Stage 1 by Sophie Heaton

Blurring the lines between the

Digital Physical Biological S P H E R E S 1

1.1 Introduction ...............................................................4 1.2 Rationale....................................................................4 1.3 Project Declaration....................................................5 1.4 Ethics Clause.............................................................5 1.5 Research Aim and objectives ............................... ...6 Literature Review............................................................10 1.6 Introduction..............................................................11 1.7 Blurring of the Physical and the Virtual worlds.........12,13 1.8 Tech-Gagement........................................................13,14 1.9 The Age of the Avatar.............................................15,16 1.10 From Avatars to Mavatars.......................................17,18 1.11 Shaping Virtual Identities .......................................19,20 1.12Virtual Fashion.........................................................21,22 1.13 Research Gap Analysis..........................................23,

2.1 Methodology Introduction...............................26 2.2 Methodology Structure................................... 27 2.3 Research methods and objectives matrix......28 2.4 Sample Size- Gen Viz.....................................31 2.5 Online questionnaire.......................................32 2.6 Instagram poll.................................................32 2.7 Focus group(s)................................................33 2.8 Industry expert interviews.............................34 2.9 1-2-1 In-depth interviews..............................34 2.10 Case Studies................................................35 2.11 Reflection.....................................................38

3.1 Key Findings 3.1.2 Self-referencing ............................40 3.1.3 Social Consumption.......................41 3.1.4 Digital Gratification .......................42 3.1.5 Ownership more Granular..............43 3.1.6 Optimized Wardrobe......................43 3.2 Key Insights............................................44 3.3 Conclusion..............................................45 3.4 Scenario Planning...................................46 3.5 Future recommendations........................48 3.6 References........................................50,51 3.7 Bibliography .................................. 52-54 3.8 List of illustration................................55-56 3.9 Appendix...........................................57-77 3

Introduction This report will firstly present a theoretical framework outlining theories and viewpoints surrounding key themes within the research topic, allowing structure to understand more depth into the research question. The report will then be uncovering the methodology which uses a range of primary and secondary research methods to build any gaps between research. Thereafter, with the extensive research provided it will produce key insights that can be taken further to implement into marketing strategies. Finally, the report will discuss the potential springboard opportunities to take ahead for stage 2.

Rationale As society enters the fourth wave of the industrial revolution, technologies are emerging new and/or reformed. It will be driven not just by the rise of new technologies and the simultaneous decline of others, but also by the rise of younger generations and the decline of the older one. For it to be authentic more than just technology needs to change. Culture needs to adapt. The way people relate to technology must changeâ&#x20AC;? (Scoble, R. and Israel, S. 2018).

Technological advancements are happening everyday across all industries from travel, beauty and especially within fashion and retail. Ultimately, the offline and online worlds are merging; the lines between the digital and physical spheres are being blurred. Consumers are expecting and demanding more from their brands as technological penetration grows it reinforces the notion that â&#x20AC;&#x153;As humans become more digital, technology will become more humanâ&#x20AC;? (WGSN 2018). It is becoming a more defining issue of our time, consumers find themselves unable to detach from the connected world. It appears that it is the only way for brands to connect with consumers therefore it is important that this particular subject area is researched to understand where it is going in relation to retail and the possible detrimental effects it will have on society.

Project Declaration This submission is the result of my own work. All help and advice other than that received from tutors has been acknowledged and secondary sources of information have been properly attributed. Should this statement prove to be untrue I recognise the right and duty of the board of examiners to recommend what action should be taken in line with the Universityâ&#x20AC;&#x2122;s regulations on assessment contained in its handbook.

Signed........................................................................ Print name ................................... Date .......................................... Word Count: 7,983

Ethics Clause I confirm that this work has gained ethical approval and that I have faithfully observed the terms of approval in the conduct of my project. Signed.......................................

Date...........................................

Research Question “Blurring

the

lines

between

digital, physical

and

biological spheres” will Digital Technology ultimately provide a seamless shopping experience for the consumer? Research Aim To investigate how

innovative technology can transform retail for a new

generation of shoppers.

Research Objectives To explore new innovative technology surrounding the online and offline landscape To investigate how aware consumers are of emerging technological trends and current attitudes towards it To determine how retail and fashion is responding to this “paradigm shift” with technology To understand consumer behaviour and if there is any potential reluctance to engage with innovative tech To investigate what is the influence of digital technologies on fashion and identity and how will developments affect the customer satisfaction To explore how consumers engage with and/or are influenced by digital influencers

Literature Review 10

Introduction

This chapter of the report focuses on the literature which theorizes the intertwining of the physical, digital and biological spheres within the fashion and retail sector with relevance to the customer experience. Along with significant theories are used to deconstruct the consumer behaviour towards these digital technologies. Consequently, this will provide a greater understanding and depth of knowledge devising structure for future research.

“From a technology perspective the fourth transformation is all about virtual, augmented and mixed reality. It will blur the lines between that which is real and that which is a computer generated illusion” (Scoble and Israel, 2018). Society has reached the fourth wave transformation where technologies are highly advanced, innovations in AR and VR in particular have transformed the retail landscape. There are theories of how these technologies are blurring the lines between the physical and virtual spaces amongst academics. Javornik (2016, p. 252) argued that “augmentation is unique to AR in it’s ability to enhance physical reality by overlaying physical environments with virtual elements and thus blends virtual worlds with reality”. Watson, Alexander and Salavati (2016) express that AR is more than just another interactive technology, as “its ability to augment or modify the visual representation or reality in real time creates a more immersive flow compared to other equally interactive experiences”. The effect of this technology creates immersion into the virtual consumption experience in physical spaces, Haung and Liao demonstrated that there are two sensory features of AR in creating a multisensory flow experience;

Haptic (the creation of a sense of touch) imagery and self location (i.e. the consumer’s self is located within the virtual image) They found that these AR features blurred the virtual and physical spaces through the vivid and realistic embodiment of spatial vision. (2017,449)

Synthesis of literature suggests that AR apps may not be utilizing their full potential. Watson et.el (p.179) argue that “AR may not be fully exploiting the opportunities that providing more intrinsic value could produce”. Bularca and Tamajan (2010) agrees with this as they believe that AR can enrich retail products and retail environments with virtual elements in real time with the potential to create immersive consumer experiences. Therefore, research suggests that these technologies can offer a more pervasive shopping experience. Furthermore, with the ubiquity of smartphones and tablets, AR applications are becoming more appealing for retailers to use as a tool for creating enhanced experiences (Dacko,2017). Future research will explore how society is responding to this paradigm shift within retail.

Technology has transformed the retail industry in many ways, especially interactive digital technology which is evolving rapidly and has shifted the ways in which customers shop (Colombi, Kim, Wyatt, 2018). Grewel (2017, p.6) agrees with this claiming that “retail is evolving at an accelerated rate due to changes made possible by technologies and evolving consumer behaviours”. There are many theories surrounding the effects of enhanced technological experiences and consumer behaviour. Kim and Forsythe, (2008) believe that interactive digital technology is known to influence and induce customers buying intentions (see appendix, 6a). This is interesting as it reinforces the notion that digital technology can influence customers journey throughout, ultimately providing a seamless shopping experience. Literature surrounding the psychological intentions of buying is dated but remains relevant today, it has an important relevance in understanding consumer behaviour in today’s digital world. Hirschman and Holbrook (1982) are the earliest theorists to identify hedonic experiences that stimulate the consumer’s feelings and emotions during the consumption of goods. Higgins (2006, p.439) corroborates this stating that “the hedonic properties of a value target contribute to engagement strength”. Therefore, a consumer’s shopping orientation hedonic or utilitarian (utilitarian refers to shopping for a need or function, alternatively hedonic refers to shopping for its satisfactory appeal). Thus, the orientation will have an influence on how they respond to the shopping experiences they are enduring. Synthesis of the literature demonstrates how interactive technology such as AR can enhance the shopping experience physically for the customer and retailer. Theorists Alexander, Salvati and Watson examine the impact on the purchase intention in which AR can have on the consumer by updating the Mehabian and Russell’s (1974) SOR model (see appendix,6a) “The classical model proposes that, when an individual encounters a stimulus (S), he/she develops internal states (O), which in turn dictates his/her responses (R). Thus, in keeping with Kotler (1973), the model suggests that sensory stimulation impacts the consumer’s affective state, which then influences purchase intentions” (2017, p.7).

This model has been utilised in both offline and online environments to explore whether it can create different consumer shopping behaviours. Javornik (2016) believes that hedonic shopping motivations given that the experience is AR is more likely to be hedonic than utilitarian. Consumers who are more hedonically motivated, AR technology will appeal to them more. Sachdeva and Goel (2017, p.290) argue that “it is the need whether the consumer is a hedonic or utilitarian shopper that drives them to the store but the emotions make them stay to shop”. As emotion is key in a shopping experience (Holbrook, 1984) it is important to consider this when implementing technology into a retail environment, whether it’s offline or online as “people will forget what you said, people will forget what you did, but people will never forget how you made them feel,” Maya Angelou (2013). Although literature does suggest that consumers with higher hedonic motivation are more inclined to engage in interactive shopping, future research could analyse the responses of participants shopping orientation within primary research.

The rise of Artificial intelligence (AI) has brought about radical hyper-realism within the digital avatar sphere. The influencer economy is “set to become a $10 billion industry by 2020” (Napoli and Owen, 2018) AI virtual influencers are in the early stages and they continue to grow a following and gain attraction from brands (Maxwell, 2018). There are debates surrounding the ethical verifications and cultural ramifications of AI influencers, Begley (2018) believes that “there’s very much a culture of creating avatars that either look like you or look like somebody that you want to be”. In contrast, Jenson (2018) doesn’t believe that a virtual influencer movement will be taken as a living person, stating that “artificial influencers are opposite of authentic”. In contrast, Rossi (2018) disagrees referring to virtual influencers as “a new form of art” who are potentially as engaging as human influencers. Rossi takes this point further by stating that “brands may come up with their own virtual influencers as long as they can tell a story”. He corroborates this by noting the brand story has to stay authentic, no matter who is telling it. This suggests that as long as the message being told is an authentic representation of the brand, it is unnecessary who’s telling it. Many marketers believe that influencers have the power to dismiss any risk of investment for brands, “it’s no longer about if a brand should invest in influencers, but rather with who”(Napoli and Owen, 2018). Furthermore, technical assistants could be compared to virtual influencers as Alexa and Google home are influencers because you talk to them and they respond to you with recommendations that are very rational (Rossi,2018).

Synthesis of literature covers the positives and negatives of AI influencers as marketing tools for brands. However, the topic is relatively fresh and it is quite limited. Controversial debates arise circulating the impact of this technology on replacing humanity in many aspects, thereby primary research will examine the consumer behaviour and attitudes towards virtual influencers.

"New advances in digitalization seek to find the right balance of human and digital touch, in an effort to enhance both the working environment and the customer experienceâ&#x20AC;? (Britton,2019).

Holzwarth (2006) defines avatars “a deity that had taken physical form on earth” However, the word avatar brings about confusion as there are various definitions discussed between authors. Neal Stephenson refers to an avatar as a users embodied representation in an online setting in his book (Snow Crash). Stephenson’s definition is more up to date and thus more reliable to distinguish an avatar in this digital era. Wood (2005) argues that “an avatar identity given to a hypothetical person in cyberspace, offers virtual social interaction as it interacts with customers online to provide necessary information”. A “mavatar” relates to the marketing of an online salesperson (Mennecke and Peters 2013). Mull and Wyss (2015) agree that exploiting virtual worlds and avatars to enhance the customers shopping experience demonstrates huge potential. One key component the online store lacks in comparison to the physical store is the salesperson, this is a significant element within the retail mix as it provides guidance and assistance to customers. “Online retailers increased consumers’ positive attitude toward the products being offered, purchase intention, and overall satisfaction toward the shopping experience”. He raises the argument that It allows brands to differentiate themselves from other competitors, because without an employee to interact with customers, online retailers potentially miss an opportunity to build trust and develop relationships (Holzwarth 2006). In terms of the attitudes towards digital avatars, social response theory suggests that individuals will respond to computers or machine as if the computer were another human (Reeves and Nass, 1996). More over, suggesting that consumers will still interact with the online salesperson even though they know it is not real.

