Campaign 20X20 Method
Jessica-Laine Vels (1910218) 4,622 Word Count
The 20X20 Method Explained.
Contents 01. 3D. 02. Remake. 03. Movement. 04. Future. 05. Luxury. 06. Conceptual.
Chapter 1: 3D 3D fashion, is something that has always been strongly linked with the highly addressed topic of the metaverse. Where this new world of innovation and future carving is a space of exploration as well as reinvention. Within my research of my 20x20 methodology and additionally the new steps taken towards the metaverse I read an article from Ralph Laren, reading, “It’s just the latest example of how the fashion industry is beginning to delve into the so-called metaverse, with Ralph Lauren, Gucci, Balenciaga and others charging real money for digital-only clothing and accessories. As silly as it may sound, it’s being heralded as a potential new goldmine, with Morgan Stanley predicting that the metaverse could present a $50 billion-plus opportunity for the luxury industry in the next decade.” (Debter, 2022). So, what exactly is the metaverse? Well, this is still being figured out. the idea is that it could be the next version of the internet, offering a more immersive and three-dimensional experience. In the metaverse, you have a digital persona called an avatar that can seek out experiences that are similar to what you might do in the real world — you can shop, eat at restaurants and attend concerts. While it has begun to take shape in various online gaming platforms, like Roblox, it remains largely theoretical. However, the entirety of the metaverse is hardly a new idea, but rather People have spent time immersed in online video games for years, and brands got involved there too. Adidas, Armani and Calvin Klein experimented with digital fashion on Second Life, an online virtual world that had some one million members at its peak in 2007. In 2012, Diesel began selling clothing and furniture on The Sims. In 2019, Louis Vuitton developed ‘skins’ — an in-game purchase that changes a player’s appearance— for players in League of Legends. The appearance of the metaverse is viewed as a new concept, which has been disproven, however why is it such a hot topic currently. Well, economically covid is linked, in terms of the global Pandemic, public safety restrictions forced millions around the world to quarantine and socially distance, people began spending significantly more time online. According to eMarketer, adults in the U.S. spent 7 hours and 50 minutes a day interacting with a digital device last year, up 15% from 2019.
3D.
Facebook also generated a lot of attention when it announced it was changing its name to “Meta” in October, with ambitions of becoming a major player in the metaverse. It will spend $10 billion this year and more in years to come to make that a reality. Bill Gates recently predicted that we will be attending work meetings in the metaverse within the next three years. Brands, which moved fashion shows online during the pandemic and have been thinking a lot about how to connect with customers in the digital realm, are now racing to figure out their metaverse strategy. Balenciaga is creating a metaverse division. Gucci, Burberry and Dolce & Gabbana are selling virtual fashion. Nike acquired a virtual sneaker designer. So what are the benefits of the 3D Metaverse Well, According to Morgan Stanley, the metaverse could help luxury brands expand their total addressable market by over 10% by 2030, good enough for more than $50 billion in additional revenues. More exciting, the bank says, are the profit margins, with the potential for 75% of that revenue to hit a profit measure called EBIT, or earnings before interest and taxes. Think about it: With a digital item, there is no need to buy raw materials, spend money on labour, bother with manufacturing or ship something around the world. Brands already have a vast archive of collections to pull from and repurpose for the digital realm. In conclusion with he metaverse, an unlimited way of life waits for us and the new way of life we plan on creating as a generation, as well as the fashion industry, (Nast, 2022)
Remake.
Chapter 2: Remake Remake Reinventing something is hard, breaking the done and proven before methodology pathway is always something which takes much consideration and planning. Whilst I began my research into my 20x20 components, I explored the concept of reinvention. Where the prime examples of the fashion industry reinventing itself for the future yet after Covid19 was the fashion Weeks around the world. This year, New York Fashion Week persevered by embracing new technology and touting innovation to create an experience like none other. And while the industry had been moving toward digitalization for some time, the COVID-19 outbreak accelerated this evolution. To illustrate this, data pulled from Facebook Inc. revealed a 75 percent increase in mentions of “fashion week” with the word “digital” and a 143 percent increase in mentions of “fashion week” with the word “virtual,” during the pandemic The data is indicative of a drive by businesses to discover “what is next?” while also acknowledging a “new normal.” But this isn’t the first time that the fashion industry has faced a need to reinvent itself. (studios, 2022) The fashion industry has always been about reinvention and innovation,” said Karin Tracy, Head of Industry, Retail, Fashion, Luxury at Facebook Inc. “It’s in our DNA. Fashion week itself was born out of crisis when in 1943 editors and buyers in NYC mounted the first one to keep the industry alive while war raged in Europe. Now, during the turmoil of 2020, fashion has an opportunity to reimagine itself yet again. The complete idea of live shows and their exclusive audiences began evolving years ago as influencers became the new editors and the mobile device gave the shows scale to customers — changing it from a B2B experience to a consumer-facing experience,” said Tracy. “With this, many luxury brands and retailers have begun to question the very foundation of how they’ve traditionally promoted themselves — seasons, line exclusivity, velvet ropes, and expensive product launches that in reality only a relatively small handful of people actually experienced first-hand. This coupled with the customer’s desire to see now and buy now — clothes that are in season — has changed the game, (studios, 2022).
