Fashion Futures by courtneygloverr

F Afashion SHION F Ufutures TURES

contents 5

abstract

introduction

digital era

the future

a virtual world

a sustainability fix?

digital avatars

styling apps

video gaming influences

escapism

stereotypes

legal implications

gaming and marketing

conclusion

references

image references

FIGURE 1 : Design Boom

FIGURE 2 : Carlings Neo-Ex

abstract Fashion brands are rushing to apply gamification to their strategies, but is this for the best? Gamification can be defined as a way to describe interactive online design that plays on people’s competitive instincts and often incorporates the use of rewards to drive action (“The Future of Gamification”, 2012). This report will consist of me looking into the many different aspects of the gaming industry and how it is slowly merging into the fashion industry. I have decided to focus my study on researching areas such as digital avatars, digital clothing and the slightly more obvious topic, video gaming. I have also conducted a questionnaire in order to get a variety of opinions from the public and how they feel about certain aspects. I am going to look into the positives this may bring, but also consider the negatives and then conclude by answering the question ‘should the fashion industry embrace or exclude gaming and avatars?’.

should the fashion industry embrace or exclude gaming and avatars? a debate. 6

FIGURE 3 : Photography, Creative Direction and Styling by Courtney Davenport-Glover.

FIGURE 4 : Photography, Creative Direction and Styling by Courtney Davenport-Glover.

introduction I decided to explore this topic as I have always been a very forward-thinking person and constantly look at what is up and coming, as result I felt completing a research study on fashion and gaming made perfect sense as this is a new and exciting element of the industry. In addition to this, I have decided to integrate gaming into my Concept Direction and Development module by creating avatars and a short retro Pac-Man style game, this report will therefore support and run alongside this perfectly. Naturally, you don’t associate fashion and gaming with one another. However, with video gaming culture being more visible than ever before and with the fashion industry’s mission ensuring it is communicating in the most relevant and accessible way possible then it simply wouldn’t make sense if brands didn’t adapt gamification to their commercial strategies. Gaming has developed from arcades, to handheld devices and it isn’t stopping there. The distinctions between virtual and real are becoming ever more fluid with developments in areas such as digital clothing and avatars. Many creatives and marketers for brands understand the advertising potential of gaming and want to take full advantage of the generational change of their customers, essentially future proofing their company.

e d h i t

a l t i e g

FIGURE 5 : Post Virtual Garden by Hannah Neckle

Generation Z, otherwise known as Gen Z or iGen are those born after 1995 and are considered the future of the global economy according to Engarde. By 2020 this generation will be the largest group of consumers worldwide (“Introducing: Generation Z - who they are, what they do and where they shop”, 2017). Commercialised in 1995, Gen Z do not know a world without the internet which makes them the most digital native generation the world has seen, with the internet being a regular part of their daily routine. They have grown up during the most accelerated and game-changing periods of technology advancements in human history. They are oblivious of a life without follows, likes and views and see very little distinction between their on and offline lives. However, the up and coming generation, Alpha, are the ones to watch. According to AdAge, brands are going after kids under the age of 10, who are fast emerging as mar-

FIGURE 6 : SUPERIMPOSE, Zalando, Sneakernet FW19

keting’s power players (Pasquarelli & Schultz, 2019). The tech-savvy counterparts of the Millennials could soon

make Gen Z an afterthought, which means it is essential for brands to start catering for this impactful generation. Mark McCrindle, a social researcher in Australia who coined the phrase Generation Alpha, stated that “Generation Alpha will be the most formally educated generation ever, the most technology-supplied generation ever and globally the wealthiest generation ever” (Pasquarelli & Schultz, 2019). Their biggest demand, however? Devices and screen time. Therefore, I feel it is essential for the fashion industry to cater for these generations, and it is clear that this new experimental way of communicating, gaming, will be greatly received by these generations. They demand connectivity and interactivity, both of which gaming will provide.

