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Defining digital fashion: Reshaping the field via a systematic review
Abstract
The field of digital fashion is rapidly evolving, yet what constitutes digital fashion, and how it should be defined has not been firmly established. This study aims to conceptualize and define digital fashion and its components (themes). Applying an inductive approach, we initially identified 10 keywords linked to digital fashion via a Twitter analysis. Then, a systematic literature review was conducted (n = 116 articles). Six themes related to digital fashion were identified: design, consumer, virtual, body, printing, and supply. Themes include topics relating to the advancement of digital technologies in the fashion design process, innovation to enhance consumer experiences, and improvements to the value chain. Inspired by the six themes, we define digital fashion as “the virtual creation, production, and representation of one's identity via computer-generated design.” An overview of each theme and its contribution to the field of digital fashion is discussed. Future research developments to extend this domain are considered.
... The technologies implemented in the digitalisation process are directly influenced by the design process, which consequently tends to revolutionise the manufacturing process and idealise sizes and patterns, allowing the conception of more complex forms. Furthermore, the design alliance with digital technologies minimises production costs and environmental costs, making processes more sustainable (Baek et al., 2022). ...
... Thus, the impact of design on the development of 3D clothing is very active, as consumers can have a quick and effective experience through the visualisation and personalisation of the product (Baek et al., 2022) and companies could reduce the creation of physical prototypes. ...
... These tools also include 3D printing. This is an aspect of fashion that has invaded the way it is traditionally produced, that is, more innovative and sustainable solutions emerge from an economic, social, and environmental point of view, thus enabling the creation of pieces that result from the successive addition of material without generating waste (Baek et al., 2022). ...
The constant evolution of the fashion and textile sector is characterised by high specialisation and hyperconnectivity. This scenario forces the industry to adapt quickly, facing significant challenges to remain competitive.
These challenges include the need for constant innovation, and therefore, the concept of digitalisation emerges to revolutionise the textile and fashion industry, giving rise to a new way of designing, producing, and consuming fashion. Amidst this digital transformation, Design is fundamental in adapting to new technological and sustainable demands.
Thereby, this article, within the scope of Design, more specifically Fashion Design has the main objective of promoting the growth and dissemination of digitalisation in the fashion and textile industry. Focusing on the impact that design can have on this process, the aim is to improve professional skills in the field of digital manufacturing, through co-design between designers and companies, promoting more sustainable and conscious design practices.
Therefore, through a comprehensive literature review, a qualitative methodological approach was adopted, which included observational methods during visits to companies and at events with stakeholders.
The results, as well as the discussion generated, explore the challenges and opportunities of digital transformation in fashion manufacturing, offering both a current and future vision for the sector.
... Digital-only fashion enables designers to unleash their creativity and innovation, resulting in visually stunning and imaginative designs (S€ arm€ akari, 2021; S€ arm€ akari & V€ ansk€ a, 2021; Zhang & Liu, 2024). Accordingly, digital-only fashion provides consumers with unparalleled freedom of expression, transcending constraints like material limitations, craftsmanship, size, and societal norms (Baek et al., 2022;Schauman et al., 2023). It can be used to adorn avatars in virtual spaces and to dress realistic on-screen bodies like individuals' images and videos, effectively showcasing diverse identities, fashion preferences, individuality, and social statuses (Chan et al., 2024;Mogaji, Dwivedi, & Raman, 2023). ...
... Existing research largely focuses on digital fashion's role in supporting physical fashion practices, such as 3D apparel design and sampling and virtual try-on services for retail fittings (Baek et al., 2022;Wagner & Kabalska, 2023). A few studies have explored digital fashion as end products for virtual use, particularly for dressing avatars, but have not distinguished digital-only fashion that involves no physical production from general digital fashion. ...
... This suggests that consumers' adoption of digitalonly fashion largely hinges on the extent to which their self-expression including socialadjustive and value-expressive needs can be satisfied. This outcome resonates with existing literature indicating that self-expression is the primary motivator for consumers to purchase fashion apparel whether in in physical or digital formats (Baek et al., 2022;Casciani et al., 2022;Schauman et al., 2023). ...
Purpose
Digital-only fashion represents an ideal fusion of sustainability and fashionability, garnering growing interest among fashion professionals. However, there is a noticeable gap in research focusing on digital-only fashion acceptance among consumers. Hence, this study aims to empirically examine consumers’ motivations, evaluations and acceptance of digital-only fashion based on the Functional Theory of Attitudes.
Design/methodology/approach
A US-based research agency was hired to collect data, resulting in 247 completed survey responses. Data analysis was conducted using the Partial Least Squares Structural Equation Modeling (PLS-SEM) approach.
Findings
Testing results highlight that consumer acceptance of digital-only fashion is directly influenced by both overall attitude and self-expressive attitude. Self-expression is particularly pivotal in digital-only fashion acceptance. Adorning avatars and dressing realistic on-screen bodies are distinct yet complementary aspects of using digital-only fashion. Consumers with positive environmental beliefs about digital-only fashion are concerned about how well digital-only fashion items allow them to express such beliefs.
Originality/value
This study innovatively applied the functional theory of attitudes to the emerging domain of digital-only fashion and identified consumers’ four functional attitudes toward digital-only fashion, along with the underlying motivations served by each functional attitude. Furthermore, this study provides valuable practical insights across the digital-only fashion value chain.
... As the Prokopenko, Kudrina, and Omelyanenko (2018) note, as part of the formation of Industry 4.0, the digitalisation of all spheres of human life is taking place. The use of artificial intelligence, 3D printing (Gong & Kang, 2021;Mahmood, Akram, Chen, & Chen, 2022;Robinson, Lagnau, & Boon, 2019), wearable electronics, and virtual and augmented reality technologies (Baek et al., 2022) have revolutionised the way fashion designers conceive and produce their creations. This review article aims to explore the design and technological aspects of digital fashion, highlighting the opportunities and challenges presented by the use of emerging digital technologies in fashion design and production. ...
... The definition of digital fashion, as posited by in their review article, pertains to the creation, production and depiction of an individual's persona in virtual settings via computer-generated design. The review article by Baek et al. (2022) of the field of digital fashion, the authors identified six themes related to digital fashion, including design, consumer, virtual, body, printing, and supply. Based on these themes, the authors define digital fashion as 'the virtual creation, production, and representation of one's identity via computer-generated design.' ...
... For the purpose of our own article, we grounded on the particular characterisation of digital fashion as posited by Baek et al. (2022) in their review article. We propose the definition of digital fashion, as the 'virtual creation, production, and depiction of an individual's identity, in particular in the field of clothing and footwear, through computer-aided design'. ...
... These databases are selected to complement one another due to their wide range of coverage and quality (Baek et al., 2022;Chadegani et al., 2013;Gusenbauer, 2022). The initial search in the title, abstract, and keywords yielded 7992 articles. ...
... In the next step, similar to Fares et al. (2022), we extracted all the articles into an Excel database. We organized the articles using the following columns: "Article ID," "Source," "Title," "Authors," "Abstract," "Keywords," "Year," "Australian Business Deans Council (ABDC)," and "Keyword validation checkpoint." ...
... 1. Removing non-ABDC articles (3628 articles) to align with highquality benchmarks in business research (Hair et al., 2019;Fares et al., 2022;Goyal & Kumar, 2021;Sharif et al., 2019). ...
Scholarly research on virtual reality (VR) is characterized by a dynamic tension between VR's potential and the challenges impeding its adoption. Grounded in a mixed‐methods systematic review, this research examines the drivers influencing consumer VR adoption by rigorously combining qualitative and quantitative analyses of 158 scholarly articles ranging from 1996 to 2023. Based on an extensive analysis of VR adoption literature, we introduce the Virtual Reality Integrated Adoption Framework (VRIAF), which is the first mixed‐methods systematic review focusing exclusively on VR adoption. This empirically substantiated model integrates key determinants of VR adoption such as consumer attitudes, perceived enjoyment, ease of use, social influences, and previous user experiences. The research identifies four pivotal themes through qualitative exploration, further elucidated by quantitative meta‐analyses and weight analyses. These themes encompass the user experience in VR environments, the role of VR in construction and design, the immersive attributes of VR technologies, and the ongoing technological advancements influencing adoption patterns. This research contributes significantly to the theoretical understanding of VR adoption and provides practical insights for VR professionals. By delineating future research directions, the study bridges the gap between theoretical exploration and practical application, offering a valuable resource for both scholars and practitioners in the field of VR.
... The extant literature related to digital fashion primarily includes research on 3D digital fashion design [16], digital fashion designers [11], historical clothing digitalization [17], virtual try-on technology [18], virtual fashion in 3D gaming worlds [19], and conceptual literature [8,20]. There is a notable research gap concerning the empirical examination of consumers' perceptions and assessments of digital fashion products. ...
... Wearable smart clothing that can be achieved through the integration of electronic components into textile fabrics is occasionally denoted as digital fashion apparel [25]. Baek, Haines [20] employed a systematic literature review approach to identify six themes regarding digital fashion: design, consumer, virtual, body, printing, and supply. Based on the six themes, researchers proposed a unified working definition of digital fashion: "the virtual creation, production, and representation of one's identity via computer-generated design", involving three aspects of the value chain, fashiondesign process, and consumer experiences [20]. ...
... Baek, Haines [20] employed a systematic literature review approach to identify six themes regarding digital fashion: design, consumer, virtual, body, printing, and supply. Based on the six themes, researchers proposed a unified working definition of digital fashion: "the virtual creation, production, and representation of one's identity via computer-generated design", involving three aspects of the value chain, fashiondesign process, and consumer experiences [20]. In this current study, our focal point resides in digital fashion products through the lens of consumers' perspectives. ...
Digital fashion may instill transformative power into the fashion industry as it can simultaneously deliver fashionability and sustainability. Renowned for their innovativeness and creativity, luxury brands embrace digital fashion and achieve market success, indicating the future of digital fashion. This research aims to empirically investigate consumers’ general perceptions and evaluations of digital fashion and to specifically examine consumers’ purchase intention of luxury brands’ digital fashion. A total of 214 responses were collected from a U.S.-based research company’s consumer panel. Data were analyzed by using structural equation modeling (SEM). The results revealed that the general attitude toward digital fashion is influenced by four factors: the two specific attitudes toward outfitting avatars and dressing real people’s on-screen bodies in virtual spaces, the perceived social value of digital fashion, and consumer environmental involvement. Furthermore, the general attitude and perceived social value of digital fashion directly affect the purchase intention. This study attempts to extend established theories into the emerging digital fashion context and provides insights and suggestions for digital fashion marketers, particularly for luxury fashion brands.
... Predictions by Morgan Stanley and Deloitte place digital fashion's net worth over USD $50 billion by 2030 (Deloitte, 2022;Forbes, 2022b). Despite these indications of its significance, scholarly focus has been modest (Baek et al., 2022). ...
... Academically, "digital fashion" refers to "any overlapping fashion and Information and Communication Technologies (ICTs) fields" (Noris et al., 2020, p. 1). However, this broad definition does not encompass the latest developments in digital fashion, which involve a wide range of ICT applications across sectors (Baek et al., 2022;Noris et al., 2020), resulting in fragmentation of the existing state-of-the-art. This necessitates a systematic literature review to integrate the literature and conceptualize digital fashion (ibid). ...
... Existing literature reviews have developed a comprehensive taxonomy of digital fashion (Baek et al., 2022;Lee & Xu, 2019;Nobile et al., 2021;Noris et al., 2020). yet omit its alignment with digital fashion as an end-product due to its recent emergence. ...