Upon my research, it was proven that ‘The Great Awakening’ was the new calling card for this current time of reinvention and innovation. to all the brand marketers out there that thought mobile and digital shopping was still a side-line to their main business,” said Tracy. “What 2020 revealed was an inevitable shift that’s been happening year after year as consumers increasingly turn to mobile at every stage of the purchase funnel. Mobile has become your new storefront, and If anything, what we saw this year was a contraction in the time involved with shopping, with consumers going from awareness to purchase often within the same shopping experience. If you’re going to compete moving forward, you must put digital at the centre of your universe. So, what is the reasoning behind this Great Awakening? Well, apart from the obvious reasoning of innovation and creating a new improved digital future for us all, the factor of sustainability and responsibility has a part to play within this, I explored the area of the hands behind the garments, where countless articles told horrendous stories of the factory or sweatshop workers, and the unfair treatment practiced. “A report based on a survey of 316 Bangladesh suppliers issued by Pennsylvania State University academic Mark Anner at the end of March found that half of Bangladesh suppliers had the bulk of their in-process or completed orders cancelled. Many buyers cited force majeure clauses to justify their withdrawal, despite contractual obligations to pay. Where orders were cancelled and buyers refused to cover material and production costs, 58 per cent of factories had to shut down most or all of their operations, and one million workers were furloughed or fired. Seventy-two per cent of furloughed workers were sent home without pay, while 80 per cent of dismissed workers were denied the severance pay, they are legally entitled to,” (Nast, 2022). These articles lead to this new alternative, discovering the concept of PayUp Fashion. Which was created to avoid situations like this unfolding in future. Its website details seven actions for brands and consumers, which Remake founder Ayesha Barenblat says will make the industry more sustainable for the 70 million garment workers who prop it up. Co-authored by two former garment workers, Ashila Niroshi, founder of Stand Up Lanka, and Nazma Akter, founder of the Awaj Foundation, PayUp Fashion plans to be a call to action for brands and retailers with considerable influence over the supply chain. In doing so, the initiative puts the onus on brands, not customers or garment workers, to conduct better business practices and build a more humane supply chain. But without financial incentives or benefits for taking part, PayUp Fashion hinges on the hopes that applying vocal pressure to brands, boosted by its corresponding hashtag and petition, will suffice. “Going back to business as usual is not an option,” Barenblat says, (Nast, 2022). This reduction in the production of both manual labour and textiles will not simply create the new world of innovation, but additionally the world for true sustainability and brand treatment towards workers.
Chapter 3: Movement For me, the concept of movement as an abstract producer/creator has always been strongly linked to that of freedom and individuality. During my process of research and discovery, I found how many areas of expression there is between the word of movement. To me, I really wanted to discover the critical movement that is sustainability. My research has always been rather switched off from sustainability, however over the course of my degree, the movement of sustainability has grown to a platform of inability of ignorance no longer. I began looking into the general legislation inNew York, where ttargetted corporate transparency is of the key focus and utmost importance. “State legislators in New York, home state of the industry (and its investors), recently floated a new law which would impose an astonishing level of corporate transparency, a principal element of the sustainable investment agenda known as ESG (environmental, social, and governance).” (Petro, 2022) Adherence to ESG is becoming a widely accepted criterion used by investors to choose stocks suitable for “green” portfolios. Under the so-called Fashion Act, major apparel retailers ($100 million or more in revenue) would be legally bound to report “adverse environmental and social impacts” of at least half of their businesses. It would require disclosure of materials used in products along with details about energy, water, and chemical use in manufacturing and finishing. Stiff fines—up to two percent of annual revenue—could be imposed for failure to comply.