Research conducted by Futurum Research stated that ‘technology will be the major driver behind the reimagined customer experience (CX), and that brands must rethink their customer ecosystems to keep pace with empowered consumers and evolving consumer technologies’ (“New global research: What will customer experience look like in 2030?”, 2019). This supports embracing gaming as they are concluding that in order to ensure companies stay up to date and keep their consumers engaged, especially for Gen Z and with the rise of the Alpha Generation. In addition to this, by 2030, 83% of brands are trying to reach these tech-led consumers by investing or planning to invest in holographic tech for in-store advertising, interactive gaming and public events (“New global research: What will customer experience look like in 2030?”, 2019).

FIGURE 7 : Nike 720 Lab

the f

ure

FIGURE 8 : Subtype Store

FIGURE 9 : Louis Vuitton x Dover Street Market

FIGURE 10 : Decentraland

A VIRTUAL

L WORLD

The fashion industry as stated earlier is adapting technology into everything, from designing to marketing, to retail experience. Brands see this virtual space as a way to market to the younger population, who may not be able to invest in physical designer items, but can afford their virtual experience, effectively being able to invest into the brand in some form. A post-product world is on the rise, with the demand for digital-only ranges opening up new revenue streams for active brands. Digital-only clothing, while fuelled by the popularity of eSports, has the potential to expand well beyond gaming. There is huge exploration currently into how we can create digital twins of real-life pieces, which I explore in depth later on. Consumers may soon be willing to spend as much money on digital pieces as they are on ‘analogue’ apparel. In a questionnaire I conducted, I wanted to gather market research on how individuals felt about digital only clothing, many people felt uncomfortable by this yet, excited. My opinion on this is that many people never imagined technology such as virtual reality would exist, yet this has completely taken off and is used for many aspects of communication. Therefore, I feel that when digital clothing becomes more mainstream and becomes more of a ‘trend’, perhaps led by influencers, people will become more accepting of it. Behind the concept of digital clothing lies a bold vision about the future of fashion, one that simultaneously predicts how we may interact with one another in the future. It is evident from my research that people are excited and intrigued with the future, with 48.8% of respondents agreeing with the statement “Virtual experience triggers a real excitement and desire”. This is almost half, which therefore supports the idea of the gaming industry embracing gaming rather than excluding it. The future is so uncertain, but it’s clear that people are eager to learn and try new experiences, which is an extremely positive point to note.

FIGURE 11 : The Fabricant

A post- product world is on the rise with the demand for digital-only ranges 15

FIGURE 12 :Carlings Launches Digital-Only Capsule Collection

a a a a a a a a a a a a a a a a a a a a a a a a a

sustainability sustainability sustainability sustainability sustainability sustainability sustainability sustainability sustainability sustainability sustainability sustainability sustainability sustainability sustainability sustainability sustainability sustainability sustainability sustainability sustainability sustainability sustainability sustainability sustainability

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a a a a a a a a a a a a

sustainability sustainability sustainability sustainability sustainability sustainability sustainability sustainability sustainability sustainability sustainability sustainability

fix? fix? fix? fix? fix? fix? fix? fix? fix? fix? fix? fix?

Fashion is finally waking up to sustainability – and

not exist in reality. “In an environment that makes the

gaming could help this. Virtual dressing rooms could

impossible possible, that wastes nothing but data and

be a resolution for the ever-growing problem with

exploits nothing but the imagination, the very idea of

fast fashion. Virtual dressing rooms allow consum-

phsycality seems outdated,” said The Fabricant in an

ers to create and customise their own avatar by

Instagram post. “In this new world, there’s no such

uploading photos onto which 2D or 3D computer-aid-

thing as factories, supply chains, and sample sizes.

ed-design will fit a brand’s products. Consumers can

There are no delivery trucks to wait for, no clothes

then, like in store, choose to buy an item, either to

to launder and no closets to de-clutter” (Zha, 2019).

be made to measure or supplied from existing stock.