... The field of digital fashion is rapidly evolving, and the fashion industry is witnessing rapid integration of digital technologies in the fashion supply chain, including design, product development, and marketing of finished products [1,2]. Furthermore, following the COVID-19 pandemic, fashion technology has to be made more open to online training. ...
... This approach leads to faster garment design cycles, reduction of physical samples, faster time-tomarket, efficient interactions between various stakeholders of the fashion supply chain, and mass customization [1,6]. E-learning provides more attractive and rapid access to educational materials and processes from wherever and more so, if it is made inclusive to persons with disabilities or various factors, including the restrictions of COVID-19 pandemics [7][8][9]. ...
A library of knowledge that contains a fabric database, 3D human body models database, and 3D garment database has been developed in the framework of the Erasmus+ project DigitalFashion – “Collaborative Online International Learning in Digital Fashion”, which is a collaboration of 6 European partners who would like to strengthen their working together through collaboration in online international teaching. The fabric database contains 49 physical textile fabrics, both woven and knitted fabrics. Each partner provided at least eight fabrics. The library contains also 3D human body models of different sizes (male, and female), and 48 pattern designs for women’s and men’s garments. The fabric’s physical and visual parameters have been determined using known textile standards, including their draping images taken using a Cusick Drape Tester. These fabric parameters have been used to predict the equivalent digital twin fabric based on Lectra digital fabrics, thereby completing the fabric database with their matching digital twin fabric. The digital twin fabrics have been used to simulate the 3D garments for the 3D garment database, based on the selected patterns and styles. To test the robustness of the fabric digitization process, a woman A-line skirt (real) was made by each partner using their fabric. These skirts were then compared with their simulated (virtual) skirts. The investigation has shown that the digital twin fabrics represent the real fabrics well. The virtual training library will support the specially developed training platform for virtual fashion design.
... Digital fashion orchestrates the interplay between cyber and physical realms, fundamentally revolutionizing how people interact with fashion and styles. This shift involves a wide range of technologies introduced during previous industrial revolutions, encompassing the Internet, e-commerce, artificial intelligence (AI), wearable electronic devices and computers, virtual try-on, 3D modeling, and body scanning (Baek et al., 2022;Bertola, 2021;Fumo, 2015;Park et al., 2001). ...
... The definitions and applications of these technologies are influenced by the changing nature of the fashion industry. However, the term digital fashion was first used with the rise of e-commerce platforms (Baek et al., 2022). ...
Technology and fashion have distinct growth patterns. Their evolutionary trajectories have typically been analyzed separately, overlooking their potential for coevolution by changing and advancing each other through feedback. This thesis seeks to bridge this gap by highlighting the dependence of contemporary
digital fashion evolution on technological advances and paradigm shifts in people’s preferences toward supra-functionality beyond economic value. Thus, fashion can evolve in response to changing times. Based on advancements in the Internet and communication technology (ICT), digital fashion is more data-driven, collaborative, and crucial for a growing non-contact society. Conversely, traditional fast fashion has struggled with many challenges throughout its value chain. The emerging non-contact society necessitates novel digital solutions to transform the fashion industry further. As the digital fashion field is still in its
early stages, more cohesive research and a well-defined map are needed for this field. This dissertation considers solutions to these challenges. The empirical analysis of the dissertation focuses on the transformative directions of fashion
innovations in the coevolution of advanced technologies and the fashion industry. This thesis defines an advanced digital fashion development trajectory and the underlying conceptual framework that utilizes the external strategy of learning orchestration. The conceptual framework of a cloud-based fashion platform is explored in response to single-channel, multi-channel, and
omnichannel implementation issues. With a dual coevolution, this platform leads to a supra-omnichannel approach. Contrary to previous studies, this dissertation has explored the development framework of the neo-luxury paradigm. The findings bring new perspectives on innovation, suggesting the transcendence of
traditional e-commerce and the possible progression toward a metaverse society.
Further, the digitalization of the complex fashion industry does not follow straight paths, as historical dilemmas exist, such as the two-faced nature of ICT, the Internet dilemma of luxury brands, and the shift in people’s preferences toward supra-functionality and aesthetics. Our findings not only elucidate the trajectory of digital transformation in the fashion industry but also provide
invaluable insights for other industries and guide future policy decisions.
... Current research related to virtual clothing primarily focuses on several areas, including the design of virtual clothing (Deng et al., 2023;Lee & Xu, 2020;Oh & Suh, 2021;S€ arm€ akari, 2023), conceptual and theoretical studies of virtual clothing (Baek et al., 2022;Meier et al., 2021), digital fashion and sustainability (Baek et al., 2022;Park & Lim, 2023), and studies on consumer sharing behavior (Reilly & Hawley, 2019;Zhang et al., 2023b). Additionally, studies have shown that AR technology has been applied to experience virtual fashion skins (Chan et al., 2024). ...
... Current research related to virtual clothing primarily focuses on several areas, including the design of virtual clothing (Deng et al., 2023;Lee & Xu, 2020;Oh & Suh, 2021;S€ arm€ akari, 2023), conceptual and theoretical studies of virtual clothing (Baek et al., 2022;Meier et al., 2021), digital fashion and sustainability (Baek et al., 2022;Park & Lim, 2023), and studies on consumer sharing behavior (Reilly & Hawley, 2019;Zhang et al., 2023b). Additionally, studies have shown that AR technology has been applied to experience virtual fashion skins (Chan et al., 2024). ...
With the rapid global growth of digital fashion, virtual clothing has recently become a hot research topic. However, there is still little literature exploring the mutual influence between virtual clothing design features and consumer purchase intentions. This study delves into the dynamic relationship between virtual clothing design attributes and consumer purchase tendencies , seeking to foster a balanced development of the virtual clothing industry. Following a literature review, this study formulated a theoretical model that includes seven key latent factors: Interactivity, Aesthetic, Creativity, Vividness, Satisfaction, Flow experience, and Purchase Intention. Anchored in the Stimulus-Organism-Response (SOR) paradigm, the study conducted offline trials where respondents tried on virtual clothing using AR as a stimulus, carefully examining data from 295 respondents. The analysis shows that while Interactivity and Aesthetics significantly increase the likelihood of consumer purchases, Creativity and Vividness lack a direct and substantial impact on this intent. Satisfaction and Flow experience are important mediating variables that profoundly influence the purchasing decisions for virtual clothing. The findings of this study provide new insights into virtual clothing design and marketing strategies, emphasizing the importance of optimizing user interaction and Aesthetic experiences in enhancing consumer purchase intentions.
... Therefore, the existence of a luxury brand's digital fashion in a metaverse may have a positive or negative influence on consumers' awareness, and perceptions of the luxury brand, and eventually generate mixed influence on brand image and brand loyalty. Although consumption is the second most discussed topic in digital, and Metaverse fashion research (Baek et al., 2022), the continuously changing consumer experience reshaped through fast-developing digital transformation in fashion retail/business needs to be examined constantly (Baek et al., 2022). Specifically, it has not been systematically examined how the existence of a luxury brand' digital fashion in a metaverse influences consumers' perceptions and consumption of luxury. ...
... Therefore, the existence of a luxury brand's digital fashion in a metaverse may have a positive or negative influence on consumers' awareness, and perceptions of the luxury brand, and eventually generate mixed influence on brand image and brand loyalty. Although consumption is the second most discussed topic in digital, and Metaverse fashion research (Baek et al., 2022), the continuously changing consumer experience reshaped through fast-developing digital transformation in fashion retail/business needs to be examined constantly (Baek et al., 2022). Specifically, it has not been systematically examined how the existence of a luxury brand' digital fashion in a metaverse influences consumers' perceptions and consumption of luxury. ...
... Given the rapid evolution of both the fashion industry and technology, alongside the limited scope of extant review studies on fashion digitalization (Baek et al., 2022;Oliveira et al., 2022), this study aims to comprehensively investigate all facets of the FVC, including product development, supply chain and distribution, and customer experience around circularity. The study seeks to provide a thorough and current review of digital transformation within the FVC. ...
... Digital fashion refers to "the virtual creation, production, and representation of one's identity via computer-generated design (Baek et al., 2022, p. 8)" with an intersection between three-dimensional (3D) virtual technologies and fashion (Chan et al., 2024). For example, retailers create products with 3D devices and enhance online consumer experiences with virtual try-on services (Baek et al., 2022). Advancements in digital fashion now encompass the provision of new intangible products and shopping experiences within virtual retail settings, which will be referred as virtual fashion in this study. ...
... Customers can play with different styles, examine how different items of clothing will suit their body type, and make better-educated shopping selections by employing digital avatars or augmented reality programs. By reducing the need for physical samples and returns, this technology lowers the amount of textile waste produced as well as the carbon footprint associated with logistics and transportation (Baek et al., 2022;Ghodhbani et al., 2022;Hwangbo et al., 2020;Lavoye et al., 2023;Nobile et al., 2021;Noris et al., 2021;Sayem, 2022). Green merchandising is enhanced by digital fashion and virtual try-ons, as they simplify the design and buying procedures. ...
The textile and apparel industries have experienced the arrival of the sustainable fashion revolution, which symbolizes a significant switch towards improving green innovations and lessening environmental effects. As industries highlight sustainability through eco-friendly apparel merchandising practices, switching to a circular economy can present potential transformation. This review highlights eco-friendly concepts and evaluates recent trends, complexities, and future prospects. It assesses the shift in industry from linear to circular approaches by applying today’s closed-loop product recycling strategies, waste reduction, and sustainable sourcing. It critically examines contemporary perspectives on green merchandising with a focus on key challenges arising from these complex supply chains, evolving customer preferences, and legislation. It performs an in-depth critical analysis of contemporary literature to identify the best practices and emerging trends in the advancement of circularity. It outlines the importance of collaboration by manufacturers, retailers, and consumers in advancing green merchandising in textiles and apparel. It seeks to encourage manufacturers towards more sustainable practices by providing practical advice and synthesizing findings. It can ultimately lead to a more resilient and environmentally conscious textiles and apparel sector.
... The solution involved conducting some activities in an online format. As a result, the industry in question became faster and, in a way, began to express itself differently (Baek 2022). ...
In the scope of the Doctoral Programme in Design, this article is based on research within the broader design domain, specifically focusing on fashion design. The study was driven by the FUSION project (Fashion Up-Skilling Innovation Open Network), developed through the Creative Europe programme. To promote sustainability and digitalisation within the fashion sector, the project brought collaborated researchers from four partners: ID+ IPCA at the School of Design, Limerick School of Art & Design TUS
(which led the project), UK Crafts Council, and Fondazione Santagata per la Economia e la Cultura, between 2019 and 2022. Analysing the trajectory of the fashion and textiles industry
and considering FUSION as a reference project, the aim is to broaden sustainability issues and review manufacturing processes and digital transformation comprehensively across Europe.
The main objective is to boost the growth and dissemination of the digital transformation process, encouraging collaboration between designers and producers to revolutionise the sector, and anticipating the future with synergies between digital and artisanal.
Therefore, a discussion on the sector’s digital transformation has been initiated based on a qualitative methodology, specifically a
comprehensive literature review.
... Le tecnologie di cui abbiamo brevemente accennato potrebbero però andare a sfidare alcuni di questi paradigmi, e in alcune circostanze lo stanno già facendo. La componente mediale della moda, da quella più tradizionale come i magazine di settore, i fashion film e le sfilate, oltre a essere di cruciale importanza per il settore, è anche potentemente messa in discussione dai cambiamenti tecnologici in atto (Baek et al., 2022). I social media prima, le nuove possibilità delle tecnologie poi hanno sconvolto e sfidato alcune dinamiche consolidate, che fungevano da pietra angolare nella produzione di immaginari, inutile dirlo, ancora una volta principalmente correlati ai corpi, ribadisco, soprattutto quelli femminili. ...
