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fashion

The Urgent Need for Change in a Fashion Industry in Decline

by Sylwia Szymczyk 9 January 2025

The fashion industry is facing hard times; once known for its creativity and success, it’s now struggling. Big fashion companies are laying off employees almost every day, and many great and qualified people are desperately struggling to find work. While there are many optimistic posts and comments out there, it’s clear that something isn’t working.

The world around us is changing very fast, and new technologies, ideas, and ways of doing things are constantly being developed. But the fashion industry hasn’t kept up.

For years, we’ve been using the same, outdated business models from the 20th century and have failed to fully embrace the suite of technologies we’ve had available to us.

What Problems Are We Facing?

Many, but here are some of the main issues today:

(1) The E-Commerce Model is Failing

Single-brand e-commerce stores are struggling as customers increasingly prioritize speed and convenience, preferring platforms that offer everything in one place. Many stores fall short due to cumbersome registration processes, the need to manually input credit card details, limited support for payment services like PayPal or Satispay, poorly optimized search engines, and a lack of product variety. These shortcomings drive customers away, highlighting the need for a more seamless and user-friendly shopping experience.

(2) Physical Stores Need a New Approach

Brick-and-mortar stores are under pressure as online shopping continues to rise, drawing customers away. Many physical stores have struggled to evolve, offering a shopping experience that no longer aligns with the expectations of today’s consumers. A fresh, innovative approach is urgently needed to stay relevant.

(3) Influencer Marketing Has Lost its Impact

In the 2010s, influencer marketing thrived, delivering exceptional results. Today, however, audiences have grown more skeptical, easily identifying promotions driven by financial incentives rather than authentic endorsements. Consumers now value genuine connections over paid advertisements. Instead of large-scale influencers, it’s the smaller, niche creators with dedicated followings and a true passion for the products they promote who are shaping the Creator Economy and driving meaningful engagement.

What Can We Do To Tackle These Head-on?

To fix these problems, more than small adjustments will be needed. We will need to rethink how the entire fashion industry works.

(1) Use Technology Together with Craftmanship

Technology shouldn’t replace craftsmanship; it should complement and enhance it. Tools like 3D design and AI empower designers to explore and test ideas faster and more cost-effectively, reducing waste and streamlining production. In today’s landscape, methodologies like Lean Startup are essential – designing behind closed doors on whiteboards, disconnected from customer feedback, is a surefire way to create collections that fail to resonate.

(2) Provide an Experience Together With the Product

Today’s customers seek more than just products – they crave memorable experiences. Physical stores can transform into spaces where people genuinely enjoy spending time, offering interactive displays, personalized services, and events that foster a sense of community. By making shopping engaging and enjoyable, stores can draw more customers while seamlessly connecting the in-store experience with digital, extending the journey far beyond the physical space.

(3) Embrace Circular, Ethical, and Sustainable Business Models

People are increasingly prioritizing environmental and social responsibility, seeking to support ethical and sustainable companies. For the fashion industry, this means adopting eco-friendly materials, ensuring fair labor practices, and creating durable products. These actions not only benefit the planet but also foster customer trust. Embracing digital tools in product development reduces waste, while scalable on-demand manufacturing eliminates overproduction. True sustainability lies in these practices – claiming to be sustainable while generating massive waste undermines credibility and alienates conscious consumers.

(4) Leverage Social Media for Sales

Fashion brands should aim to become influencers in their own right. Simply advertising on social media won’t build authentic connections with customers, and partnering with influencers who lack genuine brand loyalty is often ineffective. Instead, brands should co-create collections with niche influencers, giving them meaningful reasons to promote the products. Focus on storytelling through your social media, showcasing the people behind the brand and encouraging them to share their stories on their profiles. The Creator Economy is here to stay – people buy from people and want relatable, authentic stories that resonate with their own lives.

So What’s Next?

We have the tools and technology to drive meaningful change, but collaboration is essential. Designers, manufacturers, retailers, and customers must come together, share ideas, and work collectively to develop better solutions.

Openness to innovation is key—not every idea will succeed, but each one offers valuable lessons. By testing and refining our concepts, we can discover the most effective ways to move forward.

Imagine a fashion industry that is sustainable, ethical, and innovative, where technology enhances tradition, and shopping becomes a fun and engaging experience. In this future, fashion companies will prioritize their impact on the environment and society, earning customers’ trust through shared values. Technology will empower greater creativity, not limit it.

So, what’s your vision for the future of fashion? Remember, there are no good or bad ideas – only those waiting to be validated.

Enjoyed this article and want to discuss these topics more? Please do not hesitate to reach out to me here.

9 January 2025 0 comments

Manufacturing Retail Technology

On-Demand Fashion: Customization, Sustainability & the Future of Production

by Michael Ratcliffe 2 January 2025

written by Michael Ratcliffe

The research outlined below is based on qualitative data gathered through in-depth interviews with two distinct groups: made-to-order/made-to-measure fashion brands and the technology providers that enable and support these operations. This approach provides a deeper understanding of how on-demand fashion works in practice and its potential to reshape the industry’s future.

An Introduction to On-Demand Fashion

The on-demand fashion business model represents a fundamental shift away from the traditional, mass-produced model that has dominated the fashion industry for decades. Historically rooted in the bespoke and made-to-measure approach, on-demand fashion ensures that clothes are produced only after an order has been placed. It is a sustainable approach that minimizes waste and excess inventory by aligning production directly with consumer demand.

Terminologies like bespoke, made-to-measure, made-to-order, and pre-order are often used interchangeably, but though these are closely related, they do differ in key aspects. Bespoke or tailor-made refers to clothes made entirely from scratch based on a customer’s specifications, involving significant customization and craftsmanship. Made-to-measure involves creating clothes based on standardized patterns that are adjusted to fit a customer’s measurements. Made-to-order, on the other hand, refers to production that begins only after an order is placed, with or without customization options. Pre-order typically means customers can order items before they are produced, usually based on standard sizing. Finally, small-batch manufacturing allows for limited quantities of clothes to be produced, offering scalability and more room for automation.

While these terms highlight different degrees of customization, complexity, and time to completion, they share a common principle: production is driven by demand. For the sake of clarity, in this article, we will collectively refer to all these concepts under the umbrella term ‘on-demand fashion’ to streamline the discussion and avoid any confusion.

Defining On-Demand Fashion

While on-demand fashion has been broadly described as a model where clothes are produced only after an order is placed, industry leaders bring their own perspectives to the concept, reflecting the diversity within the field.

For Jess Fleischer of Son of a Tailor, on-demand fashion is about customization and precision:

We don’t just make clothes when they’re ordered, we create each piece based on a custom pattern for the individual customer. It’s about personalization—making sure that every item fits perfectly.

This focus on both made-to-order production and personalized fit sets brands like Son of a Tailor apart from traditional mass production.

At Hockerty, co-founder Alberto Gil emphasized sustainability and waste reduction:

No clothing is made without a specific customer in mind. It’s the only way we can ensure that we aren’t contributing to the endless cycle of overproduction and waste in fashion.

Similarly, eShakti’s Vivek Paliwal highlighted the necessity of customization in today’s market:

You can’t mass produce clothes for a population where 46% falls outside of traditional sizing charts. On-demand fashion lets us offer custom sizes and styles that fit each customer’s unique needs.

For Stephane Courtioux at Zipps, on-demand fashion is also about optimizing the supply chain and aligning digital tools:

It’s not just about waiting for an order to produce something,” he said. “It’s about creating a system where every part of the process—from design to production—is integrated and efficient.

What unites all these perspectives is the idea that on-demand fashion isn’t simply a shift in production timing but a reimagining of how the fashion industry can be more sustainable, responsive, and customer-centric, with technology playing a critical role in enabling this transformation.

More on the Unspun model in the video below…

Motivations for Embracing On-Demand Fashion

For many of the companies we interviewed, the decision to embrace on-demand fashion stemmed from a mix of practical, ethical, and consumer-driven factors.

Seph Skerritt of Proper Cloth was frustrated with the fit problem inherent in off-the-rack clothing and the ability of on-demand to provide custom-fit clothing was the core motivation behind their production shift:

People want clothes that actually fit them. For us, on-demand was the only way to solve that problem. You can’t get the same level of precision with mass production.

Son of a Tailor shared a similar frustration; for them, it’s not just about solving a problem but creating a deeper connection between the product and the customer.

Traditional production is wasteful and ineffective. On-demand allows us to make only what’s needed, and when each piece is made for a specific person, it eliminates the guesswork.

On the sustainability front, Hockerty saw on-demand fashion as a key driver for reducing waste:

It’s about responsibility – we don’t want to be part of the overproduction crisis in fashion. If we make something, it’s because someone has already asked for it.

This sentiment was echoed by eShakti, where Vivek Paliwal explained how their model addresses the needs of the plus-size market:

There’s no such thing as one size fits all, especially when 46% of the market is outside traditional sizing charts. On-demand is our way of serving customers who have long been underserved.

For tech providers like N.A.bld, the motivation is rooted in creating more efficient, data-driven production processes. Their then-CEO Amanda Curtis described their role as empowering brands to scale on-demand production:

We saw how technology could solve problems in the supply chain, and for us, it was about giving brands the tools they need to manage small-batch production seamlessly.

Across the board, the common thread is a desire to create a more responsible, customized, and efficient model for fashion—whether that’s about solving fit issues, addressing sustainability, or leveraging technology to streamline production. As Kevin Martin of Unspun put it:

”On-demand is the future. It’s not just about making things on time; it’s about making them right.”

More on the Hockerty model in the video below…

Key Challenges in Implementing On-Demand Fashion

Implementing on-demand fashion may seem like a promising solution for customization, sustainability, and efficiency, but the journey to realizing it is complex and filled with obstacles. One of the most significant challenges for many companies is the sheer operational complexity of producing items on demand.

For Proper Cloth’s Seph Skerritt, the difficulty lies in managing a business where every product is unique:

Every single product we make is different—different size, different configuration, different delivery address.

This level of customization requires flawless communication between customers, the brand, and the manufacturer. Mistakes are costly because they directly affect customer satisfaction.

From a broader perspective, the reluctance of manufacturers to shift from mass production to smaller, individualized runs is a major barrier for companies like Son of a Tailor.

Finding the right production partner was tough. The industry is built around bulk production, and asking manufacturers to create one-off pieces isn’t something they’re used to.

Charlotte Lageyre from Lectra offers another layer of insight, explaining that while brands may want to embrace on-demand models, they often struggle to align their internal processes and technology, which highlights that adopting on-demand fashion isn’t just about changing one part of the process—it requires a full integration of the supply chain:

One of the biggest challenges is the integration of systems. It’s not enough to have a single 3D tool or a digital design solution. Brands need seamless workflows that connect design, production, and sales in real-time.