While the internet has given birth to new ways for

This could essentially reduce the number of samples

people to interact like never before, founder Kerry

created by brands, reduce mass ordering and wasted

Murphy, believes that what we have today is just the

deliveries.

beginning of our digital life. “The world no longer needs physical clothing. There are so many beautiful

Carlings is an example of a brand working a sus-

things that already exist, does it need another? Our

tainable business model, last year they launched a

answer is no”, a final quote from Kerry Murphy (Zha,

digital clothing range, which completely eradicated

2019).

the need for a tangible item of clothing. Instead, the consumer takes a photo, sends the photo to Carlings

To emphasise the eco-excellence of digital fashion,

where its technicians “fit” their digital designs onto

with no physical pieces resulting in zero real-world

the customer’s photo. The consumer can then direct-

resources, Karinna Nobbs founded Hot Second, which

ly upload these photos to their social media account.

is a London based pop-up testing how consumers react

This could massively appeal to Gen Z and their

to digital clothes. The pop-up invites individuals into

mindset on only wearing a clothing item once, for

their store, whereby you donate an unwanted piece

example, as a Gen Z consumer myself I will not wear

of clothing in exchange for a digital garment. This

a dress again if I have uploaded a picture of myself

is conducted by a ‘digital tailor’, guests are led into

in it onto my social media platforms. Carlings offer

pods equipped with a camera, projector and ‘magic

a virtual solution to the increasingly social media

mirror’, to sample looks from British designer Christo-

pressure to post wearing something new every day.

pher Raeburn as well as digital clothing pioneers The

This is a sustainable step beyond the fashion rental

Fabricant and Carlings. While no physical version are

market, which is currently providing the answer to

available for purchase, shoppers are able to walk away

this consumer demand (“Is the future of fashion in

with digital copies and one print out (Mcdowell, 2019).

gaming?”, 2019). Digital fashion could satisfy our need for novelty and In addition to Carlings, the first digital couture dress

self-expression without burdening the environment;

virtual clothing only needs to be mounted on a photo

York and sold for $9,500 USD, whilst it may look de-

of a person before the picture is posted on social media

ceptively real, the flowing fluorescent garment does

and becomes part of our lives.

FIGURE 13 : Photography, Creative Direction and Styling by Courtney Davenport-Glover.

FASHION FUTURES

FIGURE 14 : Photography, Creative Direction and Styling by Courtney Davenport-Glover.

digital avatars The increasingly blurred line between real and virtu-

and offensive in some cases. However, this commercial

al experience has lead to the rise of avatars as celeb-

has since sparked interest with the computer-gener-

rities, this could have a huge impact on the influencer

ated model and the idea of brands being able to create

market. For example, in 2016, as part of its SS16 ‘Se-

the ideal brand ambassador from scratch (Petrarca,

ries 4’ campaign; Lightning, a pink haired avatar and

2019). In 2018, Balmain cast three new digital mod-

protagonist from cult game Final Fantasy was signed

els, created by British artist Cameron-James Wilson,

up as a campaign star. At the time, this was quite a

which included a ‘diverse mix’ of women (Petty, 2018).

remarkable move to make in a campaign as it was one of the first times a fictional entity had fronted a

These digital avatars give so much more to fash-

major fashion house’s advertising campaign (Fury,

ion houses in that they can create the most perfect

2015). Today, Miquela Sousa, an avatar probably

model that sits exactly in line with their vision, but

better known for her Instagram username @lilmique-

what does this mean for real models? Have they been

la, has 1.8m followers. She has cemented her place on

replaced? Can they compete with these superlative

the social media platform, showcasing brands such

digital models? In my opinion, even though these

as Supreme, Chanel and Dior a well as commandeer-

digital avatars are the ‘perfect model’ for brands, they

ing Prada’s Instagram feed, and starring in a Calvin

are completely unrelatable to consumers. How are we

Klein campaign in which she locked CGI-plumped lips

expected to relate to a virtual person who doesn’t even

with model Bella Hadid (Pithers, 2019).

exist? Many individuals are so consumed within social media and some have a hard time living up to the

Calvin Klein debuted a controversial video in May

physical standards of real-life models, let alone digital.

