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Is Digitization The Savior Of The Fashion Industry?

Digital Fashion

Digital transformation of fashion design and manufacturing is viewed as both an opportunity and a threat, depending on who you ask. The perceived threats include job security, creativity, and loss of the “human touch” in fashion design and garment-making. The opportunities span time and cost savings, vast and swift sustainability gains (including removing textile waste and reducing the need for dyeing, water use and the carbon emissions generated by physical sampling) and the ability to manufacture small quantities of products profitably.

Other creative industries, such as gaming and film, have adopted digital tools and subsequently platforms that link design, the beating heart of all the products created for human consumption, with every other person and process necessary to bring that design to life (whether that be on a screen or in physical form). It follows that these industries have therefore provided a blueprint for the digitization of fashion—or have they?

To put this debate into the current context, the sustainability pressures facing the fashion industry point to digital transformation being necessary, rather than optional. The rising cost of raw materials as the planet’s resources dwindle, the carbon and financial costs of manual garment sampling and shipping back and forth from manufacturers in Asia to Europe and the U.S., and the switch from two seasons per year to monthly (or weekly) product launches to keep up with social media trends, mean that the only way to meet global consumer demand is to digitize and streamline manual processes. Indeed, the question seems to be how can the industry progress in a manner that is sustainable, ethical and profitable without digitalization?

To draw parallels and find out what fashion can learn from the gaming and film industries, I spoke to Remo Gettini, a serial innovator who is ex-Dreamworks, and DWA NOVA, and now the CTO of the human-centric app-based community of 16 million buyers and sellers of fashion, Depop. What is holding fashion back? Why has digital transformation been so slow? What steps should the industry take to transform expensive, slow, manual, unethical, unfair and unsustainable practices into processes fit for today’s consumers, who want a paradox of constant newness (often personalized) within the planetary bounds?

As CTO at DWA NOVA, Gettini worked with brands ranging from Tommy Hilfiger to Nike and Burberry to navigate the digital landscape and define and implement digital solutions for product design, development and merchandising. “The fashion industry has the opportunity to increase its creativity way beyond what it can currently imagine,” says Gettini. What it lacks is access to human-centric technologies fit for the creative nuances and ephemerality of fashion design. “How do you express the value of a Burberry scarf in a 3D render?” asked Gettini. This is a tough question and one that is being asked by fashion brands, too.

Why has 3D digital design fallen so far short for fashion, I asked? The answer, according to Gettini, having spent decades orchestrating digital transformation as a solutions architect, technical director, and CTO, is that digital design has been borne out of engineering and is based on CAD/CAM solutions, which are “not creative or intuitive in a way that empowers designers.” His view is that the solutions on the market right now, CLO3D (one of the newest CAD solutions for fashion) included, are driven by technical specifications that still do not bridge the gap between creative design and product creation.

The width of this gap is astonishing if you think about the current turnover of styles and speed of fashion, paired with dwindling order volumes as e-commerce has ushered in a shorter shelf-life for styles that are driven by fleeting Instagram trends. This is a phenomenon Depop knows only too well as they provide a seamless platform that integrates social-media trends, e-commerce, and online communities.

The second barrier, he believes, is that solutions providers approach fashion like it was any other industry. They present the same tools to fashion as they do to automotive, aerospace and architecture. “This just won’t work with fashion,” he says. “Fashion needs a platform that plugs creative design into the supply chain painlessly and without designers having to change the way they work. This is fundamental. Designers should not be asked to drop their manual design and illustration techniques in favor of a mouse and keyboard.” To Gettini’s mind, this is where digital transformation “falls at the first hurdle.” So what is the solution?

Reflecting on the strategy of digital transformation at Dreamworks, he explained that they gave designers a tablet and pen so that whatever they drew was digitized—the action was the same, but the options for color, texture, and effects were greater. They expanded the designers’ toolkit, rather than changing it. This unleashed their creativity and the rest of the digital solutions were built around translating these digital sketches into products that could be manufactured via CAD/CAM solutions, seamlessly.

He stressed throughout our conversation that the technology “needs to disappear” and leave only the impression that the work is easier, better and more creative. “Human-centricity is the key to digital success.” In fact, at Depop, the users never talk about the app. They talk about “the experience, the friends they make, the communities they join, the clothes they buy—never the technology,” says Gettini.