At eShakti, scalability becomes the biggest hurdle. Vivek Paliwal stressed how difficult it would be for larger brands to fully transition to on-demand because the shift requires rethinking everything from how orders are taken to how production is fulfilled—a daunting task for larger, traditional brands.

If a giant like H&M were to switch, it would mean a complete overhaul of their business model.

While the challenges may vary slightly from brand to brand, a common thread is the reliance on technology to bridge the gap between design, production, and delivery. As Unspun’s Kevin Martin pointed out, automation and technological innovation will be the key drivers for overcoming these challenges in the long term:

The long-term payoff is worth it. Once automation and technology are fully in place, the potential for on-demand is enormous.

The barriers, whether operational, technological, or cultural, highlight the complexities of disrupting long-established processes in fashion. However, for those willing to navigate these challenges, the rewards—sustainability, efficiency, and consumer satisfaction—are worth the effort.

More on the eShakti model in the video below…

The Role of Technology in On-Demand Fashion

Technology is the cornerstone of on-demand fashion, providing the tools necessary to manage a complex, individualized production model. From digital platforms that streamline supply chains to advanced manufacturing techniques like 3D weaving, tech solutions have allowed on-demand fashion to evolve from a niche concept to a scalable business model.

Charlotte Lageyre from Lectra highlighted the importance of integrating various systems to ensure that on-demand fashion can work seamlessly. This digital transformation is crucial to on-demand fashion’s success, as it enables brands to optimize their entire workflow and respond to consumer demands quickly:

The challenge isn’t just about having a single tool, like 3D design software. It’s about integrating every part of the process—from design to production—so that everything operates in real-time. Brands need to be able to track everything, from the material to the final garment.

Companies like Unspun have taken technology to the next level with automation. Kevin Martin described how their 3D weaving technology allows clothes to be produced without the need for cutting and sewing, reducing both waste and production time. This level of innovation highlights how advanced technology is essential for overcoming the traditional barriers of labor costs and inefficiencies in production:

Automation is the key that unlocks on-demand fashion. Our goal is to automate as much of the production process as possible, which will not only make on-demand scalable but also more affordable.

For N.A.bld, technology is about creating a more transparent and efficient supply chain. Amanda Curtis noted that their platform gives brands real-time visibility into production timelines and material sourcing.

We built a system that allows brands to manage small-batch production as if they were working with mass production quantities

While it provided crucial tools to bridge the gap between brand and manufacturer, they also faced challenges convincing manufacturers to adopt these new systems.

Vivek Paliwal at eShakti reinforced the idea that having a robust technology infrastructure is non-negotiable in the world of on-demand:

We developed our own in-house tracking system because there weren’t ready-made solutions available. For us, managing raw materials and ensuring that orders are tracked all the way to delivery is essential. Without that, scaling an on-demand model would be impossible.

The integration of technology across the production and supply chain not only streamlines operations but also drives the sustainability goals many brands are committed to. For brands and tech providers alike, the ability to quickly pivot and produce clothes based on real-time data is what sets on-demand apart from traditional fashion models. As Stephane Courtioux from Zipps commented:

Without technology, on-demand fashion wouldn’t be feasible. It’s about creating a connected ecosystem where every part of the supply chain is digitally linked.

By leveraging advanced tools like 3D design software, AI-driven production systems, and comprehensive supply chain platforms, brands are unlocking new ways to meet consumer demands in a more sustainable, cost-effective manner. Technology isn’t just facilitating on-demand fashion—it’s the foundation that makes it possible.

Barriers to Wider Adoption of On-Demand Fashion

While the benefits of on-demand fashion are clear, the model faces significant barriers to wider adoption. From ingrained industry practices to technological limitations, the transition to on-demand has proven difficult for many brands, especially those with established production models.

One of the most persistent challenges is the reluctance of manufacturers and brands to embrace new methods. As Charlotte Lageyre from Lectra pointed out:

Manufacturers are set up for bulk production, and many don’t have the flexibility or technological readiness to shift to on-demand.

This resistance to change is often deeply rooted in how traditional fashion supply chains are built, making it difficult for large-scale brands to pivot to smaller, more customized production runs.

For Vivek Paliwal of eShakti, the issue is not just technological but also cultural, where a mindset shift is especially challenging for larger, more established brands that rely on predictable, bulk production models to minimize costs:

The mindset shift required to fully adopt on-demand is huge. Brands have operated the same way for decades. Moving away from bulk production means rethinking everything—from supply chain logistics to how they interact with consumers.

Cost is another significant barrier. Kevin Martin of Unspun highlighted the financial challenges involved in making on-demand production economically viable:

On-demand can be 10 to 20 times more expensive than traditional production, depending on the location and scale. Until we get automation to a point where costs come down, brands are hesitant to make that switch.

The current cost structure makes it difficult for on-demand fashion to compete with the low-cost mass production methods used by fast fashion brands.

However, even brands that are ready to adopt the model face practical hurdles. As Amanda Curtis from N.A.bld shared:

Finding manufacturers who are willing and able to produce on-demand is one of the biggest bottlenecks. Many are hesitant to change their processes, even if the demand is there.

The lack of a robust network of on-demand-capable manufacturers creates a supply-side issue that limits the scalability of this model.

The shift to on-demand also raises questions about consumer behavior. Stephane Courtiouxfrom Zipps pointed out that consumers are accustomed to fast fashion’s immediate gratification:

When people shop online, they expect their orders quickly. On-demand production takes time, and consumers need to be educated on why waiting for a custom product is worthwhile.

This consumer education piece is crucial for brands hoping to shift towards on-demand models, as it requires changing expectations around delivery times and customization.

In the long term, the barriers to on-demand fashion may be reduced as automation and technology improve. However, the current resistance – whether from manufacturers, brands, or consumers – continues to slow the broader adoption of the model. As Jess Fleischer of Son of a Tailor put it:

On-demand is still niche, and until the industry evolves both culturally and technologically, it will remain that way.

More on the N.A.bld model in the video below…

The Sustainability and Environmental Impact of On-Demand Fashion

One of the most significant promises of on-demand fashion is its potential to reduce waste, a key environmental concern in traditional mass production. By producing only what is ordered, brands can avoid the overproduction that leads to unsold inventory filling landfills.

In the words of Seph Skerritt from Proper Cloth:

Traditional fashion operates with up to 20-30% overproduction. On-demand eliminates that. We’re only making what’s already sold, and that drastically reduces waste.

This model ensures that brands aren’t producing clothes that may never be purchased, a critical advantage in an industry known for its inefficiencies.

Vivek Paliwal of eShakti quantified this shift further with a focus on agility which helps brands keep up with fast-moving trends without contributing to the excessive waste tied to overproduction:

In a market where fashion cycles change monthly, reducing inventory is key. On-demand allows us to avoid the risks associated with holding large stocks of unsold goods.

Kevin Martin from Unspun took it a step further, linking on-demand fashion to carbon emissions reduction. By integrating technologies like 3D weaving, they are working to minimize the environmental impact at every step, from reducing fabric waste to creating clothes that are easier to recycle.

Our goal is to reduce global carbon emissions by 1% through on-demand production.

On-demand fashion’s environmental benefits are clear, but scaling those benefits to the broader industry will require brands to adopt these practices more widely. As Charlotte Lageyre from Lectra summarized:

The more integrated the process, the better control brands have over their environmental footprint. It’s not just about reducing waste—it’s about making sure every part of the supply chain is optimized for sustainability.

More on the Lectra model in the video below…

What is the Future of On-Demand Fashion?

The future of on-demand fashion is promising, but it will be a gradual shift rather than an overnight revolution. Many of the industry leaders we spoke with emphasized that while on-demand fashion is growing, it still occupies a niche market and faces significant hurdles in scaling.

Says Vivek Paliwal of eShakti:

Minimum order quantities are decreasing across the board, and as brands get more comfortable with smaller production runs, we’ll see more movement toward producing one unit per order.

Kevin Martin from Unspun predicts that automation will play a key role in driving this shift:

Once automation technology becomes more advanced and affordable, we expect on-demand production to take off. It’s the biggest unlock for making on-demand scalable and cost-effective.

Charlotte Lageyre of Lectra offered a balanced view, agreeing that on-demand is set to grow but emphasizing that it won’t replace traditional production models entirely:

Brands will likely adopt a hybrid approach. We’re seeing that many are beginning to use on-demand for specific lines while still relying on traditional models for their core offerings. The industry will need time to adjust.

This view was echoed by Stephane Courtioux from Zipps, who believes on-demand will complement, not replace, existing models:

On-demand will grow, but it will co-exist with traditional production for a long time. Brands will adopt hybrid models, using on-demand for specific product lines or special collections.

The consensus is clear: on-demand fashion has the potential to reshape the industry, but it will take time, technological advancements, and a shift in consumer and brand mindsets for widespread adoption to occur.

Advice for Brands Considering On-Demand Fashion

For brands looking to transition to on-demand production, the message from industry leaders is unanimous: start small, experiment, and invest in the right partnerships and technology.

Seph Skerritt from Proper Cloth emphasized the importance of ensuring that on-demand production addresses a real need:

On-demand shouldn’t just be a marketing gimmick. It has to solve a problem—whether that’s fit, sustainability, or efficiency. Focus on where it can add real value for your customers.

Jess Fleischer of Son of a Tailor echoed this sentiment, urging brands to take the plunge by starting small:

You don’t need to overhaul your entire business overnight. Start with a limited collection or a specific product line, learn from it, and gradually scale up. The key is getting started and being willing to adapt.

Vivek Paliwal from eShakti also stressed the importance of choosing the right partners:

It’s critical to find manufacturers and tech providers who understand the on-demand model. Your success depends on building a supply chain that can handle the complexity of producing one-off clothes efficiently.

For Lectra’s Charlotte Lageyre, technology plays a central role in making on-demand work, but it needs to be integrated into every part of the production process:

Brands need to invest in tools that connect design, production, and sales seamlessly. If your systems aren’t talking to each other, you’ll struggle to make on-demand scalable.

In summary, on-demand fashion is achievable, but it requires a thoughtful, measured approach. Start small, invest in technology, and choose partners who understand the complexities of this model. With patience and strategic planning, brands can unlock the potential of on-demand to meet consumer demand while minimizing waste.

More on the Son of a Tailor model in the video below…

Final Thoughts

The insights gathered from leading on-demand fashion brands and technology providers reveal a clear shift in how the industry is approaching production, sustainability, and customer satisfaction. Across the board, the interviews demonstrated that on-demand fashion holds immense potential to address some of fashion’s most pressing challenges—excessive waste, inefficient supply chains, and the growing demand for customization.

