TRIQUETRA - Forecast 2030
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Olivia Buckley 1901813 Fashion Forecast Module AD5605 Dec 2020 TRIQUETRA - Forecast 2030
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6-23 : Introduction to research 24-25 : Fashion Forecast 2030 26-27 : Overview of Triqeutra 28-39 : PROTECH 40-49 : RENASCENCE 50-65: DIGITAL DURABILITY 66-69 : Consumer 70- 75: Luxury Market Sector 76-77: Colour 78-79: Concept 80: Image References 81: References
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INITIAL RESEARCH 8
The future of the fashion industry is currently teetering on a knife edge as it fights to regain an identity after the Covid-19 pandemic. The pandemic has forced the industry to re-assess and adapt as consumers reflect and redefine what they want from fashion. I have researched into the possible influences on fashion in 10 years’ time. Debating between innovations and traditionalisms from virtual clothing, to textiles innovations, sustainability, nostalgia, upcycling, avatars and VR, I have decided that fashion in 2030 will be guided by innovation- the process of creating something new to exterminate tradition. This innovation will however be influenced by traditional feelings and values instilled in consumers- defined to be long-standing beliefs that resist change.
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nostalgia NOSTALGIA
I began my research by investigating the ‘new normal’ and consumer feelings after the Corona Virus pandemic, nostalgia was shown to be a popular emotion during lockdown for brands and consumers. Nostalgia is defined as ‘a sentimental longing for the past.’ (Collins Dictionary) It restores meaning into life and promotes optimism; however, nostalgia is often not what we have actually experienced but an idealised version our mind has created. Historically, nostalgia is something that has been placed at odds with innovation although, in recent times reminiscing over memories that feel safe and familiar is what many have returned to. During the Pandemic, Instagram has become a breeding ground for nostalgia of fashion. Moreover, brands have grasped the opportunity to reconnect with their audience by posting old images of their favourite collections and history as a brand giving their consumers an ‘escape from reality’ (Versace, 2020.) This look back has allowed brands to reunite with their values and reassess their identity. Furthermore, an escape is important for consumers at the moment as they cannot ‘escape’ or go on holiday due to the Corona Virus fashion is offering this instead. As previously stated, nostalgia is often seen as a barrier to innovation, however, sometimes looking back helps us to realise what we want in the future. Anemoia is defined as nostalgia for a time you have never known, past or future. I find this an interesting paradox; can you feel an emotion for something you have not seen or do not understand? Overall, nostalgia generates an escapism–the question is where are we escaping to? TRIQUETRA - Forecast 2030
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SPACE SPACE SPACE SPACE SPACE SPACE SPACE SPACE SPACE SPACE SPACE SPACE SPACE SPACE SPACE SPACE 12
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GARMENT
innovation INNOVATION
Reflecting on Cardin’s philosophy of inventing clothes for a life that doesn’t exist, I began researching into new garment innovation focussing on how clothes could protect us in future, given the use of masks in the current pandemic to protect us from a virus, I questioned whether this could go further in future. Vollebak, is a company using science and technology to create clothing that provides protection. They have created a graphene jacket, a pair of 100-year pants and have made the one of the toughest t-shirts on Earth a ceramic t-shirt including the same technologies that are used in the International Space Station. Most recently, they have built a Full Metal Jacket out of copper – the future of disease-resistant clothing – and have created a deep sleep cocoon for the first missions to Mars. The company is creating solutions to problems that haven’t even occurred yet but may inevitably. The use of materials such as copper and graphene which were originally inspired for Nasa’s spacesuits, now have a more prominent place on earth. The fact that these materials that are designed for space are being brought back down to earth is interesting. The unknown about the future of the earth is as unknown as Space furthermore, how humans will cope and adapt in both new environments is to be determined with fashion having to adapt to both in future. TRIQUETRA - Forecast 2030
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SUSTAINABILITY
tradition TRADITION Looking into the possible colonisation of Mars by 2030 and new clothing being produced for it I researched into fashions effect on our current planet. The clothing industry is the second largest polluter in the world. Every year, 7.75 trillion litres of water are consumed by the industry in total, and 70 million barrels of oil are used to produce polyester. Moreover, 56 million tonnes of clothing are brought each year, this number is expected to rise to 93 million tonnes each year by 2030 (Beall, 2020) however, 30% of clothes currently end up in landfill (Clothes Aid) This is a huge amount of waste, however, textile advancements as well as a surge in upcycling/recycling shows that customers are keen to reduce fashion’s impact on the environment. 16