In this digital era, it has allowed consumers to form a digital-self. Social media itself is a space where consumers can project multiple identities of themselves to society, hence creating a digital identity is not new to consumers and digital technology is presenting new ways to express one’s self in the re-tail atmosphere. The use of a virtual identity consists of a 3D model created by inputting the customer’s measurements, facial characteristics, hair colour, and body shape, which is used as platform for trying on clothes (Kim and Forsythe,2008). Therefore, a degree of personalization comes into play here, Merle (2012, p. 46) agrees with this by stating that “by providing a 3D model of the physical representation of the online consumer is known to generate users’ more favourable responses over-all”. Additionally, theorists discuss the benefit of this technology on enhancing the customers experience and relationship with the brand. Huang (2018) believes augmented reality interactive technology (ARIT) can enhance the relationship with customer and brand by creating an effective online simulation experience. He explains that “feelings and emotions are heightened when a consumer is using an avatar to dress themselves rather than a static image of a model”. This suggests that if a consumer were to shop online for a product, seeing themselves in a digital form wearing the product rather than an image of a model would be more favourable. Subsequently, consumer psychology studies have found that; The mirroring effect of a consumer's self onto the character, triggered by a self-referencing experience in the product usage simulation, results in less critical analysis of advertisement arguments, fewer negative thoughts, and strong affective responses, which subsequently increases the likelihood of a brand acceptance (Haung,2018p.253). Primary research will be undertaken to establish consumer behaviours and attitudes towards the effect of self referencing, in an offline and online shopping environment.

“For over a decade now three dimensional technologies have enabled limitless spaces and universes in a form of 3D virtual worlds” (Mull and Wyss, 2017). These worlds are a digital representation of a world in which people can live in, the virtual worlds have acted as online communities where people can interact. Takatalo (2010) states that “it is where users can freely manipulate the virtual environments and the content is engaging enough to forget their immediate surroundings”. The emergence of Virtual fashion worlds (VFW) in previous years has influenced the way young teens adopt fashion, for example Stardoll.com is a virtual environment where he or she can select an avatar and customize its appearance by buying clothing and accessories that may increase teens’ purchase intentions (Cleghorn and Griffiths, 2015). Synthesis of literature discusses the impact virtual fashion can have on consumer behaviour;

The social learning theory emphasizes the importance of observing, learning and modelling the behaviours, attitudes and emotional reactions of others. As individuals interact with one another, peer pressure and other experiences influence their attitudes and behaviours” (Bandura,1977). Bandura argues that when young consumers enter the VFW their social behaviour is affected on how they dress and interact with each other, they are influenced under peer pressure and how consumers adopt fashion changes over time due to trends. However, King and Ring (1980) defined fashion adoption as the process by which new fashion clothing is accepted by the consumer after it has been introduced to the market. Therefore, although consumers using VFWs cannot physically buy the clothes, it is likely to assume that VFWs can influence their purchase behaviour in reality (Kobiaa and Liu, 2016). Research suggests that this theory could be relevant in today’s fashion system; We believe there will be two realms. You will be in VR and you will be in the real world. You will jump between those, depending on where you are geographically and what you’re doing, and you will want to dress as yourself in both of those worlds. So virtual fashion is definitely the direction in which we’re heading (Bishop ,2018). Drinkwater (2018) agrees with this statement as he believes the fashion system is becoming more digitalised everyday and consumer’s digital identities are taking over, “designers are moving away from the sewing machine to the computer”. Maxwell (2018) corroborates this expressing that virtual fashion proposes new prospects for brands to start a new conversation with consumers “by making clothes ownership more granular”. This is interesting because it suggests that virtual fashion will allow fashion to become more fluid and flexible, no longer conforming to fashion conservatives. As this trend is just picking up pace within the industry there is limited literature on it, future research will explore consumer attitudes towards virtual fashion.

The literature review has demonstrated key themes throughout which has offered extensive knowledge of the research topic. Subsequently, synthesis of literature has established potential questions and objectives for primary research. By highlighting unsolved gaps which would benefit from in-depth qualitative data from industry experts. This will strengthen the understanding of theories discussed related to the use of digital technologies within the fashion and retail sector. Another gap identified was the relationship between the consumer and technologies involved, thus this report will seek to bridge the gaps by conducting research that aims to establish the consumer engagement and feelings towards this technology and how it can provide a seamless shopping experience.

Methodology 25

Methodology

Methodology Methodology Methodology Methodology Methodology Methodology

Methodology Methodology

Methodology

Methodology Methodology

Methodology

Research methods were carried out to meet questions and objectives. Qualitative methods were distributed to gain a better understanding of behavioural attributes towards the wide topic area. As well as displaying the demographic variables that set the benchmark for qualitative research method design. This created a deeper understanding of the data collected holistically, in order to see what questions needed to be ask in further detail. Although the exploratory approach provided a beneficial outlook, limitations include the limited time and space the study had along with financial restraints. These were constraints in geographical term as the nature of the study proved Japan to be a market leader. Therefore, if the time frame exceeded, research could have explored this prominent market.

Methodology

Structure

Methodology

The critical analysis of existing literature highlighted gaps and questions that inevitably led to begin the exploratory study which essentially means, â&#x20AC;&#x153;the process of finding out what is happening; to seek new insights to ask questions and to assess the phenomena in a new light (Robson, 2002.p59). This study took a mixed methods approach of both qualitative and quantitative methods. The use of using a mix method approach provided a useful combination of data which was then able to deliver opportunities to answer the research question and better evaluate findings (Tashakkani and Teddie, 2003). The primary research gathered was systematized to provide understanding of consumer behaviour in order to identify and similar patterns amongst the data. Overall, unrevealing any killer insights.

Methodology

Introduction

Research Methods

Objectives Matrix To explore new innovative technology surrounding the online and offline landscape To investigate how aware consumers are of emerging technological trends and current attitudes towards it To determine how retail and fashion is responding to this â&#x20AC;&#x153;paradigm shiftâ&#x20AC;? with technology To understand consumer behaviour and if there is any potential reluctance to engage with innovative tech To investigate what is the influence of digital technologies on fashion and identity and how will developments affect the customer satisfaction To explore how consumers engage with and/or are influenced by digital influencers This objective matrix is used to demonstrate what research method fulfiled the objective.

Research methods

Objective 1 Objective 2 Objective 3 Objective 4 Objective 5 Objective 6

Secondary Research

Online questionnaire Focus group (s) 1-to-1 in-depth interviews x Industry expert interviews Instagram poll

x x

“I can never get it quite right, though. I’m just too human, lol” Tess, 20, Detroit, Michigan, USA

Gen VIS 30

Research considered Millennials born between 1981 and 1995, for the sample size. As they were considered the first “global” generation with the development of the internet, but as more of the world comes online, Generation Z conveys a stronger relationship with technology. Born into a highly digital world they have a familiarity with computers and the internet from an early age and are willing to conform to the technological changes (Sunbrandingsolutions, 2018). Therefore, as research objectives are focused on the generation that will have the highest engagement with digital technology, it is clear that this is the generation to target. Research in future thinking identified Generation Viz (born between 1996 and 2017) to be “next gen” the demographic in which will be the largest group of consumers worldwide in just a few years (Owen,2018). Currently, they estimate it to be 2 billion globally and will account for 40% of global consumers by 2020 (Finch,2015). It’s predicted that this group will make up more than “25 % of the workplace and will contribute a huge amount in spending power” (Sunbrandingsolutions, 2018)

Sample Size

Within the Gen Z demographic there are particular fundamentals that differentiate them, however, as whole they are defined by their digital upbringing they don’t know a world without connectivity. Technology and cultural aggregation has shaped them in a way they are connected through these commodities. Although they don’t like being labelled, the digital natives for this research report will be focusing on Gen Viz in particular. Gen Viz accounts for the vast majority of Gen Z, they represent how today’s teenagers are embracing the visual first culture digitalisation has brought about.

Research looked at one baby boomer; a female aged 50 who took part in a 1-to-1 interview. This was undergone to establish any reluctance towards innovative technologies and their shopping habits in attempt to compare it with a Gen Z response. However, if there were no time restrictions this demographic could have been more researched. As the aging population suggests this demographic holds significant spending power.

Secondary Research Secondary data can define as one of the most widely used methods for data collection (Prescott,2008) Secondary research was carried out to gain an extensive and strong understanding of innovative technologies surrounding the online and offline landscape. As well as discovering how society is responding to this paradigm shift within retail and fashion including how brands are applying these trends within their business strategy’s. Furthermore, the majority of the sources that were beneficial within the literature review consisted of a range of academic sources such as books, journals and reports that overall allowed momentum to gain a range of perspectives of the research topic (see appendix 4a).

As research was circulating innovative technologies, up to date research was paramount, scope across tech events and podcasts were moderated such as Ted talks and world economic forum. Secondary sources contributed to the exploration of case studies, Robson (2002.p78) defines a case study as a strategy for doing research which includes an empirical investigation of a particular contemporary evidence. It has the ability to gain rich understanding of the context of the research and the processes being enacted (Morris and Wood,1991). The use of case studies provided a thought-provoking element to the research. Sources that were particularly insightful were Future Lab, LSN global, JTW. Intelligence and The fourth wave (Scoble and Israel,2018) – showcasing innovative examples of the current technological trends. As well as this, case studies which exemplified how new start-up businesses are ahead of this trend, advocated a interesting element to supporting primary research.

Quantitative Online Questionnaire To begin primary research, quantitative data was collected through a self administrated web-based. The questionnaire was open to all demographics between the ages of 18 to 54 which was shared across multiple channels including Facebook and Linked in, 100 responses were obtained. The advantage of it being conducted online meant that the data could be quickly analysed and compared. This method of research was conducted to reach the objective (2) in order to understand current consumer awareness and attitudes towards innovative technologies. Towards the end of primary research, an Instagram poll was conducted to retrieve some quick quantitative data referring to specific questions that needed to be answered (see appendix 5a). These enabled key insights to be supported. Research states that the design of the questionnaire will affect the response rate and the reliability and quality of the data collected” (Saunders and Thornhill, 2018). Therefore, due to the research topic surrounding innovative technologies, the layout was clear and concise ranging from a list of questions and a few open questions with the use of images. Furthermore, research depicted that “emotion leads to action, whereas reason leads to conclusions” (Tasgal,2018) it is argued that humans respond more truthfully to the primary emotions e.g. happy, sad, anger and fear. Thereby, within the questionnaire respondents were asked to choose the emoji’s (see appendix, 5b) that reflected how they felt, by doing this method it allowed the respondent to form a “system 1 response” (see appendix 6a) which essentially provides a more meaningful response.

Limitations Participants who took part in the study did show a variety in demographics. As it was shared on social media the sample sized primarily consisted of females aged 18-24, with 78% being female and 22% being male, this made the sample size to be dominated by the female demographic. Therefore, limitations meant that the research findings show an imbalanced representation of the target market and attempts to migrate these limitations were conducted through the sharing on “reddit” a blog forum to post surveys. However, there was no significant change to correct the imbalance, the lack of male responses creates a disadvantage, therefore males were approached for the participation in quantitative methods.

Qualitative

Focus groups Focus group 1 was conducted with 6 participants all females aged 20-22 that were all among friends and shared similar interests. “Participants are selected because they have certain characteristics in common that relate to the topic being discussed and they are encouraged to discuss and share their points of view without any pressure to reach an agreement” (Saunders and Thornhill, 2009). Within this exercise I showed participants digital influencers “Lil Miquela’ and ‘Shudu” Instagram accounts (see appendix,3a). Subsequently, participants were shown an example of brands utilizing this trend in their business strategy (case study 1). This met objective (2) on how these technologies will affect the customer satisfaction. Furthermore, focus group 2 was assembled between 6 participants; 4 females and 2 males aged 20 to 21. Within this exercise, participants were shown two clips (see appendix, 3b) and were asked to choose a card that reflected how it made them feel. This proved to generate emotional responses, feelings of nostalgia were shared amongst participants (further discussed in key findings).

Limitations As it was discussed previously that gender was a limitation it was important to overcome this in future research. However, two males were only available for one semi-structured focus group (see appendix 3b), again creating an imbalance as previously mentioned. Furthermore, there were signs of domination between some participants which is suggested can effect the response of others as they felt inhibited to disagree (Saunders et al, 2009). This was the case in certain places as participant 1 and 2 (see appendix 3a) express strong views however, all participants were prompted ethically to contribute.

