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CONTENTS
PART ONE
6 - 41
9 - 41
PART TWO 47 - 53
PART THREE
PRELUDE
42 - 53 INTRODUCTION TO ‘INNOVATIONAL DIVISION’
54 - 117
MICRO-TREND #1 INTRODUCTION 58 - 63 TARGET CONSUMER 64 - 73 20 X 20 WORD BANK 74 - 101 COLOUR PALETTE 102 - 111 112 - 113 KEY TAKE AWAYS AND SWOT ANALYSIS
PART FOUR
118 - 183
MICRO-TREND #2 INTRODUCTION 122 - 129 TARGET CONSUMER 130 - 135 20 X 20 WORD BANK 136 - 181 182 - 183 KEY TAKE AWAYS AND SWOT ANALYSIS
PART FIVE 186 - 188 189
184 - 189
BIBLIOGRAPHY IMAGE REFERENCES
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prelude.
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Fashion. Is it headed left, in the direction of tradition and conventionality, or right, towards a constant revolutionary stream of innovation? In the current climate, it is an industry which has been left in a state of confusion and disarray due to many factors, such as loose ethical morals displayed through concepts such as ‘fast fashion’ and throwaway culture, environmental threats, and of course all of the implications caused as an effect of the Covid-19 pandemic. Where next?
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2020 has been a time of change all over the board, sending many sectors – fashion included, into limbo. Having to decide on a direction I saw the industry moving to, I believe that it is not possible for it to strictly be left or right, but more so that the industry will have to adapt aspects of both directions as part of its futuristic route. A perfect mix of innovation that can complement certain traditionalistic values, therefore only keeping the best of what both have to offer without the creation of a divided field.
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The Covid-19 pandemic has put much into perspective, for both those who work in fashion and those who consume it. Isolation situations have put many of the ways it has been known to be communicated and consumed for so long, into question. For example, the photography aspect of the fashion industry, previously allowing for big production value, large crews, and team contribution, as well as an unlimited world to travel, all put to a halt by the pandemic. Many photographers having to turn to online practice for their work, such as Alessio Albi, ”…“Perugia is a smaller city [than Milan]. There are no jobs for me here,” Albi said. As a result, he has shifted his photography practice online, shooting friends and models over video calls and then posting them to Instagram, to keep himself busy and inspired.” (Milner, 2020).
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Albi not being the only one to turn to online, photographer Willy Vanderperre shot the likes of Gigi Hadid and Adut Akech to name a few over FaceTime for i-D magazine, asking them to do their own things like hair and make-up, different to the way it would have previously been left to a professional team pre-Covid. Nick Knight, also “believes the adoption of new approaches is only set to grow.� (Milner, 2020). This is something I found of interest for reflecting on in my own work, looking at how I can implement this more current but stripped back version of visual communication. To go to a smartphone from big production cameras is very backwards, and to me as well as innovating it is also traditional, as it is taking fashion visuals back to a considerably basic level.
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Brands have also had to take their marketing methods into account, massively, due to the risk of ruining their brand image, reputation and value over one wrong move – as increased free time for the consumer meant that more eyes were on them than ever. With people having to stay home, brands have had to take a more genuine approach, for example the brand Babaa. The founder, Marta Bahillo opted to use the brand’s Instagram account to post content relating to her children and furthermore personal life, creating “heartfelt content” (Mondalek, 2020) and making the focal point the importance of family and friends in the tough times.
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Amid all of this, the consistent aspect is the implementation and development of digital platforms. Whether it is development of fashion magazine publications (“… have separate editorial teams for print and digital, the lines between the two are becoming increasingly blurred.” (Gilliland, 2016)), digital fashion weeks as opposed to the physical experiences, and the concept of digital clothing. Brands have had to adapt to being able to still offer a good consumer experience as part of their developed marketing methods, as we know how important it is as a way of keeping the shopper engaged and investing in your products. Some examples of this sense of virtual experience, Kenzo came up with their “#StayHomeWithKENZO” content, connecting with the consumer through Instagram, “…Felipe Oliveira Baptista aim to inspire optimism and creativity, with a weekly series of Instagram live events and content by Kenzo’s friends and community.” (CRASH, 2020) and the ‘Bottega Residency’, is an interactive experience created by Bottega Veneta “designed to provide a creative escape from the uncertain and isolated times ahead” (Huber, 2020) and is available over a variety of platforms, from Instagram to YouTube.
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As previously mentioned, fashion weeks turned digital. From tuning in to the first digital London Fashion Week back in June, it already felt more inclusive than ever before. Previously, numbers to shows would be limited to a specific audience, but with a brand new online hub, it allows anybody and everybody to show up as they wish, and therefore all creators are able to reach a larger audience of possible consumers. After watching designer Bianca Saunders talk about her work and debut the collaboration zine with photographer Joshua Woods, I purchased one of my own.
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The concept of digital LFW “…meant in-depth talks on the industry and how it should change in the future, while for others it gave them the opportunity to work in new mediums, as they put out short films, animations, and more.” (Davidson, 2020). Priya Ahluwalia released a virtual exhibition of work and Charles Jeffrey, “Originally intent on streaming a live party, with a sneak preview of a new capsule collection, instead, given the Black Lives Matter uprising happening around the world, he chose to shift the focus of the presentation and hand it over to a line-up of BIPOC performers and artists.” (Davidson, 2020) to name two.
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Further on the concept of digital and virtual fashion, gaming is another platform where the importance of fashion has really taken off, recently more so than ever before, and I believe it will continue to be explored, especially in a post-Covid world. When growing up, I had games for the Nintendo Wii and DS which were focused on fashion, such as ‘Style Boutique’ or ‘Imagine: Fashion Designer’, but never imagined the amount of revenue which could be generated, for example, “Fortnight, the wildly popular game from Epic, reportedly makes $300 million a month selling skins” (LIEBER, 2020).