I continued to do research into what the actual consumer approaches the term of sustainability, coming out as more valued than the actual price. It read, Two-thirds of consumer respondents said they would pay more for sustainably pro-duced goods. Three out of four said they place a higher value on sustainability than on brand name. When expanding upon the platforms that offer this multi surface sustainable route, Levi’s and Lululemon kept exposing. When asked what type of sustainable shopping formats consumers would utilize the most, retail executives ranked resale/recommence programs last. But 41% of con-sumers reported they have already had the experience, shopping programs such as those offered by Lululemon and Levi’s. Half of retail executives believe that price is the primary reason consumers shop across e-commerce formats,” said Professor Thomas Robertson, academ-ic director of the Baker Center. In fact, only 27% of consumers agree that price is their motivation. This particular piece of research raised the question of, do retailers truly listen to what the consumer wants? Throughout my research I will be problem solving and unlocking the true hidden desires our consumers want these days and additionally in the future.
Chapter 4: Future The entire concept of the future is something which has often led to more questions than answers. On reflection, the idea of what the future of the fashion industry will present itself as is one of digital sustain ability, however will this be a long-lasting adaption? Well, if we reflect in the past where we began. Fashion has always been at the forefront of innovation — from the invention of the sewing machine to the rise of e-commerce. Like tech, fashion is forward-looking and cyclical. Estimated to be worth more than $3T by the end of the decade, according to CB Insights’ Industry Analyst Consensus, the fashion sector is also one of the largest industries in the world. And today, fashion technology is growing at a faster pace than ever. Robots that sew and cut fabric, AI algorithms that predict style trends, VR mirrors in dressing rooms, and an array of other innovations show how technology is automating, personalizing, and speeding up the fashion space. In this report, we dive into the trends reshaping how our clothes and accesso-ries are designed, manufactured, distributed, and marketed, (Insights, 2022). Is this what the new world will be, a land of limited human interaction, but rather the replacement of robots and technology. Is this taking evolving a step too far, where the limited and original beauty is lost? What will this mean on the conceptual area, where human thoughts and emotions play such a dramatic role in the perception of produced abstract work, such as my very own. Now, will artificial intelligence reshape brands’ approach to product design and development, with a focus on predicting what customers will want to wear next.
Outside of fashion, manufacturers are already using AI to generate out-of-the-box prototypes for products ranging from aircraft parts to golf equipment. Google has already tested the waters of user-driven AI fashion design with Project Muze, an experiment it deployed in partnership with Germany-based fashion platform Zalando in 2016. The project trained a neural network to understand colors, textures, style pref-erences, and other “aesthetic parameters,” derived from Google’s Fashion Trends Report as well as design and trend data sourced by Zalando. From there, Project Muze used an algorithm to create designs based on users’ interests and aligned with the style preferences recognized by the network. Whereas inn the more tangibly conscious future outlook, for example Stella McCartney, who has long been a pioneer for conscious design, used more than 75 per cent eco-friendly materials in her S/S 20 collection – her most sustaina-ble to date. Meanwhile, a new generation of designers, most notably Gabriela Hearst, whose last show was certified carbon-neutral, are building environmen-tal credentials into their processes. Brands are becoming less interested in sea-sonality than in making heirloom pieces. Pierpaolo Piccioli at Valentino doesn’t think in terms of trends; rather, he is building a back catalogue of beauty that pays no heed to old notions of how we shop. Hedi Slimane of Celine purpose-fully creates the same pieces again and again in his collections because he doesn’t want people to have to buy a new version the next time round, as re-trieved in Harper’s Bazaar, (Bazaar, 2022). So, the real question raised is, will the future of fashion and if not, the world be that of conscious sustainability or that of A.I intelligence? Only time will prove which comes out the most sufficient and predictive.
Chapter 5: Luxury What is the concept of luxury? Well, throughout this module I have been on the research journey of rediscovering indeed the concept of the ‘luxury’ mar-ket. Before I began this process of problem solving, I originally would have easi-ly given my own personal definition of what is the luxury market, however throughout my exploration that has severely shifted. Meaning the term of luxu-ry to myself now is more so pointed in the redefine and discover pathway. A term of reinvention rather than simply well-known brands and past brand morals and output. In an article, it read, “Luxury isn’t what it used to be. Shifting consumer values of younger generations prioritise trends over classic symbols. “The biggest change I’ve seen is that luxury brands are focused on being more fashionable and trendy. You realise products in the market are not timeless at all, as [brands] dictate trends and cycles get shorter and shorter.” says Gachoucha Kretz, an affiliate professor in marketing and brand management at HEC Paris,” (Nast, 2022).
Luxury.