Expert Interviews In-depth interviews can be very helpful to “find out what is happening and to seek new insights (Robson,2002:59) Structured in-depth interviews were carried out with industry experts in order to gain a professional understanding surrounding the themes within the research area. It was through secondary research experts were located and approached over the social network platform; Linked in, following a prompt email interview after agreement. As the research hypothesis surrounded digital technologies insiders ranged from various backgrounds with mutual links to digital technology and some with direct links to fashion and retail. Eleftheria AR and VR research analyst, Karl Swensen Global Technology and Consulting Leader, Katie Baron head of retail trends, Insights & Innovation at Stylus and Jessica Graves, founder and product scientist at Sefleuria, an agency that uses algorithms to help fashion companies scale sustainably. The 1-to-1 interview was un-structured as the experts were asked questions reflecting their area of expertise. This enabled a deeper understanding of the objectives particularly referring to innovative technologies within retail and the industry’s response to these trends. Furthermore, all experts discussed the raising challenges for industries especially the fashion and retail sector and disruptive forces that present potential risk (see appendix 4b).

Limitations Three out of four interviews were conducted through email, this meant they had the disadvantage of lacking face- toface interaction where responses could have been questioned to gain further insight. This was due to the interviewees availability during the busy time period. However, one interview was conducted over video call which provided a similar interaction to face to face. Jessica Graves provided a highly descriptive and insightful response (see appendix 2d). The limitation to this was that due to it being done electronically the interview was inaudible at times.

1-2-1in-depth Interviews

Two 1-to-1 in-depth (structured) interviews were undergone between a 16-year-old female (with supervision of a parent) and a 53-year-old baby boomer. The questions were standardised and were gathered to gain qualitative research, the two interviews consisted of the same questions in order to compare and analyse between demographics as “structured interviews can be used as means to identify general patterns” (Saunders and Thornhill,2009; p.322). The reasoning for this is to distinguish if there is any were any reluctance to engaging with this new technology and if it was ultimately creating a seamless journey for the customer (see appendix 1a,1b) The set of questions related to the consumer’s personal experience in both the online and offline environments. The interview subsequently went on to uncover their thoughts on new technological developments within the industry. Research depicted that there was no reluctance to engaging with this tech, (objective 4). Limitations As the interviews were face to face it was quite time consuming which limited exploration of more participants within the exploratory study. Although it provided a comparative insight, due to having one participant from each generation it may not be representative of the generations as a whole. In addition, participants can also feel under pressure during the interview particularly younger participants. As the 16-year-old had never under gone one before, efforts were made on the interviewer’s part to ensure they felt comfortable by presenting a consistent tone throughout as the manner of interaction between the interviewees and how questions are asked can affect the impact on data collected (Silverman,2007).

Norwegian retailer Carlings has collaborated with digital influencer Perl.www to create a fashion collection to express creativity without harming the environment (Friend, Houghton and Haukins, 2018).

Ca rli ng s

The collection is called NEOEX , The 19-piece collection products range from up to $20 and the way it works essentially is you choose a product, upload an image of yourself and the 3D designer digitally fits the piece onto the customers body. The buyer then can share the piece on social media. Carlings worked with digital tailors and Perl.www an artificial intelligence influencer who has 11.9k followers on Instagram.

The digital collection acts as a reaction to the detrimental impact of fast fashion on the environment. The retailer highlights this on their Instagram posts “Did you know that every second the world wastes the equivalent of a garbage truck full of clothes? So, rather than purchasing an item for a photograph and then discarding it”. Carlings point out the effect of the “wear once, never again culture that Instagram has encouraged through its influencer phenomenon. They believe that the future of personal expression will be achieved by buying immaterial fashion (Friend, Houghton and Haukins, 2018).

In this digital era, where fast fashion is at its peak, trends continue to change and nobody would be caught dead in the same outfit twice. Carlings represent a solution that makes sense hypothetically for influencers who should be environmentally aware as are they given masses of new clothes daily to promote online (see appendix 6b). However, it is questionable consumers would invest in digital clothes to share on Instagram, as owning up to posting an outfit online for instagram isn’t something to be proud of. But in what reality will they recognise this? Will it need to become mass adoption for consumers to catch on? Or will Kim Kardashian need to purchase a $20 digital dress for it to be deemed “acceptable” by society?

“There’s actually a deeper, more honourable, and actually pretty smart rationale to all of this, believe it or not. Carlings created this virtual collection to help save our planet and promote sustainability in fashion, aiming to get rid of the throwaway culture that social media has helped create”

Data is often viewed as a cold entity, but it can be used in a more intelligent way when you read beyond it’ Hasna Kourda, founder, Save Your Wardrobe

Apps have been developed to enable consumers to store outfits, however, they require a lot of maintenance. Save your wardrobe is a newly start up business company where it uses a management system almost makes it create subconscious suggestions. As soon as a customer buys a product online the application will automatically upload it to the digital wardrobe. The use of AI technology also scans emails and online retail accounts to filter user’s online purchases.

The company’s mission is to guide consumers to use the app as a tool to manage clothes so that they “buy less, buy better” with the digital wardrobe. This case study was introduced to participant 1 (see appendix 1a) “I like the idea and I think I would use it because it would save me time having to pick outfits”. The participant considered the convenient aspect of the app for her lifestyle.

Save your war drob e

The Bureau originated as fitting agency for fashion brands in 2010( Bishop,2019). To date, they describe themselves as a “unique technical expertise meets digital innovation”. over the years they have gathered a lot of data and research regarding fit and sizing. In turn invested it in technology to positively transform the modelling and fashion sector The Bureau originated as fitting agency for fashion brands in 2010( Bishop,2019). To date, they describe themselves as a “unique technical expertise meets digital innovation”. Over the years they have gathered a lot of data and research regarding fit and sizing. In turn invested it in technology to positively transform the modelling and fashion sector.

“

In the future, everyone will have a 3D printer at home, which means you can easily download and print a loose-fit t-shirt from Nike.

“

Th e Bu re au

The company are sensitive to the issues surrounding the industry, including online shopping returns and its costly and environmental affects. Their aim is to supply fashion brands from high-end to high-street with vast amounts of data to achieve accurate fittings. Thus allowing brands to use this information in a constructive way for both consumer and society.

AR creates a fun element towards the technology, Bureau plans to collaborate with AR companies to give a sense of interactive appeal. They believe that because of this, technology will show more diversity within their ranges for designers, overall guiding the industry in the diverse route its slowly but surely taking. This reflects discussion carried out within focus group as the participants discussed the use of using not a stereotypical model when online shopping. They felt that seeing a body type similar to them “not perfect” would enable them to self reference better. The brand suggest that fit measurements will become an open source, this would mean that in the future a company could request something to be created in a style that best suits them e.g. Curve or skinny. Consequently, consumers buying garments will know they will conform to a certain measurement when they order online, lessening the likelihood of returns. Overall, they hope to see technology stop brands from mis-selling garments based on how they’re perceived to fit “I anticipate that our avatar fitting models will help brands, while giving customers a bit more information and insight about how a garment will look on them before they buy something online”. “Avatar, an identity given to a hypothetical person in cyberspace, offers virtual social interaction, as it interacts with customers online to provide necessary information” (Wood et al., 2005.p151). Baudera supports the theme previously researched in literature that the physical representation of an avatar modelling clothes online provides more accurate self referencing. Furthermore, adopting a demand-led business model is more sustainable and allows fashion labels to react in real-time to meet customer preferences and demands.

To conclude, this chapter provided a holistic approach to what the research accumulated as s result, it has formed key findings and insights. The most interesting findings related to the current barriers that the industry faces with this technology unable to reach full potential in the fashion and retail industry (see appendix2b,2d). Industry experts explain that at the moment, AR, VR and AI has only made â&#x20AC;&#x153;a dent in this fieldâ&#x20AC;? claiming that it will be 5G and the cloud that will change this, allowing hardware and softwareâ&#x20AC;&#x2122;s to be more flexible, enabling digital technologies to have no restraints.

Key findings & Key insights 38

If you’re into digital Yo u ’ r e g o i n g t o b e into it If you’re not into digital you’re not going to be into it.

Self referencing refers to the use of a digital avatar that optimizes user shopping experiences, particularly in an online format. It is conclusive that such technology creates a positive response as “feelings and emotions are heightened when a consumer is using an avatar to dress themselves rather than a static image of a model” (Huang, 2018). Primary research verifies this as 78% of participants found it difficult to self-reference themselves in a product when shopping online (see appendix). In contrast, Jessica Graves argues that “generating your own body is very hard, it is very very difficult to get people to want to look at themselves”. Subsequently, this contradicts selfreferencing however, with the growth of advancements in technologies such as AR and AI consumers are moving towards the notion of shopping with an avatar. The effect of AR in self-referencing experiences not only shapes more diverse sensory experiences that is closed to consumer’s self, but facilitates a smart and interactive retailing environment (Huang, 2018; Scholz and Duffy, 2018). Primary research findings corroborated this as participant 1 stated that “if you could see what you looked like on a virtual representation of yourself you still get the feeling when you try it on if its interactive” (see appendix 4a). The attractiveness of AI digital influencers coming onto the social media scene, perceived as a “new form of art” (Rossi 2018), where hyper-realism and reality-blending is extending beyond social media, with consumers intrigued to have one of their own personal avatars’ as primary research revealed that 83% of participants said that they would be interested in having an avatar of themselves that would show what clothes would look like on before buying. Contrary to this, with technological changes, potential backlash is inevitable “how can we embrace technology without loosing our own humanity in the process” (see appendix,4b).

“

Its like our social media consumption of production continues the way it does now, there is no reason why you would not want to have, even a kind of overlaying images of you and could start to generate clothes on your body

“

The ubiquity of smart phones keeps the Gen Z consumer always switched on, research has shown that social media also plays a significant role on how young female consumers buy clothes online “if I think they look good in that- I wont look good in that” (see appendix, 3b). Participants believed that the use of an image of a static model who didn’t reflect a similar shape and size to them would decrease their chances of buying. This supports the fact that social media is embedded within their lives and has a greater impact on their shopping behaviours than other consumer groups. Social media can have detrimental affects on mental health (see appendix, 4b) primary research findings proved this, as participant 2 states that “I feel like the world we live in now you wouldn’t feel as insecure as you did 5 years ago when there wasn’t Instagram”. Throughout the focus group participants felt social media had an effect on how they see themselves and as part of their obsession with social media, “Gen Viz consciously live double lives; their real identity that surfaces in person, and their fabricated and filtered persona that parades all over their social channels” (Owen, 2018). Social media has advocated the notion of a perfect life and/or self mistaking virtual identity for real identity. However, slowly but surely social media is heading in a positive direction “I feel like were going in a place where everyone is empowering woman and we shouldn’t shy away from that” (p.5 see appendix,3a) slowly but surely social media is heading in a positive direction but the effect it has on the industry is predominant, influencers are using this platform to drive the fashion industry, in which has led digital fashion to arise as part of the solution for the environmental crisis.

Secondary research presents virtual fashion to influence how teens primarily female, have adopted fashion trends in real life. Although, the consumers using VFWs cannot physically buy the clothes, it is plausible to assume that VFWs can influence their purchase behaviour in reality (Kobiaa and Liu, 2016 p422). As emerging fashion trends are shifting from a physical to a virtual perspective, primary research considered if this theory was still relevant. Findings from focus group 2 (see appendix, 3b) reinforced this “it helped me in the process of my interest in fashion”. This suggests that participants consider virtual fashion to have a positive impact on their adoption of fashion. Consequently, advancements in technology have had the fashion and gaming industry colliding; I think there is a fluidity between games, film, fashion, it's expanding – I don’t see any reason why, having purchased your virtual garments for your character in games, you couldn’t choose to then have them made for yourself (Delamore,2018) Participants in focus group expressed feelings of nostalgia to explain why they would be interested in this area; “I’d quite like it you know, I liked playing Sims so can imagine it would be something like that” (see appendix,3b). The relationship between the online gaming and virtual worlds enables a user to escape, where virtual personalities become more fluid. Generation Z in particular are driving this trend, Katie Baron refers to them as the “entrepreneurial younger generation” (see appendix 2c). This has surfaced substantial buying power from this demographic; “Gen Z spent £10m on virtual outfits for their Fornite characters in March alone (The Sun,2018). Although this portrays how invested this generation is in virtual fashion, this publication is known for presenting unreliable sources so it is authenticity is questionable. Nevertheless, research suggests there is more prospects for virtual fashion to come Katie Baron claims that “the more we live/play in these virtual environments the more virtual goods will become relevant to us and it will”.