One of the most compelling advantages of on-demand fashion is its ability to eliminate overproduction. By producing only what has been sold, these companies are reducing waste and ensuring that every garment has a clear purpose, aligning their production with consumer demand.

However, the road to on-demand adoption isn’t without its challenges. As many interviewees pointed out, the complexity of managing individualized production processes and the need for advanced technology integration make the transition difficult. Brands must be willing to invest in seamless digital systems, strong partnerships, and the right technological infrastructure to succeed.

The environmental and financial benefits are clear, but the shift to on-demand requires a mindset change—both within the industry and among consumers. Educating consumers about the value of waiting for a customized, sustainably produced garment will be key to driving wider adoption of this model.

At the same time, the promise of automation shows that the future of on-demand fashion is filled with exciting possibilities. As automation and AI-driven tools become more accessible, the cost barriers to on-demand production will gradually decrease, making it a more attractive option for both large and small brands alike.

Please don’t hesitate to get in touch with us on Linkedin via the links below should you have any questions!

Rahul and Julia.

Rahul Verma

Rahul Verma is an experienced fashion design professional with a specialisation in digital product creation and development. He is the co-founder of NOFORM, a Bengaluru-based digital fashion lab, where he leads innovative projects and conducts training in industry-leading 3D design software. Rahul holds an M.A. in Fashion Design Technology from the London College of Fashion. He is currently pursuing a second M.A. in Entrepreneurship and Digital Transformation at the Munich University of Applied Sciences, where his research focuses on leveraging AI to enhance supply and demand alignment in fashion. With extensive experience in roles ranging from designer to educator and consultant, Rahul combines technical expertise, creativity, and problem-solving skills to deliver impactful solutions for global fashion brands. Beyond his professional achievements, Rahul is passionate about sustainable practices, animal welfare, and environmental conservation.

Julia Chinakaeva

Julia Chinakaeva is an entrepreneur and Co-Founder / Principal at Bazaar Ventures, a fund she with a vision to acquire and elevate a company into an industry leader. With a career spanning management consulting, tech startups, and sustainable innovation, Julia brings a blend of tech enablement and operational excellence to her work. An INSEAD MBA graduate, Julia has worked across global and diverse industries, advising Fortune 500 companies, driving tech-enabled growth at startups like Zipps.io, and fostering practical solutions for sustainability in business. Her expertise spans designing technology-driven solutions, optimizing operations, and launching impactful go-to-market strategies, all rooted in a commitment to innovation. Outside of work, Julia is a multilingual former competitive figure skater, current fitness enthusiast, long-time dancer, and cat mom.

2 January 2025 0 comments

AI Manufacturing Technology

The Digital Touch Revolution – How Meta’s Digit360 Could Redefine Fashion Experiences

by Michael Ratcliffe 28 November 2024

written by Michael Ratcliffe

We were excited recently to get a first look at Meta’s new tactile sensor, Digit360, in collaboration with GelSight. This breakthrough tactile sensor perceives the world with human-level touch capabilities.

Promising to blur the lines between physical and digital fashion experiences, Meta’s Digit360 project is poised to revolutionize how we interact with clothing and textiles. This sophisticated digital fingertip technology represents more than just an incremental advancement.

It’s a potential paradigm shift that could reshape consumer experiences, retail strategies, and technological integration in the fashion industry.

The Technology Behind Digit360

Meta’s Digit360 isn’t just another incremental sensor technology; these advanced digital fingertips can capture 18 distinct sensory attributes, mimicking human and animal touch responses with remarkable precision. The technology’s ability to dynamically adjust pressure – recognising delicate surfaces and responding to different textures – sets it apart from previous haptic technologies. It’s capable of detecting spatial details as fine as 7 microns and forces as small as 1 millinewton.

Transformative Potential for Fashion

Virtual Try-On Experiences

The most immediate and compelling application lies in mixed reality fashion experiences. Imagine consumers sitting on their couches, wearing haptic gloves equipped with Digit360 technology, and experiencing the exact texture, weight, and quality of a garment from an online catalog. This goes beyond visual representation – it’s a full sensory preview that could dramatically reduce return rates and enhance online shopping satisfaction.

Design and Manufacturing Implications

The introduction of Digit360 technology represents a paradigm shift in how fashion designers and manufacturers conceptualise textile development and product creation. By providing unprecedented granular insights into fabric characteristics, the technology has the potential to transform the traditional design process from a primarily visual and physical experience to a data-driven, precision-engineered approach.

Designers could have access to comprehensive digital profiles of textiles, capturing nuanced attributes like molecular-level texture, stress resistance, thermal conductivity, and tactile responsiveness that were previously only accessible through subjective human touch.

Manufacturing implications are equally profound. Digit360 could facilitate a revolutionary approach to quality control and prototype development, allowing brands to create digital twins of physical garments with extraordinary precision.

Manufacturers could in theory conduct virtual stress tests, texture analyses, and material compatibility assessments without producing multiple physical prototypes, dramatically reducing waste and accelerating design cycles.

This technology could lead to the democratisation of high-end design processes, allowing smaller fashion houses and independent designers to access sophisticated textile analysis tools that were previously available only to major global brands with extensive research budgets.

Vendor Landscape

While Meta appears to have a lead with Digit360, there are other companies making significant strides in related haptic and sensory technologies:

HaptX Gloves: Pioneering detailed haptic feedback systems for industrial and entertainment applications

Immersion Corporation: Long-standing leaders in haptic interface technologies

bHaptics: Specializing in wearable haptic feedback solutions

The Future of Embodied Digital Experiences

Meta’s Digit360 isn’t just introducing a new technology – it’s proposing a fundamental reimagining of how we perceive and interact with digital representations of physical objects. By translating tactile experiences into precise, reproducible digital signals, we’re moving towards a future where the boundary between physical and digital becomes increasingly fluid.

For the fashion industry, this means more than enhanced shopping experiences; it represents a fundamental shift in how clothing is designed, marketed, and experienced.

Brands that early adopt and innovate with these technologies will likely gain significant competitive advantages.

However, despite its promise, Digit360 isn’t without potential hurdles: with high initial costs, privacy concerns around detailed sensory data and the need for robust standardisation, there’s a fair way to go before this is a commercial gamechanger.

But this isn’t just about creating advanced sensors—it’s about reimagining human interaction with technology, particularly in creative and personal domains like fashion.

As we stand on the cusp of this digital touch revolution, one thing becomes clear: the future of fashion is not just about what we see, but what we can truly feel – even from thousands of miles away.

28 November 2024 0 comments

Education People & Leadership Technology

Fostering Design Talent & Opportunity in Africa – The Aliph Project

by Michael Ratcliffe 12 November 2024

written by Michael Ratcliffe

It’s hard to put into words how valuable a friend and advisor Safir Bellali has been since we first met in 2013. Over the past 11 years, Safir has not only helped our internal team build and grow the PI Apparel portfolio behind the scenes, but has been one of our core and more vocal champions, spreading the PI word and roping many of his peers into our cause.

I have never known anyone with quite the drive and passion Safir has for the wider design community, as well as for forging bridges between industry and academia to help ready the next generation of talent. He never seems to tire or moan about the million and one things people want him involved him – be that at VF, PI, the 3DRC, as a consultant and beyond; everything he commits to is delivered to the highest quality and always with a smile.

Drawing on his own experiences navigating the industry, I am thrilled to be speaking to Safir today about Aliph, a venture he hopes will foster design talent and opportunity across the vastly underserved African continent. Let’s go!

For those of our readers who haven’t had the pleasure, who are you Safir and what has been your professional history to date?

Thanks for having me, Michael! My name is Safir Bellali and I was born in Morocco and grew up in Luxembourg. Later in life, I left Morocco with a degree in Mechanical Engineering, Computer Aided Design & Manufacturing, long before those fields became as popular as they are today. Eventually, I moved to the US to study Industrial Design, focusing specifically on automotive design, which was my first professional passion.

After spending a few years working in the auto industry, I then transitioned to my second passion: action sports. I joined Vans at around the same time that they were acquired by VF Corporation, to lead the Design team for action sports equipment and ended up staying with the company for 18 years. I spent the first 11 years at Vans and the last 7 at the group level within VF.

During my time at VF, I led design and innovation teams, focusing on everything from action sports to digital innovation. I worked with brands like Vans, The North Face, Timberland, and Dickies, as well as many others, leading initiatives around innovation strategy, particularly as it related to digital product creation.

And then about two years ago, I left VF and shifted my focus to teaching and consulting. I’ve been teaching at my alma mater, ArtCenter College of Design, and consulting for a range of fashion, luxury, and creative tech companies which includes close collaboration with LVMH and Epic Games, which has been an incredible opportunity to help merge fashion with cutting-edge technology.

These days, I balance my time between teaching, consulting, and working on exciting projects that allow me to continue exploring my passions for both design and innovation.

You are always very humble and down to earth but readers should know that Safir here is an industry superstar; definitely worth a connection request on Linkedin! Now you didn’t mention it just now specifically, but we are here today to talk about the Aliph project that you founded. What is Aliph and what inspired you to take this on?

Aliph is an educational program I founded with the aim of bringing excellence in design and innovation education to the African continent.

The inspiration for Aliph stems from my own personal journey: I came from Morocco with a deep passion for design, especially cars, but I had limited access to the kind of skills development I needed. Fortunately, I managed to secure an internship at Mercedes-Benz in Germany, where I honed my skills and prepared a portfolio that eventually got me accepted into the ArtCenter College of Design, one of the world’s top design schools. I owe much of my success to Dr. Klaus Kallenbach, who not only recognised my potential, but gave me the opportunity to pursue my dreams. Without his belief in me, I wouldn’t be where I am today.

That experience made me realise that there are so many talented people in Morocco, across Africa, and even globally, who may never get the chances that I had. It’s a waste of incredible talent, and that realisation has stayed with me throughout my career.

Africa is brimming with creative potential, but it’s underserved when it comes to quality education in design and innovation.

Over the past few years, I’ve been developing the idea of Aliph, driven by the understanding that there’s a significant gap between what the industry needs and what educational institutions are currently able to offer.

Traditional universities are large, often slow-moving institutions, and it’s difficult for them to keep up with the rapid pace of technological advancement. I see an opportunity for a more nimble, agile educational program that serves as an innovation lab for education – one that can quickly adapt to the needs of the modern workforce. Aliph is designed to prepare a new generation of creatives, not just for the industry today, but for the challenges and opportunities of tomorrow.