Nike, for example, previously debuted Jordan sneakers, only released for players to dress their avatar in on Fortnite, “…to deliver branded content to the game.” (Goslin, 2019). Fortnight has also created special type events, crossing over with the music industry also, collaborating on interactive in-game experience concerts, an example of which was Travis Scott, to which “more than 12 million players logged in for…” (Tidy, 2020). This opens the fashion industry to ideas of ways for clothing brands to display their garments and open themselves up to a new type of consumer. The idea of Fortnite being deemed a platform more than a game is not that far-fetched a thought. When asked in December of 2019 whether he saw it as a game or a platform, Tim Sweeney, chief executive of Epic Games, the video game development company that owns Fortnight said “Fortnight is a game. But please ask that question again in 12 months”, and in the time since we have been able to see how ideas have clearly developed of reaching peak revenue. fig 6-7
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More recently, Animal Crossing: New Horizons , “The game, where playercontrolled avatars live out virtual lives on their own islands and socialise with other players around the world, has struck a chord with the global communicationstarved population” (LIEBER, 2020) has been the newest craze, and furthermore “platform” to be infiltrated by fashion enthusiasts from all over. In the game, players have been able to create their own garments whether it be generated from a photograph or put together manually pixel by pixel, and this has led to replica pieces of clothing of many brands created, such as Comme Des Garcons. Instagram accounts (my favourite being “Nook Street Market”), Reddit threads, Twitter pages are some examples of many where you can find cult following of clothing creation of the game, people sharing QR codes to share garments with other players. Even some brands have gotten involved putting together digital versions of their products, such as Stray Rats. Nintendo themselves do not allow any form of product placement or paid promotion in their games, and therefore Animal Crossing is no different. Brands are not making money from the user generated items flaunting their logos but are essentially making money through people wanting to match their avatar. I believe this is an interesting way of seeing where fashion could go – purchasing to match your avatar! Dressing getting
the avatar dressed up
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Now is the best time for brands to get themselves out there and further into the gaming universe, with more people turning to it as a way of coping and escaping the abysmal world of today.
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Along the lines of a virtual world, brands have been expanding into creating clothing that only exists in pixels rather than the physical. A lot of digital fashion comes as one of many possible answers for the concept of sustainability in fashion, becoming more circular and ditching the wants and needs for ‘fast fashion’ and throwaway culture alike, “for fashion is faster than ever – Zara takes designs from the drawing board to store in just five weeks – but the innovation of how clothes can be produced ethically has not managed to keep up with how rapidly they’re marketed and consumed by the masses” (May, 2020). One example of this is The Fabricant, “…the world’s first digital-only fashion house, where you can spend a small fortune on new clothes but will never be able to wear them in real life.” (May, 2020). Similarly, brand Carlings followed suit and released an entirely digital collection, which managed to completely sell out! Ronny Mikalsen, CEO of Carlings said, “Once the world got introduced to social media, clothing production increased massively. It’s all about ‘the fake reality’ – we have to understand that people are buying things to wear once and be pictured in,” he explains. “They never wear these clothes again.” I think that with fashion advancing in this direction, it would be hard for it to go right back to the basics, but I do like the idea of taking parts of traditionalism and modernising it instead – for example, the ideologies of the make do and mend era. It was all about looking after what you had, and fixing it up if it were to deteriorate, which is something lost amongst young people finding the convenience (to them, of course) within fast fashion. Cheaper clothing, where it is simply easier to purchase a new version of what you need. Today, we can see the influence of that era in the second-hand/resale market. Online apps such as Depop and Vinted allow users to sell their used garments to find them another home, “kicking against fast fashion’s homogenised style for the masses, users want something different and they’re flocking to Depop in search of vintage one-offs and handmade pieces.” (Benson, 2018). But, this way of shopping is on the rise, and with recent lockdown restrictions, it only got people more involved. This idea of resale is so important to sustainable fashion, as it helps ensure that garments are getting as much use out of them as is possible.
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“Innovation” is arguably vital for a sustainable industry. Take Fashion for Good, as an example, they have what the call an “Innovation Platform”, where they connect brands with others who are working towards sustainable techniques. Having had the chance to visit their interactive museum in Amsterdam, I came away with new ways of appreciating a sustainable future for fashion and ways that I could get involved day to day, which I believe will be a helpful key factor for looking to 2030.
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Moving forward with what I’ve gained from my summer research, I feel I am inclined to push a narrative of combined values from left and right and overall taking them in an innovated direction. Although, I do want to explore the idea of a divide, further – between technology and traditionalism, via the concept of how much further can technology go? Seeing how much AI has developed for example, can leave people with a feeling of unease and just how sustainable is digital and technology, and the clear over-use of electricity that will accompany it. What is realistic for our industry? And most importantly, what will benefit the human psyche?
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It is obvious to me, from my research undertaken in Part One: Prelude, that there simply cannot be one singular path nor straight answer for the fashion industry to engage with moving forward in 2030. The innovation that we have seen, in forms of accelerated development heightened by the Covid-19 pandemic has not and will not be slowing down. This very same sense of innovation is what is slowly taking over the traditional narrative – swapping out physical shows for the digital and labels like Carling and The Fabricant offering digital versions of clothing, to name some examples. In brief, “our industry does not respect tradition – it only respects innovation…words easily apply to our own fashion industry” (Arie, 2014). Despite the smothering effect innovation holds over tradition, it is important to remember that “innovation doesn’t exist without tradition” (Arie, 2014), as innovations are simply derived and developed from past ideas and attributes.
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Taking this on board, along with consumer attitudes, I have come up with a macro-trend. A macro-trend is a large change which is slow at forming but will hold a long-term effect. This was the best way to describe my trend as it will influence a variety of smaller trends that take different routes and attitudes.
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The trend itself is named “Innovational Division�. When approaching my research, it was obvious that there were differing opinions as to where fashion was leading from 2020, and it has led me to the conclusion that 2030 will see a more competitive divide, where traditional forms of fashion are on the brink of extinction as we evolve to the best sense of convenience (innovated ideas), and society is separated in two based on attitudes and behaviours. Those who are welcoming innovation, perhaps those who are too reliant and those who are fighting for fashion as we knew it before digital assimilated the industry.