In the transition from virtual fashion, new opportunities for brands to renegotiate their relationship with consumers by making clothes ownership more granular. For example, Carlings who created a digital fashion collection for humans and avatars (case study 1). Participants within primary findings projected mixed attitudes towards this concept; “I think its good for influencers because they go through so much clothes and people tend to buy from how it looks on them” (Participant 3, see appendix, 3a). In contrast, participant 5 argued that “I think its pointless because I don’t post to show off my outfits”. Therefore, the usefulness of this technology varies dependent on user’s online social presence, Jessica Graves corroborates this as she states “I think if you’re into digital you’ll be into it and if you’re not into digital you’re not going be into it” (see appendix, 2d).

The movement towards digitalisation does not necessarily mean that people will no longer own physical clothing, but that they will be more aware of the clothes they already own (Future Lab,2019). Primary research findings congregated that the concept of a “smart wardrobe” which would be useful in their outfit regime as 82% said they would be interested in owning one (see appendix,5a). In-depth interviews also depicted this as participants were shown a new business start-up-application “save your wardrobe” in which uses AI algorithms to build a smarter wardrobe for the consumer. Participant 1 states that “I like the idea and I think it would save me having to pick outfits” (see appendix,1a). Convenience has always been a key element within retail and fashion, this technology especially provides consumers with incentive to engage with this tech (see appendix,4b). Overall, Jessica Graves believes this is just the beginning as “I think there is a pretty good pathway for digital fashion to start to implode a little bit more, it might actually let people be a little bit more creative in what they want. I think it will honestly make people pickier about what they choose to buy’.

An OPTIMISED wardrobe is an OPTIMISED life “One in three young women consider clothes “old” after wearing them once or twice (Mintel,2018). The way that social media is heading presents consumers with the over abundance of clothes, as Gen Z consume content visually the ability to see their clothes virtually has always been a dream of theirs.

It needs to get REAL before it can get VIRTUAL Consumer behaviour towards current digital trends can be quite daunting for the younger demographic. Although they are the digital natives of this generation they are trying to keep up with society’s pressure of high standards that social media has set. Conversely, with the powering voices of today it is possible for consumers to use their virtual identities to enable them to be acceptably fluid- a new sense of creativity.

Shopping with AVATAR Blurring of the physical and digital spheres creates new ways for consumers to try on clothes without actually having to try them on. A new form of customisation is on the horizon for consumer to take form of their virtual identity. This will enable consumers to express their fashion identities in new ways “I think it will honestly make people pickier about what they choose to buy” Jessica Graves (see appendix, 2d)

“People will forget what you said, people will forget what you did, but people will never forget how you made them feel” In conclusion, this research has allowed a deeper understanding towards how the lines are being blurred between the physical, digital and biological spheres through intrusive technologies within the fashion and retail sector. The relationship between the consumer experience and engagement is heightened amongst such digital technologies, literature has suggested that social learning theories have migrated and resurrected with emerging trends. The ubiquity of smart phones keeps the Gen Z consumer always switched on, attention spans are decreasing thus retaining this generations attention is proving difficult (see appendix,4b). Evaluation from primary research findings suggests that this generation are at a cross road in terms of social media consumption, they are aware of the detrimental affects it has on their lives but they continue to pursue their virtual identity. The result of this increases the “wear once and throw away” culture in which have led to sustainable solutions through digital fashion, presenting a new way for consumers to consume fashion. Overall, the transition to digital should not forget the basic needs of the consumer, whether they are hedonic or utilitarian, the consumer needs to be inspired with what brands are offering them. “People will forget what you said, people will forget what you did, but people will never forget how you made them feel,” Maya Angelou (2013).

This world is where consumers are more creative when it comes to fashion, they are brought together through virtual communities that allow them to express their virtual identities more freely resulting in fashion being more fluid.

This world represents a nightmare for most consumers and brands, unable to tell what is real and what is virtual causing the sceptical consumer to mistrust brandsâ&#x20AC;&#x2122; authenticity. A global epidemic strikes as failure to contain digital fashion has resulted in copyright as downloading fashion without paying is seen as fraud

This world is data driven. Everything is on the cloud. Everything. For many they have accepted the role data plays in their lives. They have surrendered to the data gathering entities, often is beyond control. Clothes are distributed by the cloud and everyone dresses the same.

This high tech world is full of invasive technologies entering the atmosphere uses AI to know the consumer inside and out. The apprehensive consumer secludes themselves from the fear of it knowing too much, they have low expectations from fashion and wish to remain disconnected.

This scenario planning map allows a process of visualizing what future conditions from assessing the relevance and immediacy of external factors (see appendix, 6a). It shows what the potential consequences or effects would be like and how to respond to, or benefit from them. The axis rejection Vs. acceptance refers to the consumers engagement and reluctance to this technology. The second axis refers to material Vs. immaterial fashion. The worlds represent possible scenarios for how the future could go when fashion and technology fully submerge. This has enabled inspiration for future recommendations on how brands could benefit from this trend.

Digital fashion is presenting new ways for consumers to consume fashion. Allowing consumers to be more creative and assertive when it comes to their style. Ultimately, it will rectify the problem of “having nothing to wear”, in order to stay ahead brands will need to convince consumers that their AI can make their lives easier. The seamless integration of the offline and online worlds continues to intertwine leaving the physical store experience is in need of a digital upgrade. Fashion brands could improve in-store shopping with innovative retail technology that can provide customers with the best of both worlds, giving them the same conveniences of online shopping, paired with the physical shopping experiences.

Digital avatars may be currently used as a PR tool but consumers are increasingly intrigued by their hyper-realistic aesthetic. Therefore, brands could use this digital technology to understand individuals unique shape, style and fit, allowing consumers to have a personalised, unique and satisfying shopping experience. A pop up dressing room or a dressing booth but with privacy, ready to be bought in store or ordered at a later date, items could then be saved to the consumer’s digital wardrobe ready to enter the booth on their next shopping journey.

It is inevitable that the fashion and gaming industry will continue to collaborate to present new ways for the brand to communicate with the consumer. Virtual communities could bring together fashion enthusiasts, perhaps it could be the next Pokémon GO phenomenon where consumers use AR to share each others digital fashion identities across the world. Stores could implement a digital strategy from start to finish of the shopping journey. The production of clothing could be cut down, by asserting a made-to-order model in which consumers can try the garment on virtually to save time and cost.

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List of illustrations Behance.net. (2019). Virtual being. [online] Available at: https://www.behance. net/search?content=projects&sort=appreciations&time=week&featured_on_behance=true&search=digital%2520avatar [Accessed 20 Jan. 2019]. Woman walking in heels Adobe Stock. (2019). Technology photos, royalty-free images, graphics, vectors & videos. [online] Available at: https://stock.adobe.com/ uk/Accessed 23 Jan. 2019]. Unsplash.com. (2019). Hand, phone, mobile phone and screen HD photo by Youssef Sarhan (@youssefsarhan) on Unsplash. [online] Available at: https://unsplash.com/photos/tze1kKj7Lgg [Accessed 23 Jan. 2019]. Technology tree (2019). Technology photos, royalty-free images, graphics, vectors & videos. [online] Available at: https://stock.adobe.com/uk/Accessed 23 Jan. 2019]. 2019). Technology photos, royalty-free images, graphics, vectors & videos. [online] Available at: https://stock.adobe.com/uk/Accessed 23 Jan. 2019]. Unsplash.com. (2019). Woman, vr, headset and african american HD photo by rawpixel (@rawpixel) on Unsplash. [online] Available at: https://unsplash.com/ photos/tQ3ADldKIoI [Accessed 23 Jan. 2019]. United Kingdom â&#x20AC;&#x201D; Meltwater. (2019). Lil Miquela: How CGI Avatar Influencers Came to Be. [online] Available at: https://www.meltwater.com/uk/blog/lil-miquela-how-cgi-avatar-influencers-came-to-be/ [Accessed 23 Jan. 2019]. 2019). Technology photos, royalty-free images, graphics, vectors & videos. [online] Available at: https://stock.adobe.com/uk/Accessed 23 Jan. 2019]. 2019). Technology photos, royalty-free images, graphics, vectors & videos. [online] Available at: https://stock.adobe.com/uk/Accessed 23 Jan. 2019]. he Fabricant. (2019). The Fabricant. [online] Available at: https://www.thefabricant.com/ [Accessed 23 Jan. 2019]. Unsplash.com. (2019). GEN Z photo by Dan Smith (@youssefsarhan) on Unsplash. [online] Available at: https://unsplash.com/photos/tze1kKj7Lgg [Accessed 23 Jan. 2019]. Carlings.com. (2017). Carlings | Carlings | Worldwide. [online] Available at: https://carlings.com/en/ [Accessed 22 Jan. 2019]. Phone screen (n.d.) Save Your Wardrobe, Available at: https://www.saveyourwardrobe.com/portfolio/ourvision/ [Accessed 19th December 2018]. https://www.lsnglobal.com/news/article/22936/the-bureau-is-revolutionising-the-fitting-process 55

United Kingdom â&#x20AC;&#x201D; Meltwater. (2019). Lil Miquela: How CGI Avatar Influencers Came to Be. [online] Available at: https://www.meltwater.com/uk/blog/lil-miquela-how-cgi-avatar-influencers-came-to-be/ [Accessed 23 Jan. 2019]. United Kingdom â&#x20AC;&#x201D; Meltwater. (2019). Lil Miquela: How CGI Avatar Influencers Came to Be. [online] Available at: https://www.meltwater.com/uk/blog/lil-miquela-how-cgi-avatar-influencers-came-to-be/ [Accessed 23 Jan. 2019]. 2019). Technology photos, royalty-free images, graphics, vectors & videos. [online] Available at: https://stock.adobe.com/uk/Accessed 23 Jan. 2019].

Appendix 1a Transcript for In- depth interview with Gen Z (16 year old) with parental supervision 18/12/18 12.30pm

Interviewer: If you respond you consent to me using this information in my report. The information provided will be treated in strictest confidence and you will not be individually identified in any presentations of the results. This interview will be kept in accordance with the Data Protection Act and destroyed at the end of the project. At any subsequent point, you can withdraw from the project and if you wish, withdraw any of the information that you have given so far. You do not have to give any reason for withdrawing. Interviewer: Do find you shop more in physical stores or online? And why do you prefer this? Interviewee: I mainly shop in physical stores because i can try things on and make sure that they fit me nicely. I also don’t have to wait for the clothing to come to my house I can have it straight away. Interviewer: Do you prefer going to independent stores on the high street or shopping centres? Why is this? Interviewee:: I prefer going to shopping centres because they normally have all the shops that i would want to shop in, and it’s also convenient because there a restaurants near so i can have a break from shopping. Interviewer: Do you sometimes struggle when putting outfits together? Interviewee:: No not really, because i see clothing ideas on social media that i like and then i just copy them. Interviewer: Which do you think is the easiest platform to put outfits together, online or offline? Interviewee:: Definitely online because there is so much inspiration and ideas that i can use that help me pick an outfit. Interviewer: In terms of store layout, environment, mood and setting what brand do you feel achieves the highest satisfaction within these elements? Interviewee: I feel like urban outfitters achieves the highest satisfaction within these elements. It’s layout is organised and it has a trendy feel to it. Interviewer: How do you feel when brands use your personal data to advertise products on social media for your you? To help you choose what to buy next? Interviewee:: I think that when brands email or text me i don’t actually read them because I don’t have time. * Shows smart wardrobe app start-up concept * Interviewer: What are your thoughts on this concept ? Would you use it? Interviewee: I like the idea and i think i would use it because it would save me time having to pick outfits. Interviewer: Thank you, for taking part in this research project. Do you consent to me using this information in my report. The information provided will be treated in strictest confidence and you will not be individually identified in any presentations of the results. This online interview will be kept in accordance with the Data Protection Act and destroyed at the end of the project. At any subsequent point, you can withdraw from the project and if you wish, withdraw any of the information that you have given so far. You do not have to give any reason for withdrawing. Interviewee: Yes that is fine you have my consent