What else would Gettini do to fast-track digital transformation in fashion? From a C-level perspective, he would hire new talent graduating from fashion colleges with 3D design skills and an appetite for creative digital design in place of traditional methods of fashion design. He would place these new recruits with the current crop of designers and task them with developing the next collections collaboratively, to leverage both approaches. Fundamental here is the integration of digital design in the actual design and development of products, rather than as an isolated “project.” “

There is no point running a separate pilot to dip your toe in—digital-native designers need to be introduced into the process as part of the business, not as an experiment,” he says. This triggers memories of views shared with me by digital designers working in siloed departments at global brands, who express frustration that digital solutions are adopted within their departments, but do not influence or integrate with other departments, or the supply chain. The very “project” approach that Gettini warns against is a common approach, it seems.

So what does the digitization of fashion design mean for the future of Depop? Depop currently has 16 million buyers and sellers of fashion on its app (the tip of the iceberg, according to Gettini), and in all likelihood, they have the next generation of fashion designers on their platform, too. What would happen if the Depop community could create and share digital fashion designs for crowd-vetting, that are connected to digital manufacturing facilities allowing production on demand, to the quantity determined by the seller (and demanded by the Depop community)—a kind of “Unity for fashion,” as Gettini calls it? This is something that Depop is currently looking into as a possible evolution of their fashion platform. This example further illustrates how 3D digital design has the power to provide fashion-on-demand in a more sustainable manner than the current model of overproduction and inevitable deadstock creation.

During a recent conversation with Kees Jacobs, head of insights and data, global sector consumer products and retail at consultancy firm Capgemini, he explained that in the past decade, digital fashion solutions have been prioritized in consumer-facing domains (website, mobile, in-store experiences) where tech solutions can increase customer engagement and facilitate customer services. On the subject of 3D digital design adoption, his experience has demonstrated that “the urgency to do this is less. The top line (for digital solutions) is retail.”

He went on to state that “we see a big shift happening with digital twins of consumer and products and where the two meet.” Regarding the top two investments fashion retailers should make that promise good ROI, the first was data analytics solutions, and the second area was “consumer engagement and the digital avatar (to allow) the use of CGI to be able to have digital experiences around the products.” Who should retailers look to for these solutions, I asked? Capgemini is working with large players (including Microsoft) and a number of smaller, highly specialized startups to deliver on digital avatars, products, and experiences.

It seems that a potential future direction for the fashion industry is implementing digitized fashion illustration at the first stage of design to connect to 3D CAD/CAM software and equipment for on-demand manufacturing, then eventually the digital product presentation tools at the consumer end. Of course, this is dependent on 3D design tools being adopted by designers and brands, which still proves to be a challenge, based on the views of Gettini and a number of designers I have spoken to at global brands. The challenge is largely due to the technical nature of the interfaces currently on offer to fashion designers via 3D design software.

In addition, the preference for hand-drawing and painstaking manual design techniques still dominates amongst senior designers and creative directors (for whom the design and development processes are often structured to accommodate). Indeed, 3D digital design is still notably absent from the curriculums of top fashion colleges, with many 3D digital designers being self-taught (or from a gaming or film background). The fashion design students I have spoken to who are exploring 3D digital design are learning from online tutorials and forums in place of being taught formally at university. If a “Unity for fashion” does emerge, a new generation of fashion designers who buck the tradition of a fashion college education may yet define, and design, the fashion of our future.

Follow me on Twitter or LinkedIn. Check out my website.

I am a sustainability and fashion tech journalist, innovator and public speaker with several years of experience working across this growing sector. I am also Director of the innovation agency BRIA, where we create materials-tech collaborations and sustainability innovations with brands from both the fashion and technology sectors, directly combining my knowledge of the latest developments in fashion tech with my cross-discipline approach to developing new materials. As one of few specialists with career experience of working in the fields of both science and design, as well as previously running a fashion brand, I use my expertise to write about the new emerging sector of fashion tech, along with the advances which will drive sustainability in the fashion industry. I have written for a number of publications, including HuffPost and my own platform, Techstyler, and have been invited to speak about fashion tech at numerous conferences and events, including delivering a TED talk.