Such are the strengths of luxury brands like Alexander McQueen, Versace, and Valentino, which frequently “create things that stand out” and are perceived as “independent” and “bold”, says Kretz. “These brands have a strong identity and styles that are highly Instagram-able. Within a survey I examined, more than 8,000 luxury consumers worldwide, found that Alexander McQueen, Ver-sace, and Valentino outperformed its peers in digital marketing and brand per-ception. According to the findings, the three houses have all amassed a signifi-cant number of views on Condé Nast platforms like Vogue Runway for the last two years running, despite lagging in other consumer perception metrics like brand loyalty. That puts them ahead of leaders Louis Vuitton, Dior, and Gucci. High-end fashion has shifted over the years to include items like sneakers and hoodies, which would not have been called luxurious a few years ago. More of-ten today it’s the brand that attracts customers, which means luxury brands can sell non-luxurious products with less harm to their cachet. As Balenciaga creative director Demna Gvasalia told the Financial Times in 2018, young shop-pers are now prioritising uniqueness over the traditional markers of craftsman-ship, a phenomenon that has continued. These houses also have a strong presence on at least one of the four social media networks tracked: YouTube, Instagram, Facebook and Twitter. Both Ver-sace and Alexander McQueen had engagement rates of over 40 per cent on Fa-cebook, far higher than most brands, and also finished in the top 10 for Insta-gram engagement. Versace, meanwhile, was the highest-rated brand on YouTube, doubling its year-over-year views, while Valentino was in the top 10 for engagement. This currency will be important for winning over Gen Z cus-tomers, which could make up 40 per cent of luxury purchases by 2035, accord-ing to Bain.
Now, does this certainly mean the ‘New Luxury’ is primarily based around re-defining limited and previous timeless brands? Upon my own personal reflec-tion, I noticed where many well-known brands went wrong was they adapted too much with trends, which as we all know change too rapidly to form con-sistency, whereas this means straying away from the years of brand build up and consumer loyalty. In an interview conducted by I.D, it read, “t must have been 2004 when I lifted the orange lid on the orange box and peeled back the white tissue paper. A Kelly bag. Polished black leather, blackened-silver hardware: a whole world of heritage in one discreet status symbol. The waiting list had been long -- a year, maybe two? Embarrassed to wear it, it lived in its box under my bed. A bag like that didn’t belong on a woman like me; the only thing I could afford in an Hermès store at the time was the perfumed oxygen. How I came to have it doesn’t matter -- and I did eventually use it, the more scuffed and knocked about it got the more comfortable I was carrying it -- but here’s the point: back then, a Hermès bag was the pinnacle of luxury. These days it’s not so simple,” (Lowthorpe, 2022). Our relationship with luxury has become far more multi-faceted, subtly nuanced, and laced with cryptic messages, (“What does luxury mean now?”, 2022). Luxury is as wrapped up in the personal identity of much of the world as it ever was, but where it used to be I buy luxury goods; therefore, I am it is now I buy luxury goods because I am special, unusual, interesting, in fact I’m so interesting that you should be interested in me, too. Today, the luxury item in question could be a one-off or something churned out by the hundreds-a-day -- if it has the right label stitched into it. It could be a gown crafted with breath-taking skill that took 4,200 hours to make in the Valentino ateliers in Rome, or it could be a white t-shirt stamped with the words ‘YOU FUCK’N ASSHOLE’ by the new messiah-brand, Vetements. This is luxury’s greatest shift: it’s not about how much, it’s about who -- and who is constantly shifting.