At its core, Aliph is about creating opportunities where they currently don’t exist, by partnering with institutions and corporations to provide students with the tools and resources they need to succeed. It’s my way of giving back, ensuring that the next generation of African talent gets the chance to thrive in the global design and innovation industries.

Such a great initiative – to clarify, you mentioned this being focussed on design; is this design across all verticals or is it more niche?

For now, we are focusing on fields we know well and where we see clear opportunities. The goal isn’t just to provide a great education – while that’s important, it won’t pay the bills on its own. What we really want is to create pathways for success, either through entrepreneurship or by equipping students with the skills and knowledge they need to land professional opportunities, whether in corporate settings or elsewhere.

That’s why it’s critical for us to understand the needs of the industry – what skills and competencies they’re lacking and can’t find. Right now, we’re starting with three or four verticals which include: Industrial Design, which covers product design as well as transportation design; Fashion Design, a space that is undergoing significant transformation and one I’m personally very familiar with; Spatial Design, which involves architecture and creating immersive spatial experiences; and digital creation for Gaming and other immersive experiences across industries.

While these are our initial focus areas, we are always keeping an eye on how this might evolve as industry needs change.

Who have been your core partners in getting this going to date, and what role(s) do they play?

It’s been a pretty amazing ride ever since I started on this journey and I’ve been working with some true disruptors. The initial idea for Aliph actually began back in 2010 when I invited a few of my classmates from ArtCenter College of Design to Morocco. There were about half a dozen of us, and we were reflecting on the opportunities in the region. Everyone was enchanted by Marrakech, which is such an incredible source of inspiration for designers – it activates all your senses. We joked about how amazing it would be to have an ArtCenter in Marrakech one day, and that idea stayed with me.

Fast forward to 2020, just before COVID hit, I organised our first creative offsite. It was an opportunity to bring people together and talk about the shifts happening in the industry and the new competencies that were emerging but weren’t yet being addressed. Around that time, I met Younes and Mia, who became key partners. Younes is an Industrial Designer based in Marrakech, and he and his sister, Mia, run an incredibly inspiring design studio there. As we talked, we realised our visions were aligned, and since then, we’ve been working together to develop the project further.

Another core partner has been Ilham Hraoui, who is married to one of my classmates in Engineering School. She had just launched a digital lab for the Moroccan public broadcast company and was deeply interested in expanding this idea. She’s been a consistent partner in helping push Aliph forward. Additionally, Eric Holdener, who has founded several companies and worked with Venture Studios, has been a crucial sounding board. He, and the Moonflare team (Balint and Muneeb), helped me shape the business plan, the pitch documents, and the execution strategy. His input has been invaluable in solidifying the vision.

I also want to mention Greg Hatton, a close friend, thought partner, and an incredible storyteller. He introduced me to key figures and has been with me every step of the way. Last year alone, we travelled to Morocco seven times, engaging with students, professionals, and key stakeholders to ensure we had the right conversations and understood the reality on the ground.

Finally, another key partner in this journey has been ArtCenter College of Design. Kristine Bowne and Maggie Hendrie understood the importance of establishing a footprint in Africa from the beginning and have been amazing thought partners.

There are many others who have contributed to this project, and the support has been overwhelming. It really shows that there’s something special about this idea, and now the challenge is to figure out how we can fully bring it to life.

I have had the pleasure of meeting most of those you’ve named here and can only agree that they are big thinkers and doers, keen to disrupt and give back. You’ve mentioned that Aliph aims to bring excellence in design education to underserved regions, starting with Africa and Morocco. What specific challenges do creatives in these regions face, and how does Aliph aim to address them?

Creatives in regions like Africa and Morocco face two primary challenges: education and opportunity.

First, while there are countless passionate and talented students eager to learn and grow their skills, many simply cannot find or afford the educational opportunities they need. The cost of pursuing a design education in the West, especially in places like the U.S., is prohibitively expensive for most. Yet, many of these students know that with basic tools like a laptop and an internet connection, they can still learn a great deal. So, education itself is a significant barrier, sometimes due to a lack of resources, but more often because accessible programs simply don’t exist.

The second challenge is opportunity. Even when students do manage to develop their skills, they often lack the network that comes with attending a well-known institution. In the West, part of the value of attending a top university is the access to a professional network, which opens doors and creates opportunities. Many creatives in underserved regions don’t have this kind of access, and that becomes a huge barrier to their success. They may not even be aware of where the opportunities are or how to connect with the right people.

Aliph aims to address both of these challenges.

By providing high-quality, accessible education, and creating a network that students can tap into, we hope to help them not only develop their skills but also connect with the opportunities and networks they need to truly succeed. It’s about bridging that gap and empowering creatives to take their talents to the next level.

Now you mentioned the Aliph creative offsites you have run in Marrakech, and I of course was lucky enough to attend one earlier this year – thank you again for including me! How many of these have you run to date and what role have they played in shaping the vision for Aliph?

So far, we’ve held four creative offsites, starting with the one in 2010 that sparked it all, and moving forward, our plan is to make these an annual affair. They’ve been intentionally small and highly curated, with the goal of bringing together well-established creative professionals from around the world. The idea is to share perspectives on the major shifts happening in their respective industries and explore what skills, competencies, and knowledge are necessary to succeed in these evolving landscapes.

Each session has included around 15 to 20 creatives from places as far as Singapore, with participants like Joshua Young, who you know well, flying in twice just for the offsite. We’ve also been fortunate to have high-profile creative thought leaders join us, and of course, we were delighted to have you attend earlier this year as part of that cohort.

These offsites are all about building an ecosystem of professionals and thought leaders who are deeply connected to the realities of the industry. They serve as a kind of creative council for Aliph, keeping us grounded and helping us stay in tune with what’s happening on the ground.

One key takeaway from these sessions is that it’s not enough to just teach impressive courses; we have to ensure that the content is curated and flexible enough to meet the needs of today’s creative industries. The offsites have helped shape our vision for an educational model that’s inherently agile, allowing us to fine-tune the programs as the industry evolves. Beyond that, it’s essential to maintain strong connections with the industry, providing mentorship, internships, and even career pathways for students after they complete the program.

Another critical aspect of these offsites is creating a platform for creative thought leaders to come together and tackle some of the big challenges facing the world.

It’s about more than just designing the next product – it’s about harnessing our collective creativity to address larger societal issues. We call these interactions “creative collisions.”

Imagine bringing together a chief designer from an automotive brand with a bright-eyed learner from Ghana, and having them exchange ideas with design leaders from India. It’s a powerful way to ensure we’re constantly learning from each other and staying aligned with the needs of our world, so we can apply our creative problem-solving skills where they’re most needed.

And as you’ve said, what better setting for such ‘creative collisions’ than the bustling, colourful city of Marrakech! I know Aliph aims to emphasise human-centred design in all that it becomes; how do you envisage this approach influencing the way that the program will be structured and how you interact with the communities it serves?

That’s a great question! Human-centred design has always been at the core of my approach to teaching design and innovation, whether at USC or ArtCenter. It’s a methodology that places the human experience at the centre of the creative process, ensuring that the work we do genuinely serves people’s needs. The idea is that many of the significant challenges humanity faces today – whether it’s responding to natural disasters, addressing food and energy issues, or improving access to education – are fundamentally human problems. If you look at the Sustainable Development Goals (SDGs), each presents its own set of challenges, but at the heart of all of them is the human being.

By adopting a methodical design approach, we can tackle these challenges effectively. Whether I was teaching footwear, apparel, or digital creation classes, I always encouraged my students to focus on what I call “problems worth solving”. This means working on something that will have a positive social, environmental, or humanitarian impact. I’ve been continually surprised and inspired by the outcomes of this approach – it’s amazing to see what happens when students are encouraged to think beyond aesthetics and engage with real-world issues.

At Aliph, this methodology will be embedded into the structure of our program.

The goal is not just to teach design for design’s sake but to develop skills that can make a tangible, positive impact on communities.

There are many excellent design schools out there, but Aliph’s mission is to focus specifically on design and innovation that drives social and environmental good. That’s the road we’ve chosen to take, and it’s how we aim to interact with and serve the communities we work with.

I have known you now for 11 years, and in that time you’ve always been very vocal about the need to bridge the gap between those who want to access top-tier design education and those who can afford it. How will Aliph make education more accessible while maintaining high standards?

Yes, that’s absolutely at the core of our program and one of the biggest challenges we’re addressing. In the beginning, our focus will be on promoting excellence because there are incredibly talented individuals out there who need access to opportunities, but they simply can’t afford it. It’s our job to find and support them, and make sure they have what they need to thrive. At Aliph, the support we provide will not be based on financial ability but rather on merit and need.

Aliph is set up as a nonprofit organisation, and the business model is designed to generate revenue that we can reinvest into supporting learners through the program. The goal is to create opportunities for those who need them most. Our program will be in-person, as we strongly believe in the power of human interaction and proximity. There are certain things – like the exchange of ideas and hands-on learning – that just can’t happen the same way over Zoom or through an online platform. However, we do plan to leverage technology where it makes sense, particularly when it comes to connecting learners with subject matter experts who may not be physically present.

For those selected into the program, the emphasis will be on talent, passion, grit, and constant curiosity.

Those who can afford the program will pay for it, but for those who can’t, we will provide full support throughout the two-year program, including housing, infrastructure, technology, and food. Our aim is to remove financial barriers so that the best and brightest can focus on honing their craft.

Additionally, we’re very mindful about the quality of the instruction. We have a solid idea of who we’ll be recruiting to teach, and we aim to partner with some of the best educational programs in the world. We don’t see ourselves as competitors to other schools; instead, we want to collaborate and bring the best courses to our cohorts. Whether that’s a 12-week program delivered via Zoom for a few hours each week, or a two-week in-person intensive, we’ll experiment with different formats to ensure we’re offering the highest quality education in a way that’s both accessible and impactful.

Ultimately, it’s about balancing accessibility with maintaining the high standards that will prepare these students to succeed at the highest levels of the design industry.

That’s a great approach! Linked to the topic of education, as you know, I recently interviewed Lynn, Diane and Carson about the work they are doing at Oklahoma State University with the 3DRC’s education subcommittee for which you have also been instrumental. Is this work influencing your approach to Aliph in any way?

Absolutely! The work Lynn, Diane, and the team have done with the 3DRC’s education subcommittee has been incredibly influential in shaping my approach to Aliph. The progress they’ve made in translating the certification framework we developed into something tangible is a prime example of how important this work is. Having a certification framework is critical, but if it remains just a theoretical construct, it doesn’t truly serve anyone.

The work they’ve done – taking that framework and turning it into a fully realised program – is exactly the kind of outcome we need in education.