Source: Is Digitization The Savior Of The Fashion Industry?

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Why This Fashion Entrepreneur Moved From L.A. to a Navajo Reservation to Run Her Own Clothing Business

Editor’s note: This tour of small businesses across the country highlights the imagination, diversity, and resilience of American enterprise.

The store has no name. Just a neon sign in the window with a symbol: a Native American storm cloud. It represents rebirth.

“I don’t feel the need to do things the way you are supposed to,” says Amy Yeung, when asked why she has made her new shop, which sells fashions handcrafted from upcycled materials as well as art and accessories, virtually unsearchable. “The right people will find it. It is an experiment.”

The same could be said for all of Yeung’s new life. In June, the one-time fast-fashion executive gave away virtually all her possessions, except for two boxes of clothes, some sewing tools, and upward of 500 pounds of vintage fabric collected over 30 years of global travel. Loading that inventory–the physical assets of her online apparel business Orenda Tribe–into a U-Haul, she departed her longtime home in Los Angeles to live a nomadic existence on the Navajo reservation in New Mexico, among the indigenous sewers, jewelry makers, and artisans who are her suppliers. Now Yeung has ambitious plans to help the tribe, while further connecting with its members.

The store, near the Old Town section of Albuquerque, has a small living space in back that serves Yeung as a base. Mostly, though, she intends to keep moving, scouting new artistic talent on the reservation and transacting with her existing vendors, most of whom lack smartphones, access to electronic payment, or even mailboxes. While traveling, she will sleep on the road in a series of traditional Navajo dwellings, called hogans, which she intends to start building in the spring. “We’re taught to think you have to have ‘a’ home, and that is very limiting,” says Yeung, 55. “My goal is to have a whole batch of those little homes everyplace I want to live. I know a lot of people in rodeo who do that.”

Amy Yeung at her store in Albuquerque.Ramsay de Give

Yeung’s birth mother is Navajo. Her family, including some of the artisans who supply her businesses, is spread across 70 square miles of the Bisti Badlands near Chaco Canyon in northwestern New Mexico. Until seven years ago, Yeung, who was adopted, never knew them. But now she is intent on helping them and other members of the tribe by creating jobs that don’t involve extraction industries–which she detests–and by funding, through a separate foundation, food programs, activities, and supplies for students of schools run by the Bureau of Indian Affairs.

One way Yeung plans to create jobs is by launching a small-scale manufacturing facility to produce items like T-shirts and bandanas. She expects to fund it with grants. Government agencies, she says, are eager to support indigenous entrepreneurship. Meanwhile, she raises money for her charities through Instagram–$150,000 in eight months–and through business contacts from her corporate days. She also invests profits from Orenda Tribe and, now, from her unnamed store. “Sometimes all the revenue is going to those programs,” says Yeung, who views the accumulation of worldly goods as a social and spiritual scourge and, consequently, keeps little for herself.

Seizing on the entrepreneur’s prerogative to design her own life, Yeung is creating one that is at once stripped down and bountiful–solitary and rich in community. With her only child, Lily, heading off for a peripatetic gap year, Yeung has decided to embark–“like Georgia O’Keefe in the desert”–on a grand adventure of her own.

A mother and a mission found

Yeung always knew she was adopted. She was raised in rural Indiana “by two beautiful, loving humans”–a small-town pharmacist and his wife, who helped him in the store. Her limited understanding of indigenous life “was a very colonized view that came through U.S. history,” she says.

For 25 years, Yeung worked in companies like Reebok and Puma, designing activewear. Then in 2009, she suffered a serious bout of hypocrite parent syndrome. Yeung was teaching her then 7-year-old daughter to preserve the environment; at the same time she was creating fast fashions destined for landfills.

Amy Yeung.Ramsay de Give

Over the next four years she began to move away from corporate work, acting as an independent consultant for international apparel companies and startups eager to manufacture in the United States. During this period, she launched Orenda Tribe as a side gig, producing one-of-a-kind garments crafted from upcycled materials. Making things responsibly, she knew, was good for the earth. But remaking things that already existed was better. Yeung designed the clothes herself and hired small family businesses around Los Angeles to sew them.