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I have come up with two micro-trends that make up “Innovational Division”, and two societal behaviour takes that accompany. For the traditional side of the split industry, we have “Tradtection” which looks at protecting the traditional ideals of fashion, real physical fashion and the sense of homespun craftsmanship that cannot be replicated – protecting the careers of the practical. This trend is accompanied by “Interconnectiveness in an Off Switch” where we reflect back on the values, we once were reminded of during the 2020 Covid-19 pandemic, as Molly Jong-Fast in Vogue put it, “what if connecting to the old ways is a way to find comfort, to connect with humanity of previous centuries?” (Jong-Fast, 2020), the same we can apply to a world on the bring of forgetting the importance of physical and emotional connection over that given by the internet.
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Then from the opposing corner we have “An Answer From a Blue Buzzing Screen”, comprised of the developments from digital fashion as we saw in 2020, its high implementation, and of the ways developed to communicate fashion. The Covid-19 pandemic is what pushed our fashion industry into making the change which was long awaited. The re-wiring was required to fix the gluttonous values that had developed through overproduction, overpricing and overconsumption. This technological trend is linked with “Lost Souls of Dystopia”. Specifically, looking to how consistent digital reliance has a negative effect. Generation Alpha. The first generation birthed into such a technologically advanced society. The years for this generation start at 2010, ironically the year of release for the original Apple iPad. So many are turned off to the concept of the real-life existence. There is a real desensitisation to real life thanks to the perfection of technological offerings. Because of the nature of the trend as an entirety, it covers all areas of the industry. It will trickle down from visionary, into digestible concepts for all consumers.
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micro-trend #1.
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INTRODUCTION TO “AN ANSWER FROM A BLUE BUZZING SCREEN” AND
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“LOST SOULS OF DYSTOPIA”
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WHAT DRIVES TH
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“An Answer from a Blue Buzzing Screen” is a trend where we see just how much further the concept of technology has developed and how heavy the reliance is on it for the day to day lives of society. This aspect of our industry is the side of the division continuing to welcome the developments of prior technologies. My idea for the name came derived from the technological concept of “the blue screen of death”. This is also referred to as a ‘STOP Error’ and it happens whenever there is a severe error with Microsoft Windows where it must terminate immediately. The idea developed more from the context of innovation itself, where you must engage deeper with your device in order to fix the issue. Part of my trend, as stated in the introduction, is also looking at the darker side of technology: where based on my research, the immersiveness of technology can also be detrimental to health and the environment we live in when the balance is lacking between that and a healthy relationship to the world beyond the handheld screen. This is the cultural take, where we can (based on research), predict how such digital reliance has the potentiality to cause a desolate and absently present society. This part is what I call, “Lost Souls of Dystopia”. The main consumer group that this will affect is Generation Alpha. Despite “Answer from a Blue Buzzing Screen” applying to many from Gen Z and some Millennials also open to the concept, the latter two can understand and fathom a life divided between the real and the digital realm whereas for Alpha, tech is all they have experienced. An almost numbness developing within young civilisation, the dystopian world only being halted by its counter argument, traditionalism.
nswer from a blue buzzing screen and lost souls of dystopia. an answer from a blue buzzing screen and lost souls of dystopia. an answer from a blue buzzing screen and lost souls
HE TREND?
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SECONDARY VISUAL BOARD
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and lost souls of dystopia. an answer from a blue buzzing screen and lost souls of dystopia. an answer from a blue buzzing scre
TARGET CONSUMER. A big part of forecasting is looking to the consumer and understanding who they are and why they think and feel the way they do, as these attitudes affect their behaviour towards brands and companies alike, and furthermore their buying habits. In order for my concept to make more sense, I’m going to start with the background of who it is catered for. I have decided that a large part of my trend will be aimed towards the Alpha generation. Coming after Generation Z, Alpha starts from 2010, and the youngest members of this generation having not even been born yet, this generation is the first group to be born into a technological society, the start year ironically coincides with the release of the first Apple iPad. “…Generation Alpha, the tech-savvy, highly-educated kids of millennials that marketers and advertisers are already watching thanks to their potential spending power.” (Stechyson, 2019). These are largely the children of the Millennial generation, “The kids might be all right but they’re being raised by a generation defined by instability: in housing, jobs, and finances. For instance, a 2019 report found that 62 per cent of millennials are living paycheque to paycheque…”, “…But it’s not all bad. Generation Alpha will also be defined by its racial diversity and acceptance.” (Stechyson, 2019).. As mentioned, as well as their start year coinciding with the release of the iPad, it was also the year, “…that Instagram was born, and that “app” was word of the year.” (Stechyson, 2019).
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om a blue buzzing screen and lost souls of dystopia. an answer from a blue buzzing screen and lost souls of dystopia. an answer from a blue buzzing screen and lost souls of dysto
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MER. CONSUMER. CONSUMER. CONSUMER. CONSUMER. CONSUMER. CONSUMER. CONSUMER. CONS
My youngest sibling is a part of Generation Alpha, and it shows through his awareness of how to navigate YouTube – it is not uncommon for him to spout random facts around, about things that not even I knew, and you guessed it, it comes from the informational videos he finds suggested to him off the platform. This concept is pushed from an article I found about the way their generation is already utilising technology, “Gen Alpha is a generation of kids who were navigating their way around YouTube before they were out of diapers, and they will soon dethrone Millennials and Gen-Z as the go-to consumer segment for big brands.” (Ostojic, 2019). This emphasises the fact that Generation Alpha are taught to expect a fine-tuned array of videos based on previous interests, and why should it stop there for them? Introduced from a young age to algorithmic values that we as older generations, can shy away from when they appear to be a bit too specific. This is despite, “legal limitations, which do not allow these tech companies to promote and adjust content to the personal preferences of minors below the age of 13, kids are still being exposed to personalized content.” (Djukanovic, 2020).