2019, with Bella Hadid and Lil Miquela appearing to

CGI models may escalate the body and image dysmor-

make out. The ad was part of the brand’s #MYTRUTH

phic epidemic. In addition to this, its not just models

campaign, aiming to challenge conventional norms

that will be impacted, it’s cutting out production

and stereotypes within advertising. They explored

also. Photographer Manny Roman, was among those

the blurred lines between reality and imagination, in-

posting criticism on Balmain’s Instagram, voicing his

cluding freedom of expression for a wide range of sex-

concern on the impact digital models may cause (Cres-

ual and gender identities. This campaign received a

ci, 2018).

very mixed response, with some calling it unrealistic

FIGURE 15: Balmain Virtual Models

FIGURE 16: Louis Vuitton x League of Legends

FIGURE 17: Lil Miquela FIGURE 18: Louis Vuitton : Lightning, A Virtual Heroin

FIGURE 19: Trashy Muse

PEOPLE ARE NOW ABLE TO EXPRESS THEMSELVES AROUND THE CHOCIES THEY HAVE MADE DIGITALLY, INSTEAD OF REAL LIFE. LUCY YEOMANS, VOGUE BUSINESS.

FIGURE 20 : Photography, Creative Direction and Styling by Courtney Davenport-Glover.

FIGURE 21 : Drest

“Who needs guns and ammo when you can put on a Chanel jacket and Manalos. Those pieces are empowering.”

styling apps The fashion industry, clued up on the advantages of

apps main unique selling points.

connecting with younger, as well as female customers, are launching styling games.

Similarly, there is the recently launched app Ada, named after Ada Lovelace. This app allows you to use luxury

Two new apps have launched this Autumn aimed

collections to dress-up an avatar in a fully customised

completely at the female market who love styling and

location. For example, you are able to pick from a series

buying clothes. Drest follows a path paved by mobile

of luxury interiors, such as, Armani furniture, which you

app Covet Fashion, launched by Lucy Yeomans, former can place and organise in a way that suits your prefereditor-in-chief of Harper’s Bazaar UK and also the

ence. Following this, you then dress up your chosen ava-

founding editor-in-chief of Porter (Lieber, 2019), stat-

tar in whichever designer you wish, for example, Prada.

ed that she wanted to give people the access to new

Upon completion, you are then able to take a series of

season collective, top models and inspiring locations

shots to share on your social media. It provides the user

just like she did in her previous careers, essentially al-

with an opening to high end fashion, who perhaps can’t

lowing any individual to become a high fashion Stylist.

afford to shop on the likes of Bond Street (Pithers, 2019).

The app allows the user to dress up an avatar using in-game currency and complete a series of style chal-

I am unsure on how effective these apps could be and it

lenges, for example, dressing clients for the Met Ball

is evident that in order for them to be more successful a

or styling model Kate Moss and Vivienne Westwood for large amount of marketing is required. Before conducting a photoshoot. You can then submit your created look

my research, I was unaware of both of these apps, so I

to the community page, where users can rate them

decided to do some market research to see if I was the

and the highest rated receive virtual prizes within the

only person. It was further was clarified in the responses

app. An important aspect of the app is the fact that

I received from my questionnaire that not many people

all of the clothing on the app is available to purchase

are aware of these apps, with 88.8% having never heard

through their partner FarFetch, I feel this is one of the

of them.

FIGURE 22, 23, 24 : Sims x Moschino

video gaming influences Digital collectibles, digital fashion, digital sneakers are going to be a huge market in the future. The FIGURE 23

worlds of fashion and gaming have been blurring into one another for a while, but without us actually realising. To back this up, I looked at the online gaming, particularly Fortnite, which is a multiplayer phenomenon that has taken over the gaming world. Players are able to invest in virtual clothing for their players which soon became a status symbol amongst teenage players. The online game has offered a preview of the potential virtual collectibles. Players can also buy ‘skins’ for their characters, this also became a huge status symbol within the game. Essentially, this resonates with the idea that clothing isn’t just a practical item but also offers a means of expression.