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The lockdown of 2020 has forced people to live simply and take up old traditions to pass the time much like they did during the 1918 Spanish Flu epidemic. 30% of Gen Z consumers took up a new hobby over lockdown one of these being upcycling (Maguire, 2020). As Gen Z value individuality, ethics and uniqueness consumers have been producing, upcycling and selling online more than ever. Depop has become a huge platform for this trend with 90% of its users under 25, as well as 1/3 of 18-25-year olds in the UK registered on the platform (Maguire, 2020). Depop, exists somewhere between e-commerce and social media, where sellers can create their profiles to sell their items as well as hunt for one of a kind pieces at low prices. A large proportion of the items are listed as customised, upcycled or reconstructed on the site, moreover, it has seen a 40% increase in listings, with traffic on the app up 74% (Maguire, 2020). The ability to create and sell garments as well as find unique items matched with the appealing increase in sustainability brought with buying pre-loved cloth-
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ing is what makes Depop so popular to Generation Z, this has affected shopping habits greatly forcing a change that will continue into the future. Further looking at sustainability and material in the industry I looked into Iris Van Herpen, a pioneer in the use of 3D Printing to create garments. She blends past and future in a sustainable fashion to create beautiful garments. Her use of technology to protect the environment is still new to the industry but will grow in future. A company with a similar philosophy is Biocouture they cultivate their own garments using bacteria cultures. This sustainable practice means that traditional fabrics may not be needed in future. The fabric itself is described to be leather like in texture which is thick enough to support a shape and withstand wear. The possibilities in modification of the bacteria means that the fabric can be given different properties such as water-resistance and nutritious qualities for skin, etc. These properties could allow the wearer to protect or better themselves in future.
IRIS VAN HERPEN TRIQUETRA - Forecast 2030
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WILL OUR VIRTUAL AND REAL IDENTITIES
BLEND FURTHER IN FUTURE?
In looking at new fabrics I questioned if fashion will even need fabric in the future. The Fabricant is a virtual fashion brand specialising in 3d fashion design and animation. They are pioneers in creating digital only clothing. Last year Carlings, had huge success with their digital streetwear designs, the Fabricant wishes to follow but with a more haute couture edge. “In an environment that makes the impossible possible, that wastes nothing but data and exploits nothing but the imagination, the very idea of physicality seems outdated.’(The Fabricant, 2020) The introduction of digital clothing allows not only unlimited creativity but also drastically lowers the carbon and water footprints of the industry. In addition, this will decrease the ‘wear once and throw away’ philosophy many have become accustomed to due to the rise of fast fashion.
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Further to the use of virtual clothing, digital identities and avatars are now being used by consumers as people create their virtual selves online. Consumers want to dress them in something that reflects their personalitythis is where luxury fashion brands such as the Fabricant are bridging the gap. Virtual identities were a novelty a few years ago when Lil Miquela made her debut on Instagram alongside CGI model Shudu for Balmain. Despite this, the use of avatars and virtual ‘people’ has grown enormously since 2018. Consumers are creating their own 3D avatars- on lower levels avatars such as Memoji’s and Bitmoji’s are used by almost everyone but this is now progressing. Companies such as Moschino, Puma and Gucci have also used digital avatars in campaigns recently, suggesting this mixing of avatars and fashion is a growing prospect for the future. TRIQUETRA - Forecast 2030
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CONCLUSION 22
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From this research, I have found that innovative advancements and technologies will be the main force influencing the future of fashion however, traditional values of sustainability and safety will inform these innovations. The fashion industry will push further into a digital future to satisfy the demand from a technologically advanced consumer as well as to improve sustainability being pushed for by younger generations. This will inform the development of my trend for 2030. Whilst virtual clothing gives the industry unlimited creative potential as well as a sustainable edge, the use of avatars to promote clothing offers new opportunities and experiences for consumers that can be enhanced by the use of VR and AR. However, brands must retain their own identity in a virtual space, given the rise in traditional values and nostalgic feelings over lockdown, companies must find a balance to keep in touch with a fragile yet forward thinking consumer. In addition, the improvement of new fabrics from biological, 3D printed and antibacterial may be invaluable in the future. The use of new materials to improve sustainability as well as protect consumers will increase in future as consumers look for ways to shield themselves from the unknown. The current rise in upcycling of old clothes suggests that consumers are becoming more aware of not only protecting themselves but the earth and are taking matters into their own hands. Fashion must connect, keep up with and push forward this movement. Whilst consumers are thinking about their impact on the earth, scientist are getting closer to returning to space. This may influence fashion in the coming years as consumers are already looking for an escape from a damaged earth, with nostalgic feelings for the unknown influencing this, consumers are dreaming up an idealised blend of past and future. Given all this, my trend will focus on the need for protection in future both physically, virtually, psychologically as well as of the environment pushed forward by material innovation and aided by nostalgic emotions that will translate into sustainable actions consumers will be able to escape online but also face the new environment safely. TRIQUETRA - Forecast 2030