This youth of today as mentioned, have been born into a digital facing futuristic world, when compared to their parents who experienced the same level of technology much later into their lives. This causes them to be more inclined to engage with future developments, whilst their elders may be less favourable of letting go of traditional values, for example according to an independent study of over 500 Alpha Gen parents by Domain.Me, “only 2% of Gen Alpha kids are not using any type of technology”. A generation born into the offerings of a technological life, what could go wrong?
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ONSUMER. CONSUMER. CONSUMER. CONSUMER.
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As well as the Alpha generation, my trend also applies to a large part of the Gen Z group. Generation Z spans from approximately 1995 to 2010 (where we see the Alpha gen take over!), and I myself am part of this group. Talking about this group, TTI Success Insights describes one characteristic as technology, saying “From the time of their birth, the internet and cell phones (for the most part) were commonplace. Gen Z wants instant gratification and they know if that if they need information, it’s easily accessible.” (2019). Despite this, “Members of this generation still prefer to have face-to-face human contact whenever possible, especially with people they know.”. This is why my trend partially applies – the generation is happy to engage with the way tech is developing as we see as the concept behind “An Answer from a Blue Buzzing Screen”, but they are still able to appreciate face to face human contact. This is why I don’t believe that the ‘Lost Souls of Dystopia’ would not apply to them as much as it applies to the Alpha Generation.
This consumer group as a whole is explained best by website Medium in their article, ‘Physical to Digital: Disruption in the Fashion Industry’, where they say “Everyone who is currently 23 years of age, or younger, is considered a true digital native. The rest of us are mere digital immigrants, not quite as savvy as them. Digital natives are born into a digital world where they have grown up surrounded by technology and have interacted with them from an early age, which gives them a better understanding of the digital landscape around them. This means that the younger, and coming generations, expect more from the brands they buy from. With more than a quarter of people worldwide falling in that category, digital adaptation and adoption are going to be more important than ever.” (Van Lier, 2019). This backs up my chosen generations, through age rather than the specific groups they belong to.
R. CONSUMER. CONSUMER. CONSUMER.
Conscious consumers who are more accepting as a diverse society. This is pivotal to the future of mankind, and it is only getting better.
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r from a blue buzzing screen and lost souls of dystopia.
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and lost souls of dystopia. an answer from a blue buzzing screen and lost souls of dystopia. an answer from a blue buzzing scr
20 X 20 WORD BANK. To be able to explain my concepts fully, I’ve decided to better tell the narrative by talking about the words, phrases and people I used to help aid and shape my research to shed some light further onto the ideas. I’ve chosen ten words out of the twenty from each concept which I felt helped portray both as a combined value.
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and lost souls of dystopia. an answer from a blue buzzing screen and lost souls of dystopia. an answer from a blue buzzing scr
DEVELOPMENTAL. “So why are we still only creating exact 3D replicas of existing store environments?” (van Lier, 2019) questions such as these are only going to be answered as we welcome in 2030, as “…use of AI in fashion design, 3D printers instead of sewing machines, lab-made leather alternatives instead of animal leather, body scanners instead of measuring tape, augmented reality and VR for retail…” (Knox, 2020) are going to get bigger. “Self-cleaning textiles” (Umbreen, 2018) are amongst futuristic developments predicted to take place in 2030.
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As it stands in 2020, our industry was needing a re-wiring, as the it was out of touch with what it once originally meant – put best by Business of Fashion in their proposal “#rewiringfashion”, “we find ourselves facing a fashion system that is less and less conducive to genuine creativity and ultimately serves the interests of nobody: not designers, not retailers, not customers — and not even our planet. It’s time to slow down and rediscover the storytelling and magic of fashion.” Ways of rewiring include resetting the fashion calendar, re-imagining fashion shows, and to break the addiction within fashion with the concept of discounting. This proposal was pushed forward by the Covid-19 pandemic, as “the deadly coronavirus had hit fashion hard” (Blanks, 2020) and the issues that arose heightened awareness of the flawed system in place. Many aspects of fashion were altered to take place in a digital world, when the real world was full of fear during the pandemic, and this micro-trend sees how these developments become more widely engaged with due to the Alpha Generation, and members of Gen Z who are more inclined to embrace change rather than fight to protect what they know. Digital will be the new normal narrative for storytelling in fashion.
from a blue buzzing screen and lost souls of dystopia. an answer from a blue buzzing screen and lost souls of dystopia. an answer from a blue buzzing screen. an answer from a bl
DIGITAL.
FASHION TECHNOLOGIES.
To begin with though – what even is ‘fashion technology’? In its conceptual meaning more so than what it has to offer. According to an article about the topic from website WTVOX, it “creates contemporary tools for the fashion industry with the aim of improving the way we produce and consume fashion.” (Knox, 2020) with Hilary Peterson, the VP of Business Development at Lyst quoted by Knox saying, “Technology is all about using scientific knowledge to solve a problem; in fashion, technology covers every imaginable tool that one could use: nanotechnology to improve materials, algorithms to improve online shopping, or augmented reality to advertise and guide customers”.
“When new technologies are discovered and implemented we tend to start out conservative.” (Van Lier, 2019) this makes sense to be deemed as the ‘late majority’ from ‘Rogers diffusion of innovation curve’ – in regards to ideas being accepted and engaged with.
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and lost souls of dystopia. an answer from a blue buzzing screen and lost souls of dystopia. an answer from a blue buzzing scr
ABSENT PRESENCE
AND A SUB-SOCIETY.
Absent presence is a theory, which is described by IGI Global as “The fact or condition of being present” and “the state of being absent or away.” This inspired me when looking into Generation Alpha and their use of technology for the risk it gives of becoming too intertwined with an online environment versus your real physical self. Absently present in real life situations – physically their bodily vessel stands, but with evolution, the skills of really existing are becoming less a necessity.