In 2013, she ditched consulting to do Orenda Tribe full-time. The business grew thanks to popular items like military knit underwear and flight suits from the ’60s, ’70s, and ’80s that Yeung buys from vintage and surplus dealers, restores, and dyes in rich colors.

One repeat customer is Kinsale Hueston, a sophomore at Yale and one of Time magazine’s 2019 People Changing How We See the World. Like Yeung, Hueston is Navajo. She is also a performance poet striving to elevate indigenous voices. Onstage, she often wears pieces by Orenda Tribe. “As indigenous people, we have been taught by our grandmothers and mothers not to use brand new fabrics,” Hueston says. “So what she does is closely tied to what I am passionate about.” Even better, the clothes “allow me to be comfortable onstage but also look really put together.”

Ramsay de Give

While Yeung was morphing professionally, she was also exploring and deepening her family ties. She tracked down her biological mother on the internet and heard the story of her mother’s past. A teenager in the 1960s when the Indian Child Welfare Act was breaking apart indigenous families, she had been shipped to a boarding school in Ohio, where at times she was beaten or starved.

“Crazy stuff happened to her there,” says Yeung. “That is how I happened.”

Yeung’s mother stayed in Ohio. In 2007, Yeung and Lily visited her there; then the three generations traveled to the reservation. Over the next 10 years, Yeung often visited New Mexico, gradually meeting her extended family. She also started sourcing jewelry and custom apparel pieces from members of the tribe, her relatives among them, to sell through Orenda Tribe. And she learned about the social, environmental, and economic ills bedeviling her people. More than 500 abandoned uranium mines pock the land around her family’s home: one cousin is dying of uranium poisoning. Suicide and meth addiction are common.

“One third of my reservation is without electricity,” Yeung says. “One third is without running water. So there is a lot of work to be done out there.”

Yeung wanted to help, and not from a distance. As soon as Lily graduated high school, she resolved, she would move her studio, her business, and her life to New Mexico.

Stocking a store and a school

Yeung’s store, on Rio Grande Boulevard, is in a gentrifying neighborhood of a poor city. Albuquerque’s poverty rate is around 17 percent, compared with 12.3 percent nationally.

A former trading post, the space is packed with antique mercantile fixtures: glass displays and looming wooden cases with dozens of shallow drawers that are perfect for storing tools and fabrics. In the middle of the space sits a mahogany bed that Yeung says was formerly owned by Cary Grant (she has the documentation).

“A medicine man from the Jemez Pueblo cleansed and blessed the space and made an offering for all the new energy and the new intentions,” she says.

While a construction crew worked on the interior, Yeung spent the first two months in her new home creating inventory, both for the store and for festivals like the Spirit Weavers Gathering and the Trans-Pecos Festival of Music + Love. (Thirty percent of Orenda Tribe’s revenue comes from shows, and 70 percent from e-commerce.)

In addition to Yeung’s creations, the store stocks work from around 50 indigenous artisans, a number Yeung hopes will rise to 200. A few have small dedicated spaces in the store, including a 9-year-old painter of hoop dancers and an 11-year-old silversmith who makes bracelets with visual stories engraved on them.

Ramsay de Give

Yeung’s intent is to spend three weeks a month on sales and production and one in service to the tribe, chiefly through her K’e Foundation (K’e is the Navajo word for “kinship”), for which she is seeking nonprofit status. She has already identified generous donors among her corporate connections and the stylist community in L.A. “My LinkedIn is pretty tasty,” she says.

The first focus of Yeung’s philanthropy is the Tohaali Community School, a Bureau of Indian Affairs K-8 boarding school with all Navajo students. Contributions she has raised include not just money but also goods: warm clothes from Patagonia; feminine hygiene products from the Monthly Gift Company; art supplies from Papaya Art; sports bras and leggings from Avocado Activewear; and hats and mittens from Dakine. A major athletic brand is in talks with Yeung about partnering on kids’ sports programs.

“We have a real problem here with hunger on the weekends when we have a lot of kids who go home to houses where there isn’t much food, says Delores Bitsilly, Tohaali’s principal. When Yeung heard that last December, on an early visit to the school, she went on Instagram and quickly raised enough money to fund take-home food for students through the summer term. She also brought them holiday gifts.

“Amy has been such a plus for us,” Bitsilly says. “And she’s a great role model for the kids to see what is possible.”