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Triquetra explores how consumers will adapt to the new environment they are faced with in 2030. As pandemics cause havoc throughout the earth and climate change presses further pressure on a fragile world humanity must learn to protect not just themselves but the planet. In this trend protection is paramount, both physically and psychologically. As consumers aim to cocoon themselves in the safety of their homes, going outside will be a challenge and will take preparation. Designs will be influenced by the need for defence against new viruses, a new environment, the want for comfort and reassurance, as well as sustainability. In 2030 consumers will be yearning for comfort from the past as well as security against the future. The Triquetra is a protection symbol conforming of 3 interconnected ovals. The knot is said to have no start or finish giving holistic security and linking to the need for a circular fashion industry. Interlinking protection of consumers and the planet encompassing sustainability and nostalgia this title represents this trend well. TRIQUETRA - Forecast 2030
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PART ONE 28
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This first section of the trend explores further into new innovations in protective clothing and materials and how consumers will feel the need to smother themselves in clothing and technology innovations in order to feel secure in future. In a world crippled by multiple viruses and pandemics consumers will find new ways to protect themselves and find safe ways to interact with the world. As the world seems smaller, social interactions cease, and consumers aim to protect themselves and others around them, fashion will become a shield for consumers allowing them to venture out safely.
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‘We have created the perfect storm for diseases,’ (Bayliss, M 2020) The increasing lack of biodiversity, changing landscapes and blurred boundaries between humans and animals have meant that more pathogen carrying animals are coming into human contact more often therefore increasing the chances of new viruses spreading. 70% of emerging diseases are caused by microbes found in animals that spill over due to contact among wildlife, livestock and people. (IPBES, 2020) There are over 1.7 million currently ‘undiscovered’ viruses, out of which up to 827,000 could have the ability to infect people. Moreover, 3-4 new viruses are being discovered each year, with viruses making up 2/3 of all human pathogens it is highly likely that there will be another infectious virus that will cause another Pandemic in the near future. (Woolhouse, M, 2007) 32
‘We have created the perfect storm for diseases.’ TRIQUETRA - Forecast 2030
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ADAPT ADAPT ADAPT ADAPT ADAPT ADAPT ADAPT
In 2030, Covid -30, a new virus mutation, will create a new battle of health and perpetuation of the population. After living through years of intermittent lockdowns and restrictions on daily life 2030 will be no different, but how consumers adapt to the new environment they find themselves living in will be. Protection and self-preservation will be a main theme affecting all aspects of their lives. Safety being imperative has informed new technologies and new usage of clothing, expanding the effect of the simple face mask seen in 2020. Protection is no longer a hype but a necessity in 2030 and will be vital to survival in future. As we dress for the weather and seasons in 2020, in 2030 we will dress for the new climate of impending danger, viruses, and the unknown. TRIQUETRA - Forecast 2030
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As consumers become increasingly vulnerable, they seek security as survival becomes of paramount importance in the new landscape. Looking for reassurance, consumers turn to fashion to act as an outer armour, with no vaccine or science to fall back on consumers will turn to fashion to protect themselves. In this vulnerable state consumers feel the need to shield themselves from the woes of the outside world, in doing this, a ‘Protech’ trend will appear of using innovative and defensive materials that offer a viral protection as well as protection against a changeable environment allowing consumers to feel safe in an unnerving landscape. Current technologies such as Burberry’s use of anti-microbial substances in face masks and Vollebak’s indestructible creations will be expanded upon to be more wearable and refined for consumers allowing them to retain their identity in an environmental takeover. Moreover, in future these materials will be cheaper and more readily accessible for companies to incorporate into clothing easily. Mixing comfort, security and creativity will be important to consumers in this trend allowing them to live their lives safely in the new background they find themselves living in.