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reen and lost souls of dystopia. an answer from a blue buzzing screen and lost souls of dystopia. an answer from a blue buzzing
DESOLATE AND DYSTOPIAN. The term ‘desolate’ by definition means: “1) (of a place) uninhabited and giving an impression of bleak emptiness. 2) feeling or showing great unhappiness or loneliness.” And I predict that future generations will succumb to this type of mindset, if balance isn’t developed, “However, as Gen Alpha ages, the likelihood of a worsening relationship with parents increases, and the likelihood of preferring in-person time with friends decreases.” (Ostojic, 2019). “A dystopia is a community or society that is undesirable or frightening.” This is a quote I found from Stanford Daily which helps explain the premise to my prediction, “Studies consistently show that people are less happy now than they were in the past, be that five, 30 or 100 years ago. Reasons cited include the deterioration of relationships and increased working hours, both direct consequences of tech’s proliferation.” (Hohman, 2017)
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THE EYES OF DR T J ECKLEBERG.
Appears within ‘The Great Gatsby’, and throughout is likened to the eyes of God, watching over everybody – in reality it is merely a damaged sign, but this concept is contrastable to the listening metal ears of technological devices of which we invite into our homes. Our metaphorical God being those in charge.
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n and lost souls of dystopia. an answer from a blue buzzing screen and lost souls of dystopia. an answer from a blue buzzing scr
ELON MUSK
AND THE INNOVATION INFLUENCER. Seeing the speed of development heightened was inspiring to many, and this is partially why I predict that along with the changing consumer - more tech savvy and engaged in a digital world, the concept of the social media influencer as we know it will not disappear because “Influencer marketing is a huge industry and is almost synonymous with the platforms it appears on.” , but instead will evolve to fit the zeitgeist and the “innovater influencer” will become most influential. This includes people such as Elon Musk and Virgil Abloh – different levels of innovation, but both emulate the meaning in their own ways. Obviously, these people are already influential in their own way – but, with the Alpha Generation’s already obvious love for tech innovations, it’s clear they’ll be inspired. There is already keen (and understandable) interest in what Musk is getting up to - for example, “…the network [HBO] is developing a limited series about SpaceX, delving into the era of privately-funded space exploration” (Dawson, 2020). My thought process also comes from ways of communication with the public – many innovators of the past, would rely on sharing ideas with those of the same industry, whereas Musk for example shares openly to social media also, “Musk, who runs SpaceX and Tesla, has (predictably) taken to Twitter to speak about his latest venture” (Yalcinkaya, 2020) (in relation to his start-up, Neuralink).
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and lost souls of dystopia. an answer from a blue buzzing screen and lost souls of dystopia. an answer from a blue buzzing scr
COLOUR PALETTE. The first aspect with these words, is that through visual research, many images that conveyed what I was looking for had specific colours in common. These shades were largely Blue and Green hues, as well as iridescent appearances. This to me was quite ironic, as Blue and Green can be semiotically linked to nature – the thought of a blue sky, or the sea and outdoor greenery, however technology is anything but naturally formed. The coldness of the shades I would base my trend on I believe will also help to represent the context of a society growing colder, as humanity loses its hold of the warmth grip it once had of one another as the digital realm pushes us further to a sense of abandonment to reality and each other retrospectively..
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and lost souls of dystopia. an answer from a blue buzzing screen and lost souls of dystopia. an answer from a blue buzzing scr
KEY TAKE-AWAYS: A SWOT ANALYSIS. STRENGTHS. • Drivers include the speed tech was seen to develop during the 2020 pandemic as inspiration and Generation Alpha, • Catered more for Alpha and Gen Z’ers • Early opters, and early terms of
ad innovators majority in acceptance.
• H e t e r o p h i l l y .
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WEAKNESSES. •
Not everybody is on board,
• Not everybody can afford to live out the trend
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THREATS. •
OPPORTUNITY. • Future generations being like Alpha, • Constant innovation making an easier life, • More opportunities
can
career develop.
Threat to privacy,
• D e v e l o p e d algorithms and tech that listens to us at all times more prominent and obtainable, In a report by IDC (International Data Corporation) back in 2013, it was put that by 2030, ‘the average home in China will have 40-50 intelligent devices or sensors connected to the internet…” • The threat of hacking – stolen goods and counterfeit market, digital fashion houses will have to develop as hack-proof. The concept behind stolen as one of my words, was because of how I believe a market for counterfeit and stolen virtual clothing could be viable. The deep/ dark web is already a place rife with sales of counterfeit and stolen goods, so I predict that an uprise in purchasable virtual goods will ultimately cause a subsequent uprise in computer hacking.
This in itself will further cause a trend increase of anti-virus type softwares, and will allow this aspect of the technological industry to boom out of people wanting to protect their goods. Think of it like this - many people protect the physical goods in their homes with security cameras and alarms from those who would break in to commit a robbery - it only makes sense for the same practice to be applied to our online wardrobe of clothing in the future!
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micro-trend #2.
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in an off switch. tradtection and interconnectiveness in an off switch. tradtection and interconnectiveness in an off switch. tradtec
INTRODUCTION TO “TRADTECTION”
AND
“INTERCONNECTIVENESS IN AN OFF SWITCH”
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ction and interconnectiveness in an
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WHAT DRIVES TH
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“Tradtection� is a phrase I created from merging two key concepts of the micro-trend it represented - tradition, and protection. Technology is a thriving industry, a natural state of evolution arguable through those such as Generation Alpha being birthed into it, setting an example of those yet to come. Technology is innovation, and the way it is and has infiltrated our fashion industry, through my research, shows to be a huge threat to the traditional aspects of fashion we once knew, that in 2030 some will fight to protect, trying to hold off a complete digital overhaul of the industry we once knew to thrive off physical anecdotes. This trend is about us, society, and a generationally split market.
tection and interconnectiveness in an off switch. tradtection and interconnectiveness in an off switch. tradtection and interconnectiveness in an off switch. tradtection and interconne
HE TREND?
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dtection and interconnectiveness in an off switch. tradtection and interconnectiveness in an off switch. tradtection and interconnectiveness in an off switch. tradtection and interconn
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TARGET CONSUMER. Older generations (such as Millennials, Gen X, Baby Boomers) do not understand how digital can be so heavily relied on. Using artificial intelligence to choose your wardrobe, “Tommy Hilfiger and Gucci are offering digital showrooms…” (Kochar, 2020) or the concept of digital fashion houses were already a culture shock to many from these generations when they happened back in 2020, so here in 2030 seeing how prominent these aspects are in overthrowing traditional means - essentially a comfort blanket, is evidently a larger threat that isn’t going away. Is it a losing battle?