Seeing their vision come to life and witnessing the first students progress through the process has been inspiring. I recall when we had Carson with us in New York last year, and it was clear how impactful that experience had been. It’s an excellent model for what can be achieved, and there’s a lot for us to learn from as we move forward with Aliph.

While the scope of Aliph is different, particularly given the broader focus on design and innovation across various industries, the lessons from the fashion-specific work of 3DRC are invaluable. We’ll need a certification framework for Aliph as well, especially for our fashion-related programs, and we’ll need to build strong relationships with the industry to ensure we’re educating students with the right skills.

The work with the 3DRC has demonstrated how important it is to align education with the needs of the industry, and that’s something we’ll definitely be incorporating as we translate our vision for Aliph into a concrete execution plan.

Missed the OSU interviews? Click here to access Part 1 and Part 2.

I’m so glad to hear that it’s having a positive knock-on effect and impact on your broader work. Now, you’ve also mentioned the mentorship component of Aliph; can you share any success stories to date and what they looked like?

Absolutely – the mentorship component of Aliph is something we’re deeply committed to, and our biggest success to date has been with a young, incredibly gifted 19-year-old creator from Ghana called Samuel Aboagye. I first heard about Sam through my friend Greg Hatton, and I was immediately captivated by his story. Sam noticed mobility issues in his community near Accra and, with nothing more than discarded materials like sewing machine motors, car batteries, and plywood, he built a rickshaw and a scooter to help his neighbours get around. His ingenuity caught the attention of the BBC, and later, his work was exhibited at the prestigious Petersen Automotive Museum in Los Angeles, alongside some of the world’s top designers.

When Greg and another friend, Dan Green, went to Ghana to dismantle Sam’s vehicles and bring them to the exhibit, they created a short documentary about him. It was through this project that I got to meet Sam.

From the very start, I saw in him the kind of creative mind we want to support through Aliph – someone full of creativity, hunger to learn, and a deep desire to help his community.

Last year, we decided to bring Sam to Morocco for one of our creative offsites. It was his first time leaving Ghana, and it was a transformative experience for him. For the first time, he found his tribe – people who shared his passion for creating and solving problems. Until then, he had always been quiet, letting his older sister speak for him in public, but in Marrakech, he found his voice and realised he wasn’t alone in his ambitions.

Since then, Greg and I have been mentoring him regularly, with one or two Zoom calls per week. We provided him with a laptop and taught him how to use tools like Google, YouTube, and Zoom. It’s been incredible to watch him go from sitting under a tree for hours to solve problems, to accessing an entire world of information at his fingertips. His growth has been rapid, and it’s clear that he’s just getting started.

The team from ArtCenter College of Design generously sponsored Sam’s participation in an online automotive design course, and we mentored him through the program. His skills have developed dramatically – you should see how his sketches have evolved; it’s incredible to see how far he’s come in just one year.

Sam’s story is a powerful reminder of the talent and potential that exist in underserved communities, and with the right guidance and resources, these individuals can truly thrive.

Yes, I remember you talking about Sam and his ‘thinking tree’ – it’s a great story! You’ve already mentioned that experimentation with new teaching modalities is central to Aliph’s approach. Could you elaborate on the kinds of technologies and workflows you’d love to introduce?

For starters, it’s essential to understand that while technology will play a significant role in Aliph, as it does in virtually every industry, we need to maintain a balance between the analog and digital aspects of design.

There’s something incredibly tactile and emotional about creating something physical, whether it’s a garment, a car, or any other object. That emotional connection is critical to producing designs that truly meet expectations. If you only engage with the digital side and don’t see the physical creation until later in the process, it might be too late to make meaningful changes. So, we’re very focused on nurturing that balance between the tangible and the virtual.

At the same time, yes, experimentation is central to Aliph’s approach and we want to be a lab for experimenting with new learning methods. Whether it’s a young learner fresh out of high school or a seasoned professional looking to update their skills, we believe that education must be agile and tailored to different audiences. The way boomers learn, for example, vastly differs from how millennials or Gen Z approach education, and we need to explore what works best for each group. A one-size-fits-all model just isn’t going to cut it.

One of the areas where we’re really pushing experimentation is with in-person cohorts combined with remote or in-person subject matter experts. I’ve already been testing these dynamics in the classes I teach at ArtCenter. For example, I’ve had students in Pasadena and Marrakech in the same class at the same time, and I’ve taught from Marrakech with students back in Pasadena using immersive technology like life-sized projections. While it’s not quite a hologram, it’s an exciting step in experimenting with new teaching modalities and seeing what works best.

The goal is to experiment with how we deliver content, which audiences respond best to different formats, and how we can facilitate these ‘creative collisions’ I mentioned.

These interactions between different minds, backgrounds, and skill sets are where innovation happens, and that’s a core philosophy we want to foster at Aliph.

It’s been amazing to delve into what you have planned for Aliph in the long term, Safir. In terms of the practicalities, what kind of timeline are you working to, to get this up and running?

Yes, we’ve had to put together a fairly well-thought-out timeline for Aliph because we’re currently at the stage where we’re about to begin raising funds. We’re in the process of setting up two nonprofit entities – one based in Morocco and an international nonprofit based in Europe. The structure is coming together, and that’s been a key focus.

We’re giving ourselves about a year to pilot a number of foundational courses – 12 in total. We initially hoped to start now, in the Fall, but after revising our timeline, we’re now planning to begin recruiting students and running pilot courses starting in January 2025. Throughout the year, we’ll be testing different modalities and approaches based on the subject matter and instructors. This year of experimentation is crucial for ensuring that we refine the curriculum and get the program structure right.

By early 2026, if we feel the program is mature enough, we’ll officially launch our first full cohort. It feels like a fast timeline, but at the same time, given how long it has taken to get to this point, it feels like progress has been steady. We’re making small, deliberate steps, and everything is moving in the right direction.

I want to stress to our readers that Safir is somehow managing to balance this with about 17 other jobs, me constantly pestering him for PI, as well as being a parent – I’m not sure where your energy and patience comes from but it’s infectious! Well, we are out of time, so I wanted to end with this: how can our readers get involved and help in getting this going?

Haha – I appreciate the energy comment! It’s definitely a balancing act, but I’m passionate about this work, and that keeps me going. To answer your question about how readers can get involved, there are a few key ways they can help us make Aliph a success.

The fashion industry, particularly in Morocco and parts of North Africa, is one of the more developed sectors, and we see it as a major vertical for Aliph. Having spent the last 20 years in this space, I know the industry quite well, and we need support from fashion brands, retailers, and groups to really build a talent pipeline through this program.

One of the biggest ways people can help is through mentorship, internships, and offering career pathways.

We’re looking to collaborate with fashion groups and companies that don’t just see this as a charitable cause, but as a strategic opportunity. By working together, we can shape the program to meet the industry’s needs and develop the skills and competencies that companies are currently struggling to find. It’s about building a real, meaningful pipeline of talent into their organisations.

For those in leadership positions, whether at fashion brands, retailers, or other companies, we’d love to start conversations about sponsorship – whether that’s sponsoring students or sponsoring parts of the program. By doing so, they’ll be investing in the future of the industry while also helping us ensure that Aliph’s graduates are well-equipped to step into roles that are in demand. Ultimately, we’re serving both the learners and the industry, and we can only achieve our goals if we work together to shape these future professionals.

So, I guess in a nutshell: if you’re in a position to offer support through mentorship, internships, or sponsorship, we’d love to connect and explore how we can collaborate to make this vision a reality!

Please reach out to me on Linkedin and we can go from there!

And Michael, I am grateful for the opportunity you’ve given me to share our vision for Aliph. This is a moonshot, and we need all the help we can get!

You heard him folks – get in touch and get involved! Safir, thank you so much for taking the time to speak with me today.

Safir will be attending and speaking at our inaugural footwear event, Stride 2025, in Portland next March. For more info about this project, please click the image below!

Have any questions or comments? Pop them in the comments section below and we’ll come back to you!

12 November 2024 0 comments

Detail of a chemisette dated between 1900-1910, part of the MoMu Antwerp studio collection. The 3D replica with pattern is available on d_archive.io

3D DPC Editors' Pick

Preserving Fashion Heritage in the Digital Age

by Michael Ratcliffe 18 September 2024

written by Michael Ratcliffe

I had the privilege of working with Daniele Scarante at The Fabricant, where I was continuously impressed with his curious, patient and meticulous approach to his work. What really sets him apart is his commitment to prioritising the human side of technology and its broader impact.

When we first spoke about d_archive, I was pulled in by the vision; they aren’t using 3D technology for cost savings, time efficiency, reducing prototypes etc, but instead are reimagining how fashion can be preserved for future generations. It’s that forward-thinking approach that makes this conversation particularly exciting – I hope you enjoy!

Thanks for joining us today Daniele! Let’s start simple: please give our readers a brief summary as to who you are and your professional journey to date within the fashion industry.

Hello everyone, and thanks so much for having me here today! So yes, I’m Daniele, an Italian creative with 15 years of experience in the realms of fashion and technology.

Funnily enough, a career in fashion wasn’t at all on my radar growing up; I studied Art and Photography and just kind of stumbled into fashion by chance. My first role was as a Technical Apparel Product Designer in Italy, working on sportswear for outdoor and performance activities. Completely new to the field, it opened my eyes to the importance of functionality in fashion design and sparked my interest in how technology could play a bigger role in garment creation.

From there, I moved to Prisma Tech, a software, hardware, training and consulting provider, as a 3D Design Specialist, teaching other designers 3D and helping them to integrate it into their workflows. The role was all about bringing digital processes into traditional design, which I loved. Then, around 2018, I joined adidas as a Senior 3D Design Manager, leading a team through a massive end-to-end digital transformation project, before joining The Fabricant, a digital-only fashion house in late 2020 where, of course, you and I worked together.

I came in as the 3D Fashion Lead and later took over their Academy, focusing on building strategies to engage the creative community, upskill talent, and help people become active co-creators in The Fabricant’s ecosystem.

Since 2023, I have been involved in a new project called d_archive, and while I’m still working in the digital fashion space, I’m no longer working with 3D directly myself; my role is more strategic as we endeavour to grow awareness and our reach.

That is quite the resume, and yes, I have known you now for a couple of years having worked in the trenches together – it seems like a lifetime ago! So tell us Daniele, what is d_archive and what inspired its creation?

d_archive is a project that aims to preserve fashion heritage and make it digitally accessible to everyone.

Most fashion heritage pieces are not easily accessible for those who seek to study them. Museums and brands’ archives are securely stowed away to preserve fragile and important pieces, so passionate people rarely get a chance to see them. So d_archive’s main purpose is to enhance the accessibility and the preservation of fashion artefacts by using 3D technology to digitally recreate garments.