The current media landscape features unprecedented advances in technology, such as AI, VR, AR, and the metaverse, making sophisticated tools accessible to many. The Cov-id-19 pandemic accelerated the adoption of digital habits due to limited social interactions, boosting platforms that simulate social experiences. Fashion, profoundly linked to physical interaction, has seen a decline in traditional consumption, while at the same time facing new possibilities and challenges. However, new technologies are revolutionizing fashion, with synergies between digital media and fashion creating new opportunities. This study analyses, through a visual analysis, the Tomb Raider franchise, linked to previous narratives , and Metaverse Fashion Week, which is connected in a double thread with the new dynamics underway, with the aim of illustrating these trends, highlighting the interaction between digital and physical fashion and the challenges ahead. Introduzione L'attuale panorama mediale si presenta con delle caratteristiche inedite, che mai prima d'ora abbiamo avuto modo di riscontrare con questa inten-sità e con questa facilità di fruizione e utilizzo. Intelligenze artificiali, re-altà virtuali e aumentate, metaversi, sono diventati un oggetto di dominio pubblico, non più relegati alla conoscenza settoriale di pochi esperti qua-lificati (Dhiman 2023). La loro piattaformizzazione, in conformità con le tendenze del panorama mediale contemporaneo, ha reso accessibili, pop, queste tecnologie a una platea sempre più folta di utenti, già alfabetizzati ai linguaggi tecnologici del web partecipativo e della Social Network Society (SNS) (Coppa, 2013; Ohiagu, Okorie 2014). Dunque, i linguaggi utilizzati e la "traduzione" di queste tecnologie in interfacce e piattaforme facilmente navigabili hanno sicuramente contributo a una diffusione di questi nuovi strumenti, ma non solo: la crescente domesticazione di hardware sempre più sofisticati e potenti, diventati a loro volta oggetti comunemente diffusi,
... *The rise of e-commerce has dramatically transformed consumer purchasing behaviors, leading to a burgeoning interest in understanding the psychological and emotional drivers behind online shopping (Baek et al., 2022). Among these drivers, schadenfreude-a complex emotion of pleasure derived from another's misfortune-and narcissism-a personality trait characterized by grandiosity, entitlement, and a need for admiration-have emerged as critical factors influencing consumer behavior (Tyler et al., 2021). ...
This study examines the connection between schadenfreude, personality traits (narcissism and jealousy), and e-consumers' purchase intentions toward counterfeit products in a GCC nation, specifically Saudi Arabia. It aims to understand how these personality traits and schadenfreude affect the likelihood of purchasing counterfeit sustainable products online. A quantitative cross-sectional design was used, with data collected from 309 e-consumers via an online survey. Stratified random sampling ensured diverse representation among participants. Structural equation modeling (SEM) was applied to analyze the data using SPSS 25 and AMOS 24 software for thorough statistical examination. The results indicate that personality traits, such as narcissism and jealousy, significantly predict schadenfreude among e-consumers. Furthermore, schadenfreude has a direct influence on their intentions to buy counterfeit sustainable products. The study also reveals that these negative personality traits heighten the impact of schadenfreude on purchase intentions, demonstrating a complex interaction between personality and emotional factors in consumer behavior. This research is one of the first to explore the relationship between personality traits, schadenfreude, and purchase intentions in e-commerce within a GCC nation. Its findings offer valuable insights for marketers and policymakers on how dark personality traits can shape sustainable consumption behaviors, helping them better promote sustainable products in the region.
... This results in a higher level of attention to detail and a more accurate and precise handling of garments, which minimises fabric waste. Digital design utilises CAD modelling, 3D modelling and digital assembly technologies, which allow the final product to be quickly previewed and changes to be made, reducing trial and error costs and increasing production efficiency (Baek et al., 2022). In the field of garment modelling, software such as Marvelous Designer, Clo3D, VStitcher and Style 3D stand out for their distinctive features. ...
Today, the extended, hybrid, phygital reality builds new relationships between actors in the fashion industry supply chain and highlights the need to design products and services capable of interpreting the needs associated with physical and virtual interactions with the garment product. The paper proposes some outcomes of the ‘Moda 4.0’ project, mainly aimed at supporting fashion-clothing companies in the digital transition with a sustainable approach to products and processes. In this context, attention has been paid to the issue of the inclusiveness and adaptability of the outerwear, outlining here the opportunities offered by digital in the development of the adaptive design. The paper is structured in a first analytical part, which defines the scenario and identifies the general objectives of the project; a second experimental part, in which the results of the design experimentation of an adaptive outerwear and the wearing experience of a user with reduced mobility are presented.
... The textile sector is then spearheading metaverse-based marketing. Baek et al. suggest that 3D printing is to be further explored with the possibility of enhancing compositional outcomes through computational design, which is already a well-investigated branch of architectural design [81]. This idea of adapting shapes to temperature, motion, and light is the common ground where architecture and couture design overlap [82]. ...
Virtual reality has established a hybrid condition between the traditional categories of representing and experiencing spaces. The chapter investigates one of the fringe conditions of contemporary architecture associated with digitalisation: digital architecture designed for a virtual experience, drafting a tentative hypothesis on its heritage status. In 2021, the word “metaverse” became a hot topic, leading to an increased number of research products. The affordances of simulated reality are discussed in three main steps. The first is a clarification of its semantic range, focusing on the problem of the spatial sense of reality. Not only can parts of the physical world be transferred to the metaverse, but the virtual simulations also have repercussions on the physical world. Considering the discursive nature the notion of contemporary heritage acknowledges, the contribution that designers provide to metaverse has certainly its place in a wider debate on the recognition of intangible artefacts. Secondly, a systematic literature review of scientific publications containing both the terms “metaverse” and “architecture” will be presented. The landscape of the current status of academic research in this direction highlights prominent authors and research groups, and suggests streams of investigation for future developments. Finally, a tentative conclusion discerns five main theoretical points raised by authors in the literature, reviewed through a content analysis, with the intention of discussing possible implications for the discipline of architecture and suggesting how virtual environments have developed distinct forms of expression.
... La moda rápida, caracterizada por la producción a gran escala y la rápida obsolescencia de prendas, ha exacerbado estos problemas, planteando la necesidad de abordar la sostenibilidad en toda la cadena de producción textil. Según Baek et al. (2022), la moda digital puede definirse como la creación, producción y representación virtual de la propia identidad a través del diseño generado por ordenador. Sin embargo, la moda digital es mucho más que una representación de la propia identidad, ya que también puede influir en la fabricación, la producción, el comercio minorista y los consumidores. ...
Este artículo realiza un exhaustivo análisis sobre la influencia de las tecnologías digitales en la sostenibilidad de la producción textil, abordando tres dimensiones clave.
... Over the past few decades, the fashion industry has become one of the first to embrace digital disruptors, such as Information Communication Technologies (ICTs), the Internet of Things (IoT), Artificial Intelligence (AI), Augmented and Virtual Reality (AR and VR), 3D modelling and Social Media Networks, to name just a few (Alexander & Bellandi, 2022;Baek et al., 2022). Digital transformation strongly influences fashion marketing and communication (Cantoni et al., 2020). ...
... Fashion brands employ the metaverse as a new social marketing platform, as this virtual world is considered to cause considerable modifications in the fashion and retail industry (Park and Lim, 2023). The field of digital fashion is rapidly evolving, as digital fashion allows consumers to express themselves (their real/actual self or constructed self) in the metaverse, therefore, develop their own virtual identity (Baek et al., 2022). ...
The metaverse as a new social marketing platform has unquestionably opened new horizons for the digital fashion economy. This research aims not only to explore consumers' perceptions of digital fashion in the met-averse but also to delve into the underlying sentiments associated with these perceptions. Employing LDA topic modeling, this research examines 7416 YouTube comments from notable digital fashion videos, revealing six principal themes: Spending resistance, Excitement, Low value perception, Aesthetic concerns, Virtual Assets, and Future Expectations toward the Metaverse. Sentiment analysis within the study reveals varied emotional responses: Future Expectations toward the Metaverse are met with optimism, while Aesthetic Concerns and Spending Resistance are marked by skepticism, highlighting doubts about the practicality and worth of digital fashion. These findings have both theoretical and practical implications for the digital fashion landscape. Theoretically, the study contributes by shedding light on the evolving role of fashion in virtual worlds, emphasizing the importance of technology integration within the metaverse. Additionally, it provides insights into consumer behavior, the challenges of financial resistance to digital fashion adoption, and the potential appeal of this emerging market. Practically, these insights guide businesses and creators in the digital fashion industry. They inform pricing strategies, marketing campaigns, and design improvements, addressing issues like low perceived value and aesthetic concerns. Furthermore, the study anticipates evolving consumer trends, helping businesses adapt to the changing dynamics of the fashion industry in a digital era.
... In the contemporary fashion landscape, there are two principal commerce systems: the traditional fashion industry and the purely digital fashion economy that operates without physical production and consumption [6,38,39]. Whether designing physical or digital fashion, designers can integrate AI-powered text-to-image generators into their creative process for inspiration and digital experiments. Additionally, these AI tools can enhance the efficiency and effectiveness of in-house design team communication by rapidly producing high-quality fashion images that capture various details, including fabric texture, craftsmanship, color schemes, structural elements, and symbolic connotations. ...
The fashion industry has shown increasing interest in applying artificial intelligence (AI), yet there is a significant gap in exploring the potential of emerging diffusion-modeling-based AI image-generation systems for fashion design and commerce. Therefore, this study aims to assess the effectiveness of Midjourney, one such AI system, in both fashion design and related commerce applications. We employed the action research approach with the Functional, Expressive, and Aesthetic (FEA) Consumer Needs Model as the theoretical framework. Our research comprised three stages: refining an initial idea into well-defined textual design concepts, facilitating concept development, and validating the preceding observations and reflections by creating a new line of hemp-based products that were evaluated by targeted consumers through an online survey. Findings reveal that this AI tool can assist fashion designers in creating both visually expressive attire and ready-to-wear products, meeting defined design criteria and consumer needs. Midjourney shows promise in streamlining the fashion design process by enhancing ideation and optimizing design details. Potential e-commercial applications of such AI systems were proposed, benefiting physical and digital fashion businesses. It is noted that, to date, the major limitations of using Midjourney encompass its restriction to only facilitating early fashion design stages and necessitating substantial involvement from designers.
... Moreover, this type of software integrates the various departments of clothing manufacturing, enables faster time-to market of clothing products and creates user-interfaces with the customers. As such, more fashion intensive garments are ready for the customized needs of the market [2,3]. ...
Skills of students and professionals in virtual prototyping of clothing require adaptation to the latest software technologies. Such software enables visualization of the fitted garments, customization of the garments according to personal requirements, faster time-to-market of the clothing products and integration of the entire production chain. Common software works as desktop application and requires a lot of technical and financial resources. This paper presents an e-learning platform destined for the training of students and professionals in clothing design. The e-learning platform is available as a web application and includes a digital design learning (DDL) page. The DDL page enables online fitting of fabric-based garments on human avatars and uses for this purpose a digital database. This database includes 49 digital fabrics, 33 digital garments, a set of human avatars as well as various fashion styles. The goal of preparing students and professionals in digital clothing design was assumed by a prestigious European partnership of six research and educational providers, under coordination of INCDTP – Bucharest. The Erasmus+ project DigitalFashion (www.digitalfashionproject.eu) is an ambitious, ongoing project (2022-2025).