Appendix 1b Transcript of In- depth interview with 51 year old (baby boomer) 18/12/18

Interviewer: If you respond you consent to me using this information in my report. The information provided will be treated in strictest confidence and you will not be individually identified in any presentations of the results. This online interview will be kept in accordance with the Data Protection Act and destroyed at the end of the project. At any subsequent point, you can withdraw from the project and if you wish, withdraw any of the information that you have given so far. You do not have to give any reason for withdrawing. Interviewer: Where do find you shop more in physical stores or online? And why do you prefer this? Participant 1: On balance I buy most of my clothes from a store but increasingly I do research on line to see what is happening in the fashion market for my age range and body shape. That gives me ideas on what might suit me and then I look round the shops. I hate trying clothes on in changing rooms though, I feel self conscious at my age if I want to look in the big mirror it outs me off. Interviewer: Do you prefer going to independent stores on the high street or shopping centres? Why is this? Interviewee: I like independent stores that offer something a little different, styles that suit to older woman but are still a bit trendy. Interviewer: Do you sometimes struggle when putting outfits together? Interviewee: Yes often. As I get older and my body shape has changed I have lost confidence putting stuff together. Would appreciated help in that area. I would like to be more experimental to develop a style of my own that’s different from others. Interviewer: Which do you think is the easiest platform to put outfits together, online or offline? Interviewee: A bit of both, I like to see how on line retailers put stuff together and then look round actual stores to emulate Interviewer: In terms of store layout, environment, mood and setting what brand do you feel achieves the highest satisfaction within these elements? Interviewee: I like All Saints, Cos, Oliver Bonas, jigsaw , mint velvet, they are modern and have a nice range for my age Interviewer: How do you feel when brands use your personal data to advertise products on social media for your you? To help you choose what to buy next? Interviewee: I like it. I don’t find it intrusive I like to see stuff that might suit me. I then work out how much it would cost and the occasions I would wear it. * Shows smart wardrobe app start-up concept * Interviewer: What are your thoughts on this concept ? Would you use it? Interviewee: I really like it. Especially the link with what you’ve bought and have in your wardrobe so you’re making use of your clothes. And how you can resurrect outfits with one or two additional pieces that the web site suggests it’s a great idea. Interviewer: Thank you, for taking part in this research project. Do you consent to me using this information in my report. The information provided will be treated in strictest confidence and you will not be individually identified in any presentations of the results. This online interview will be kept in accordance with the Data Protection Act and destroyed at the end of the project. At any subsequent point, you can withdraw from the project and if you wish, withdraw any of the information that you have given so far. You do not have to give any reason for withdrawing. Interviewee: Yes that is fine you have my consent

Appendix 2a Transcript of In- depth interviews with industry experts 13.12.18 Sophie: Dear Karl, Interviewer: Thank you for responding to my email and taking the time to answer my questions. Sorry I have only just got back to you, hope you and your family had a lovely Christmas! I just wanted to ask you some questions regarding your opinion on the future of retail and it's relationship with new technology. Interviewer: In your report you talk about how attention spans are collapsing particularly among Millennials, do you think this will be a key challenge in the future? Karl: I believe so, so whenever a retail designs a mobile applications, website, or store experience, they should make it very easy for the shopper to find what they want quickly. Basically removing as much friction as possible in the path to purchase. If you look at Amazon, they try to do this as much as possible. Interviewer: And can brands utilize Augmented Reality efficiently to move past this? Karl: Brands help provide the trust factor and help make shopping easier by removing the "tyranny of choice”. Brands may very well utilize Augmented Reality but I don’t think it is ready for prime time - every time I strap on the head devices it is not really a pleasant experience for me. I think if they can move to something like Star Trek’s “holodeck" technology for a room, that in my thinking is a better experience, but we are a few years from that. I can see sports events in this type of medium, and have brands interact in this type of event would be more effective. Sophie: You mention how Amazon’s virtual assistant Alexa is built with the customer needs at a “a distant second”. With Artificial Intelligence avatar employees entering the Japanese hospitality market , it raises the question if this will happen within the retail industry. Do you think hyper-realistic avatars in the workplace will be feasible within the retail industry ? Karl: On page 19, of my paper I talk about Artificial Intelligence as your proxy. I imagine a virtual assistant that would act on behalf of my best interests and not rely exclusively on Alexa, Siri, or some other intelligence to work in my best interests. So whether I am buying and item or service, I would want to have something that would help me research all the options and give me their take on the possible options and pros / cons and costs. It might interact with all the websites out there, with other AI or services, to be able to collect, analyze, and provide recommendations to th user. Karl: The entity that creates this should not have a financial or vested interest in the outcome, else I personally would not fully trust the recommendations from it. It could be an avatar in how it represents itself to a user, but it doesn’t necessarily have to take a form of a person. Who would create this? Perhapssome group that has the funding available and would not have a vested interest in the outcome - maybe government or some sort of consumer advocate agency. Interviewer: In your report it mentions how Millennials and Gen Z are at the forefront to engaging with these technologies in the future. Do you believe that other generations will have a reluctance to engaging with this new tech? Karl: No - I don’t think they will be reluctant to engage in new tech. Each new generation identifies with newer technology than the previous one. Sophie: Will it be primarily the younger generations that brands will need to focus on? Karl: It depends on the brand and what demographic of people they are targeting. If a company is targeting newly retired individuals, then I may not really care about the under 40 age group. But I would care about maybe the 40-60 year old age group as that will be the future for that type of company.

Interviewer: “The sense of autonomy and remaining in control of the experience is appealing to shoppers”. Do you think that our phones will be the key to connect consumers to these new technologies, to increase adoption? Karl: Yes - the mobile phone is the key enabling technology, but will be augmented by watches, implants, and maybe the holodeck technology I spoke about earlier. Interviewer: It is clear that technological advancements are transforming the retail market. However, the question remains to whether it will be the resurrection of the physical retail space.

Interviewer: If you respond you consent to me using this information in my report and for sharing your identity within my findings. This online interview will be kept in accordance with the Data Protection Act and destroyed at the end of the project. At any subsequent point, you can withdraw from the project and if you wish, withdraw any of the information that you have given so far. You do not have to give any reason for withdrawing. Kind Regards, Sophie

Appendix 2b Transcript of In- depth interviews with industry experts 05.12.18 Interviewer: Dear Eleftheria, Interviewer: Thank you for helping me with my research. Eleftheria: Hello Sophie, Eleftheria: Very happy to help :) Interviewer: What do you think of the current state of the AR and VR market and where do you think it is heading? Eleftheria: Both AR and VR have significantly grow during last year (2017-2018) both in terms of revenues and hardware shipments and is expected to dramatically grow the next years. 2018 was very important year as new companies joined the market, big players in hardware production launched new devices (Magic leap, HTC Focus etc) and software providers released new versions of their software. The growth is mainly a result of technological advancements and enhanced maturity level of businesses that are experienced with AR/VR technologies. In addition more and more companies expand their footprint and cover both AR&VR applications instead of focusing only on AR or VR. For many enterprises AR/VR tools are a fundamental part of their digital strategy. Interviewer :What are the downfalls in AR and VR at the moment ? Eleftheria: The status of hardware devices : Hardware devices have not reached the full potential because of low connectivity, storage issues, battery life, heavy equipment , heat production etc that limit their capabilities and the quality. 5G and cloud systems will significantly improve device capabilities. Also another emerging issue both for consumers and enterprises is the high cost of headsets. Eleftheria: AR gradually gains the interest of consumers and enterprises, especially with the growth of mobile. Smartphones and tablets can replace headsets in some uses cases, consequently a lot of businesses develop AR applications for mobile as it is a cost effective and user friendly solution in caparison with headsets( this is one of current hot topics rise of AR). A considerable number of businesses adopt AR solutions as an interactive marketing tool that allows businesses to engage with customers and provide them unique and memorable experience. AR solutions becoming very popular in other enterprise verticals such as manufacturing, education, logistics, real estate, etc. One challenge apart from high cost of devices is the the ROI issue especially for businesses that adopt AR as marketing solution, it is difficult to measure effects and define KPI's. All in all the use cases that are available in the marketing show that AR solutions are very promising able to increase employee and organisation efficiency. Eleftheria: VR is mainly a more limited area as the majority of use cases are related with gaming and entertainment, however some businesses have leverage VR and have build applications for training simulators, for treating phobias and traumas, for hospitality, travelling and education. VR applications rely only on headsets but as mention problems with connectivity (low latency ) may create negative feelings to the user (for example some people feel dizzy) everyone expects that 5G will solve this issue. Eleftheria: Regarding the challenges apart from connectivity, storage, device issues, high cost, ROI, another major issue is the lack of knowledge. A lot of businesses they do not know where can they apply AR or VR in their business model, consequently they need guidance. A lot of enterprises take initiatives to educate consumers, by offering the chance to explore and discover these technologies in some open events and exhibitions. Interviewer: For my project I am looking into the integration of AR in apps, in your opinion do you think this area will become more advanced and accessible for consumers? Interviewer: Do you think the retail industry will benefit from AR and VR in the future, potentially changing the shopping landscape (the way we shop)? Eleftheria: Yes I believe that AR will be accessible to more consumers in the future in caparison with VR and the reason is the mobile AR. Fashion and cosmetic industry definitely will benefit from AR and VR. As mentioned these interactive tools provide unique experiences to consumers that increase their curiosity to explore them and spend more time with the product. AR technologies mainly increase online traffic and sales as offer the chance to customers to try a lot of products in less time. Also another advantage of AR tools is that the consumers receive customised solutions, for example in cosmetic industry face tracking systems can identify skin type and recommend suitable product. Of course technology is not so advanced and realistic and some times can create negative feelings to the customer when tries a product and does not like the result, however the majority of consumers are aware of technology capabilities and they do not take into consideration every detail. Novel tools (especially when they are free) attract customers, nobody can guarantee that AR/VR tools will directly impact sales but can guarantee the efficiency and success as a marketing tool. Finally some people may claim that AR tools will reduce traffic in stores and face to face communication, this is not always true as businesses can bring in store AR, see magic mirror at sephora. Eleftheria: Sophia if you have any other questions please let me know I tried to summarise the most important information. Eleftheria: All the best! Interviewer: If you respond you consent to me using this information in my report and for sharing your identity within my findings. This online interview will be kept in accordance with the Data Protection Act and destroyed at the end of the project. At any subsequent point, you can withdraw from the project and if you wish, withdraw any of the information that you have given so far. You do not have to give any reason for withdrawing.

Kind regards, Sophie

Appendix 2c Transcript of In- depth interviews with industry experts 17.1.19 Interviewer: If you respond you consent to me using this information in my report and for sharing your identity within my findings. This online interview will be kept in accordance with the Data Protection Act and destroyed at the end of the project. At any subsequent point, you can withdraw from the project and if you wish, withdraw any of the information that you have given so far. You do not have to give any reason for withdrawing.