FIGURE 24

Jeremy Scott partnered with the Sims, the beloved computer game that many devote hours to playing, for Moschino’s Spring/Summer 2019 capsule collection. This collection wasn’t just available in store and online, but also in-game. The ‘Moschino Stuff Pack’, is all for the fashion forward and self expressive Sims players. It’s clear that many brands are opening their eyes to this new marketing front and adapting it to their communication strategies. This merge of real life and video gaming that stimulates real life was one of the most ambitious crossovers in both the fashion world and the video gaming world (Ritschel, 2019).

Burberry has launched its first online game, B Bounce, in which you can choose a player which is dressed in Burberrys new-season puffer jackets, to race to the moon, fighting against changing weathers. The game looks like a revamp of the classic mobile and tablet game Doodle Jump. Senior vice president of digital business at Burberry, Mark Morris, commented â&#x20AC;&#x153;We have been trying to get involved in game marketing in China, but B Bounce is our first time to reach out to our new generation of young consumers in an interactive and fun game. We know that online, a new generation of young consumers are living in an increasingly diverse and interactive environment. We are delighted that they can join the Burberry community in the form of game interactions to experience

FIGURE 25 : Burberry Bounce

our latest collection of down jackets.â&#x20AC;? (Leung, 2019)

27 FIGURE 26 : Burberry Bounce

FIGURE 27

escapism Fashion and gaming both resonate with the idea of escapism. They are both about adopting a fantasy version of yourself. This is perhaps one of the most appealing factors with incorporating gaming into fashion, giving consumers the opportunity to experience a sense of escapism. In today’s fast-paced cities, stress and anxiety are an everyday occurrence, gaming could help to alleviate this. An East Carolina study found that 30 minutes of casual games (with simple rules and short levels), alleviated depression and anxiety (Daswani, 2018). My questionnaire supported the idea of gaming with 57.5% stating they ‘definitely’ believe gaming is a form of escapism, and 41.3% stating that it is ‘sometimes’, therefore this backs up the idea of the industry embracing gaming. In addition to this, I also wanted to clarify if people found it to be a form of stress relief, 46.3% agreed with the statement ‘Gaming is a form of stress relief’ and 10% strongly agreed, this resulted in over half supporting my statement.

FIGURE 27, 28 : Photography, Creative Direction and Styling by Courtney Davenport-Glover.

''adopting a fantasy version of yourself''

FIGURE 29, 30, 31 : Seoul Dynasty

FIGURE 30

FIGURE 31

I feel an important aspect to cover is the idea of stereotypes coinciding with gaming. Many when thinking of gaming think about geeky teenagers who play games such as World of Warcraft and Call of Duty. In the questionnaire I conducted, I wanted to gather some responses on how people view stereotypes and gaming, some of the responses I received were; “Gaming is for boys’, ‘Maybe in the past but I no longer

STEROTYPES?

see any stereotypes’ and ‘Gaming is antisocial.’ Although there were some responses declaring there are still stereotypes, I believe, with the way the world is moving, and there being more acceptance and individuality, there will soon be very little to no stereotypes, in comparison to previously, a very pervasive stereotype world. Does there need to be a better gender balance within gaming? In my opinion, the gaming industry can be viewed as being majorly catered towards a male audience, with many games featuring aggression and shooting as well as sports such as football. This therefore could become an issue with gaming entering the fashion market, will females be interested? However, the 2019 State of Gaming Industry survey indicated women now makeup 19% of the field, which is an increase of 2% on the previous year (Godwin, 2019), meaning there is a sign of movement. Also, an article written by Vogue, stated that 63% of mobile-game consumers are women (Pithers, 2019). This clearly demonstrates there is a market for it. In addition to this, I feel age could be another stereotypical issue. Gen X may be less inclined to interact with the idea of fashion and gaming as they feel they are ‘too old’ or that ‘gaming is for younger people’. In my questionnaire I conducted, it was clear that Gen X were less engaged with the idea.

legal implications This new world colliding with another pre-

terms of time or consumer location.

sents numerous legal implications which I feel are important to consider within this debate.