... A moda digital é mais do que simplesmente uma representação virtual, mas é um movimento que reconhece a influência que há na fabricação, produção, varejo e nos consumidores (Baek et al., 2022). Todos os dez entrevistados declararam que sim, que consideram essa colaboração como inovadora dentro da esfera dos jogos eletrônicos, mesmo alguns tendo declarado que nunca viram algo parecido em outros jogos. ...
In the digital environment, most individuals of all ages consider
gaming as their favorite form of entertainment. This scenario has
led to the fashion industry’s interest in making approaches with
gaming platforms. In this perspective, this study aims to highlight the
collaborative strategies between the fashion and gaming industries in
digital fashion consumption. The methodology used is characterized
as of applied nature, in which the study objective was descriptive
through a case study with a qualitative approach. The collaborative
strategy analyzed was between the companies Riot Games and Louis
Vuitton, and the data collection instruments used interviews and
documentary research. In the end, it is concluded that collaborative
strategies between the fashion and gaming industries in digital fashion
consumption can benefit both companies involved.
... The radical evolution and adoption of mixed reality in the fashion context has made products increasingly virtual, with digital influencers wearing them, as in the case of Noonoouri. Products become virtual assets that customers experience mainly through virtual or augmented reality platforms, therefore designed for predominantly digital use (Baek et al., 2022). Despite this, digital products are often conceived as copies of physical ones rather than as stand-alone projects. ...
The paper presents the results of the workshop "Utopia: Jewelry Beyond the Body," held at the School of Design of the Politecnico di Milano as part of the Master degree program with the aim to develop an innovative design methodology for future creatives. The workshop's main objective was to explore the process of designing a virtual jewelry collection conceived to be worn and experienced in the digital world. The paper describes the workshop's deifferent stages of the methodology, with a specific focus on the use of Artificial Intelligence for the ideation phase, and the creation of a virtual exhibition hosted on Spatial.io, in the final stage.First, the paper addresses the context of the workshop. The jewelry and fashion fields have undergone a profound transformation, with a gradual shift from tangible, physical interactions to the dematerialized domain of the virtual. The pervasive integration of digital technology has affected the entire value chain of these sectors, from design practices to distribution consumptions. Considering this change, the work highlights the need to explore digital manifestations of tangible products and experiment with spaces of digital co-creation. Then the contribution focuses on the methodology implemented in the workshop, integrating digital technologies, such as virtual reality and artificial intelligence.Finally, the document presents the experience's outputs with quantitative and qualitative results. The results provide insights into the effectiveness of the design methodology, highlighting the impact of the research conducted.Furthermore, the experience is evaluated with a focus on the possibilities that can be obtained merging jewellery design and virtual exhibition practices.The "Utopia: Jewelry Beyond the Body" workshop represents an initiative between jewelry design, digital innovation, and academic pedagogy. By describing the workshop's evolving context, methodology, and results, this article contributes to a deeper understanding of the relationship between digital technology, design creativity, and the evolution of the jewelry industry.
... Remarkably, luxury brands today have been undergoing a virtual transformation in response to the Metaverse (Joy et al., 2022). While this trend has briefly been discussed in recent literature (Joy et al., 2022;Leban et al., 2020) for exploring specific technologies (e.g., Baek et al., 2022), the concept of virtual luxury as a new paradigm has remained primarily undocumented, and luxury value in this context has yet to be clearly defined. ...
With the emergence and popularity of non-fungible tokens (NFTs), the luxury brand industry has experienced an increase in their use of NFTs. This study employs multiple-case studies, thematic analysis method, and grounded theory to analyze 40 luxury NFT campaigns from 2021 and 2022. The analysis applies a socio-technical perspective, integrating the technical factors of NFTs and the social factors of luxury value. The study identifies the values, attributes, and strategies of NFT-based virtual luxury. Based on the findings, this study introduces the concept and definition of virtual luxury to understand and advance luxury brands in the Metaverse. This study theoretically contributes to the luxury industry by envisioning a virtual transformation of luxury brands.
... The entrance of new players -mostly from Information and Communications Technology areas -into the fashion competitive landscapes, the pandemic crisis that has further required a quick digital transformation (Bertola, 2021), and the emergence of contemporary technologies, such as metaverse, 3D printing, the Internet of Things, VR, AR, AI and Digital Twins, made the fashion industry recognize the importance of integrating digital fashion into its operation portfolio (Baek et al., 2022). Such digitalization process relates to the concept of dematerialization of fashion, which allows the unfolding of new trends into the contemporary design scene, aimed at the development of digital products using advanced technologies (Azambuja et al., 2021). ...
... This integration is needed, given the unprecedented dynamics of the textile and clothing industry: it is one of the most varied and fast-moving industries, con-sidering the reduction in product manufacturing time and the increased level of product complexity. as a 21 st -century concept of our life, digital fashion design is defined as overlapping the domains of fashion and information and communication technologies (IcT), in which "the virtual creation, production, and representation of one's identity are possible via computer-generated design" [2]. digital fashion brings together advanced digital technologies such as 3d software, 3d scanning [3], 3d body scanning [4], pattern design/making [5] and software for the design of fabrics [6]. ...
Specialized fashion software, as a technological instrument for virtual modelling, has a critical role in reducing the length of the design process and time to market, simplifying communication with other departments and improving the quality
of the creative process.
This paper presents a survey of the modelling technologies used in Romanian clothing companies as a critical starting point for outlining a new methodology in teaching digital fashion. As part of the larger European survey in the framework
of the Erasmus+ Digital Fashion Project, collected data from Romanian textile companies present their current needs for clothing designed with computer technologies and 3D software for virtual prototyping.
According to the sampled companies, most have high (over 42%) and medium (over 33%) levels of digital skills. The most needed occupational profile was the 3D Designer, and the age expectation was between 25–40 years. The ability
to design clothing patterns using virtual prototyping was the most selected preference when asked about future development requirements. The survey results are valuable both in establishing the new methodological framework for
teaching digital fashion and in identifying the needs for the other project outcomes, such as the textile database, the virtual training platform, and the new curricula.
La moda digital es fenómeno que se ha venido popularizando debido a la era tecnológica que redefine la interacción con la indumentaria y la expresión estilística. se exploró la moda digital desde la relación entre tecnología, signos vestimentarios y cuerpo en la era contemporánea. Para ilustrar cómo los elementos visuales y tecnológicos convergen para redefinir la moda en el siglo XXI. Para la propuesta metodológica se empleó un enfoque cualitativo utilizando la netnografía como método principal. Esta metodología permitió comprender las dinámicas culturales y las percepciones de los usuarios en el entorno digital. Consecutivamente es importante continuar investigando la integración de tecnologías emergentes en la moda digital, fomentando colaboraciones interdisciplinarias proporcionando una comprensión profunda de cómo las nuevas tecnologías están transformando los signos vestimentarios ofreciendo ideas claves valiosas para diseñadores sobre la creación de prendas digitales interactivas y personalizadas que responden a las demandas de un mercado digitalizado.
Generative Artificial Intelligence (GenAI) has recently gained immense popularity by offering various applications for generating high-quality and aesthetically pleasing content of image, 3D, and video data format. The innovative GenAI solutions have shifted paradigms across various design-related industries, particularly fashion. In this paper, we explore the incorporation of GenAI into fashion-related tasks and applications. Our examination encompasses a thorough review of more than 470 research papers and an in-depth analysis of over 300 applications, focusing on their contributions to the field. These contributions are identified as 13 tasks within four categories: multi-modal fashion understanding, and fashion synthesis of image, 3D, and dynamic (video and animatable 3D) formats We delve into these methods, recognizing their potential to propel future endeavours toward achieving state-of-the-art (SOTA) performance. Furthermore, we present a comprehensive overview of 53 publicly available datasets suitable for training and benchmarking fashion-centric models, accompanied by the relevant evaluation metrics. Finally, we review real-world applications, unveiling existing challenges and future directions. With comprehensive investigation and in-depth analysis, this paper is targeted to serve as a useful resource for understanding the current landscape of GenAI in fashion, paving the way for future innovations in this dynamic field. Papers discussed in this paper, along with public code and datasets links are available at: https://github.com/wendashi/Cool-GenAI-Fashion-Papers/ .
Fashion industry is currently undergoing a digital transformation, characterised by an accelerating developments by reinventing its business models and creating a new order in the fashion world. The advent of novel technologies, such as the metaverse and non-fungible tokens (NFTs), is unlocking a wide array of fresh prospects for fashion businesses. The pace of technology adoption has experienced a notable surge due to the pandemic, leading to era of digital revolution in fashion industry. As per the MC Kinsey State of Fashion Technology Report 2022, "Consumer digital engagement rose sharply during the COVID-19 pandemic, as a result of more hours spent online, new shopping habits, and rising interest in gaming and virtual worlds". The implementation of lockdown measures during the global pandemic resulted in individuals being restricted to their residences, hence leading to an increased reliance on social media platforms as the primary means of socialising and expressing personal interests. The shutdown of physical retail establishments due to the global pandemic necessitated a shift of consumer behaviour, as individuals increasingly opted for online purchases. The process of digitization within the fashion industry have impacted the luxury sector with the young cohort of affluent customers driving the luxury industry with digital-first approach. In order to remain relevant among the burgeoning premium clientele, luxury enterprises are now required to have an online presence and employ technological developments due to the prevalence of digital adoption in recent years. Luxury fashion manufacturers are strengthening customer experience and promoting their items through the introduction of exclusive virtual experiences. This objective is been accomplished by constructing a distinct virtual environment within the metaverse, a hypothetical realm that operates in parallel to our physical reality with the integration of blockchain technology, smart contracts, non-fungible tokens (NFTs), cryptocurrencies, and Artificial Intelligence (AI). Numerous prominent entities in the industry like Louis Vuitton, Burberry, Gucci and Nike have adopted non-fungible tokens (NFTs) and cryptocurrencies, using the digital realm to expand their influence to engage a novel, technology-savvy online demographic. The paper aims is to map and comprehend the inception of metaverse in luxury fashion by studying the brands that has ventured in the luxury metaverse fashion. It also studies the brands engagement activities like introducing digital twin, building virtual stores, launching video game collaborations and so on. The study involves the qualitative research approach where research articles were analysed through systematic literature review. The articles were majorly categorized in 03 segments such as inception of digital fashion in metaverse and transition of luxury brands to digital space and lastly the brand engagement. The findings determine the current phase of luxury fashion industry in the fashion life cycle of digital fashion and metaverse. In addition, the evolution of digital luxury fashion will aid in the comprehension of the future of luxury fashion brands by utilising the metaverse for the introduction of digital fashion.
Tribology has played an essential role in the advancement of technology and the development of economies all over the globe. As such, a significant part of the Korean industry has benefitted from design solutions and remedies that stem from tribological considerations. Republic of Korea has grown tremendously in the traditional application fields of tribology, such as automotive, manufacturing, heavy industry, shipbuilding, and electronics, over the last few decades. Apart from these traditional fields, tribology has been contributing significantly to emerging industries related to energy, environment, and biotechnology in the Republic of Korea. In this paper, the status and prospects of tribology in the Republic of Korea are presented. The history and activities of the Korean Tribology Society (KTS) are described along with a review of the research works of selected Korean tribologists. Considering the great relevance of friction, wear, and lubrication issues in future sustainability, efforts in tribology will continue to expand in parallel with technology and economic development in the Republic of Korea and around the globe.