Interviewee:"Fashion retail will merge with gaming and entertainment; shoppers will own a personal avatar and they’ll fully expect retailers to clothe them exactly as they step into online changing rooms or out into wider virtual worlds," -When do you predict this will happen? It's already happening. Take a look at this blog post published on Stylus only this week: https://www.stylus.com/tcxhdn Gucci, for instance, is offering a virtual edition of its entire collection of the Genies app – an app that allows people to create virtual avatars of themselves (or at least pretty good approximations of their looks) that can be used within its messaging system. It’s free now to serve as a kind of gateway concept, generating a level of addiction, so that when the concept becomes shoppable (you’ll be able to buy what your friend’s avatar is wearing with just one click) it will already have an eager audience. The Yoox example in the same blog post is also great as it shows how these concepts will upgrade the kind of wish-lists we’re using now. Interviewee: How will consumers be able to access their own personal avatar? through our external devices or internal devices in store? I’m not sure what you mean by external and internal (personal devices / in-store tech?) but if so, it could potentially be a combination. The type of creation systems described in the blog post sent to you could potentially be delivered by a brand. For instance, Japanese fashion retailer Gu allows consumers to create a personalised miniature avatar by completing a 3D body scan at the ‘Style Creator’ Stand in its new Tokyo store (opened November 2018). Visitors can try on digital 3D clothing renderings from an online library at the kiosk, or transfer the avatar to their phones to trial looks on the go. To test out a product on their miniature mobile avatar, consumers simply scan an item’s barcode. What will be interesting to see is the preference for having an original avatar, created by a specialist (i.e. Genies) that travels with the individual throughout multiple brands scenarios vs. having a different avatar with different brands. I suspect the former will win out but it’s something I’m watching. - Do you think consumers will adopt this trend quickly or will it take time for mass adoption? I think it will pick up at a faster pace than most people realise, driven by the appeal of personal modification, the existing appetite for semi-fictionalised versions of our lives. If you look at the way people think nothing of using Facetune (the most downloaded paid-for app of 2018 and 2017) in conjunction with an increasingly entrepreneurial younger generation (people running their own micro empires via their bedrooms, and their mobile phones) the desire to be a ‘little more than’ is already surfacing with substantial power. Interviewee: Do you think immaterial fashion collections are feasible for the retail industry? Will it prosper more in certain sectors such as, luxury and fast fashion? In many ways it’s preferable, even an essential move. So many sustainability discussions are still skirting around the issue of huge levels of manufacturing. The more we live/play in these virtual environments the more virtual goods will become relevant to us and it will, of course, be far more eco-ethically sound to be a style chameleon when the items you’re ditching every week are virtual rather than physical. Interviewee: Are there any upcoming brands that you know are ahead of this trend? See answers above. Interviewee: In 2018 digital avatar influencers such as Lil Miquela and Shudu have created a buzz on Instagram, do you think that influencers and celebrities will soon have their personal avatar too or do you think it is a FAD? I think it’s entirely feasible that digital celebrities will equal, and in some instances, \ overshadow ‘traditional’ celebrities. Having previously cast models as part of my job (I was the Fashion Production & Bookings Editor for Harper’s Bazaar) I can a time in the not-very-distant future where image-makers of all kinds will prefer to create than cast in order to achieve exactly the image/world they want. Practical issues will push this forward to (budget, locality).

Appendix 2d Transcript of In-depth interview (audio call) 17.01.19

Interviewer: If you respond you consent to me using this information in my report and for sharing your identity within my findings. This audio interview will be kept in accordance with the Data Protection Act and destroyed at the end of the project. At any subsequent point, you can withdraw from the project and if you wish, withdraw any of the information that you have given so far. You do not have to give any reason for withdrawing. Interviewer: Do you think digital fashion will primarily benefit the industry rather than the consumer? Interviewee: Oh that’s interesting, I think that the consumer, I think that they both stand to benefit. When you’re talking about digital fashion are you talking about online not VR… Interviewer: Well I am also looking into that how VR and digital fashion comes together within the industry. I just wanted to look into how these technologies could come together with the use of a digital avatar to reflect versions of themselves so they would have a visual representation of what it would look like whether its in-store or online. Interviewee: Yeah so there’s a few companies that allow you to generate digital avatars, big companies use them so they don’t have to photograph over and over. One of them is called Looklet most companies don’t admit that they are using but they are. They basically let you place an avatar over photographs of the pre-photographed image of the garment, so I’m pretty sure you get the garment and place it on the mannequin, you photograph it once then you can literally generate it by choosing different hair styles, faces, ways of standing things like that. There are ways of seeing if an item is out of stock, its like insane. Yeah so I think with anything, usually with technology they get deployed if they are good for the business, and its not usually exposed to consumers that algorithms are being used and I think part of that is because people feel a bit creped out by it to be honest. For example, generating your own body is very hard, it is very very difficult to get people to want to look at themselves. It sounds crazy but I’ve seen it a lot of times, its really hard to get people to look at themselves. To get people to actually want to look at a avatar that is a accurate representation of themselves about how they look. So they want to look like the person there but as far as fit communications there is work to be done using like avatars to stay in with the global fit or not. But I think most of the problem is even if you tell the consumer the true fit, they get really unhappy if there is a size is not carried by any brand and so there’s like a big mix match between what’s actually being produced and what the consumer average size is, so once you expose it it makes them feel worse. Interviewer: Yeah completely. So next second question, do you think digital fashion will be just a visual satisfaction for consumers or do you think it will co-exist with physical fashion. Will the physical environments be affected? Interviewee: Yeah I think um, there’s a lot of reasons that we like move towards digital fashion is because there is technology out there right now that can generate new ideas of outfits. Right so complete 100% algorithms can look at everything that’s ever been made or any images of garments and then make new garments from them that already in existence. So that means its much easier for an algorithm to generate examples of clothing and make it look like an image or a picture of an image that exists. So that means if its like too much cheaper to generate outfits and we get these avatars and we are posting on avatars a lot, if we put all these things together you solve this problem of like I don’t have enough outfits for my social feed or I don’t wanna take a selfie today or the lighting is bad. Its like our social media consumption of production continues the way it does now, there is no reason why you would not want to have, even a kind of overlaying images of you and could start to generate clothes on your body * technical difficulty with Zoom, unable to distinguish what was said here* People are not going to be able to tell the difference which I think would be interesting as it decreases what people trust in what we see and I think we’re already getting there. You can generate whatever face or body you want and outfits like why wouldn’t people do this, its already a massive problem that people buy something and put it in the trash once they wear it. So I think its interesting and there’s also this problem that people want to generate lots of content even if they are not really doing much. So yeah I think there is a pretty good pathway for digital fashion to start to implode a little bit more, it might actually let people be a little bit more creative in what they want. I think it will honestly make people pickier about what they choose to buy and I think it will make retailers to produce a lot of clothing in advance and try to sell it in parts and the faster retailers can respond in smaller volumes the more adaptable they are going to be throughout Europe. Interviewer: So in terms of consumers, do you think it would primarily be the younger generation to adopt this technology, would older generations be more reluctant to it what do you think? Interviewee: I think it depends on why you want the consumer to interact with the technology if its because say because of your social presence it only exists in digital it doesn’t exist on you. I think if your into digital you’ll be into it and if you’re not into digital you’re not going be into it. However, I think age group wise I just think younger people are into but probably everybody will become into Instagram. I don’t think you can cut off certain age groups. In terms of clothing I think if you do have an Instagram presence like what the hell do you care? If you are only getting dressed in the public, then you probably don’t care as much. Maybe if you’re like a personal brand or a business and you like need to get photographs and there’s a press meet and you want to virtual dress yourself that you have a interview for that you need to have a digital avatar presence. It could be something like this where you need to have a digital presence. Interviewer: There have been examples digital avatar employees in hospitality in Japan and online accounting. Do you think there is more potential for digital employees to come in the retail industry? Interviewee: Ermm yes I have heard of this, I think there is potential again for board meetings and catwalks if you need someone representing your brand this could be accompanied by VR. Interviewer: Do you think because there is a lot coming out about 3D printing and scanning in the future, do you think with the use of digital fashion items can be made to order. Almost cutting down mass manufacture? Interviewee: Yes, I think that bespoke is around forever right we will always have bespoke and then mass customization is hard to pull off. The reason its hard to pull off is because most of the supply chain is not automated yet but it is getting closer, and changing sizes of things is very expensive unless its knitwear. Knitwear I think will because on a knitting machine you can change the size of something. The main problem there is hardware and software and the software isn’t flexible enough to make all these adaptations. And the hardware is supplementary and so like maybe one or two or three companies produce most of them machinery. So the machinery doesn’t accept what your software wants it to do then it can’t work. Now if we get more machinery that is open sourced or we see people make their own software to take some measurements to decide what the pattern should be and then send it to the machine. So when the software gets better that’s when the type line gets easier to work. So I think knit wear will probably be the first there but its just expensive to change the sizes of things, they respond differently to different body types. You could also have the same measurements of someone but look different from them because of the way it is distributed across the body so its very hard to make it look the way you’re expected it to, but it is fully possible you see it with bespoke. If you go to India or China you can get all your stuff made for you on the spot, so its doable right now. But the scalable part has to come from software or automation in factories. I think China Is a little bit better as well with the younger generation of factory owners are doing a lot of automations.

Appendix 2d Interviewer: Do you think VR and AR could advocate the consumer interaction with digital fashion? Do you think it could become more present with the advancement of these technologies improving? Interviewee: I think so, I think what is the most in tactful is consumers being able to just like click a couple of buttons and get what they want. I think its going to come from people making really good software applications. An app that people can interact with very easily, its very rare that companies expose these like technologies to the consumers so that they can change what happens. I think not just yet in a retail store it sparks that idea, it can definitely be apart of the vehicle. But I think if its on a scale it needs to be at home you download this app and you’re able to stimulate yourself. Again like chain your hair colour, makeup. I think it has to be that seamless. Interviewer: Yes, absolutely, so final question- what are the challenges the fashion industry will face in order to get digital fashion on board? Interviewee: Honestly one of the main challenge right now is sustainability period. Like we don’t really understand the kind of detail that goes into it. Like I think some companies are figuring out how they can not cannibalise for a start and having a stable company that can invest in technology in the first place would be huge because even the most innovative companies in the world have barely made a dent in this field. Because it is very hard to maintain consistent profits in fashion, so the ones starting use AI have not deployed much because it very difficult to use and I think that comes from talent, its like getting the right talent for work on your companies and to build the technology and to understand the product side of it. So like understanding the technical side of it and the business side of fashion. Cause I think talent is the biggest problem everyone’s having right now. I think second is like the business model, licencing these images. How can you stop copying say you’re a fashion business and you can digitally download for so amount of money, how can you guarantee authenticity and stop someone from just seeing an image and copying that image? Now that I don’t need to wear the garment why do I need the brand to give it to me or ill bring some other brand up and take it from there avatar. So I think fraud and authentication will be an issue overall. Like data as well we don’t know where this going to go there’s a lot of talk now about how social media like detoxing, quitting social media, is this a trend or like the glory days of Instagram are going to go down with it. So like the three things are the business model without getting copied and then getting the talent to build it and the consumer incentive to want it.

Interviewer: Great thank you so much.

Appendix 3a Transcript of focus group 1 11/12/18 Focus Group 1 Focus group with 6 participants, show Instagram of digital avatars Shudu and Lil Miquela and discuss. GEN Z ages 20 to 21,22 Participant: Female, aged 20 Participant :2 Female aged 20 Participant :3 Female aged 20 Participant :4 Female aged 22 Participant: 5 Female aged 21 Participant :6 Female aged 20 Interviewer: - Have you heard of artificial intelligence influencers? Participant 1: Oh yeah, Participant 2: Yes Participant 3: Like Lil Miquela, she’s not real Participant 6: No I don’t think so Participant 5: No Participant 4: Nope Interviewer: What do you think of this concept of an influencer that is not real? Participant 1: It’s actually mad, it scares me because they’re creating these perfect people but it’s not real Participant 2: Really weird, but interesting and it’s like catfishing Participant 3: Yeah weird Participant 2: Yeah a bit scary Participant 5: Odd * mumble discussion * Interviewer: Does it make you feel jealous towards them as if they were a real influencer? Participant 1: Not really Participant 2: I don’t know though because I am still jealous of their clothes, I still want that in a Jealous way Participant 3: No because you know it’s not real Participant 4: Yeah agreed, jealous of the clothes Participant 5: Not really because you know that they aren’t real so takes away the bitterness of it all Interviewer: Would you prefer a digital influencer over a real one because you know it’ not real? Participant 1: It’s just this world is so messed up that there are people that aren’t real online with us Participant 2: Depends what they are selling like if it’s clothes then yes but if it’s beauty products that is unrealistic because you need to be human to wear that. Participant 5: *Agrees with statements made by other participants* Participant 4: Depends what they are Participant 3: No I want it to be a real person because it’s more relatable Interviewer: Overall how does it make you feel? Participant 1: It is exciting, like at first you think its real, it is clever Participant 2: Scary, like what if the next step is celebrities can have this fake one of themselves and they can just post pictures that aren’t actually them Participant 4: I love it, I follow them all Participant 3: Nice to look at but don’t find it that interesting Participant 6: yeah, it’s nice to look at and stuff but it’s not anything that really interests me Participant 5: Definitely will affect the trusting of brands using fake people If a digital influencer was styled more towards your fashion sense would you appeal more to you? *Showed another digital influencer –Shudu* Participant 1: I don’t necessarily wear that style but if I had more money I would Participant 2: If their clothes were real like you could buy them online, then yeah Participant 5: I like that influencer a lot more because I love her look Participant 4: Yeah I think I prefer her to the other edgy one Participant 5: It does make me more interested if I see an influencer who dresses similar to me or how I want to dress Participant 3: I appreciate both influencers for there fashion tastes so doesn’t matter as much to me Participant :1 I feel bad for real influencers because they’ve had to work so hard to get where they are and there is probably a guy sat on a computer making Lil Miquela Participant 3: Like the top bloggers have had to work for years to get where they are Participant 5: Like the people behind these will be working hard I guess? Participant 4: and now its going to virtual which is really perfection like Participant 2: Like bloggers had to learn how to edit and all this stuff and these guys probably knew all that so they would able to manipulate that Participant 6: I don’t really feel bad for them because they aren’t distracting people from other bloggers Interviewer: Are you more likely to purchase from a brand if they have someone aesthetically pleasing representing them?