A birthday and a new life

The store with no name opened officially on August 29–Yeung’s 55th birthday. Surrounded by her rediscovered family and new friends, Yeung celebrated her surprising path.

“I could have been a vice president of some big company making tons of cash, but I would not have been happy,” she says. “What would I have told my daughter? That I produced fast fashion all my life? That I destroyed the environment?”

Amy Yeung.Ramsay de Give

But those years in corporate land were not wasted. They bestowed on Yeung a wealth of connections as well as fundraising, organizational, and communication skills that are largely missing from the reservation. In Los Angeles, she generated income for the tiny businesses and individuals who made Orenda Tribe’s products. She wants to do the same in New Mexico.

“Maybe the whole point of my not growing up here is now I can be the bridge to bring these things back,” Yeung says. “I want to crush it. I want to make things different. I think I can.”

By: Leigh Buchanan

Source: Why This Fashion Entrepreneur Moved From L.A. to a Navajo Reservation to Run Her Own Clothing Business

Sarah LaFleur, founder and CEO of MM.LaFleur, and Rebecca Minkoff, cofounder and creative director of Rebecca Minkoff, discuss what helps make each of their brands thrive. Fast Company is the world’s leading progressive business media brand, with a unique editorial focus on innovation in technology, leadership, and design. Follow us on: https://www.facebook.com/FastCompany/ https://twitter.com/FastCompany https://www.instagram.com/fastcompany/ https://www.linkedin.com/company/fast…

Online Dress Boutique | Selfie Leslie | Jumpsuits and Rompers

Hey there, Gorgeous! We’re Selfie Leslie, one of the hottest online fashion boutiques in the industry. We’re obsessed with fun, flirty styles, and we’re always bringing you the best in “It”-girl dresses and rompers, tops and bottoms, jumpsuits, and more — so stop back often to see what we’re up to!

Our Story

Selfie Leslie was founded in Australia, but we came stateside to California in 2016, so we like to say we’re Australian-born, Los Angeles-bred. We own several other successful (and mega cute!) Aussie brands, including Angel Biba, Saints Secrets, Mika & Gala, Here Comes the Sun, Indikah and Debbie Dabble. No matter the brand or where we are, our goal has always been to become one of the best trendy online boutiques so you can find the hottest styles, year round.

Our Fashion Philosophy

Part of shopping at Selfie Leslie means having access to your favorite pieces, all the time. At Selfie Leslie, we make it a point to be on top of the latest trends. What kinds of looks make our cut? We’ll let our styles do the talking. Browse our collection to see our favorite looks this season:

Get In Touch

Have questions about any of our items or our policies? Contact us and we’ll be delighted to assist you. Be sure to follow us on Instagram to get styling advice, updates on sales, and see new styles as soon as they hit the store.

Source: Online Dress Boutique | Selfie Leslie | Jumpsuits and Rompers

Monetize Your Closet With New Peer-To-Peer Fashion Marketplace, Wardrobe

The millennial consumer psyche has changed the way we think about fashion and how we shop. Is it instantly gratifying, convenient, and am I getting the most out of my purchase? Is this product sustainable? Can I test-drive before buying, or rent without having to buy at all? Newly launched mobile app, Wardrobe appeals to these behaviors by offering a digital platform that allows users to both monetize items in their own closet that might not get a ton of play, or rent product from peers in the same space: a new approach to the sharing economy in the world of fashion……….

Source: Monetize Your Closet With New Peer-To-Peer Fashion Marketplace, Wardrobe

11 Fashion Brands That Support Breast Cancer Awareness Month – Barry Samaha

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Orange, red and yellow are generally what spring to mind when one considers October colors. But instead of rocking those autumnal hues, think pink instead. It is Breast Cancer Awareness Month after all. The use of pink to symbolize breast cancer awareness started in 1992, and came in the form of an overlapping ribbon. It was meant to show solidarity with those that have been impacted by the disease, which affects one in every eight women in the United States. Needless to say, over the years, the use of the color has evolved and it is now cast on a number of items…….

Read more: https://www.forbes.com/sites/barrysamaha/2018/10/04/fashion-beauty-brands-support-breast-cancer-awareness-month-pink-products-2018/#27e5e066d3cb

 

 

 

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