Chapter 6: Conceptual In recent decades, the world of fashion and textile design has become increas-ingly close and reliant on one another. Fashion designers understand that the future of their profession lies to a great extent of the individual’s ideas and meaning, not only depends on forms and materials. High-fashion has been re-ferred to as “idea fashion”, and idea makers have been labeled as “fashion conceptualists” whose work is epitomized by innovation and experimentation. Conceptual fashion design can also defined as a fashion help in “finding your-self, in presenting the authentic nature of your internal and external self. Not reflection on the observation and evaluation of others, but instead personal sensation and enjoyment, and fashion as a medium to achieve this. Although designers have intrinsic talents that may not be bound by rigid rules, a systematic framework should be helpful to provide a more effective and effi-cient design process. The existing models of creative processes of other design disciplines to tend to illustrate the diversity of the process and provide a broad description of the design process, but no specific framework has been pro-posed for conceptual fashion design. As there is an obvious knowledge gap be-tween the subjects of conceptual fashion design, this study seeks to identify the dimensions of creative success within this specific domain. A thorough un-derstanding of the dimensions of creativity theories and, creative processes in different design disciplines will help to develop a rich background to the study of creative activities within the domain of conceptual fashion design. The pre-sent research attempts on 1) explore the identification of the innovative con-ceptual fashion design and its creative system, 2) develop a theoretical framework of design process that presents a series of creative actions and 3) develop a model of design process that is generic to both textile design and fashion de-sign, by rationally integrating professional knowledge from different design domains into a systematic conceptual framework. Completed with regard to detailed investigation on design process of conceptual fashion design, these raise my interests on the investigation of the design process of developing con-ceptual fashion design and the creative thinking within the mind of conceptual designers. Finally, this study documented and tracked the emergence and de-velopment of conceptual fashion, exposing interdisciplinary practice at the edges of the fashion discipline. Increasing attention has been given to the revolutionary conceptual design in fashion industry. A number of influential designers had stepped out of the commercial side of fashion in reaction to the need for constant renewal. Those designers are characterized as Fashion Conceptualists. They embrace an innovative approach to fashion in keeping with their personal philosophies and approaches. Their “cultural shift, exploration and cross over” approaches marked the growing acceptance of fashion as conceptually and culturally significant practice. These fashion conceptualists insist on a holistic approach to their collections, and this includes a key role in originating and overseeing the development of radically novel fabrics and fabric sculptures. Those collaborations leave an exciting mark on both fashion and textile practice. The collections showcase the integration of innovative fabrics and impeccable craft. Designers such as Hussein Chayalan, Issey Miyake, Zandra Rhodes, Dries van Noten, John Galliano and Vivienne Tam are characterized by this fashion dualism.
Conceptual.
There is a rising attention of conceptual fashion design in the industry. Howev-er, the design process of developing conceptual design remains a mystery. The distinction between garment designers and fabric designers becomes blurred when one examines the activities of ‘fashion conceptualists’ and ‘high-fashion’ designers. Now, is the term of high fashion singular to that of conceptualism? Where the new definition of luxury is that of the conceptual and abstract scene. Should this be normalised where the old ways of what luxury was fully disposed to be replaced by this market as it is less able to fraud, in other words, not so simple to remodel within the market levels for more common purchasing people, (“Conceptual fashion design news and archive”, 2022).
Now, in round up, the final topic I question is that of digital concept. Within this research I came across a case study which would be a contrast to that of the previous term of tangible concept, but rather here I investigated the 3DP con-ceptual technology. Meshing the two topics together. The purpose of this con-ceptual study was to examine the potential impacts and challenges when inte-grating 3DP technology into the fashion industry, where 3DP functions as a leading method in DDM. As to an extensive literature review was conducted and key themes were extracted to develop a conceptual model to illustrate the connections among various factors influencing the 3DP integration. To recog-nize and organize such integration, the nature of DDM was first examined in contrast to the traditional manufacturing approach or the current supply chain in fashion product manufacturing. After proposing the conceptual model of a 3DP integrated fashion industry, its potential direct and indirect impacts on four critical areas were explored, including design and product development, sourcing and manufacturing, retail distribution and consumers, and sustainabil-ity optimization. Finally, potential challenges were evaluated within these four areas as well as those challenges embedded in the transition towards DDM. Overall, this conceptual model aims to help lay the groundwork and explore fu-ture research topics and curricula for the fashion industry, particularly with a consideration of 3DP technology integration that will soon saturate throughout the current supply chain, (Ong, 2022).
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https://www.voguebusiness.com/companies/what-makes-a-popular-luxury-fashion-brand Lowthorpe, R. (2022). what is luxury fashion & what does it mean today?. Retrieved 9 March 2022, from https://i-d.vice.com/en_uk/article/gyg9yq/what-does-luxury-mean-in-fashion-today What does luxury mean now?. (2022). Retrieved 9 March 2022, from https://www.bbc.com/ culture/article/20181210-what-does-luxury-mean-now Conceptual fashion design news and archive. (2022). Retrieved 9 March 2022, from https:// fashionunited.com/tags/conceptual-fashion-design Ong, S. (2022). Fashion Marketing : 25 Strategies From The Fashion Industry. Retrieved 9 March 2022, from https://www.referralcandy.com/blog/fashion-marketing-examples Bazaar, H. (2022). What is the future of fashion?. Retrieved 8 March 2022, from https://www. harpersbazaar.com/uk/fashion/fashion-news/a30443407/what-is-the-future-of-fashion/