Participant 1: Depends for clothes, most likely cause it feels like ill look like that or similar. Kind of like buying something that an influencer wore/ how they styled it Participant 2: Sometimes but actually I think I’ll do the opposite and think if they look good in that I wont look good in that. But if they had a digital avatar that was less perfect I might think, yeah that might suit me Participant 4: Hmm not really, I don’t really look at models Participant 6: I think someone promoting it that I knew a bit more about and I liked the influencer because of their personality rather than being really good looking I am more likely to buy it Participant 3: Yeah probably subconsciously Participant 6: Their face comes last really its more about their body shape and colour if it’s similar to mine Participants started to divert from the question here – so they were then prompted

Appendix 3a Focus group 1 Transcript

Interviewer: When you are online shopping do you lean towards models who look like your model type? Participant 1: Yeah, I also like buying from YouTuber’s who don’t like their body and you see them put it on and look nice but they don’t feel nice- I can relate to that Participant 2: Yeah it makes me feel more satisfied with the product as looks on me how it does on the model, a better fit Participant 5: Yeah but if you buy from a model whose body is perfect I’m quite anxious to buy it in case it doesn’t look right Participant 3: Yes, makes it easier to imagine myself in the product rather than on a hanger Participant 4: Yeah I tend to go with influencers similar to my body shape Participant 6: I consider it but if I like the product a lot it doesn’t stop me buying it who’s wearing it Interviewer: How would you feel about having your own digital avatar that was hyper-realistic like Lil Miquela and the others etc.? Participant 1: Ooh I don’t know if Id like it, I wouldn’t like to see myself really. But I think it would be more appealing than the ones that are bad quality Participant 2: I think it would be quite interesting though in terms of buying clothes and you could try things more, it would be cool Participant 4: I would quite like it if everyone had one like a bit emoji why not? Participant 5: I think the idea of creating it might seem quite childish, if someone did it for me I wouldn’t mind Participant 3: I think it would be interesting to see what it looked like but I wouldn’t like it to be constantly there Participant :6 It would be cool to see it but it depends what I would use it forInterviewer: Are you happy with your day to day appearance? If you could apply a filter or an edit would you do that? Participant :1 Yeah I would but I think people need to realise you can’t be a filter Participant :2 Yeah same but I feel like the world we live in now you wouldn’t feel as insecure as you did 5 years ago when there wasn’t Instagram Participant :3 I’d like to but at the same time I’d feel really fake and not true to myself Participant :4 Yeah I want that but feel like if people dwell on it it makes people feel worse Participant: 5 I feel like were going in a place where everyone is empowering woman and we shouldn’t shy away from that Participant :6 Yeah I feel like it needs to get more real then it can get more virtual When you are posting online do you find yourself taking time choosing the best selfie to represent the best version of yourself? Participant :1 Yes, I feel like you over analysed what you look like in pictures Participant :2 Yes because your competing with other people in a way to look better Participant :3 No I feel its because I do it to make myself feel better Participant :4 Its quite sad really we’ve just got so much pressure to look good and we are just trying to keep up Participant: 5 It’s quite sad really Participant :6 Yeah, but everybody does that, sad Have you ever edited yourself on an app for Instagram? Participant :1 Yeah only to edit out the imperfections Participant :2 Yeah several times really Participant :3 I feel like if you’ve done it before, you feel like you look worse in the next photo so you have to edit it to keep up with it Participant :4 I don’t think I’ve actually used an app to go in a properly edit, like morphing Participant: 5 I’ve just done it on Instagram really like a filter Participant :6 Think because you have the opportunity to make yourself look slightly better to people than you actually do, why wouldn’t you Sophie: There is a Swedish retailer called Carlings which designs digital clothes that can be bought online and shared on Instagram. The brand aims this at real and virtual influencers. *Show Carlings website* Participant :1 That’s cool Participant :2 So its like having the satisfaction to boast about what clothes you wear but you don’t need to buy it, decreasing waste by not leaving it in your wardrobe or chucking it in the bin Participant :3 I think its good for influencers because they go through so much clothes and people tend to buy what they are wearing from how it looks on them not how they feel in it Participant :4 I really don’t like the sound of that, like the whole point of clothes is meant to make you feel good, want to go out and show it off Participant: 5 I agree I think for me I think it’s a bit pointless because I don’t post to show off my outfits. Participant :6 I feel like its almost a glorified game thing. Participant 1: See for me because I’m a blogger that would be good for me but I would still be blogging real clothes. Unless you could get it actually made after you bought it digitally. Participant 2: Yeah I feel it make solve part of the problem but people still need to wear physically clothes and with people who don’t have a disposable income its still £30 for nothing. Participant 4: Yeah that’s what I can’t get my head around. Participant 2: Yeah like if I actually had the money I might use it if a brand I used was doing it. Participant: 5 Exactly and if you look at debates, your sat here buying something that isn’t real for £30 where as in less developed countries they can’t buy any clothes. Participant 3: yeah and like what is there to be jealous of because its not real, maybe if the clothes were actual clothes you could buy from like Topshop, it would make it more realistic. On a day to day basis would you say you are a utilitarian or hedonic shopper *explains the distinction between the two* Participant :1 Yeah I’ve definitely got an addiction to shopping, ill order 10 new tops a week even though I don’t have the money for it Participant :2 Yeah Id say I’m quite irrational when it comes to shopping, I buy for the sake of feeling good because I love it Participant :3 I mean I love shopping but I know my limit and when I shop I’m quite logical Participant :4 I wouldn’t say I have a burning desire, like ill buy things but ill try justify it Participant: 5 I do love shopping and the whole experience but I’d say I’m more utilitarian because of the finance situation I’m in. Participant :6 Like if something’s in the sale ill 100% buy it so I am quite impulsive so probably hedonic. Participant :1 Back in the day when I was more confident with myself I would just buy and buy and buy, where as now I see things and I’m like I love that but I would buy it and I hate it on me so I’ve decreased in how much I buy.

Appendix 3b Focus group 2: Transcript 12.22.18 Interviewer: The aim for this focus group is to explore existing views around virtual reality and augmented reality in retail Participant 1: Female aged 20 Participant 2: Male aged 20 Participant 3: Male aged 20 Participant 4: Female aged 20 Participant 5: Female aged 20 Participant 6: Female aged 20 Participants were shown a clip from YouTube from the movie Clueless of Cher’s’ virtual closet. https://www.youtube.com/watch?v=XNDubWJU0aU Participants were then asked to point to a card which demonstrated the word which made them feel after watching the video and explain why. -Nostalgic -Happy -Warm -Neutral -Engaged Participant 1: (Nostalgic card) Just seeing the old computer screen and the 90’s style from the film brings back my childhood and I just remember thinking I want that for my room. Participant 2: (Happy card) I picked this because its sort of that aspiration having everything set out for you, the convenience of not having to root through your wardrobe to pick something Participant 3: Joe p (engaged card) I mean I liked it but I think if I watched the film I would have felt more of a connection and if I was a girl this would be more useful for me but at the same time I can appreciate it, it’s interactiveness that would keep me entertained. Participant 4: (Happy card) because it reminded me of when I was happy when I was younger and I was like wow, it helped me in the process of my interest in fashion. Participant 5: (Happy card) I feel like obviously that’s most girls dream to have a walk in wardrobe and then she doesn’t even have to look through it herself its sort of done for her. Participant 6: (Nostalgic card) because It reminds me of the feeling when I watched it when I was younger and how excited and jealous it made me feel because I wanted that in my wardrobe Interviewer: Looking back, did you ever think back then that could be possible for technology to create a similar concept now? Participant 1: I don’t think I would have done, I would have appreciated the novelty/function because it was in a film and because it didn’t exist at the time I would never of thought that could happen Participant 2: But now it could easily happen, because of how easy it is to take pictures and upload it to a software. Participant 3: yeah and technology is so advanced now. Participant 4: Don’t you think how we’ve grown up its no way near as how kids are growing up now with technology, we would have been like oh my god that’s amazing where as kids now are like yeah average. Do you know what I mean? Participant 5: Yeah because they are exposed to so much now Participant 6: * agrees* Interviewer: Shows clip from YouTube of an Augmented reality dressing room https://www.youtube.com/watch?v=FQIAzRLRjr0 Participant 6: I do think it fits in with convenience because sometimes your in too much of a rush and you can’t be bothered going in to try stuff on. I’d rather just take it home even if I might not like it I’d rather go back to town to return it to go through that annoying process. Participant 4: Yeah sometimes the mirrors aren’t flattering and the lightings off in store and just puts you off Participant 3: See I might use that but if its something expensive I’d still have to try it on to see the fit, if its worth buying. Participant 2: its cool but what if it feels weird, like itchy or cheap material Participant 5: Yeah true and when I try things on I have to proper pose so I’d hate doing that in front of people Participant 1: Yeah I’d like it in changing rooms, feel more comfortable there

Appendix 3b Interviewer: Do you feel like the technology would help illuminate disadvantages of physical and online aspects? Participant 6: I think it would be easier Participant 2: It would be more convenient and cool if some places started doing it but not everywhere. Participant 3: I don’t know I like having the option to try on. Participant 5: Yeah agreed, I feel like I’d rather get there and have that try on feeling. But at the same time if I had a way of seeing clothes I have just bought or have, to be able to see virtual the different combos would be good Participant 5: Yeah, but I feel like as a consumer I feel more comfortable trying things on in my own home. Participant 1: I use pay later like on ASOS a lot and if you could see what you looked like on a virtual representation of yourself you still get that feeling when you try it on and its not like fake, maybe interactive so you could see it in a vide Participant 5: Yeah and that idea of seeing it on you rather than a model that could put you off. When actually you might buy more things and more styles because what you thought might not look good on you actually does. Interviewer: What if the quality of the virtual wardrobe was more hyper-realistic? Showing more dimensions of shape, fit and texture? For example, virtual influencer Lil Miquela’s clothes look very realistic would it influence you more to use the technology Participant 6: Ooo yeah I’d like to try it Participant 4: Yeah I feel like the video of her trying the clothes on almost looked like Sims not that realistic Participant 3: But I don’t see how you can’t do that without some weird 3D scan Participant 2: Again depends on what it is you’re wearing, like the fit could feel weird on Participant 5: I quite like it you know; I love playing Sims too so can imagine it would be something like that Participant 6: Would have to try it out Interviewer: Overall, would these technologies improve your shopping journey in store or at home more? Or both Participant 6: In store I think it would improve it personally, because I hate trying things on in store Participant 2: I think even if I did use them things it wouldn’t stop me from going to other stores, I think it will cut a bit of time when I’m there. Participant 3: Think it would help me out more at home when I’m shopping online but it would still save me time returning stuff. Like in designer stores like Palace where stock is always sold out so it would cool to see what out of stock products look like on so you can wait for next drop to cop Participant 4: * Mumble stutter * Participant 5: I think at home if you had a way of seeing yourself in the clothes, like if I’m ordering online the parcel might still be sitting there because I’ve not had time to try it on. Participant 1: Depends what kind of mood I’m in, like sometimes I can’t be bothered trying it on, so yeah it would be useful Thanks for participating in this study.