Our process is all about reverse engineering — we measure and extract all the details of a garment, from its dimensions to the type of fabric, the placement of buttons, embroideries, and more, and then this data is compiled into a digital database of assets. Not only does this help us preserve the garments, but it also makes them accessible for the future as all of the garment’s data is saved and available in one place.

We always like to stress that we’re not trying to replace traditional methods of preservation, like photography and archiving, but instead we are working with the current material that museums/archives have and adding an extra layer of information on top of it.

With the workflow we have created by combining different tools and technologies, we can extract additional information. So we can say that our work is complementary to photos, videos and 3D scans, where each one carries different info.

Over the last few decades, there’s been so much focus on innovation and fast production within fashion that we feel we sometimes overlook the importance of preserving its rich history and what we can learn from it.

Video: d_archive platform overview

Who makes up the founding team and what roles do you each play day to day?

Our team is made up of 4 professionals and I’ll start with Martina Ponzoni, as she was the ideator behind d_archive. Martina is a 3D fashion specialist with a background in accessories design, and she also lectures in the School of Fashion and Textiles at RMIT in Melbourne. As our CEO, Martina’s experience and leadership drive the overall direction of the project.

Then we have Virgile Biosa, who is co-founder and Creative Director, as well as the founder of Unexplored Fields, a creative collective based in France. Virgile is the one responsible for curating all the output and the storytelling, particularly the rendering side of things – he’s our ‘Blender Wizard.’ All of the stunning visuals and experimental designs you see on our website and on our socials are his creations.

Next is Erisa Ibrahimi, co-founder and Business Development lead. Erisa is a digital fashion lecturer at institutions like Istituto Marangoni and H-Farm College, and was previously the Head of Digital Fashion at Prisma Tech, where we were colleagues. Erisa’s expertise in business development and education is crucial in helping us grow.

And then there is me; for the first time in years, I won’t be working directly in 3D, which actually comes as a bit of a relief. I’m taking on the role of CMO, which is a new challenge for me, back to learning and applying new skills.

We have such a great and well-balanced team in terms of skillset and expertise, and we’re spread across 4 countries – Australia, France, Italy, and The Netherlands.

Now 3D technology is of course at the heart of d_archive’s work. Can you explain the process of reverse-engineering historical garments and how 3D replicas are created?

3D replicas are built with a meticulous work of studying, measuring, and recording every element that makes up the original garment or accessory. The process we created is divided into three main pillars:

The first step is all about investigating the physical item. This is a manual process where we physically examine the garment, take detailed measurements, and capture photographs. If it’s an industrialized garment, we might have access to existing paper patterns or a tech pack, but for historical pieces, we manually reconstruct the pattern. This step lays the groundwork for the 3D replica, but at this stage, there’s no 3D software involved yet—it’s all about getting accurate physical data.

Next, we move on to the second step, which involves crafting the 3D replica. I use the word ‘crafting’ intentionally because, in this phase, we recreate every detail meticulously.

Unlike a typical digital product creation workflow where you might simulate or simplify certain elements for efficiency, we manually reconstruct even the most complex parts of the garment.

For example, instead of simulating bindings or stitches construction, we try to recreate them as close as they are in the physical piece. Our main goal is to have a very detailed and accurate database of information (patterns, measurements, etc.) and to be visually as close to the original as we can get. This is a more time-consuming process, but it ensures that we capture all the important details.

Finally, in the third step, we focus on enhancing asset quality and this is where we add a layer of CGI using software like Blender to make the 3D render as realistic as possible. The purpose here is not just for visual appeal, but also for preservation.

In 50 years, the physical garment might deteriorate, but the high-quality render will remain, providing future generations with a detailed and interactive representation.

With this 3D render, you can zoom in on specific details, rotate the garment, and access far more information than you would from a standard photograph.

Once the 3D replica is created, we have the ability to extract not just patterns but also BOMs and tech packs, allowing creators to integrate these heritage designs into modern workflows should they wish. This creates a connection between the past and the present, where a historical garment can now provide valuable data that we can use in modern design and production.

Throughout this entire process, we are very careful to maintain accuracy, both in the crafting of the 3D replica and in the final CGI render.

Our goal isn’t just to create a beautiful image like in typical design, but to build a comprehensive database of assets that will preserve the garment’s information for the long term.

Which specific tools do you use for this process?

For the first part of the process, we rely entirely on manual tools. It’s very hands-on, traditional work and involves cameras, measuring tapes, squares, and pencils—everything needed to manually examine and measure the garment, and get accurate physical data to replicate it digitally.

Once we have the measurements and physical patterns, we move into the second and third phases, which is where the 3D crafting begins: CLO3D to recreate the garment digitally, and Adobe Substance and Blender for fine-tuning, texturing, and rendering.

We’ve developed a simple, yet highly reliable pipeline using these tools; our approach to technology is very pragmatic: it needs to be stable, reliable, and effective.

While we are open to experimenting with other technologies, we take a cautious approach to value but also longevity. One of our key requirements is that the technology is likely to still be relevant and functional in 20+ years’ time so we can ensure the preservation of our preservation work, as it were. For example, take the SVG file format. It’s a format that has been around since the late 90s and is still in use today. It’s a reliable format that’s easy to open, upgrade, and save—an important consideration for us when we think about the future-proofing of our digital archives.

In the end, technology for us is always about serving a clear purpose, not chasing trends or gimmicks. It’s all about ensuring that the tools we use help us achieve accuracy, quality, and long-term accessibility.

Presumably, the garments you are working with are owned by some entity, be that a brand, a museum, a private collector, or in the public domain. How does ownership of the physical garment impact the ownership of your 3D, digital replicas?

In general, if there is a clear owner, they give us their permission with which we can store the digital replica and all associated data on our website, but there are grey areas of ownership, for example, when a brand no longer exists but still holds rights to a design. Regardless, we always approach the situation with a lot of caution. First and foremost, we conduct thorough research into the history of the brand or garment, looking at who might have ownership, whether it’s still active, and if it falls into the public domain. If there’s any uncertainty about the ownership, we always prefer to take our time to fully understand the situation before proceeding.

Whenever we’re working with a museum, it’s crucial that we have clear communication and permission to make the items accessible. Even though some pieces might be in the public domain, we still take extra steps to ensure everything is done ethically. We also make sure the garments are credited properly and that our digital archive promotes the visibility of the museum’s collection.

What’s the biggest challenge that you’ve faced in your preservation work so far, and how have you overcome it?

One of the biggest challenges we’ve faced is when, for various reasons, we are unable to physically handle the garment. Without being able to touch and examine the piece, it becomes much harder to extract all the detailed data that we usually rely on. To address this, we’ve been testing photogrammetry, which allows us to scan the artefact and capture its volume digitally, which is essential when we can’t physically interact with it.

What’s important for us is to recognize that the purpose of our work isn’t just about producing something quickly, but that what already exists will still be accessible in the future. Sometimes, this means documenting the limitations of our processes or technologies and learning from them.

Not every challenge needs to result in a perfect outcome, but every experience helps us—and the wider field—develop a better understanding of how technology can be used as a tool to support the preservation of fashion heritage.

I hadn’t even considered that some of these pieces would be that fragile. So in practice, how does that play out on the day when you first set about collecting those data points manually?

It’s both really exciting and nerve-wracking; when we first go in to collect data points manually, there’s a lot of care and precision involved. For instance, when we’re working in a museum, the process often feels like stepping backstage in a theatre—there’s a whole world behind the scenes that most people don’t see. It’s fascinating because you get to witness how these historical pieces are preserved, stored, and handled.

Before we can even start, there are strict protocols that have to be followed: we always use gloves, and our hands must be clean and free from anything that could damage the garment. Fragile items can be very delicate, so we handle them with the utmost care. Even when taking photos or measuring, we make sure that our approach is as gentle as possible.

In some cases, we don’t handle the garment directly, and that’s where the museum staff, who are trained in their handling, assist us. These people have years of experience working with such pieces, and so we rely heavily on their expertise. The environment is also tightly controlled – things like temperature and humidity are carefully monitored to preserve these historical objects. Some of these depots and archives are amazing to visit because you can see first hand how dedicated the preservation process is, from the way items are stored to the precision of the environmental controls.

Even with all this care, it’s still nerve-wracking because you’re handling artefacts that could be hundreds of years old. There’s always a sense of responsibility, knowing that this object has survived so long and you need to ensure that it continues to do so.

But this is also what makes the work exciting—there’s a sense of discovery every time. For instance, we often find small details in these garments that tell stories about how they were made, like asymmetries in historical, tailor-made pieces that are absent in today’s industrialized fashion. These details open up conversations about craftsmanship, history, and even topics like sustainability or the evolution of fashion production.

At the end of the day, it’s about more than just capturing measurements or patterns—it’s about learning from the past and bringing those lessons into modern conversations.

Whether it’s a pleated skirt designed to adjust as the wearer’s body changes, or techniques that speak to durability and longevity, these garments still have much to teach us.

Can you share some of the most notable projects d_archive has worked on so far?

For sure the most notable project to date has been with the ModeMuseum (MoMu) in Antwerp because it’s the most complete project we’ve worked on and we learned so much because of it. We initiated the contact through a mutual connection, Shayli Harrison, who introduced us to MoMu.

This collaboration was a significant milestone for us because it allowed us to move from the proof-of-concept phase into practical application; it became a testing ground for our processes, and it gave us a clear understanding of the value we were creating, not just for ourselves, but also for the institutions we work with.

The garments we worked on were specifically chosen for a showcase as part of a Future Front Row (FFR), a fashion hologram show. I know you interviewed the FFR team also so your readers will know about their amazing work!

(see our interview with the Future Front Row team here)

We focused on a centenary silhouette, which was a functional riding garment that belonged to a wealthy woman from a prominent Dutch family. It was chosen not only because it was a complete piece that could be fully replicated, but also due to its origin: it was a functional garment designed for horse riding, with unique design features like asymmetrical cuts that allowed women to sit on a side-saddle comfortably while still maintaining the structure of the skirt.

So yes, the MoMu project allowed us to refine our process and understand the challenges of working with historical garments. It was a real learning experience, and we had to improve and test various aspects to ensure we could meet both the institution’s scientific standards and the needs of our audience.

Another fascinating project was our residency at ATOPOS cvc in Athens, keeper of the largest paper fashion collection in the world, with more than 500 paper garments. Paper garments date back to 19th-century Japan, where they were made from recycled paper and became functional pieces worn under other garments for protection. Fast forward to the 1960s, and paper garments also became a trend in Western fashion, notably with pieces like the famous Campbell Soup dress. The 3D replica and data of this dress is in fact available on our platform already for anyone interested.