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Protective technologies and textiles such as Particle Filtration Efficiency, Copper, PROTX2 and Graphene that provide anti-bacterial and anti-viral qualities will be intwined with everyday sustainable fabrics to protect consumers not just from ‘COVID-30’ but from an impending climate disaster. Textiles encompass everything from clothing to sofas to car interiors and public transport, surrounding consumers in everyday life suggesting that they will be an important tool in protecting humans. Consumers will not want to be restricted by ‘certain materials’ they will want to express their individual style as well as be safe therefore ‘protective’ substances must be intwined into the DNA of garments. As the world buckles under another pandemic in 2030 and consumers feel extremely insecure how brands use materials to protect consumers will become smarter yet subtle. TRIQUETRA - Forecast 2030 37
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The second micro-trend focusses on protection of the mind, the revival of dormant clothing and the new connection to nostalgia that consumers will have in 2030. Further to the physical need of consumers to shield and protect, nostalgia offers a psychological protection for consumers allowing them to cocoon in safety suggesting nostalgia will be a prevalent emotion in 2030 informing trends. In 2030, as the environment is constantly transformed by nature, humanity will realise its own actions and its consequence on the earth. In this year, the world is drowning in rubbish accumulated over past decades of carelessness. This has created a multitude of problems socially and economically heightening tensions. As landfills overflow with clothing from the detrimental ‘fast fashion craze ‘of the 2010’s and 2020’s consumers in the 2030s are finally feeling the effects of years of ‘wear-once culture.’ The damage formed means that by 2030 we will run out of landfill space leaving a household waste capacity deficit of 6 million tonnes. Currently, 350,000 tonnes of used but still wearable clothing goes to landfill in the UK every year equating to more than 30% of unwanted clothing going to waste. (Clothes Aid) Upcycling and recycling has grown over the past decade as the new conscious consumer comes to the forefront pressing for a more circular industry. TRIQUETRA - Forecast 2030 Figure 4
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Consumers in 2030 have a renewed connection to clothing especially vintage and heritage fabrics, these fabrics represent authenticity, loyalty and longevity something the new consumer is looking for as their own future looks shorter and bleaker. These fabrics also evoke feelings of nostalgia. In a perilous landscape, consumers are reminiscing over the safety of the past. Nostalgia comes in many forms and is different and personal for each individual. This emotion provides comfort, familiarity and psychological protection consumers desire in an unnerving environment. Whilst there is nothing familiar in the environment of 2030, nostalgia will inform the mindset of consumers and therefore fashion. This will affect trends in 2030 as consumers smother themselves in old and precious items to bubble wrap themselves in ‘safety.’ Consumers will look for a multi-sensory experience in future this is supported by nostalgia as this feeling arises due to touch or smell. Older fabrics harness these emotions and can therefore be reused to connect with their consumers on an emotional, personal and conscious level. Therefore, in 2030, we will see the recycling of ‘nostalgic’ and heritage fabrics by brands intwined into new garments. 44
HERITAGE
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Further to a nostalgic protection of the mind, consumers will want long term protection from clothing emotionally therefore clothing that is comforting in feel and texture with underlying innovations that defend the consumer from the elements will be important. Consumers rely on the senses to feel secure so, clothing that can provide this reassurance is key. Thick/padded materials reminiscent of the role of bubble wrap along with soft textures such as wools that provide volume will be important to trends. Heavy weight materials create a structural barrier and suggestion of a shield for the consumer, which will allow them to feel cocooned and safe in their clothing. 46
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In cocooning in the past, many in 2030 are feeling nostalgic over 2020 when Covid-19 was the biggest threat to the population, a seemingly small problem in 2030. Much like 90s nostalgia informed fashion in 2020, reminiscing the 2020’s will inform the 2030’s. From remembering TikTok dance challenges, to Zoom Quiz’s over laptops, to upcycling old items, to socially distanced walks and wearing a mask for the first time, 2020 now looks like a simpler time. In 2020 climate change was an agenda being pushed to one side and consumers were only stressing over when their Pretty Little Thing haul would arrive during Lockdown. Looking back will inform future trends for example, as masks were widely worn during the first Pandemic, this form of protection will be infused into 2030 trends but on a larger scale using protective materials and with facial protection integrated into garments. Moreover, as comfort became top agenda for fashion due to everyone staying at home, comfort will play a part in 2030 trends but with a deeper meaning for safety and consumers cocooning in security. Finally, as upcycling increased in 2020 with the rise of platforms such as Depop, reusing old fabrics will become key for brands as a nostalgic consumer comes forward.