Appendix 4a Advantages and distadvantages of research

Multiple sources: Longitudinal

Advantages

Limitations

Text Books

-Reliable academic sources -Well referenced and links other sources -Typically industry professionals who have a lot of knowledge around topic

-Time consuming to process information needed -Could be outdated referring to topic

Journals

-Credible sources thoughtout by academic professionals -Provides more insights into the research areas not necessarily covered

-Access denied, some journals were not free and had restrictions due to the universityâ&#x20AC;&#x2122;s database -Provided small amounts of insights, however a lot of the information was irrelevant to research -Time consuming searching through relevant insights

Government publications

-The sources tend to be more legitimate -Data is collected over time making the insights more accurate -Good representation of different countries demographic

-It may disregard any negative connotations they want to publish, making it biased

Industry statistics and reports

-Credible sources that are usually backed up -Accurate findings based on a large sample size

-Findings may be generalised and not specific to research question -Not the intended demographic

Document: Non Text

Advantages

Limitations

Web images

-Provides visual representations of insights and statistics

-Images can be originated from anywhere, therefore it is often hard to validate creditability

Podcasts/video

-Enables multiple viewpoints across a shared discussion on topic -Insights are fresh and in line with current events right now

-References are often missing questioning its credibility -Information isnâ&#x20AC;&#x2122;t backed up

Trend sites

-Credible source -Insights will be based on a large sample size -Large demographic groups -Reliable and valuable data -Sold on to companies/brands therefore itâ&#x20AC;&#x2122;s feasible

-May be data from a particular country -May only provide brief data , the full version may only be accessed through purchase

The rise of the internet and s oci al media has brought about detrimental affects in mental health. Digital natives ; Generation Z i n parti cular hav e b een sus cep tible to d epression, anxiety and s uicide. “13-year-olds who sp end over 10 hours a week on s ocial medi a ar e 56% mor e likely to be unhappy, while 27% of s oci al media users s ee an increas ed risk of depression” (Owen,2018 p.5) In contrast, social medi a has provided endless opportunities to grow, connect and b uild a profile. Gener ation Z are cons tantly connected and are in a constant state of “partial attention” (Richardson,2018) thus, they are easily distracted and need to be engag ed to notice branding. According to a new report released by Chines e authorities, the number of young children going online is rising dramatically “72% of children in China b egan accessi ng the internet before the ag e of 10” . While i n Japan, more than 500,000 teens ar e addicted to the internet (Pew, res earch centre). Digital mav ens are a force to b e r eck oned with, attention sp ans are d ecreasing. This means that brands are fighti ng to reach this g enerations attenti on and make themselves s tand out agains t the marketing noise. v ery second they are tempted by the next best thing. Br ands need to tak e risks and eng age in an exp erimental way’ (Michael Carey, Vice President Fluent Group). Therefore, it is important for brands to maintain interactivity with this generation by offering fast and well delivered strategies, as they are not willing to wait for anyone.

Social

Privacy and security The expl oitati on of companies usi ng big data has broug ht about privacy concerns for cons umers. Backlas h ag ainst the use of pers onal information has had cons umers questioning the authenticity and trus t from brands. As data continues to be collected by companies and brands to create a better brand to consumer rel ationship, consumers hav e spok e out ab out their feelings towards this , primarily negative as they feel uncomfortable s haring their data. In which this has led to privacy guid elines to be tak en and 2018 s aw a wav e of brands cov ering their backs by prop osing the “data privacy act” in new upd ates . (Marketingw eek,2018). Howev er, fashion companies and brands hav e thrived on the collection of personal d ata from cons umers through data sharing and AI algorithms that detect what a cus tomer is interested in. It allows the retailer to create personalised recommend ations and tailor their marketing schem es to the customer. However, “Privacy is a huge concern for teenagers. They want to remove their digital footprint while maximising the amount of fun they have online” (Buchanan,2018). As primary research focuses on the younger generation for a target demographic it is important to recognise this when developing springboard ideas for stage 2.

Ethical

-Copyright and right to owner ship is becoming more lucid within digital, raising concerns of how this could be kept secure and protected is a potential issue for fashion designers and brands. Digital fashi on face concerns inv olving copyright and fraud. “I think tal ent is the biggest problem everyone’s having right now. I thi nk s econd is like the business m odel, licencing thes e images . H ow can y ou stop copying say you’re a fashion business and you can digitally download for so amount of money, how can you guarantee authenticity and stop someone from just seeing an image and copying that image? “ – (Jessica Graves,2019)

Legal

Environmental

-Taxes and legislation hav e come about ov er the years with online rev enue triumphing the high street. In parti cular, Mike As hley has called for a new tax on online retailers to help revive the high str eet. The Sports Direct owner told MPs that the "internet is killing the High Str eet". ” His answ er is taxing all r etailers that make more than 20% of their turnov er online - and not just online- only operators. His answer is taxing all retailers that mak e more than 20% of their tur nov er online - and not just online-only op erators. If implemented this tax could increase the costs of digital fashi on start ups to come maki ng it difficult for them to enter the market,( BBC News,2018). -Political scandals including sharing information, e.g. sharing data with parties (2016 elections).

Political

A greater understanding of the strai n that fast fashion is putti ng on the environment is creating a new cons umer who focuses on the digital rather than the material. “ As styling our online selves b ecomes as, if not m ore, important than real-life curati on, Digital Gr atification sp otlights the designers cr eati ng our new digital closet, and we look at how machi ne learning will be used to create Optimised Wardrobes in the physical world” ( Future Lab forecaste,2019). The fas hion ind ustry is p olluting the world in many ways, the ov er cons umption of cl othes has led to vast am ounts of w astag e and water polluti on in l ess dev eloping countries. E fforts have been carried out to decrease this, digital fashion presents new was for the consumer to consumer fashion and for fashion brands to enter a new design process.

-Because of new technologies new laws need to be put in place e.g. transparency and regulation

Loss of jobs Retail is a s upply and demand b usiness . Tilting the pend ulum b etween supply and d emand are economic factors such as job automati on, which is estimated to threaten 47% of j obs ov er the next 20 years and will likely impede consumers’ p urchasing power.11 Fros t & Sullivan projects hous ehold income will decreas e 5% ov er the next 10 years (Swensen and Karl, 2018). The fashion and retail i ndustry need creativity at its core thus it does not pose such a threat. However, although the loss of designer jobs wont be at risk, jobs within the marketing but editing process could easily be taken over.

Economical

“Who Needs Humans? that consumers are happy with technology replacing human interaction if it makes certain processes quicker and easier for shoppers” Secondary research has provided extensiv e i nsight into a current and r elevant trend of digital i nfluencers, the us e of AI and CGI has enabled digital avatars to infl uence s oci ety, particular younger generations . How ever, debates arise on ethi cal implicati ons for thes e influencers. As real influencers spend a great deal of time and effort building their community , and they k now how important it is to protect their follow ers’ trust. They only work with brands that mak e s ens e for them, and they won’t endorse products or s ervices unless they hav e actually tried them, and feel good r ecommending them” (Dixon,2018). The lack of human connecti on can present the virtual influencers at a huge disadvantage, therefore it is questionable to how these influencers can keep the attention from audiences as they are savvy enough to be wary of attempts to fabricate it.

For millions of consumers around the world, living a day without digital technology is almost unthink able, “the m ost s uccessful technologies w e use every d ay are thos e that mak e our lives easi er or better”, Hoaloha Robotics founder Tandy Trow er, formerly of Micros oft, tells LS:N Glob al. Technologi cal advancements have grown immens ely in recent y ears, from RDIF, facial recog nition, 3D s canni ng, AI enhancements to automatic robots . AR and VR are s et to improve for external devices maki ng them mainstream. “Hardware d evices hav e not reached the full p otential because of low connectivity, stor age issues , b attery life, heavy equipment , heat prod ucti on etc. that limit their cap abilities and the quality. 5G and cloud systems will significantly improve device capabilities” (Eleftheria: ,2018) . The w orld of immaterial and digital fas hion offers opportuniti es for brands to exert their creativity and connect with consumers through a different medi um” (Scott, 2018). Technological adv ancements are improving i ndustries on a mass s cal e, fashi on and retail are showing pragmati c signs of it benefiting many sectors. As s oci ety moves forwards into fourth transformation, raising concerns reg arding privacy s cares and reluctance to new tech is b ecoming more prev alent. There hav e b een d ebates by academics surrounding the hesitance towards technology and how much it will know about consumers. “By 2020 your personal device will know more about y ou than your ow n family” (WGSN,2018). C ons umers are demanding more from their technologies, click and swipe culture means brands need to remove the “tyranny of choice” so that their experience is quick and seamless.

Technological

As young teens are i nter acti ng on the internet more than ever, being connected with one another and s haring their exp eriences. Instagram acts as a online selling platform where influencers and cel ebrities s hare their tips and s uggestions. When s hopping online for fashion, Millennials (aged 18-37) and Generati on X ( aged 38-52) are equally as likely to b e happy to speak to customer service via a live chat, as to sp eak to an actual pers on over the tel ephone. Retailers are starting to use artificial i ntelligence in the form of chatb ots to improve online custom er service and give customers a mor e personalised shopping exp erience.“Technology is the focus of our fears and fantasi es. It brings out the g ood in us, connecting people across the world. But it also brings out the b ad, feeding our addictions and impulses. It can give us seemingly sup erhuman p owers, b ut it also unsettles us, in part because it holds up a mirror to humanity itself” Scoble, R. and Is rael, S. (2018)

IMPACT on trend

External Factor

Appendix 4b Steeple Analysis

Appendix 5a

Appendix 5b

Example from online questionnaire design

Appendix 6a

System 1 and system 2 : Behavioural economics - “Why we don’t think the way we think we think” Behavioural economics lecture- Tasgal,A (2018)

(1)

(2)

Watson, Alexander, Salavati, (2018) “The impact of experiential augmented reality applications on fashion purchase intention”, International Journal of Retail & Distribution Management, https://doi.org/10.1108/IJRDM-06-2017-0117

(3)

Kobia, C. and Liu, C. (2016). Teen girls’ adoption of a virtual fashion world. Young Consumers, 17(4), pp.419-432. (4) Social adoption theory

Huang, T. (2019). Psychological mechanisms of brand love and information technology identity in virtual retail environments. Journal of Retailing and Consumer Services, 47, p.256. J

Carlings.com. (2017). Carlings | Carlings | Worldwide. [online] Available at: https://carlings.com/en/ [Accessed 22 Jan. 2019]. (5)

Appendix 6b The 4C’s business model - Callings case study

Customer Solution

Customer Cost

The Norwegian brand launched the digital s treet wear collection to replace physical products in aid to provide a more sustainable fashion future. In which pushes efforts to cut environmental costs. This concept is aimed at humans particularly, influencers who go through vast amounts of clothing each day to promote products from brands. This concept is also aimed towards the digital avatar phenomenon who also dress in digital outfits. However, although it is not targeted at a mass market it is a relatively new concept and with the way that social media consumption is heading it is possible for this to be distributed on a larger scale.

The digital collection costs €10-30 (£12-35) for each item. Although this concept seems diabolical to spend money on a digital piece of clothing. It has been happening for years, within online gaming worlds such as Fortnite. Therefore it is not completely dismissible as buying it within online worlds is on a similar level to buying it for your online presence.

Convenience

Communication

“Customers want the product and service to be as conveniently available as possible” (Kotler and Armstrong,2015.p79) The brand offers a clear and simple process on how to obtain their products. On their website they begin by choosing a product, uploading an image they want of thems elves , place the order and 3D-motion designers digitally add the garments to consumers’ images, which are then shareable on social media. This ultimately eliminates the proces s of buying a garment and wearing it to then style correctly for a social media post.

Carlings uses social media to effectively attract their clients by the word of mouth, Influencers and digital avatar influencer www.Perl promote the brand by frequently posting their digital collection on Instagram. For many brands now this is their direct channel of marketing, it is a very powerful and influential marketing tool which will help them to make them more known in the years to come.

Profits are also donated to charity Water Aid in which encourages the payment to be almost worth it. “Customers are interes ted in more than jus t the price, they are interested in the total costs of using, obtaining and disposing of a product” (Kotler and Armstrong,2015.p79) The effect of reinforcing their values throughout will justify to consumers why they should invest in their brand.

Appendix 6b Ethics forms -Focus group 1

Ethics forms -Focus group 1

Appendix 4a Ethics forms for focus group 2

Ethical Checklist