The trend is also driven by a number of Gen Z’ers, protecting the sustainability of the planet is huge for this generation, born between 1995 and 2010. Certain tech features threaten this, if the risk of no balance is continued - how can so much power needed to work these devices and platforms be good for our environment?
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CONSUMER PROFILE. •
2030 we see Sophie, 30 and Gen Z.
• Sustainability is still a core ethic for her, buying less buying better. Politically we see the outcome from the EU’s 2020 “higher 2030 climate goals” (Mathiesen & OROSCHAKOFF, 2020) • Family memories of
values are high, the Covid-19 pandemic.
• Appreciates her career has a big reliance on tech, enjoys the balance of engaging with the outside world nonetheless • Worries for her brother – a Gen Alpha, who engages easier over media platforms than at the dinner table.
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dtection and interconnectiveness in an off switch. tradtection and interconnectiveness in an off switch. tradtection and interconnectiveness in an off switch. tradtection and interconn
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20x20 WORD BANK. As with the previous, I’ve curated a word bank to create a rounded version of my trend. For Tradtection, I found visuals to be the best way to convey my research and ideas.
1. PROTECTION 2. HOME/ROOTS 3. NATURAL 4. TRADITIONAL 5. SIMONE ROCHA 6. HERITAGE 7. ENVIRONMENT 8. MAKE – WELSH LABEL 9. DEADSTOCK 10. @JAKELIUXX 11. REWIRE 12. CAPSULE 13. HOMESPUN 14. CRAFTSMANSHIP 15. BALANCE 16. FAMILY VALUES 17. EMILY NOTMAN 18. THRWSIO’R TRADDODIADOL 19. SUSTAINABILITY 20. RATION 137)
dtection and interconnectiveness in an off switch. tradtection and interconnectiveness in an off switch. tradtection and interconnectiveness in an off switch. tradtection and interconn
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FAMILY and HOME VALUES. Lessons learnt during the Covid-19 pandemic of 2020 are quickly forgotten as a digital society takes hold - what happened to the importance of spending time together physically? Showing love, and emotion - something that too much digital software is creating a numbness to in the younger generations who are needing to be shown the interconnectiveness in an off switch. 2030 we are going to need to emphasise the importance on real time connection, as “we rarely consider what it means to have a fulfilling life. In more ways than one, technological advancements fail in this regard� (Hohman, 2017) Home values are the inspiration point for the Colour palette for this trend. Tradition, the world around us.
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dtection and interconnectiveness in an off switch. tradtection and interconnectiveness in an off switch. tradtection and interconnectiveness in an off switch. tradtection and interconn
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RATIONED and CARED FOR. Something I believe we will see in this trend is the concept of clothing having to be taken care of, not taken lightly, and essentially rationed. The digital developments of virtually worn and owned fashion has been taking a high road, it has been around for many years but those it was curated for are now able to consume it the way it was marketed to be. This has caused a downward slide of demand for physical fashion - people just aren’t buying as much physically. This lack of demand I believe will therefore cause a need for people to take more care of their clothing, essentially repeating war-time efforts, almost a hundred years on from the Second World War where we saw the make do and mend era develop along with the concept of rationing. In times of uncertainty, we as society naturally turn back to the comfort of what we already know - and fashion is no different.
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APPRECIATION OF NATURE.
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CRAFTSMANSHIP
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dtection and interconnectiveness in an off switch. tradtection and interconnectiveness in an off switch. tradtection and interconnectiveness in an off switch. tradtection and interconn
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TRADITION and BALANCE. “innovation doesn’t exist without tradition” (Arie, 2014) emphasises the importance of both, giving weight to the argument of Tradtection.
CAPSULE and HOMESPUN. Capsule pieces are going to be pivotal to 2030 – in order to protect tradition, buying less but buying better is a must. This refers back to the Homespun trend we saw for SS21. “Simplicity, rather than materialism, seems to be the key. Technology flies right in the face of this premise.” (Hohman, 2017)
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KEY TAKE-AWAYS: A SWOT ANALYSIS. STRENGTHS. • emphasis on being connected emotionally • creates a unity amongst different generations in the face of the unknown • make do and mend/rationing of clothing is a powerful statement and works for a more sustainable world • the rewired fashion calendar and industry – the way it developed from the initial proposal proves to be engaging with innovation in a way which is still accepting of traditional values, • teachings so to speak can be passed down - tradition can be kept going.
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WEAKNESSES. • harder to communicate these ideas to Alpha Gen, too involved with tech from the start to be open to going backwards • new generations are going to continue to be born into more tech driven society • could be attempting to concept of
seen as stop the innovation
THREATS. • Younger •
generations
Continuous developments
• Convenience succumbing to minimalistic life
of a more asset-wise
OPPORTUNITY. • careers - keeping craftsmen working the way they are. tech fashion will destroy plentiful of careers. keeping tradition keeps people in jobs • sharing love and the importance of empathy to others • what if as younger generations grow, as they are exposed to the traditional values, these become more attractive, the way it has happened vice versa.