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The third section of Triquetra concentrates on the possibility of an uninhabitable earth and how increasing sustainability may be the only answer to protect it. New innovations in biodegradable and eco-friendly fabric technology will aid the push for a sustainable fashion industry. Furthermore, this section explores the fact that consumers are creating a new environment online in which to be safe and live and how the industry can adapt to this new virtual landscape. TRIQUETRA - Forecast 2030
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BY 2030 THE FASHION INDUSTRIES GREENHOUSE GAS EMISSIONS WILL SURGE MORE THAN 50% 54
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UNINHABITABLE?
As shown by the previous micro trends, our interaction with the natural world has changed significantly over the past few decades, but it is only in 2030 that humanity is starting to properly feel the effects of its previous actions. Besides Covid-30 and lack of landfill, climate change is also now affecting all areas of the planet directly. Over the next century the earth is expected to see a temperature rise of 2.5 to 10 degrees Fahrenheit. (NASA, 2020) As greenhouse gasses in the atmosphere continue to increase, global warming forcing ice caps to melt, severe adverse weather and sea levels to rise, this begs the question when will the earth become uninhabitable? This real possibility of a dilapidated world will renew consumer’s respect for the earth. 8 to 10% of global greenhouse gas emissions already come from the fashion industry (Wicker, 2020), furthermore, by 2030 the fashion industries greenhouse gas emissions will surge more than 50% meaning it is one of the biggest threats to the environment. (World Bank, 2019) This statistic informs this trend, consumers in 2030 not only need to protect themselves but also the earth from devastation. Due to fashion’s detrimental impacts on the earth designers are coming up with innovative ways to counteract these effects, creating new materials from eco-friendly and biodegradable substances that are less harmful to the earth. As aforementioned in ‘Renascence’ landfill and the carbon emissions released from disposing clothing is a huge problem. New innovations such as biomaterials made from algae, bacterial cultures and fungi such as Scarlett Yang’s ‘Serpentine Lace’ that can decompose within hours leaving no trace will allow the fashion industry to protect the environment and heed to consumer demands for sustainability. Furthermore, these new bio-materials can be altered to provide protection and other beneficial qualities to consumers that can be entwined into the framework of garments supporting the shift towards an eco-friendlier and more secure industry. 56
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Bio-Degradable
Biodegradable fabrics and materials that are conscious will be expected in 2030. Currently, new biologically created garments are relatively rare, however by 2030 they will make up the majority of clothing due to the amounting pressure on the fashion industry to improve its sustainability. Biomaterials made from algae, bacterial cultures and fungi that can decompose leaving no trace will allow the fashion industry to protect the environment just as much as the consumer. Further to this, technological innovations in 3D printed materials such as Iris Van Herpen’s work allow designers to push creative boundaries whilst aiding sustainability as there is no waste created due to garments being specifically made. A move away from synthetics towards new textiles will aid issues like micro-particle pollution in oceans as well as landfill problems pleasing consumers.
TECHNOLOGY As well as new materials, other technological advancements will also support sustainability in 2030. The garments consumers buy will carry a digital history of what they are made of, where they were made, who by, and how they can be cared for and disassembled at the end of their lives, perhaps in the form of a QR code. The transparency surrounding clothing provided by the internet will be invaluable in future as consumers look to increase sustainability and look after their clothes better. By clothing carrying its own history, clothes will be able to connect with consumers better, linking again to the connection to clothing consumers create over time furthermore, clothing will have gained its own identity in a new world much like consumers.