Collaborating with a digital world may be

Firstly, displaying designs in the real and

difficult, especially with virtual models and

virtual world provides opportunities for coun-

influencers. Morality clauses typically exist in

terfeiting. Business may want to protect not

endorsement agreements as a means of ensur-

only their brand but also designs both within

ing that endorsers do not act in a disreputable

the virtual and physical world by registering

manner, resulting in embarrassing the brand.

their trademarks or including, in any contract

Brands may therefore consider conducting due

with a game partner, obligations requiring

diligence with the digital models (and their

them to remove in-game counterfeit items and

owning entity) before entering any agreement

infringing users. Blockchain technology could

but also ensure that morality obligations are

potentially resolve this issue as it may be able

imposed on digital models.

to assist with tracking fake products and authenticating the identity of the parties in the

The final and perhaps most important aspect,

supply chain.

as touched on in the â&#x20AC;&#x2DC;Digital Avatarsâ&#x20AC;&#x2122; section, brands should be conscious of how digital mod-

Brands may decide to negotiate periods of

els may be seen to promote unrealistic beauty

exclusivity to be able to sell their products

standards, thus potentially causing mental

in-game without competition for in-game sales

health issues. Whilst this should not put a halt

and publicity from other brands, especially

to collaborating, brands may need to make

where a brand is promoting a limited edition

clear when they are using digital creations, so

item. As seen in both games and the physical

as to not be accused of misleading consumers

world, scarcity can drive demand and interest

or risk criticism from its consumer base.

so brands may want to limit availability in

33 FIGURE 32 : Photography, Creative Direction and Styling by Courtney Davenport-Glover.

x FIGURE 33 : Nike 720 Lab Virtual Pop Up

rketing ma

g a n i nd m a g

“Gamification in fashion presents an enormous

elling beauty pop up, the Coco Chanel Game

opportunity to communicate with and deep-

Center. This took the form of a multi-floor space

ly engage loyal consumers,” James Gardner,

that offered plenty of opportunity for all, from

founder of CreatetheGroup. “Fashion is itself a

arcade-style visual merchandising to customised

game, after all”. With games such as Farmville

arcade games, Chanel delivered a unique, playful

receiving over 700 million installs over the past

setting for its consumers to discover their new

decade (Wilson, 2019), it only seems logical that

products.

the fashion world incorporates this. Early May saw Nike launch a VR landscape, the Most fashion companies are already prominent

Nike 720 Air Store, where shoppers could access

in the digital sphere with websites, editorial

limited edition items once they had earned cred-

content, mobile commerce and social media

its from a previous real-life purchase. The pop-up

outreach, so this new form of engagement is a

store, which went live upon the launch of the

tactical way that brands are hoping to increase

new Air Max 720 style, can be visited by any-

brand loyalty. “When you reward a customer

one whereas the items are only available to buy

based on the success of their actions, the value

once the user has entered their order number

and the perception from that consumer increas-

for purchasing a pair of the new trainers. This

es, thereby maintaining a brand image,” Macala

essentially acts as a reward system for buying

Wright, digital marketing consultant, founder

the new trainers, which provides pleasure and

and CEO of Why This Way and editor in chief of

harvests a boost in consumer loyalty. Upon en-

FashionablyMarketing.me (Adams, 2012).

tering the order number, you are provided with ‘Air Credits’, which are put into a virtual wallet,

The first wave of experiential retail with the in-

and allows users to purchase the items that they

stallation of tablets and other technology simply

can see on their screens. The collection includes

is no longer enough. Consumers now more than

digitised items such as Air Max 720-themed wa-

ever crave experiences and therefore technology

ter bottles, socks and sticker. This virtual store

savvy brands are offering compelling activations

also expanded into the physical realm, with an

to entice consumers back into their stores. For

installation in the Oxford Circus flagship store in

example, Chanel Beauty jumped on the gaming

London (Bezamat, 2019).

band wagon in 2018, opening their first trav-

' Gamification in fashion presents an enormous opportunity to communicate with and deeply engage loyal consumer, Fashion is itself a game, after all. ' james gardner, founder of create the group