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REFERENCES prelude:
Benson, S., 2018. How Depop Is Defining Style For A New Generation. [online] Dazed. Available at: <https://www.dazeddigital.com/fashion/article/41107/1/depop-aesthetic-gen-z-style-90s-00s-y2k-fashion-social-media-shopping-app?fbclid=IwAR2WUiXqv4F6HwQ_hWnoCNPcXvnTIyZIAvzwQtJvZAnFp5rhoZ7n1gGeg9E> CRASH, 2020. line] CRASH
STAY AT HOME Magazine. Available
WITH at:
KENZO CRASH Magazine. [onhttps://www.crash.fr/stay-at-home-with-kenzo/
Davidson, E., 2020. Three Must-Sees From London Fashion Week’S First Ever Digital Edition. [online] Dazed. Available at: <https://www.dazeddigital.com/fashion/article/49527/1/london-fashion-week-digital-charles-jeffrey-di-petsa-miss-jason-duran-lantink> Gilliland, N., 2016. How Fashion Magazines Are Adapting To The Influence Of Digital – Econsultancy. [online] Econsultancy. Available at: <https://econsultanc y. c o m / h o w - f a s h i o n - m a g a z i n e s - a r e - a d a p t i n g - t o - t h e - i n f l u e n c e - o f - d i g i t a l / > Goslin, A., 2019. Air Jordans Come To Fortnite In Nike Partnership. [online] Polygon. Available at: <https:// www.polygon.com/fortnite/2019/5/22/18634329/fortnite-jumpman-air-jordan-skins-hang-time-nike> Huber, E., 2020. Bottega Veneta Wants To Spend The Weekend With You. [online] Refinery29.com. Available at: <https://www.refinery29.com/engb/2020/03/9614951/bottega-veneta-residency-digital-creative-experience> LIEBER, C., 2020. Can Fashion Cash In On The Animal Crossing Craze?. [online] The Business of Fashion. Available at: <https://www.businessoffashion.com/articles/professional/nintendo-animal-crossing-custom-clothes-fashion?source=NextStoryPrompt> May, N., 2020.These ClothesAreAll Digital: IsThisThe Future Of Fashion?. [online] Evening Standard.Available at: <https://www.standard.co.uk/fashion/digital-fashion-the-fabricant-carlings-a4286496.html> Milner, D., 2020. Will Covid-19 Change Fashion Photography?. [online] The Business of Fashion. Available at: <https://www.businessoffashion.com/articles/professional/will-covid-19-change-fashion-photography> Mondalek, A., 2020. The Dos And Don’Ts Of Marketing During A Pandemic. [online] The Business of Fashion. Available at: <https://www.businessoffashion.com/articles/professional/the-dos-and-donts-of-marketing-during-a-pandemic> Tidy, line]
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J., 2020. Fortnite’s Travis Scott Virtual Concert Watched By Millions. [onBBC News. Available at: <https://www.bbc.co.uk/news/technology-52410647>
REFERENCES innovational division:
Arie. (2014). Tradition vs Innovation in Fashion. Purushu Arie. https://purushu.com/2014/02/tradition-vs-innovation-in-fashion.html?fbclid=IwAR0nxI_OcGqYPOX3IWkyzfDtbovEx9t9AGeoQaXt_SUqk5rMaLogEKplz1g Aspinall, look
G. (2019). like?.
Influencers Raconteur.
of
the future: who are they and what do they https://www.raconteur.net/marketing/future-influencers/.
Blanks, T. (2020). A Proposal for Rewiring the Fashion System. The Business of Fashion https://www.businessoffashion.com/articles/fashion-week/a-proposal-for-rewiring-the-fashion-system?fbclid=IwAR3PoszLHQyHOPgMycD0crW96mXue8hA83aQ6xoMIs1FoWP2K0RjAkM3ihk&utm_campaign=bof_dazed&utm_medium=socialshare&utm_source=facebook. BoF.
(2020).
Clark, si.com
D.
#rewiringfashion.
(2019).
10
#rewiringfashion.
https://www.rewiringfashion.org/.
Defining Characteristics of Generation Z. Blog.ttihttps://blog.ttisi.com/10-defining-characteristics-of-generation-z.
Dawson, B. (2020). Elon Musk reckons heâ&#x20AC;&#x2122;ll send humans to Mars by 2026. Dazed. https://www.dazeddigital.com/science-tech/article/51289/1/ elon-musk-reckons-he-will-send-humans-to-mars-by-2026-spacex. Definition of DYSTOPIA. Merriam-webster.com. https://www.merriam-webster.com/dictionary/dystopia. Djukanovic, N. (2020). Meet Generation Alpha: Our Youngest, Most Tech-Driven Generation Yet | CustomerThink. Customerthink.com. from https://customerthink.com/meet-generation-alpha-our-youngest-most-tech-driven-generation-yet/. Hohman, ford
H. (2017). Daily
Has
tech gone too far? | The Stanford Daily. The Stanhttps://www.stanforddaily.com/2017/03/19/has-tech-gone-too-far/.
Jong-Fast, M. (2020). We Are All Living in the 19th Century Right Now. Vogue. https://www. vogue.com/article/bread-making-in-coronavirus-pandemic?utm_brand=vogue&mbid=social_facebook&utm_source=facebook&utm_social-type=owned&utm_medium=social&fbclid=IwAR2x1B7jmDEE7byZk6JJ8ppF0s2izZpi5SOyXN_FsjH2eIEx-6nF7f0doqE. Knox, B. (2020). What Is Fashion Technology? Definition And Expert Views | WTVOX. Wtvox.com. https://wtvox.com/fashion/what-is-fashion-technology/.