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As the outside environment becomes increasingly hazardous consumers are spending more time indoors sheltering from the elements. Consumers are creating a secondary environment online where their virtual identities allow them to feel safe. This suggests that fashion will move online in future, with avatars and skins already popular in 2020, dressing ‘virtually’ will become normal in the future aided by apps, VR and AR. This will aid sustainability as no material is needed to produce a virtual garment as shown by brands such as the Fabricant. Furthermore, digital dressing allows unlimited creativity as well as personalisation, something the consumer will look for in 2030. Hyper-personalisation will allow consumers to regain control in a world dictated by nature. The consumer has become in control of how they create everything from their clothing to their accessories to their online identity and virtual presence. It is this choice that consumers will crave in 2030, as the world is seemingly running away from them and choices are left to nature, consumers will want to regain some control. This could come from customization. Fully customizable apparel could claim 10 to 30 percent of market share by 2030. (Deloitte Digital, 2020) This suggests that fashion can form a new connection with consumers both online and in-store by making use of new technologies available such as AR and VR to create sustainable but meaningful pieces for consumers. 60
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‘In 2030, 2030, boundaries boundaries ‘In between real real and and between virtual will will become become virtual blurry. Form Form and and blurry. appearance won’t won’t soley soley be be appearance defined by by physical physical defined material. Digital Digital layers layers will will material. enhance our our way way of of enhance dressing.’ dressing.’ 62
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Iridescent Armour 64
Despite consumers spending more time in a virtual environment they will still need something to wear in real life. This escape to digital platforms will be reflected in fashion with consumers wanting to take a piece of their ‘virtual safety’ outside into the ‘real’ world. This will be replicated with sheer materials and iridescent looks expressed in outer layers. The silvery tones of these materials will allow the wearer to feel as though they have a second skin like an armour much as they do online but in a physical sense. Natural cellulose-driven iridescence can be used to create this effect and can be incorporated into materials such as cottons and silks. Moreover, iridescence is a natural effect giving the consumer another connection to the environment. TRIQUETRA - Forecast 2030
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Gen Z is the largest and most diverse generation making up 26% of the world’s population (Nielsen, 2017). By 2030, 30% of them will make up the global workforce and will have gained financial autonomy as a result they are set to power high rates of consumption. Consumerism for Gen Z currently is about connecting with a brand its story and identity as well as those brands that match their values. However, in 2030 despite consumers still regarding these values, new values of, Family, Health and Well Being, and Time (BCG FIT Global Luxury Customer Survey, 2015), will become important, suggesting that consumers now want more of a personal and supportive touch from brands.
ONSUME
Consumers in 2030 are facing a collapsing world. In 2030 the main consumer for this trend will be Generation Z given that they will be those aged 18-33. Those aged 20-30 are also most likely to feel nostalgic and vulnerable as they are going through the most changeable time in their lives suggesting Gen Z are the right generation for this trend. In the face of impending disaster, Gen Z are the most zealous generation forcing change and wanting the best out of the world. They are passionate about sustainability, authenticity, honesty and innovation, values which will reflect on brands. The continuous pandemics and struggles forced on this generation will make them more resilient but critical as consumers as they demand more from fashion.
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GENERATION
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With climate change impacting this generation directly, consequently they are extremely fragile and conscious. It is this consciousness that dictates their buying habits as 76% are concerned about humanities impact on the environment. (Georgiev, 2020) COVID-30, increasing landfill and natural disasters will highlight environmental concerns further, with consumers not being able to go outside easily, their appreciation for the natural world will improve. Furthermore, their fear about the possibility of an uninhabitable earth will also force pressure on brands to protect this generation individually and environmentally. In this respect, this generation will need transparency and change like never before. Furthermore, as a technologically advanced generation, Gen Z are keen to adapt to new innovations that will benefit them in the long term. Gen Z have grown up in a technological age, with smart phones being an extension of their being and social media and extension of their personality. This suggests that they will expect brands to keep up with their online usage and how this will impact their shopping habits. As the environment constantly changes and consumers are driven inside more, technology will become increasingly important as a way to connect but also escape for this generation. However, despite consumers spending more time online, they still crave in-store interactions. 98% of Gen Z still prefer to buy in-store most of the time, however they are more analytical buyers and so want a purpose to go to a store, especially in a treacherous world. Personalisation and experiences that are memorable are key to engaging this generation allowing the formulation of a relationship with brands is important to them.
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Market Level As Gen Z are value driven consumers, they will buy into brands that implement their values, therefore luxury brands will be increasingly influential in 2030. Luxury brands encompass heritage, loyalty, authenticity and ethicality all of which Gen Z will cling to for safety in a fragile world. In addition, luxury brands will be able to incorporate the innovation as well as heritage needed to guard this generation both physically and psychologically. The stability of luxury and longevity of the products that are produced in the sector makes consumers feel secure in their purchase and themselves.
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‘Luxury is about designing products that last for a generation.’ Michael Burke Chief Executive at louis Vuitton. Generations Y and Z will represent approximately 55% of the 2025 luxury market and will contribute 130% of market growth between 2019 and 2025 with this set to expand into 2030. (Bain and Company, 2018) Despite the poor economic, political and environmental outlook for 2030, luxury will still be a prominent market as consumers look to buy better as the industry moves away from fast fashion. Luxury fashion has always been about breaking barriers alongside reflecting on the past to create something new it is this combination of ideas that will be important in future.