Unlike the traditional fashion market, where there is easy access to the details of fashion manufacturing, such as textiles and functionalities, the digital fashion market, by nature, prevents traditional fashion investors from accessing complex data without the requisite knowledge of virtual asset transactions. To improve the transition period of shifting from physical to digital, this paper studied how design can increase user engagement and how visual communication impacts user behaviors by utilizing perceived value to better understand the potential demands of the users. This paper conducted 2 stages of study with interface designs through a group of participants. This research examined and condensed the most frequently expressed viewpoints to investigate how visual communication might improve consumers’ perceived value. The results aim to assist future visual designers.
The paper presents fashion houses in the realm of digital fashion. This research considers the potential of cutting-edge digital technologies in fashion design, including the implications of digitalism in this field and the relationship between creativity and sustainability in a digital context. The focus is on the integration of digital technology and fashion design. It is importance to emphasize the positive impact that digital technologies have on sustainability. The expansion of digital technologies has facilitated the emergence of sustainable consumption alternatives.
O artigo pretende explorar o impacto de uma exposição de coleções de moda confeccionadas virtualmente no espaço físico presencial de um museu. Para tal, o percurso metodológico que guiou esta pesquisa foi composto por estudo de caso (as edições 11 e 12 do Octa Fashion) e revisão bibliográfica sobre moda digital, virtualização da moda e a suposta dualidade real/virtual que fundamentou a discussão final. A moda digital é uma nova categoria no design de moda, possibilitada pelo desenvolvimento tecnológico na representação visual dos produtos de vestuário, especialmente na representatividade e capacidade de resposta dos tecidos nos corpos virtuais. Particularmente nos casos apresentados, é relevante indicar a exposição das coleções numa exposição audiovisual sediada num museu. Consequentemente, o presente texto problematizou não somente o lugar da moda e da tecnologia, mas também o futuro dos museus – tradicionalmente dedicados à exposição de arquivos, obras de arte e relíquias – revisitados com o potencial do digital; neste caso, especificamente a moda digital.
This chapter examines the evolution of competences in the fashion industry in relation to digitalisation processes and the necessary support for knowledge and skills development. After a literature review of the transformation of competences in the fashion industry, the work investigates the level of digitalisation present in Italian fashion companies and the main types of support currently available in Italy, such as financial support, training, and public and private consultancy, that facilitate digitalisation. The study focuses on the territory of Prato, a historic industrial district of textile and clothing production, to understand the state of the art of the digitalisation of Prato’s fashion companies and their likelihood of developing the necessary skills in light of the public and private supports available. This work aims to verify the existence, adequacy, and shortcomings of tools that facilitate digitalisation and offer practical reflections on their use.
Мета статті — з’ясувати основні умови виникнення та значення цифрової моди для суспільства та культури. Результати дослідження. Digital clothing можуть бути будь- які предмети гардероба, які створюються та носяться у віртуальному середовищі. Вони можуть бути створені за допомогою комп’ютерної графіки, 3D-технологій і візуальних ефектів. Цифрова мода охоплює такі елементи, як віртуальний одяг, розширена реальність, віртуальні кімнати для примірювання одягу та покупки, віртуальні модні покази. Цифрова мода виникла ще з появою перших комп’ютерних ігор, однак як тренд вона постала з початку пандемії. Нині аудиторія прихильників віртуального вбрання зростає: велика кількість користувачів інтернету потребує створення різноманітного контенту з власними фотографіями. Наукова новизна дослідження. Вперше в українській культурології висвітлено основні чинники виникнення та значення цифрової моди та одягу для культури і суспільства. Висновки. Цифрова мода — новий тренд fashion-індустрії, за якого люди створюють і носять цифровий 3D-одяг за допомогою технологій доповненої реальності. Таке поєднання моди та цифрових технологій можливе завдяки взаємодії віртуальних та доповнених реальністю елементів зі світом моди. Основні соціокультурні зміни, які сприяли появі цифрової моди, пов’язані з цифровими технологіями: диджиталізація змінила способи доступу до розваг та культурних контентів, урізноманітнила способи комунікації, пришвидшила поширення ідей та надала нові засоби для творчості та самовираження. Як незвичне злиття моди та технологій цифрова мода привносить інновації та змінює традиційні уявлення про моду, розширюючи межі творчості, та стимулює розвиток і подальші інновації. Вона відкриває нові можливості для самовираження, освіти, комунікації, формування екологічної культури та культури споживання, змінивши загальну концепцію володіння одягом. Використання цифрового одягу — досить прогресивна сфера модних культурних практик, яка продовжує активно розвиватися, шукати нові способи втілення та соціокультурної комунікації.
Endüstri 4.0 ile başlayan yeni çağda, bir paradigma değişimi yaşanmıştır. Sosyo-kültürel yaşantımızın temel dinamikleri, bu yeni paradigmanın ekosisteminde köklü dönüşümler geçirmektedir. Moda; kimlik, beden ve kıyafet arasındaki etkileşimle somutlaşan sosyo-kültürel bir fenomen olarak kabul edilmektedir. Dijital Devrim’in moda endüstrisinde yarattığı teknolojik dönüşüm, “Dijital Moda” adı verilen ve kendi alanında kültürel devrim yaratan yeni bir kavramı ortaya çıkarmıştır. Dijital Moda’nın, Endüstri 4.0 ile başlayan yeni paradigmanın ortaya çıkardığı kavramlar, değerler, algılar, pratikler ve gerçeklik vizyonu ekosisteminde, toplumun davranışsal refleksleri ile şekillenerek yeni bir kültür oluşturması, akademik platformda tartışılması gereken yeni bir alanı temsil etmektedir. Bu çalışmada, söz konusunu fenomenin dönüşümü “gerçeklik algısı”, “değer yargısı”, “kimlik”, “beden” ve “kıyafet-zanaat” kavramları açısından incelenmektedir. Özellikle, gelişmekte olan genişletilmiş gerçeklik (XR) teknolojilerinin sunduğu mekân-zamansal yeni gerçeklik koşulları altında, kimlik beden ve kıyafet etkileşiminin nasıl dönüştüğü ele alınmaktadır. Dijital Moda, yalnızca geleneksel kıyafet tasarımı ve üretimi tekniklerinin geliştirilmesi veya alışveriş deneyiminin artırılması ile sınırlı kalmayıp, aynı zamanda yeni bir kimlik, beden ve kıyafet anlayışını temsil etmektedir.
Purpose: The aim of the study was to determine the extent of convergence between the concepts of virtual and sustainable fashion. Virtual reality is gaining popularity due to its immersive nature, which enables "involvement of the senses". Owing to dynamic technological development, it is expanding into numerous fields of application and provides the potential to offer innovative products. Among those is virtual fashion, i.e., clothes and accessories that have no physical equivalent, being available to "wear" only in virtual reality. Virtual clothing is part of the premium and exclusive product segment, to which, in particular, the value added by the consumer is attributed. These products are therefore communicated as an environmentally friendly alternative to physical clothing, as they do not require the consumption of materials, thus generating no waste, using less energy and water, etc. Design/methodology/approach: The research consisted of two phases. The main phase was conducted with a method of systematic literature review according to PRISMA standards, by means of data extracted from the databases: Scopus and Ebsco (n = 13). In a supplementary phase, there was used a method of co-occurrence keywords analysis via VOSviewer to compare the description of strictly virtual fashion (n = 218) and sustainable fashion (n = 402). Documents were searched in the Scopus database. The conclusion was reached using the induction method. Findings: The findings from the researched documents indicate that virtual fashion is predominantly presented accordingly to the new technological possibilities it offers. Indeed, its ecological qualities and its potential for fulfilling pro-environmental goals in the fashion industry are briefly stated in broad terms, without reference to the specific measures or data, mentioned, by comparison, in papers devoted solely to sustainable fashion. Originality/value: The findings from the researched documents indicate that virtual fashion is predominantly presented accordingly to the new technological possibilities it offers. Indeed, its ecological qualities and its potential for fulfilling pro-environmental goals in the fashion industry are briefly stated in broad terms, without reference to the specific measures or data, mentioned, by comparison, in papers devoted solely to sustainable fashion.
The world of fashion is dynamic, ever-changing, and deeply influenced by individual preferences and collective sentiment. Making confident and informed fashion choices can be a daunting task, especially in an era marked by rapid trends and diverse styles. The fashion industry is ever-evolving, with trends and styles constantly changing. Making informed fashion choices that align with personal preferences and public sentiment can be challenging. "Empowering Sentiment Analysis for improved fashion choices" presents a novel approach to address this challenge. This abstract introduces a comprehensive framework that harnesses the power of sentiment analysis, a sophisticated natural language processing technique, to provide consumers and fashion enthusiasts with invaluable insights into the realm of fashion. Sentiment analysis, commonly used in understanding public opinions and emotional tones in textual data, is adapted here to decode the fashion landscape. By analyzing textual data from fashion reviews, social media posts, and comments, sentiment analysis can discern public sentiment and opinions about specific clothing items, styles, and trends. The primary objective of this initiative is to empower individuals to make better, more informed fashion choices. Through sentiment analysis, individuals can access an in-depth understanding of the prevailing sentiments and opinions surrounding specific clothing items, styles, and trends. This knowledge equips them with the tools to align their choices with current trends, explore niche styles, or even express their uniqueness confidently. By leveraging the power of machine learning models like Logistic Regression, Naïve Bayes, Support Vector Machines, Random Forest , Ada Boosting and Deep Learning algorithms the sentiment classification models are built. Furthermore, this technology fosters inclusivity and diversity in fashion decision-making by highlighting a wide range of sentiments and opinions. It acknowledges that fashion is a highly personal and subjective domain and helps individuals discover styles that resonate with their unique tastes and values.
The research examines global fashion, with a special focus on cultural appropriation and inspiration in the contemporary fashion industry. The issue of cultural appropriation is quite new in the scenario of cultural studies. In its early stage, the project will consider new perspectives on the analysis of fashion production with a multidisciplinary approach. By collecting and studying material from international frameworks, the research aims to understand how the concept of appropriation develops. By outlining an approach for a conscious production process, even cooperating with other international realities, the present work might be of help in decentralizing the market.
The Covid19 pandemic forced most companies to impose teleworking from home. Although individuals have access to many platforms in order to collaborate and to communicate with others, telework during the pandemic brought to light many challenges. Among these, personal appearance, and the setting in which videoconferences are conducted emerged as critical elements when working from home. Very few studies have researched the role of fashion in video-meetings. To address this gap, a survey has been executed, providing relevant insights into workers’ videoconferencing practices. Findings show that individuals’ appearance when doing online meetings with the camera on is very different from when they are in a professional setting. Furthermore, the desirability and prediction of use of digital elements/filters such as clothing, make-up, accessories, hair/beard, and home décor for professional settings are high. The implications of this study are twofold. Firstly, it provides novel insights on the role of digital fashion in the context of teleworking. Then, avenues for future research on digital fashion for videoconferencing in a post-pandemic setting are presented.
The 4th Industrial Revolution (4IR henceforth) is fundamentally reshaping the way we live and work. Each industrial revolution has evolved to solve major problems in society. This study views unmatched demand and oversupply as the major problems in the fashion industry and posits that 4IR technologies are being deployed to solve these problems by addressing three prime goals—hyper-personalization, environmental sustainability, and productivity. Based on a literature review and analyses of global industry cases, this study examines what, why, and how the 4IR technologies address these three prime goals. By comparing successful cases that do not utilize the 4IR technologies with those that do, this study highlights that innovative business models that address the unmet needs of the consumers are more important than technology adoption per se. Drawn from ample global cases, the findings can offer strategic directions for fashion firms preparing for unforeseeable changes that are further being accelerated by the Covid-19 pandemic. This study concludes with insights into how 4IR is shaping the fashion industry and raises thought-provoking questions for the industry and academia.