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innovational division continued: Kochar, S. (2020). Techpacker.com. https://techpacker.com/blog/design/top-7-fashion-technology-trends/. Mathiesen, K., & OROSCHAKOFF, K. (2020). ‘Rather exhausted’ EU leaders sign off on higher 2030 climate goals. POLITICO. https://www.politico.eu/article/eu-leaders-agree-to-cut-emissions-55-percent-by-2030/. Ostojic, T. (2019). Domain.me. https://domain.me/how-is-generation-alpha-using-technology/#:~:text=Gen%20Alpha%20parents%20say%20technology%20has%20positively%20impacted,with%20other%20kids%20in%20a%20positive%20way%20. Stechyson, N. (2019). What Is Generation Alpha? Everything To Know About The Kids Of Millennials. Huffingtonpost.ca https://www.huffingtonpost.ca/entry/what-is-generation-alpha_ca_5dde809ae4b0913e6f7719c8?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuYmluZy5jb20v&guce_referrer_sig=AQAAAN2QNLs2-WjmEx65OdVwYabaoNM5rGW1q4w3rkycKTFDvhC1TI7n4UG8t4-E6TD-5Y3fj-apaA9zOIGiGkOavMxg1UpfpH0XWMGxzegshHWBPC4anxvJiGty6Ovlyk_u2I5wpQcK0qg3HulA8uJdN8v7GpsESAioAoOPuB0Dvo_r. Umbreen, S. (2018). The Future of Fashion & How We Will Shop in 2030. Shoes by Shaherazad. from https://www.shaherazad.com/blogs/news/the-future-of-fashion-how-we-will-shop-in-2030. van Lier, C. (2019). Physical to Digital: Disruption in the Fashion Industry. Medium. https://medium.com/datadriveninvestor/physical-to-digital-disruption-in-the-fashion-industry-1a88be78a3a5. What is Absent Presence Theory | IGI Global. Igi-global.com. https:// www.igi-global.com/dictionary/portable-social-groups/48016. Yalcinkaya, G. (2020). Elon Musk wants to stream music directly into our brains. Dazed., https://www.dazeddigital.com/science-tech/article/49900/1/elon-musk-wants-to-stream-music-directly-into-our-brains-neuralink
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prelude image references: Fig.1: Alessio Albi (@alessioalbi) • Instagram photos and videos Fig.2: i-D-Safe-Sound-Mona-Tougaard-500x625.png (500×625) (businessoffashion.com) Fig.3: babaà (@babaa) • Instagram photos and videos Fig.4: 1278390.jpg (914×1280) (netdna-ssl.com) Fig. 5: 1268509.jpg (1265×1772) (netdna-ssl.com) fig. 6: https://www.techcenturion.com/wp-content/uploads/2018/06/Fortnite-Brite-Bomber-Skin.jpg fig. 7: https://hips.hearstapps.com/hmg-prod.s3.amazonaws.com/images/fortn i t e - j o r d a n - 1 5 5 8 5 3 4 6 0 3 . j p g ? c r o p = 0 . 5 6 5 x w : 1 . 0 0 x h ; 0 . 0 8 4 9 x w, 0 & r e s i z e = 4 8 0 : * fig 8: https://www.elle.be/nl/wp-content/uploads/2020/04/uitgelicht_animalcrossingfashion.jpg fig. 9: https://thegarnettereport.com/wp-content/uploads/2019/02/viktorandrolf_nophotosplease_look.jpg fig. 10: https://i.pinimg.com/564x/b6/42/ba/b642bac3d6d4d66fd4b2215b5b91c4f6.jpg fig. 11: https://d2h1pu99sxkfvn.cloudfront.net/b0/17730074/ 8 6 3 1 2 8 8 7 8 _ 3 9 6 b 9 8 a 2 8 a 2 d 4 4 8 7 8 1 a 9 3 b e c 1 6 a 9 3 8 f c / P 0 . j p g fig. 12: https://d2h1pu99sxkfvn.cloudfront.net/ b 0 / 1 9 9 1 4 5 3 / 8 4 4 2 6 9 2 4 9 _ d 1 7 3 d 4 7 b d 9 2 7 4 11 9 8 3 c c c d 9 f e 2 3 f 1 9 c e / P 0 . j p g
image references: ab3415afff52d014344430db02365b8c.jpg (500×296) (pinimg.com) 87a7ebae82c7a8bb228f34949d07084c.jpg (300×250) (pinimg.com) c3b58294e07ee1865ca572383a9956d4.jpg (500×700) (pinimg.com) 7ae6e8a642df7a249696ef4ef2df411c.jpg (564×564) (pinimg.com) 20216c5f52e69779939e46b244c1a092.jpg (505×688) (pinimg.com) 0a6363b326f9b24b9b9e14a0ffc9f8ac.jpg (457×394) (pinimg.com) d656b4f5d2605bcbc75d0d2fe71e39d7.jpg (236×236) (pinimg.com) bdfcb23ddddbba15d87a15e5458c3ec1.jpg (540×303) (pinimg.com) h t t p s : / / i . p i n i m g . c o m / 5 6 4 x / 2 c / d a / 2 3 / 2 c d a 2 3 a 8 d 9 9 9 c 2 4 3 5 c e f 7 c b 6 6 4 1 0 11 e 6 . j p g h t t p s : / / i . p i n i m g . c o m / 2 3 6 x / 0 3 / 9 4 / 2 f / 0 3 9 4 2 f 11 d 8 d 7 8 e e 7 a 4 f 4 0 d 8 9 8 a a 3 7 5 0 e . j p g https://i.pinimg.com/236x/b0/8a/62/b08a62e8d6b638f94e7a73c614bce489.jpg https://i.pinimg.com/236x/6c/e6/c2/6ce6c2247c25638764cac3436c0603ce.jpg https://i.pinimg.com/236x/4a/90/95/4a90950134c5f1f02d03efc20472d0b9.jpg https://i.pinimg.com/236x/b6/63/b7/b663b7c300699984cecb0426bded56a0.jpg https://i.pinimg.com/236x/fb/1d/08/fb1d08062bb21db39caca2d974b4057b.jpg h t t p s : / / i . p i n i m g . c o m / 2 3 6 x / 4 0 / d 8 / 4 9 / 4 0 d 8 4 9 b 6 7 9 5 e 0 2 d 6 11 2 7 d 9 6 8 9 7 9 7 2 e e 2 . j p g https://i.pinimg.com/236x/3a/fa/9f/3afa9f852afae9568a8a68fead49c383.jpg h t t p s : / / i . p i n i m g . c o m / 2 3 6 x / 8 6 / 0 b / b a / 8 6 0 b b a 9 1 d c d b a e f 5 c f b 1 c f e e 3 6 11 2 f f 7 . j p g https://i.pinimg.com/236x/a6/1c/2a/a61c2a857275a064a9e25d97e33e62a8.jpg https://i.pinimg.com/236x/44/6d/c3/446dc3d8f8373bb7292bc5306aae3387.jpg https://i.pinimg.com/236x/42/02/07/420207a9a6e050b6602ce1e3fcad5080.jpg
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