FIGURE 35, 36 : Photography, Creative Direction and Styling by Courtney Davenport-Glover.

conclusion Having explored so many different aspects of fashion and gaming, I firmly believe that games, avatars and interactive initiatives have a strong relevance within the fashion industry, and if applied correctly are a clever and innovative way for brands to communicate. They are key to offering an exciting and personalised shopping experience, which is what customers, Millennials and Gen Z in particular, are currently demanding. I believe that my research demonstrates that, in order for the fashion industry to be successful, it needs to adapt and take on new forms of communication that will appeal to the future generations, essentially brands need to look at how they can future proof their company, and I can only hope that astute brands will adapt gamification to their branding strategies. I feel that I would be extremely short-sighted to not appreciate how much this could bring to the industry, and after exploring and research the topic in so much depth itâ&#x20AC;&#x2122;s only made me more excited as I emerge into my working life. In addition to this, I am now looking into ways of incorporating gaming into not just my own personal branding, but also my Final Major Project at University, which is essentially my calling card into the industry, this project will undoubtedly be what lands me my graduate job. I have learnt you have to be one step ahead at all times and constantly be in the know of new advances dominating the industry. For an individual like myself, who longs for a successful career within the industry, I can only have faith that more brands will explore this exciting, innovative way of communicating.

FIGURE 36

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Will People Pay to Play?. Retrieved 2 December 2019, from

physical clothing’. Retrieved 3 December 2019, from https://

https://www.businessoffashion.com/articles/fashion-tech/a-

fashionunited.uk/news/fashion/digital-fashion-the-world-

new-game-could-be-fashions-farmville-will-people-pay-to-play

doesn-t-need-more-physical-clothing/2019061943770

Mcdowell, M. (2019). Inside the physical store that only offers digital clothes. Retrieved 19 December 2019, from https:// www.voguebusiness.com/technology/hot-second-circular-digital-clothing-store-london

New global research: What will customer experience look like in 2030?. (2019). Retrieved 1 December 2019, from https:// www.sas.com/cs_cz/news/press-releases/2019/october/customer-experience-2030-ax19.html

Pasquarelli, A., & Schultz, E. (2019). Move over Gen Z, Generation Alpha is the one to watch. Retrieved 10 December 2019, from https://adage.com/article/cmo-strategy/move-gen-z-generation-alpha-watch/316314

Petrarca, E. (2019). Calvin Klein Apologizes for Bella Hadid and Lil Miquela Campaign. Retrieved 3 December 2019, from https://www.thecut.com/2019/05/bella-hadid-lil-miquela-calvin-klein-apology.html

By Courtney Davenport-Glover, 18 December 2019.

Figure 4: Photography, Creative Direction and Styling By Courtney Davenport-Glover, 18 December 2019.

Figure 5: Youth Future 2019: Paradox Personnas, The Future Labatory Post Virtual Garden by Hannah Neckle https://www.thefuturelaboratory.com/reports/2019/youth-futures

Figure 6: 360 Campaign Creation by SUPERIMPOSE - Zalando: Sneakernet FW19 The - Dots https://the-dots.com/projects/zalando-sneakernet-fw19-352912

Figure 7: The Current Daily. Nike launches virtual store where items can only be bought with Air Max credits. By Bia Bezamat, 04

image references

March 2019. https://thecurrentdaily.com/2019/03/04/nike-launches-virtual-store-where-items-can-only-be-bought-with-air-max-credits/

Figure 8: Visual Merchandising Trend Concepts S/S 21: GameScape By Claire Dickinson, 30 September 2019. Subtype Store http://www.subtypestore.com

Cover Page: Photography, Creative Direction and Styling By Courtney Davenport-Glover, 18 December 2019.

