS WE PREPPED THE CAMPAIGN THOROUGHLY IN THE PREVIOUS MODULE. I FELT WE HAD ENOUGH TIME TO EXECUTE OUR CAMPAIGNS EFFICIENTLY. JUGGLING THIS MODULE AND OUR LAUNCH NIGHT TASKS HAS HELPED ME TO DEVELOP MY TIME MANAGEMENT SKILLS, AND I BALANCED BOTH TASKS WELL. AFTER REVIEWING ALL OF MY WORK, I AM EXTREMELY PLEASED WITH MY FINAL OUTCOME THROUGHOUT THIS MODULE, AND WHAT I ACCUMULATED FOR LAUNCH NIGHT. ITS BITTERSWEET COMING TO THE END OF THIS MODULE, ON ONE HAND IT IS A RELIEF TO GET TO THE END OF THIS HARD WORK. HOWEVER ON THE OTHER HAND THIS IS MY FINAL MODULE ON THE COURSE, WHICH I HAVE LEARNT SO MUCH ON. THROUGHOUT ALL OF MY MODULES ON THIS COURSE, THIS HAS BEEN MY MOST ENJOYABLE AS I HAVE GOT TO UTILISE ALL OF MY STRENGTH TO CREATE SOMETHING REALLY STRONG.

References

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Bringé, A (2022, November 9) The digitization of the fashion industry and what it means for brands Forbes. https://www.forbes.com/sites/forbescommunicationscouncil/2021/07/29/the-digitization-of-thefashion-industry-and-what-it-means-for-brands/

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