I have to thank Daphne Mohajer va Pesaran, fashion researcher, Lecturer, and Program Manager at RMIT University, who introduced us to the world of paper garments and invited us to join her for the residency at ATOPOS.

Together, we studied their archives for one week and we conducted a workshop where, on one hand, participants learned from Daphne how to work the paper to make it stiff and usable for garments, while on the other, we taught them how to reverse-engineer these pieces digitally. This was a great example of combining craftsmanship with technology, bringing both the practical and digital worlds together.

Lastly, we’ve also collaborated with two of Italy’s most renowned archivists: the Archivio Storico Vintage and A.N.G.E.L.O Vintage. We digitised complex garments, and then we played around creating new and imaginative full-looks and outfits digitally, to demonstrate the potential of having access to a database of 3D replicas by mixing and matching heritage garments without worrying about ruining them.

This was a creative exercise to show what could happen when designers have access to a vast digital archive of garments from different time periods and regions.

What specific services does d_archive offer to museums and fashion brands?

For museums, our focus is on accessibility and preservation. To date, we have prioritized working with museums because they are scientific institutions, and this allows us to rigorously test our processes in a reliable and credible way.

We haven’t formally launched our services for brands yet but are already in discussions with several companies.

Our vision for brands revolves around the same core pillars of accessibility, reuse of data, and preservation.

Brands can use our services to build a digital database and archive of assets, preserving their design DNA and making it accessible for future projects. This would enable them to connect their rich history with contemporary stories, all while ensuring consistency across collections. We don’t aim to disrupt their current processes but, again, simply add a layer of information that integrates seamlessly into existing systems.

Video: Historical riding costume, MoMu Collection | Future Front Row at Flanders Technology & Innovation Festival
All references here: https://www.momu.be/en/magazine/digital-fashion-riding-costume

You’ve also mentioned running workshops as part of your offering; can you elaborate on this side of your offering?

Yes, we offer educational and practical sessions where we teach participants how to reverse-engineer garments and work with 3D technology. This offering is aimed at any group interested in digital fashion preservation.

During our workshops, we walk participants through the entire process, from manually collecting data on historical garments to creating detailed 3D replicas, and collaborate with experts, such as fashion researchers, to ensure that these workshops offer both a technical and creative experience.

These workshops provide a hands-on way for people to engage with both the traditional and digital aspects of garment preservation. They are designed to be flexible and tailored to the audience, depending on their specific needs and goals.

For schools, for example, the workshops might focus more on educating students, providing them with the tools and knowledge to engage with fashion preservation and 3D technology. In these cases, we might teach them the process of reverse-engineering garments, or how to reinterpret heritage styles using modern tools.

We ran a workshop at MoMu where we invited several designers to use our data of heritage styles from the museum’s collection to create something new while maintaining a connection to the original. And at ATOPOS, attendees worked hands-on with us to recreate historical paper kimonos using the measurements and patterns we gathered.

But no matter the specific focus, all of our workshops aim to spread knowledge, educate, and share our processes with others. We’re committed to ensuring that what we do is accessible, and we strive to avoid being gatekeepers of knowledge.

Image: Suza Vos and Naama Turner participated in d_archive’s first workshop at MoMu.

What is your business model?

Not at all – I’d love to say we’re just doing all of this for fun and out of the kindness of our hearts, but at the end of the day, money helps fund the work and our growth. We generate most of our income through client-based projects and workshops, and at the same time, we are exploring opportunities within European funding programmes.

We are also planning to implement a subscription model on our platform; the data and resources that are currently free will remain free and will be integrated with new releases, but we will introduce a paid tier that offers additional content, such as tutorials, and other resources for every garment we work with.

Subscriptions will help us consistently produce in-depth content on heritage fashion and explore new niches worth preserving and making accessible.

Video: 1890 – 1900 corset. Art direction, texturing, and Blender animation by Virgile Biosa. 3D modelling in Clo3D by Martina Ponzoni. Pattern making by Erisa Ibrahimi.

Are there any upcoming projects or collaborations that you’re particularly excited about?

Yes – we are very much looking forward to November because we have been invited to Madrid, where Centro Superior de Moda de Madrid of the Polytechnic University of Madrid (CSDM-MUP) and the Museo del Traje (CIPE) are jointly organising the Second International “Tech&Craft 2024” Congress on Technology, Craft and Fashion Innovation.

This congress was born with the mission of being an international scientific forum to analyse and discuss the importance of preserving and enhancing the value of traditional techniques along with the application of new technologies in the creative processes and conservation of textile heritage.

We are currently finalising the details of our workshop, but what I can share is that we will be working with Museo del Traje’s collection of “glasillas,” which are lightweight, plain-woven fabric mock-ups, often used for making prototypes or test garments. They originate from a number of different Spanish ateliers that were active after WWII, the common thread being that at the time, they copied the design models from the latest collections of the great designers.

What I think makes this project particularly fascinating is that these copies, over the years, have become as valuable as the original garments in terms of the information that the model carries within itself.

At the end of November, we will also be returning to MoMu for an exciting project, but I can’t tell you more about that one just yet…watch this space!

I look forward to hearing all about it! And with that, we are out of time, so let’s end with this: in what ways do you hope your work with d_archive will impact the fashion industry at large?

Our focus has never been on trying to influence or disrupt the fashion industry.

We want to do our work as accurately and thoroughly as possible with the aim of providing valuable information and resources for those who are genuinely interested in learning about fashion history, preservation, and the craftsmanship behind garments.

Of course, if our work inspires someone along the way, that’s great too, but our primary focus remains doing a good job, first and foremost.

Thank you so much for taking the time to speak with me today, Daniele – can’t wait to see what you guys do next! For those of you interested in keeping up to date with the ongoing work of d_archive, set yourself up with a free account now at darchive.io

Have any questions or comments? Pop them in the comments section below and we’ll come back to you!

18 September 2024 0 comments

Editors' Pick People & Leadership

The Great Contraction: Why Do We Feel so Bad When Things Are So Good?

by Barry McGeough 23 July 2024

written by Barry McGeough

Opportunity Knocks in a Polarized Retail Market

In the US these days, we find ourselves living in a business dichotomy, where, at the best of times, every day is a rock fight. On the good news front:

The U.S. economy has never been better
With target inflation in sight, the Fed avoided recession and stuck a soft landing
Unemployment is staying steadily under four percent
Real wage growth is up
Real consumer spending is outpacing 2023

At the same time, we are paradoxically seeing record layoffs in every sector of the economy, record store closures – from Target to Macys – and high-profile bankruptcies – from Red Lobster to Rite Aid.

This ‘Great Contraction’ is literally making the retail world smaller and more deliberate; it is a wake-up call. Leaders who recognize the dichotomy can better temper the potential whipsaw effects on their businesses. The prescription is twofold: strategic foresight and applied innovation.

Economic Misalignment

In February of this year, Jason Draho, Head of Asset Allocation Americas at the UBS Chief Investment Office, published an almost shockingly rosy report called “The CEO Macro Briefing Book: On track for a soft landing, what’s next?” The forecast reported that the U.S. economy would slow in 2024, but only modestly, around 3.1 percent, and that Fed rate cuts would ease lending conditions, raising confidence in the economy (revised and now anticipated for Q3). It also predicted: an unlock of a record amount of dry powder, which will be pointed toward a rebound in M&A deals leading to a new Roaring 20s; consumer spending should remain healthy, even with labor demand cooling; a lower supply growth relative to the past two years that should keep the labor market from getting too loose; and finally, household wealth would be at near record highs, real incomes would rise, debt to income levels would not be stretched, and debt servicing would remain very low despite higher rates.

In support of this optimistic outlook, Sam Goldfarb, of the ever pragmatic Wall Street Journal, wrote an article in April entitled “Envy of the World – U.S. Economy expected to keep powering higher as economists lift their growth forecasts in the latest WSJ survey.”

He noted, “it has been two years since forecasters felt this good about the economic outlook,” quoting RSM U.S. Chief Economist Joe Brusuelas. “We think that the American economy has entered a virtuous cycle where strong productivity results in growth above the long-term trend, inflation between 2 percent and 2.5 percent and an unemployment rate between 3.5 percent and 4 percent.” Goldfarb reported that 69 economists were surveyed who on average believe that core PCE inflation will fall to 2.1 percent by the end of next year without a recession.

Now, contrast those rosy outlooks with the latest and ongoing retail job cut headlines:

Walmart just slashed 2,000 jobs
Columbia recently announced pending layoffs
VF let 500 go
Unifi cut headcount
Nike laid off over 700 just last month
PVH just announced it is planning its next wave of layoffs in an attempt to fill a $50M gap

And, to be clear, it’s not restricted to the retail sector:

Google laid off hundreds more workers in 2024 and has ended its permanent hiring practice
Unity Software is eliminating 25 percent of its workforce
UPS will cut 12,000 jobs in 2024
Cisco slashed more than 4,000 jobs amid corporate tech sales slowdown
Peloton laid off 15 percent of its workforce in May 2024

According to TechCrunch, “the tech layoff wave is still going strong in 2024. Following significant workforce reductions in 2022 and 2023, this year has already seen 60,000 job cuts across 254 companies, from TikTok to Tesla, according to an independent layoffs tracker.”

Welcome to the Great Contraction

How can two seemingly polar opposites be happening at the same time? Why the dichotomy? This perplexing contraction has forced some of our best and brightest talent into uncertainty and early retirement, ironically threatening to upset the upbeat, current economic state. This is in part caused by irrational post-covid exuberance, but more importantly, has to do with a fundamental misread of the US consumer market.

What’s happening has been foretold. Over a decade ago, Ken Duane, then President of the Heritage Group at PVH, famously and contentiously pronounced that “America was a value market and we just hadn’t figured it out yet.” But he had. What he was referring to is described by Deborah Wienswig, CEO of Coresight Research, as the Hourglass Effect.

During times of volatility and uncertainty (like now) consumers gravitate towards either value or premium products. “Middling brands and retailers face challenges as consumers either trade up (to brands they are connected to) or trade down for affordability and value. And the same consumer can – and does — do both,” according to Weinswig.

Fighting the Contraction

The opposite of the Hourglass Effect, and Robin Lewis’ classic moniker “the race to the bottom,” is trust. Brands that truly connect to consumers through great product, innovation, and engagement engender trust. Consumers look for brands that they believe know and understand them, and make them part of their lives. Patagonia, Hoka, On Running, Stanley, Lululemon (who just posted yet more double-digit quarterly gains) and Hugo Boss are enjoying category growth and pricing expansion – built on authenticity and recognizing their customers as individuals. They have transcended from transactions to relationships.