The clothing and fashion industry is known as a wasteful industry. Despite its target, producing fashionable and beautiful items to fulfil the needs of different consumer categories consumes a considerable quantity of raw materials, energy, water, labour force, etc. Every year, natural resources become more limited, hard to find and expensive; in these terms, the producers are forced to find either alternative solutions to replace as much as they can the needed primary raw materials or to try to maximise their use (which means to reduce the quantity of waste) or to use the waste to produce other things. The consumption of raw materials is determined during the development stage of the new model: the designer analyses the sketch of the selected model, then establishes and applies the needed steps to design the model pieces, creates the 3D virtual or supervises the manufacturing process of the physical prototype to verify the design solution, applies changes after analysing the prototype if it is necessary, obtains the production patterns and then he/she is doing the markers to determine the consumption of raw materials for one item and the whole order. Garment models with creases, pleats or folds are the most challenging ones because the designer has to have the ability to understand and to evaluate the shadows or the number of grouped lines of the model into values of distances or angles, to be used to change the element surface for their realisation. In these cases, it is essential to balance what the model requires and the needed amount of raw materials to produce it. This paper proposes some variants of how to resize the surfaces of the elements for designing creases but with an optimal raw material consumption level. The results are based on the analysis of different men jacket models’, with straight silhouette and creases between the hemline and its hem band.
Purpose
This paper investigate how fit uncertainty impacts product return costs in online retailing and how digital product fitting, a pre-sales fitting practice, can reduce fit uncertainty.
Design/methodology/approach
The paper analyzes the current performance of a retailer's e-commerce and return operations by estimating costs generated by product returns, including product handling costs, tied-up capital, inventory holding costs, transportation costs, and order-picking costs. The estimated costs were built on 2,229 return transactions from a Scandinavian fashion footwear retailer. A digital product fitting technology was tested with the retailer’s products and resulted in estimations on how such technology could affect product returns.
Findings
The cost of a return is approximately 17% of the prime cost. The major cost elements are product handling costs and transportation costs, which together amount to 72% of the total costs. If well calibrated, the fitting technology can cut fit-related return costs by up to 80%. The findings show how customers reacted to the fitting technology: it was unable to verify fit every time, but it serves as a useful and effective support tool for customers when placing orders.
Research limitations/implications
Virtual fit verification using digital product fitting is key to retailers to reduce fit-related returns. Digital product fitting using three-dimensional scanning is more appropriate for some products, but it is unsuitable for products that are difficult to measure and scan.
Originality/value
The paper contributes an empirical estimate of retail supply chain costs associated with fit uncertainty, as well as theoretical understanding of the role of pre-sales fit verification in avoiding product returns.
We explored how viewing one’s anthropometric virtual avatar would affect the viewer’s self-body perception through the comparative evaluation of self-concepts—self-esteem and self-compassion, within the framework of allocentric lock theory. We recruited 18 female adults, aged 18–21, who identified themselves to have some level of body image concerns, and who had had no clinical treatment for their body image. Participants were randomly assigned either to the experimental or control group. The experimental group participated in both body positivity program and virtual avatar program, whereas the control group attended the body positivity program, only. The results affirmed that the body positivity program served as a psychological buffer prior to the virtual avatar stimulus. After the virtual avatar experience, the participants demonstrated self-acceptance by lowering their expectation on how they should look like. The findings from exit interviews enriched the quantitative results. This study verified the mechanism of the altered processing of the stored bodily memory by the egocentric sensory input of virtual avatars, and offered practical potential of the study outcomes to be applied in various emerging fields where novel applications of virtual 3D technology are sought, such as fashion e-commerce.
This study created wearable fashion products with parametric design characteristics, using 3D printing technology. The goal of the study was to understand what parametric design features can be simulated with 3D modeling and printing technology, as well as to demonstrate what techniques can be used to produce fashion products using 3D printing technology. This study created two different parametric motifs using an FDM-type 3D printer with TPU and ABS as the printing materials. With those motifs, we produced three garments and two accessories. The limitations found during the process were modeling the exact measurement of the motifs that will merge with the apparel design seamlessly while maintaining the parametric features, as well as attaching the printed motifs to fabric without ruining the integrity of the textile. A significant implication of this study is that it recreates parametric designs on the human body and utilizes 3D printing technology for fashion products. This paper cast a light on a discussion about the technique can be applied on fashion design with full-sized body and encouraged designers to explore further with technological advancements in the future.
The fashion industry is undergoing a digital transformation due to the emergence of new shopping channels and external factors such as the COVID-19 pandemic. This study examined the relationship between virtual fitting (VF) experience satisfaction, brand advocacy, mobile purchase intention, and offline purchase intention from an omnichannel perspective to understand how VF based on augmented reality (AR) impacts the customer purchase journey. The study also investigated the moderating effect of a customer’s product involvement, which is a personal characteristic. The results reveal that high satisfaction with the VF experience had a positive effect only on mobile purchase intentions. Brand advocacy formed after the VF experience had a positive effect on both mobile and offline purchase intentions and showed a mediating effect in the relationship between VF experience satisfaction and purchase intention. The moderating effect of product involvement was also confirmed. Moreover, a significantly negative influence of VF experience satisfaction on offline purchase intention was detected for customers who were more involved in sneakers products. These results indicate that VF, which is used as a tool in shopping apps, can achieve customer satisfaction and drive mobile purchases, thus leading to offline purchases based on brand advocacy.
This paper focuses on the field of digital fashion and its development by providing an overview regarding fashion design and culture. It is part of a larger research that involved a literature review of 491 relevant papers. From the analysis of this corpus, three main categories were identified: Communication and Marketing, Design and Production and Culture and Society. This study focuses on the categories Design and Production and Culture and Society, which collectively gathered indicatively 48% of the selected literature. It presents its relevant studies and sub-categories, providing a rich and varied map of them and contributing to better design in further research in digital fashion.
The fashion industry cannot use 3 D Body Scanning to create custom garment patterns because its measurements fail to meet ISO 20685:2010’s tolerances. To advance 3 D Body Scanning’s precision, we present Gryphon: an algorithm that removes the two most extreme measurements from five body scans; removing potentially erroneous data. We assess Gryphon’s precision against current industry practice, determine if consecutive and non-consecutive data capture influences precision, and determine 3 D Body Scanning’s inherent imprecision inherent. We analyse 97 participants over 121 industry-standard measurements for consecutive and non-consecutive data-capture through MANOVA statistical analysis. Under current industry practice, only one measurement meets ISO 20685. However, under Gryphon and consecutive scanning, 97.5% of measurements meet ISO 20685. We also prove that the body’s in-scan movement does not affect reliability. Ultimately, we offer the fashion industry, ergonomists, and practitioners an accessible method to increase 3 D Body Scanning’s precision at a level unavailable under previous methods.
Practitioner Summary: Ergonomists need precise data, yet we prove 0% of 3 D Body Scanning’s measurements meet ISO 20685’s tolerances. Our analysis of 97 participants scans, shows consecutive scanning is necessary to achieve data suitable for anthropometric applications. We develop the Gryphon process with consecutive scanning, making 97.3% of measurements meet ISO 20685.
Abbreviations: ISO: International Organisation for Standards; Three Dimensional: 3D; MANOVA: Multivariate analysis of variance
Based on the stimuli-organism-response model, this study aims to examine whether consumers’ store experience through virtual reality (VR), compared to website experience, can attract them enough to perceive the online store as appealing. Two types of stimuli were developed for the experiments: consumers’ VR store experience (106 data) (i.e., having respondents experience 360-degree-based VR store videos recorded at a fashion retailer) and store website experience (107 data) (i.e., having respondents experience the same store’s website). The results revealed that relative to an ordinary store website, consumers’ VR store experience evoked positive emotions and increased perceived store attractiveness. This study also discovered that store familiarity does not moderate the relationship between the two store experience types and evoked emotions, implying that VR technology is effective regardless of consumers’ familiarity with a store. Text analytics were also utilized, providing additional insights about their VR store experiences. This study suggests an effective method for online retailers to emulate an attractive store environment and entice consumers through VR, regardless of the retailers’ fame. Specifically, it demonstrates the effectiveness of VR over website in enhancing store attractiveness, an under-studied area.
A novel algorithm for 3D-printing technology was proposed to generate large-scale objects, especially A-shaped manikins or 3D human body scan data. Most of the conventional 3D printers have a finite printing volume, and it is the users’ work to convert the target object into a printable size. In this study, an automatic three-step segmentation strategy was applied to the raw manikin mesh data until the final pieces had a smaller size than the 3D printer’s maximum printing volume, which is generally called “beam length”. Human body feature point information was adopted for fashion and textile researchers to easily specify the desired cutting positions. A simple bounding box, especially orienting bounding box, and modified Boolean operator were proposed to extract the specified segments with computational stability. The proposed method was applied to graphically synthesized manikin data, and 1/8, 1/4, and 1/2 scale manikins were successfully printed, minimizing the amount of support structure.
Overview:
Traditional manufacturing techniques, new trends in global consumer behavior, and agile competition necessitate change in the fashion footwear industry, one of the world’s oldest and most prestigious sectors. 3D printing may be precisely what the fashion footwear industry needs. By 2029, 3D printing in the fashion footwear industry is forecast to grow into a USD $6 billion revenue opportunity globally. We applied a mixed-method approach to study the adoption of 3D printing in Mexico’s prominent footwear cluster, which comprises all manufacturers, suppliers, and associated industry contributors in the Guanajuato region. We discuss the state of the art of 3D printing and share local adoption behavior and global best practices. Our findings offer a guide on how companies in the footwear industry—and other traditional industries—can leverage 3D printing.
Purpose
This paper aims to examine and overcome the barriers to the widespread adoption of blockchain technology, introducing a novel concept of sustainability in the fashion supply chain.
Design/methodology/approach
This work is an exploratory study of a well-known fashion company operating in the Veneto region (Italy). Data extracted from interviews and focus groups are coded using the (CAQDAS) software AQUAD. The outcome is then organized according to an adapted TOE view.
Findings
This exploration study's findings support the idea that the blockchain solution could be a valuable add-on in sustainable supply chains. However, a high understanding of technology and extensive communication with clients is required for successful integration.
Research limitations/implications
Being the outcome of qualitative analysis, the findings require further investigation to be inferable at a broader scale. As the project is still incomplete, some managerial choices are always subject to change.
Practical implications
Focused on a practitioner approach, this paper should guide managers in the process of successfully implementing blockchain technology. Arguably, similar companies may opt for similar choices.
Originality/value
To the best of the authors' knowledge, this is the first paper to contextualize and address the blockchain adoption barriers in the fashion supply chain. Furthermore, it offers an overview of how blockchain affects sustainable production.