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AUTHENTIC . AUTHENTIC . AUTHENTIC . AUTHENTIC . AUTHENTIC . AUTHENTIC
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HERITAGE . HERITAGE . HERITAGE . HERITAGE . HERITAGE . HERITAGE . HERITAG
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Despite technology seemingly taking over in future making fashion seemingly visionary, there is still room for the traditional values of luxury such as authenticity, craftmanship and artistry in 2030. By fashion and technology becoming synonymous with each other luxury can capitalise on increased sustainability and personalisation of products. With 20% of Gen Z consumers saying they would pay premium prices for personalised products suggesting personalisation and luxury will be important in future. (Fashion United, 2019) Craftmanship is about quality products specifically made with care and passion it is this that will become more meaningful in future. As the way brands create products moves forward taking on 3D printing and other smarter innovations as well as virtual clothing a new type of craftmanship will evolve. Consumers and brands can have more control and creativity over what they create in future. Although most shopping will be done online in future, consumers still want to be able to connect with brands in person. This is something luxury can offer. According to Bain, many believe that online luxury shopping channels will plateau at 30%, suggesting physical stores will always be critical to luxury sales. “Luxury is still predominantly driven by recruitment and most first-time purchasers will want to experience products and storytelling in stores.� (Rambourg, 2020) Experiences will be very important to consumers, in a dilapidated world for consumers to venture outside they will want a memorable and new experience to escape into. The Boston Consulting Group (2013) discovered that the annual growth of sales of luxury experiences grew by 14%, compared with 11% for luxury goods. This research demonstrates a clear shift from consumers collecting physical goods to collecting experiences. Luxury brands can build their brand equity by providing new experiences for the consumer in-store and online.
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This trend will link luxury and Gen Z together. Luxury brands can provide a holistic protection for consumers, by taking on new innovations in materials as well as re-evaluating their core values and how consumers respond to them, they can better their relationship with Gen Z as they look for something more sustainable than fast fashion in future. Technology will enhance experiences in store and online allowing a new connection between brand, consumer, purchase, experience and product. By luxury offering its traditional craftsmanship and personalisation as well as continuing to provide new and exciting experiences for consumers brands they can create new heritage pieces and nostalgic memories for consumers and move forward in troubling times.
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The colour scheme of this trend will consist of blue, neutral and metallic tones. This will represent the connection to the earth, internet and heritage. In an uncertain world, consumers will look to wrap themselves in calming colours.
Blue tones project feelings of hope, hygiene and health onto the consumer, allowing them to feel safe. The calming nature of blue counteracts the anxiousness of the consumer allow them to feel a secure connection to the earth and the tranquillity that comes with nature. As the world heats up consumers will look to cooler colours to mimic the need to cool the planet down.
Metallics allow the consumer to feel as though they have an armour and a shield against the environment. Given the new use of copper as an anti-bacterial material this will be reflected on the outside of garments. Moreover, silver and iridescent tones project a virtual protection around the wearer linking digital and real landscapes together. Neutral tones allow a reconnect with nature and heritage. Brown neutral tones will bring together blue and copper tones and suggest a new connection to the earth. Furthermore, with older materials being reused these colours will be prominent.
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CONCEPT Overall, this trend will encompass protection of the wearer and environment holistically using heritage and vintage materials combined with technological innovations in protective materials and biodegradable fabrics. As consumers look to cocoon themselves in nostalgia and guard themselves from the outside, fashion and technology will become synonymous with each other to shield the population.
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In 2030, consumers will be able to send off old and meaningful materials that will be able to be recycled and incorporated into a new piece of clothing of their choice. Luxury brands will have a platform both online and instore for consumers to interact with to create this using apps and AI to specify sizing’s and preferences allowing the process to be fully customizable as well as sustainable.