By way of example, the Hoka Cielo 21, a $275 running day shoe, sold out its Q1/24 first run on Instagram in 14 minutes through a fearless combination of high-performance digital technology and a genuine consumer experience. The dichotomy is the malaise of over-exposed and taken-for-granted Nike, who has solidly cleaved to the $100 shoe, underestimating the consumer.

Questionable Value

At the value end of the market: Walmart boasts 3559 supercenters and is adding 150 more doors in the coming years; Ross will add 90 doors in the U.S. this year; Costco will add 31 warehouses this year; and Dicks is expanding its dominance with its current 12 ‘House of Sport’ locations with 10 more planned for this year, and its seven new ‘Public Lands’ outdoors store to celebrate and protect natural lands.

The health of the value market is robust and Burlington is not the only off-price brand benefiting from lower-income shoppers who need a deal alongside trade-down consumers who want a deal.

On the flip side, those brands who don’t see America as a value market, are operating in the ‘Messy Middle’, or what some have uncharitably called “the kill zone.” These are the brands that sit at the fragile connection point in the middle of the hourglass.

This “mediocre middle” market includes companies like:

Wolverine Worldwide: at full strength, it owned 13 brands but has now wholly divested its Keds and Sperry brands, and just last month, it licensed part of its flagship Merrell brand and continues to see its stock price tanking
VF brands Vans and Timberland (rumored in Footwear News to be for sale), have seen dramatic declines and are in turnaround mode under Bracken Darrell’s new austerity leadership
As already noted, Nike, never to be discounted, is also in rebuild mode after a radical 2019/2020 oversimplification of the business flattening of much of its VP-level leadership, and in the process, eliminating vital legacy, tribal brand history and product knowledge. Rudderless post-Covid, their break-up with Foot Locker has been course corrected with a clear focus on the middle lane including re-teaming with new CEO Mary Dillon at Foot Locker and a new commitment to Innovation
Under Armour, with its leadership travails and sagging relevance to its aging core customer could also be rated in this class

And all this contraction is now expressing itself as a brand fire sale that sees savvy investors like Authentic Brands, whose portfolio of 40-plus iconic and renowned brands generates more than $25 billion in global annual retail sales. It recently acquired and licensed brands like Sperry, the Boardriders brands, and most recently Champion. These are gigantic deals further polarizing each end of the hourglass by flooding the value markets with well known brands, eviscerating the middle, and reducing middling and moderate brands and retailers to utilitarian transactions and possible oblivion.

Where Kohl's lost customers now shop instead — Source: Global Data Customer Panel

An Alternative Prediction

The way forward in a polarized U.S. market is nothing short of opportunistic.

Big commodity brands are not only seeing expansive growth into new channels, but are also working with retailers to improve product value and introduce technology to optimize their business and their ability to connect to consumers. Walmart CEO, Doug McMillon, spoke this year at CES about his commitment to “Adaptive Retail” that is interactive, predictive, responsive and seamless. His team is currently delivering: app-based AI recommendations; scan-and-go cashier-less payment; voluntary time off; drone delivery service; and digital programs including “Shop with Friends” and “Text to Shop.” Walmart is also developing GenAI customer search interfaces built into the app partnering with Google. The adaptive retail model is launching in Houston in 2024 and will roll out into other metros in the coming years. Walmart is doing all of this because it knows it must better connect to its consumer to fuel its growth objectives.

For those brands currently successful in direct connect-to-consumer, we can look forward to an explosion of AI-driven initiatives, from rapid advances in materials sciences to the acceleration and democratization of everything from code to loyalty. The ubiquity of “text to everything” technologies, like Sora.ai just released by Open Ai’s ChatGPT, will democratize every part of the product experience from creation, imagery, words and ultimately the customer experience. Companies like Run Diffusion that provide GPU-as-a-service to transform GenAI images to commercially scalable media and toolsets with simple text prompts – and doing so at a fee of $0.50 per hour – will continue to accelerate, amplify and excite the consumer experience.

We will also see more mission-driven, audacious moves that meaningfully and genuinely connect to consumers. Patagonia is the poster child for purpose-driven retail. It changed its entire corporate structure and transferred all ownership to two new entities: Patagonia Purpose Trust and the Holdfast Collective. Every dollar that is not reinvested back into Patagonia is distributed as dividends to protect the planet in their laudable effort to save our home world. While this is the purest move our industry has ever seen, leadership also realizes there is no mission without margin. As CEO Ryan Gellert said last year: ‘at Patagonia we have to be greener than green – and make a profit.’

Run Diffusion that provide GPU-as-a-service to transform GenAI images to commercially scalable media and toolsets
Source: https://rundiffusion.com/

Foresight Is Insight

The Great Contraction is a wake-up call; leaders that see the dichotomies in both economies and markets can temper the potential whipsaw effects of opportunity and threat to their businesses by acknowledging the hourglass shape of the U.S. market and leaning into it.

The prescription is twofold:

First, embed the ability to see around corners and choose the lane that best supports the brand’s strategic initiatives. This is the case for strategic foresight as an essential discipline coupled with critical thinking.
Second, develop the ability to grow muscle in the right places and to innovate and serve the value consumer in both physical and digital connection, without wasting intellectual and financial capital where it is not required. This is the case for applied innovation to build brand value, revenue, and profit.

Conclusion

While the reaction to this polarization of consumer behavior has been very real – with profound effects on people, supply chains and P&L’s – the opportunity for deliberate, data driven 21st century growth is also swiftly emerging. By connecting with consumers on both ends, brands can drive both value and relevance, laying the groundwork for a new era of brand health and ushering in the new roaring 20’s.

I hope you have found this interesting and above all else, valuable! Thanks for reading and please feel free to reach out to me here with all and any questions you might have, or indeed if you just want to have a conversation!

23 July 2024 0 comments

fashion

What Problems Are We Facing?

(1) The E-Commerce Model is Failing

(2) Physical Stores Need a New Approach

(3) Influencer Marketing Has Lost its Impact

What Can We Do To Tackle These Head-on?

(1) Use Technology Together with Craftmanship

(2) Provide an Experience Together With the Product

(3) Embrace Circular, Ethical, and Sustainable Business Models

(4) Leverage Social Media for Sales

So What’s Next?

An Introduction to On-Demand Fashion

Defining On-Demand Fashion

Motivations for Embracing On-Demand Fashion

Key Challenges in Implementing On-Demand Fashion

The Role of Technology in On-Demand Fashion

Barriers to Wider Adoption of On-Demand Fashion

The Sustainability and Environmental Impact of On-Demand Fashion

What is the Future of On-Demand Fashion?

Advice for Brands Considering On-Demand Fashion

Final Thoughts

Please don’t hesitate to get in touch with us on Linkedin via the links below should you have any questions!Rahul and Julia.

Rahul Verma

Julia Chinakaeva

The Technology Behind Digit360

Transformative Potential for Fashion

Virtual Try-On Experiences

Design and Manufacturing Implications

Vendor Landscape

The Future of Embodied Digital Experiences

For those of our readers who haven’t had the pleasure, who are you Safir and what has been your professional history to date?

Such a great initiative – to clarify, you mentioned this being focussed on design; is this design across all verticals or is it more niche?

Who have been your core partners in getting this going to date, and what role(s) do they play?

Now you mentioned the Aliph creative offsites you have run in Marrakech, and I of course was lucky enough to attend one earlier this year – thank you again for including me! How many of these have you run to date and what role have they played in shaping the vision for Aliph?

I have known you now for 11 years, and in that time you’ve always been very vocal about the need to bridge the gap between those who want to access top-tier design education and those who can afford it. How will Aliph make education more accessible while maintaining high standards?

I’m so glad to hear that it’s having a positive knock-on effect and impact on your broader work. Now, you’ve also mentioned the mentorship component of Aliph; can you share any success stories to date and what they looked like?

Yes, I remember you talking about Sam and his ‘thinking tree’ – it’s a great story! You’ve already mentioned that experimentation with new teaching modalities is central to Aliph’s approach. Could you elaborate on the kinds of technologies and workflows you’d love to introduce?

It’s been amazing to delve into what you have planned for Aliph in the long term, Safir. In terms of the practicalities, what kind of timeline are you working to, to get this up and running?

You heard him folks – get in touch and get involved! Safir, thank you so much for taking the time to speak with me today.

Safir will be attending and speaking at our inaugural footwear event, Stride 2025, in Portland next March. For more info about this project, please click the image below!

Thanks for joining us today Daniele! Let’s start simple: please give our readers a brief summary as to who you are and your professional journey to date within the fashion industry.

That is quite the resume, and yes, I have known you now for a couple of years having worked in the trenches together – it seems like a lifetime ago! So tell us Daniele, what is d_archive and what inspired its creation?

Who makes up the founding team and what roles do you each play day to day?

Now 3D technology is of course at the heart of d_archive’s work. Can you explain the process of reverse-engineering historical garments and how 3D replicas are created?

Which specific tools do you use for this process?

Presumably, the garments you are working with are owned by some entity, be that a brand, a museum, a private collector, or in the public domain. How does ownership of the physical garment impact the ownership of your 3D, digital replicas?

What’s the biggest challenge that you’ve faced in your preservation work so far, and how have you overcome it?

I hadn’t even considered that some of these pieces would be that fragile. So in practice, how does that play out on the day when you first set about collecting those data points manually?

Can you share some of the most notable projects d_archive has worked on so far?

What specific services does d_archive offer to museums and fashion brands?

You’ve also mentioned running workshops as part of your offering; can you elaborate on this side of your offering?

What is your business model?

Are there any upcoming projects or collaborations that you’re particularly excited about?

I look forward to hearing all about it! And with that, we are out of time, so let’s end with this: in what ways do you hope your work with d_archive will impact the fashion industry at large?

Thank you so much for taking the time to speak with me today, Daniele – can’t wait to see what you guys do next! For those of you interested in keeping up to date with the ongoing work of d_archive, set yourself up with a free account now at darchive.io

Opportunity Knocks in a Polarized Retail Market

Economic Misalignment

Welcome to the Great Contraction

Fighting the Contraction

Questionable Value

An Alternative Prediction

Foresight Is Insight

Conclusion

I hope you have found this interesting and above all else, valuable! Thanks for reading and please feel free to reach out to me here with all and any questions you might have, or indeed if you just want to have a conversation!

Follow Us

Please don’t hesitate to get in touch with us on Linkedin via the links below should you have any questions!

Rahul and Julia.