Figure 1: WGSN Active Style Trend Concepts S/S 21: GameScape By Chantell Fenton, 29 June 2019. http://www.designboom.com

Figure 2: WGSN Active Style Trend Concepts S/S 21: GameScape By Chantell Fenton, 29 June 2019. Carlings Neo-Ex http://carlings.com

Figure 3: Photography, Creative Direction and Styling

Figure 9: Louis Vuitton Dover Street Market Ginza Store Renewal Open https://eu.louisvuitton.com/eng-e1/articles/louis-vuitton-dover-street-market-ginza-store-renewal-open

Figure 10: Future Innovations 2021 By the WGSN Macro Forecast Team, 19th November 2018. Decentraland http://decentraland.org

Figure 11: FFROP #3 The Fabricant Digital Fashion House https://www.instagram.com/the_fab_ric_ant/

Figure 12:

Carlings Launches Digital-Only Capsule Collection By Jack Stanley, 15 November 2018.

Figure 20:

Carlings

Photography, Creative Direction and Styling

https://hypebeast.com/2018/11/carlings-digital-clothing-col-

By Courtney Davenport-Glover, 18 December 2019

lection-details Figure 21: Figure 13:

How Fashion Got The Gaming Bug

Photography, Creative Direction and Styling

By Ellie Pithers, 08 October 2019

By Courtney Davenport-Glover, 18 December 2019.

https://www.vogue.co.uk/arts-and-lifestyle/article/fashion-and-gaming

Figure 14: Photography, Creative Direction and Styling

Figure 22, 23, 24:

By Courtney Davenport-Glover, 18 December 2019.

MOSCHINO REVEALS CAPSULE COLLECTION WITH THE SIMS By Chelsea Ritchell, 11 April 2019

Figure 15:

https://www.independent.co.uk/life-style/fashion/moschi-

Balmain reveals line up of Virtual Models for latest Campaign

no-the-sims-capsule-collection-designer-a8865446.html

By Rachel Hosie, 03 September 2018 Balmain Instagram @balmain

Figure 25, 26:

https://www.independent.co.uk/life-style/fashion/balmain-vir-

Race To The Moon With Burberryâ&#x20AC;&#x2122;s First Online Game B

tual-models-digital-campaign-fashion-shudu-a8520871.html

Bounce 21 October 2019

Figure 16:

https://www.thebrandberries.com/2019/10/21/race-to-the-

Louis Vuitton collaboration with League of Legends

moon-with-burberrys-first-online-game-b-bounce/

By Jessica Heron-Langton, 30 October 2019 Via Instagram @riotgames

Figure 27, 28:

https://www.dazeddigital.com/fashion/article/46640/1/

Photography, Creative Direction and Styling

louis-vuitton-league-of-legends-collaboration-skins-nico-

By Courtney Davenport-Glover, 18 December 2019

las-ghesquiere Figure 29, 30, 31: Figure 17:

WGSN Active Style Trend Concepts S/S 21: GameScape

Lil Miquela, Instagram: @lilmiquela

By Chantell Fenton, 29 June 2019.

https://www.thecut.com/2018/05/lil-miquela-digital-avatar-in-

Seoul Dynasty https://www.instagram.com/seouldynasty/

stagram-influencer.html Figure 32: Figure 18:

Photography, Creative Direction and Styling

Louis Vuitton: Lightning, A Virtual Heroin

By Courtney Davenport-Glover, 18 December 2019

https://us.louisvuitton.com/eng-us/articles/lightning-a-virtual-heroine

Figure 33: Nike Air 720 Lab Virtual Pop Up

Figure 19:

WGSN

Trashy Muse put on the worldâ&#x20AC;&#x2122;s first virtual avatar fashion show

Figure 34, 35:

By Gunseli Yalcinkaya, 11 July 2019

Photography, Creative Direction and Styling

Courtesy of Trashy Muse

By Courtney Davenport-Glover, 18 December 2019

https://www.dazeddigital.com/fashion/article/45206/1/

ing/2019061943770

trashy-muse-virtual-avatar-fashion-show-augmented-reality-lil-miquela-paris

COURTNEY DAVENPORT-GLOVER AD6603 - FASHION FUTURES

Fashion Futures

Articles inside

gaming and marketing

styling apps

digital era

introduction