Blockchain es una tecnología utilizada para el almacenamiento de datos que crece de forma acelerada. Esta es la tecnología mayoritariamente utilizada para crear y albergar otro fenómeno reciente, las criptomonedas. En las criptomonedas han visto la oportunidad organizaciones criminales para realizar y financiar actividades ilícitas. A pesar de que el funcionamiento del blockchain se basa en la claridad y transparencia de sus bloques, los estudios muestran evidencias de su vinculación con delitos como el blanqueo de capitales, la financiación del terrorismo o la compra de servicios ilícitos. El objetivo de este estudio es analizar la jurisprudencia penal española en materia de blockchain y criptomonedas, poniéndola en relación con los fenómenos delictivos destacados por la doctrina y las autoridades administrativas y legislativas de España y la Unión Europea. A este respecto el resultado del estudio muestra que existe una diferencia clara entre ambos ámbitos. Así, mientras que en el ámbito doctrinal, legislativo y administrativo los principales focos de interés en cuanto a la utilización de la tecnología blockchain y las criptomonedas han estado relacionados con el blanqueo de capitales, las evasiones fiscales, la financiación del terrorismo y la compra de material ilícito, los casos que han llegado a los tribunales españoles han sido mayoritariamente delitos contra el patrimonio.
Technologies that are ready-to-use and adaptable in real time to customers’ individual needs are influencing the supply chain of the future. This study proposes a supply chain framework for an innovative and sustainable real-time fashion system (RTFS) between enterprises, designers, and consumers in 3D clothing production systems, using information communication technology, artificial intelligence (AI), and virtual environments. In particular, the RTFS is targeted at customers actively involved in product purchasing, personalising, co-designing, and manufacturing planning. The fashion industry is oriented towards 3D services as a service model, owing to the automation and democratisation of product customisation and personalisation processes. Furthermore, AI offers referral services to prosumers or/and customers and companies, and proposes individual designs with perfect styles and measurements using new 3D computer aided design and AI-based product design technologies for fashion and design companies and customers. Consequently, 3D fashion products in the RTFS supply chain are entirely digital, saving time and money with sampling and tracking capabilities, secured, and trusted with personalised service delivery.
The adoption of Additive Manufacturing (AM) has gradually transformed the fashion
industry through innovation and technology over the last decade. Novel AM systems
and techniques are continuously being developed, leading to the application of AM
polymers with textiles and fabrics in the fashion industry. This work investigates the
development and testing of polymer–textile composites using polylactic acid (PLA)
flaments on synthetic mesh fabrics using direct material extrusion (ME). An aspect of
this paper highlights the appropriate combination of printing material, textile substrate, and printer settings to achieve excellent polymer–textile adhesion. Details of the
printing process to create polymer–textile composites are described, as are the interfacial strength results of the T-peel tests, and the observed failure modes post-testing.
The peel strengths for diferent ME bonded polymer–textile composites are examined
and used to identify the compatibility of materials. This work visualised the potential of
direct ME of polymers onto textile fabrics as a material-joining approach for new textile
functionalisation, multi-material composite explorations and innovative aesthetic
print techniques. This work also adds to the limited knowledge of AM polymer–textile
composites, which can provide helpful information for designers and researchers to
develop new applications and facilitate future research development in smart embedded and programmable textiles.
The textile and fashion industry has had significant technological developments but is currently criticised for its environmental and social impacts and for being a major contributor to waste. The rise of the circular economy (CE) has promoted more sustainable concepts, including the trending of recycling strategies to add value to the textile and plastic waste. However, adding value to products and for users implies technical upscaling and clear communication about the benefits of recycling. This paper presents a systematic literature review (SLR) and explores the state of the art of recycled textiles (RT) and circular fashion (CF) as perceived by humans. The literature review was performed on the basis of journal articles, book chapters, and conference papers using the ScienceDirect (SD) and Web of Science (WoS) databases. The review identified that a significant proportion of consumers from different countries have a basic understanding of sustainable products but that there have been differences in consumers’ attitudes towards sustainable purchase, use, consumption, and post-purchase behaviour. Diverse and even contradictory results occurred concerning the relationships between RT and CF and their perceived product attributes in terms of quality and functionality, as well as social-cultural factors. Manufacturers’ and brands’ perceived values of RT were observed to be influenced by different factors on the basis of the recycling system and cultural values, while designer attitudes towards sustainability were observed to be influenced by external factors. This review contributes to the creation of three main implications in terms of environmental impact and awareness, including actions and concrete proposals for RT and CF.
Research in the overlapping area between Fashion and Information and Communication Technologies – hereafter referred to as “Digital Fashion” – is growing and attracting the interest of both academics and practitioners. However, due to the richness and heterogeneity of the involved fields, no map is already available of it. A systematic literature review was conducted in July 2019 utilizing the keywords “digital” and “fashion” in five research databases, including academic papers from 1998. This provided 491 relevant items for analysis. Three main categories to which those research papers belong to are identified: (i) Communication and Marketing (C&M); (ii) Design and Production (D&P); and (iii) Culture and Society (C&S). Each category includes two or three subcategories. This study provides an overview of the state of the art of digital fashion studies, with a focus on Communication and Marketing related research.
Traceability and monitoring of industrial processes are becoming more important to assure the value of final products. Blockchain technology emerged as part of a movement linked to criptocurrencies and the Internet of Things, providing nice-to-have features such as traceability, authenticity and security to sectors willing to use this technology. In the retail industry, blockchain offers users the possibility to monitor details about time and place of elaboration, the origin of raw materials, the quality of materials involved in the manufacturing processes, information on the people or companies that work on it, etc. It allows to control and monitor textile articles, from their production or importing initial steps, up to their acquisition by the end consumer, using the blockchain as a means of tracking and identification during the whole process. This technology can also be used by the apparel industry in general and, more specifically, for ready-to-wear clothing, for tracing suppliers and customers along the entire logistics chain. The goal of this paper is to introduce the more recent traceability schemes for the apparel industry together with the proposal of a framework for ready-to-wear clothing which allows to ensure the transparency in the supply chain, clothing authenticity, reliability and integrity, and validity of the retail final products, and of the elements that compose the whole supply chain. In order to illustrate the proposal, a case study on a women’s shirt from an apparel and fashion company, where a private and open blockchain is used for tracing the product, is included. Blockchain actors are proposed for each product stage.
Purpose
High-street fashion retail faces an uncertain future because of fluctuating consumer shopping habits. To revive fashion retailers, adopting disruptive technologies such as virtual reality (VR) becomes important to offer highly valued consumer experiences. Yet v-commerce designers still lack sufficient guidance to create effective retail environments. This paper establishes the v-commerce experience that targets fashion consumers’ desire and presents 13 specific design guidelines.
Design/methodology/approach
In this study, 22 participants, 20 consumers and two VR developers were interviewed regarding attitudes towards VR, motivation to shop through v-commerce and the moderating variables that influence virtual environment perceptions.
Findings
Consumers expect a vivid shopping environment with authentic product features instead of the more common simulated environment. Hedonically motivated consumers are more open to v-commerce than utilitarian consumers and consumers aged 18–34 years regard interactivity, personalisation and social networking as critical to offer a cost-efficient shopping experience.
Research limitations/implications
This paper explored the ways v-commerce delivers creative experiences to facilitate consumer purchase behaviour, contributing to the high street's regeneration. Yet consumers have too high expectations of lifelike interaction in v-commerce, which is beyond contemporary VR's capabilities. Future research should focus on developing authenticity of v-commerce environments, i.e. vivid interaction with product and people.
Originality/value
This paper establishes the fundamental design rules for v-commerce platforms, enabling designers to create effective retail environments, sympathetic to the consumer's cognitive desires.
This article describes the use of three-dimensional (3D) software in zero-waste fashion design, with a focus on its application in the context of the authors’ research and experience in industry and education. It expands on its use in visualisation for merchandising and marketing, to discuss how as a hybrid design and prototyping tool, 3D software could transform zero-waste design in industry, education and research. This research uses an experimental design approach and reflects on the authors’ design process before using 3D software, and its transformation upon learning, due to its utility for holistic 2D/3D practices. The article explores a range of examples of 3D software in use, revealing new design workflows that it allows for in articulating the relationship between form, pattern cutting and waste – and concludes that the advantages of 3D software to augment the garment design process is particularly evident for zero-waste fashion design.
The present paper deals with the problem of CAD (computer-aided design) competence formation of would-be teachers of technology and vocational school teachers. It is noted that for fashion industry to develop, it is necessary that its professionals should have both the knowledge of basic communication technologies and foundations of using CAD. ICT competence is necessary for trainee teachers of technology and vocational education specialists both for their educational activity and for successful creation of outfit models using computer techniques. The aim of the research lies in grounding the list of software equipment to be used by trainee teachers of technology and vocational school teachers to provide effective learning of CAD in professional sphere. The introduction to professional-oriented software is realized in higher education institutions of Ukraine during the course of “Basics of computer aided design”, after a preparatory course “Information Technologies” Information technologies are used in fashion industry for creating new models, equipment management, and for maintaining the life cycle of outfits. Hereby presented is a systemized list of computer software tools for professional purposes to be used in automated workstation of the designer: software tools for correct and safe system component management; software for file creation and information sharing; CAD-subsystems. The content of the course “Basics of computer aided design” have been described. Practical approbation has proved effectiveness of the developed syllabus along with the methodological support of the course “Basics of computer-aided design”. The results of the investigation are important for grounding the content of study for trainee teachers of technology and specialists of vocational education, as well as for professionals in fashion industry.
The use of interactive media has been one of the most relevant trends in the last years. In this era where the stimuli from media never leave us alone, fashion customers are looking for even more than interactivity. They want to be involved, surprised. The keyword for this new trend is experience, not only as a memorable experience, but as a proper aesthetic experience that is capable to enhance even our sensory perceptions. Virtual reality and augmented reality seem to be the new solution to create experiential marketing, to differentiate one’s brand from competitors and to create immersive storytelling. Covid-19 brought the importance of the digital in fashion even more to evidence. With most of the stores closed, fashion brands had to translate its sector on social media and e-commerce platforms, and that’s when XR stepped in as a notable resource. Social distancing and lockdown highlighted how the digitization of fashion brands must be a priority, not only to recover from the Covid-19 crisis and gain back strength, but also to anticipate the needs of the modern customer. Augmented reality and virtual reality are definitely part of the answer.
Purpose
This paper presents a method to fabricate a fitting-mannequin using 3D-scanning, modeling and printing technologies.
Design/methodology/approach
Scan data were obtained from 12 subjects with body size in the average range, selected from 208 women aged 20–29. The 3D-scan data were modified by selecting cross-sections from the cloud data, symmetrizing body shapes and obtaining mean points of body shapes. Fifteen spline curves, generated by connecting the mean points on the X–Y plane, were used as sketches and loft features to create the 3D mannequin models. A lower-body fitting mannequin was printed with polylactic acid plastic using a fused deposition-modeling 3D printer.
Findings
The cross-section circumference discrepancies among the 3D-printed mannequins in each step were within 1%, demonstrating the applicability and reliability of the 3D technologies proposed for mass customization.
Originality/value
The proposed methodology demonstrates the value of using 3D-scanning data to manufacture fitting-mannequins via mass customization. The study demonstrates the possibility and practicality of using 3D techniques to produce commercially viable fitting mannequins for the fashion industry.
As the digitalisation of businesses continues to change customers’ purchasing habits, brick-and-mortar retail SMEs (Small and Medium Enterprises) are confronted with unprecedented challenges. The proliferation of e-commerce and digital businesses is not only changing the rules of business but disrupting them by introducing new possibilities, especially with the integration of new technology. Studies that have attempted to measure technology-based service quality in retail settings are limited to online service experiences, creating a significant gap in the literature. The primary purpose of this paper is to explore how the service quality of brick-and-mortar clothing retail chains can be improved using innovative technology such as smart mirror fashion technology (SMFT), something academic research has not yet specifically addressed. This study used a qualitative approach with Soft System Methodology (SSM), based upon interviews triangulated with observations and field notes. It focused on the top five UK clothing retail chains, measured by market capitalisation. We found that the quality of service received is currently perceived as low when compared to customers’ expectations; however, use of technology enhanced service quality and influenced customer satisfaction. There was a positive relationship between service quality, customer satisfaction and the use of SMFT. The contribution of this study lies in the development of a new framework that integrates SMFT with traditional in-store transaction processes, resulting in improvements in service delivery and managerial practices of the offline clothing retail service providers. The study concludes that embracing SMFT can help provide high-quality service, creating value for customers.