Layers will be used to incorporate all areas of protection together furthering the layers of environments and identities consumers will have in 2030. For example, a puffer jacket that provides volume and a cocoon like feel may have a lining of ‘nostalgic/heritage’ materials provided/donated by a consumer, this will be combined with an outer layer of bio-degradable and anti-viral material created specifically for the wearer, with a final top layer of iridescent fabric to emulate a virtual protection. It is this universal, yet subtle protection hidden in a simple puffer jacket that will entice consumers as they have the ability to wear what they want but know they are safe. Furthermore, sustainability demands will be met as alongside materials, QR codes installed into the labelling of the garment will allow a further psychological and sustainable connection to the garment as they will provide information on the garment, how it was made and how to dispose of it at the end of its life- saving landfill. This process will provide the consumer with a three-fold psychological, physical and environmental protection as well as personalization giving fashion a new relationship with consumers. TRIQUETRA - Forecast 2030
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IMAGE REFERENCESFigure 1 - (Iris Van Herpen F/W 2019-20)- Retreived fromhttps://www.theskinnybeep.com/tag/iris-van-herpen-hautecouture-fw-2019-20/ Figure 2 - (Iris Van Heroen S/S 2019) Retrieved from- https:// www.vogue.com/fashion-shows/spring-2019-couture/ iris-van-herpen/slideshow/collection#18 Figure 3- (Iris Van Herpen S/S 2020) Retrieved from- https:// www.fashiontrendsetter.com/v2/2020/01/23/iris-van-herpenspring-summer-2020-couture-collection-sensory-seas/ Figure 4 - ( Machine in the Garden, 2016) - https://artviewer. org/bea-fremderman-and-andrew-laumann-at-springsteen/ Figure 5- (QR Jeans) - https://www.qrcodechimp.com/how-touse-qr-codes-on-clothing/ Figure 6- (Dior bag image, 2o20) http://songofstyle. com/2018/08/iconic-bags-of-the-past-that-are-trending-inthe-now/ Figure 7 (Identity image) - https://www.rosannajones.co.uk/ destroy Figure 8- (Harlem for Nike)- https://www.openrangecrew. com/harlem-fashion-row Figure 9- (Woman in heritage clothing) - https://apartment34. com/fanny-pack/ Figure 10- (Fabric manipulation, 2008) - http://www. kwodrent.com/index.php/site/projects/ Figure 11- ( Giambattista Valli, 2017) - https://www.wmagazine. com/gallery/giambattista-valli-haute-couture-fall-2017-celinedion/
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REFERENCESBain & Company 2018. - https://www.bain.com/insights/luxury-goods-worldwide-market-study-fall-winter-2018/ Banks, 2018- https://www.highsnobiety.com/p/evolution-space-aged-fashion/ Baumeister, M. 2020 - https://www.wsj.com/articles/what-will-women-wear-in-2030-here-are-some-ideas-11599829720 Bayliss, M. 2020 - https://www.bbc.co.uk/news/science-environment-52775386 BCG FIT Global Luxury Customer Survey, 2015 - https://www.fitnyc.edu/files/pdfs/Luxury_Consumer_ White_Paper_FINAL_A_DK_Edit.pdf Beall, 2020- https://www.bbc.com/future/article/20200710-why-clothes-are-so-hard-to-recycle Collins Dictionary- https://www.collinsdictionary.com/dictionary/english/nostalgia Clothes Aid- https://clothesaid.co.uk/about-us/facts-on-clothes-recycling/ Danziger, 2019https://www.forbes.com/sites/pamdanziger/2019/05/29/3-ways-millennials-and-gen-z-consumers-are-radically-transforming-the-luxury-market/ Deloitte Digital, 2020 - https://www.deloittedigital.com/content/dam/deloittedigital/us/documents/ blog/blog-20200610-apparel-trends.pdf Fashion United. 2019- https://fashionunited.uk/news/fashion/personalization-is-here-to-stay-personalization-is-the-ultimate-form-of-self-expression-and-individualized-experience/2019061743720 Hillier, 2020 - https://econsultancy.com/stats-roundup-coronavirus-impact-on-marketing-ecommerce-advertising/ IPBES, 2020 - https://vajiramias.com/current-affairs/likelihood-of-future-pandemics/5fa38f701d5def5d1b725880/ Maguire, 2020- https://www.voguebusiness.com/fashion/with-gen-z-under-lockdown-diy-fashion-takesoff McIntosh, 2020- https://www.bbc.co.uk/news/entertainment-arts-52394504 McKinsey & Company. 2019- https://www.mckinsey.com/industries/retail/our-insights/the-influence-ofwoke-consumers-on-fashion NASA. 2020 - https://climate.nasa.gov/effects/ Nielsen, 2017- https://marketingland.com/move-millennials-gen-z-now-largest-single-population-segment-219788 The Fabricant, 2020- https://www.thefabricant.com/blog Wicker, 2020 - https://www.vox.com/the-goods/2020/1/27/21080107/fashion-environment-facts-statistics-impact Woolhouse, M. 2007 -https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3427559/#RSTB20110354C2 World Bank. 2019 - https://www.worldbank.org/en/news/feature/2019/09/23/costo-moda-medio-ambiTRIQUETRA - Forecast 2030 ente
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