This paper presents the introduction to the author’s PhD thesis titled, Interfashionality: Body-oriented Parametric Design and Parametric Thinkign 2.0 for 3 D-printed Fashion and Textiles. The paper firstly introduces the author’s research motivation, which is followed by theoretical discussions around and design examples of fashion and textile digitalization, as well as 3 D-printed fashion and textiles. The author then introduces the important implication of parametric design for creating 3 D-printed fashion and textiles. In this section, through analyzing the self-organized conference, Digital Fashion-3D Printing for Designer, and through intensive discussions of the origin of parametric design and its adoption in fashion, the author then summarizes the scope of the research. This paves the way for a concrete research question, five research aims, research structure (model of the research) and thesis structure.
Purpose
Focusing on the apparel industry, this study extends current knowledge on how additive manufacturing (AM) may impact global supply chains regarding structures of interorganizational governance and the industry's social-sustainability issues.
Design/methodology/approach
Following an exploratory research design, two consecutive Delphi studies, with three survey rounds each, were conducted to carve out future industry scenarios and assess AM's impact on supply chain governance and social sustainability.
Findings
The implementation of AM is posited to reinforce existing supply chain governance structures that are dominated by powerful apparel retailers. Retailers are expected to use the increased production speed and heightened market competition to enforce faster fashion cycles and lower purchasing prices, providing a grim outlook for future working conditions at the production stage.
Social implications
Against the common narrative that technological progress increases societal well-being, this study finds that new digital technologies may, in fact, amplify rather than improve existing social-sustainability issues in contemporary production systems.
Originality/value
This article contributes to the nascent research field of AM's supply chain impact as one of the first empirical studies to analyze how AM introduction may impact on interorganizational governance while specifically addressing potential social-sustainability implications. The developed propositions relate to and extend the resource dependence and stakeholder perspectives on governance and social sustainability in supply chains. For managers, our results enrich the discussion about the potential use of AM beyond operational viability to include considerations on the wider implications for supply chains and the prevailing working conditions within them.
Virtual reality (VR) technology offers great potential for design collaboration by enabling designers to enhance the collaborative exploration process. However, few studies have provided practical insights into the use of VR-based collaboration environment (VRCE) in the field of fashion design. Therefore, this study explored the main features of VRCE solutions currently available and classified their major types in order to develop a deeper contextual understanding of the use of VRCE for fashion design collaboration. The VRCE solutions were collected from various media channels and finally classified into three representative types: virtual meeting and design planning, three-dimensional virtual prototyping, and design review. Consequently, the findings emphasised that the VRCE is useful for general design collaboration. Yet, to more efficiently process the use of domain-specific information and design process required for collaborative exploration of the fashion design concept development, additional technology functions that integrate with the fashion design process should be developed.
Service innovation with digital technology such as augmented reality allows brands to deliver additional values to customers, as interactions between brand and customer improve a brand’s performance. However, there is little research on digital service innovation and its impact on customer behavior. Thus, the authors focus on digital service innovation and aim to answer whether it plays a role in positive customer response. This study examines the relationship between digital service innovation, customer engagement, and customer equity. The findings of this study show that digital service innovation helps improve customer engagement, which also leads to customer equity. Finally, the authors discuss academic and managerial implications.
Purpose
Digital innovation and circular business model innovation are two critical enablers of a circular economy. A wide variety of digital technologies such as blockchain, 3D printing, cyber-physical systems, or big data also diverges the applications of digital technologies in circular business models. Given heterogeneous attributes of circular business models and digital technologies, the selections of digital technologies and circular business models might be highly distinctive within and between sectorial contexts. This paper examines digital circular business models in the context of the fashion industry and its multiple actors. This industry as the world’s second polluting industry requires an urgent circular economy (CE) transition with less resource consumption, lower waste emissions and a more stable economy.
Design/methodology/approach
An inductive, exploratory multiple-case study method is employed to investigate the ten cases of different sized fashion companies (i.e. large, small medium-sized firm (SME) and startup firms). The comparison across cases is conducted to understand fashion firms' distinct behaviours in adopting various digital circular economy strategies.
Findings
The paper presents three archetypes of digital-based circular business models in the fashion industry: the blockchain-based supply chain model, the service-based model and the pull demand-driven model. Besides incremental innovations, the radical business model and digital innovations as presented in the pull demand-driven model may be crucial to the fashion circular economy transition. The pull demand–driven model may shift the economy from scales to scopes, change the whole process of how the fashion items are forecasted, produced, and used, and reform consumer behaviours. The paths of adopting digital fashion circular business models are also different among large, SMEs and startup fashion firms.
Practical implications
The study provides business managers with empirical insights on how circular business models (CBMs) should be chosen according to intrinsic business capacities, technological competences and CE strategies. The emerging trends of new fashion markets (e.g. rental, subscription) and consumers' sustainable awareness should be not be neglected. Moreover, besides adopting recycling and reuse strategies, large fashion incumbents consider collaborating with other technology suppliers and startup companies to incubate more radical innovations.
Social implications
Appropriate policies and regulations should be enacted to enable the digital CE transition. Market patterns and consumer acceptances are considered highly challenging to these digital fashion models. A balanced policy on both the demand and supply sides are suggested. The one-side policy may fail CBMs that entail an upside-down collaboration of both producers and consumers. Moreover, it is perhaps time to rethink how to reduce unnecessary new demand rather than repeatedly producing and recycling.
Originality/value
The pace of CE research is lagging far behind the accelerating environmental contamination by the fashion industry. The study aims to narrow the gap between theory and practice to harmonise fashion firms' orchestration and accelerate the transition of the fashion industry towards the CE. This study examines diverse types of digital technologies in different circular business models in a homogeneous context of the fashion industry with heterogeneous firm types.
This study explores how a virtual reality (VR) design tool can enhance designers' cognitive action and creativity in the design process. Ten fashion designers participated in cognitive protocol research and in-depth interviews. Regarding the idea generation process's cognitive action, we limited the experiment to the sketch phase early in the design process and selected a 2D digital design tool for comparison. Expert reviews were also conducted to evaluate the creativity of design outcomes. As a result, we found that the immersive VR design tool activated physical and perceptual action in design cognition and enhanced flexible cognitive action amongst different cognitive action levels compared to the 2D digital design tool. Consequently, we found that the enhanced flexibility in the cognitive process in VR reinforced divergent design thinking in design concept generation and was connected with creative design outcomes.
Purpose
The authors conducted an action research study with the aim of understanding current commercial offerings in modular designs in virtual environments and to explore modularity development based on consumer input for the purpose of personalizing three-dimensional (3D) virtual fashion stores.
Design/methodology/approach
Through five phases of diagnosing, action planning, action taking, evaluating and specifying learning, the authors attempted to diagnose the current commercial offerings of modular designs in virtual spaces and to identify the right type and the number of modules and modular options for personalizing 3D virtual stores based on consumers' actual designs and focus group input. The authors then further conceptualized modules to serve as an example for developing modularity in 3D virtual reality (VR) stores.
Findings
In the diagnosing phase, the authors investigated the modularity structure of cocreating a retail store in two popular virtual worlds: Second Life and The Sims 4. In the evaluation phase, the authors identified modules and modular options for personalizing 3D virtual stores based on a content analysis of consumers' post-design focus group discussions. In the last phase (specifying learning), the authors conceptualized a total of nine modules and 38 modular options for personalizing 3D virtual stores, including style, price point, product category, color, presence of avatar, virtual product try-on, music, product recommendation and product customization.
Originality/value
The significance of this study lies in the pioneering methodological work of identifying, creating and visualizing 3D VR modular store options based on consumer input and in improving the authors’ understanding of current commercial offerings. This study also enriches design theories on cocreation systems. The authors’ suggested modules for personalizing 3D virtual stores could inspire future evidence-based designs to be readily used by VR retailers as well extend the application of mass customization theory from the realm of product development to retail environments.
Purpose
Due to the lack of relevant literatures on the application of mobile augmented reality (AR) service in beauty industry, the purpose of this study is to explore the impact of the mobile AR service on consumers' purchase behavior and brand awareness in beauty industry. And this study also wants to identify the different effects of the relationship among flow experience (concentration, playfulness and exploratory behavior), decision comfort and purchase intention moderated by different levels of consumer characteristics (individualism and fashion innovativeness).
Design/methodology/approach
This study set up a research model based on SOR model. The study used AR mobile app named “Youcam Makeup” as stimulus to do the questionnaire survey. First, the authors describe the way to use this AR mobile app and make sure each participant experience this app for about 5 min to understand AR well and finally, finished the questionnaire. SPSS and AMOS were used to do data analysis.
Findings
The results of this study showed that first, in the field of fashion and beauty makeup, compared with the ability to control or modify virtual contents – the perception of vividness, reality and aesthetics – are more relevant to consumers. Second, besides the playfulness that AR provides, AR technology can also encourage exploratory behavior in consumers, which will directly affect their intention to purchase. Finally, when using mobile AR technology, consumers with different levels of individualism or fashion innovativeness will gain different perceptions of their purchase intention.
Research limitations/implications
First, the study targets millennial female consumers. The future studies can be conducted on consumers of different age groups. Second, the sampling of this study is insufficient; if it had more samples, the results would be more accurate. Finally, AR is integrated into people's lives; therefore, to not be limited to millennial consumers, demographic characteristics need to be applied to future research.
Practical implications
This study provides a theoretical basis for marketers to formulate marketing strategies. First of all, marketers can use this technology to provide consumers with a more vivid and specific online shopping experience. Second, technical developers can focus on developing the features of AR with the strongest consumer perception based on the results of this study. Finally, this study researched consumer traits that can deepen understanding of both emerging technologies and consumer behavior as compared to research only on mobile AR services. Marketers need to understand the characteristics of consumers when making marketing plans and expand the characteristics of AR technology corresponding to the characteristics of consumers to attract consumers with different attributes.
Social implications
By using interactive technology, the brand can be closer to consumers and provide help and fun for consumers when they consume online. AR can also lead to future tool reuse behavior, thus establishing long-term relationships with consumers. More than that, AR can be used with the mobile phone, which can be used anytime and anywhere, eliminating space and time constraints. Therefore, the brand can establish cheap and extensive technology as a marketing strategy. Also, it can become one of the most common marketing tools.
Originality/value
This research fills the gap in the literature on mobile AR technology in the beauty industry. Such knowledge will not only facilitate the online development of brands but also help support retailers' development in the beauty industry, providing necessary capabilities for the expansion and application of this new technology. With regard to marketing strategies, the study on consumer characteristic provides the knowledge foundation for marketers to create marketing strategies, which is easier for them to formulate marketing schemes favorable to the brand for varying consumers.
This research develops a typology of atmospherics that contains user-identified modules and modular options for personalizing 3D virtual fashion stores. A content analysis of 46 focus group discussions (n = 170) was conducted to understand the user’s perspective for personalizing 3D virtual fashion store atmospherics. Based on three atmospheric categories (pathfinding assistant, environment, and the manner of product presentation), 17 modules and 207 modular options were identified for personalizing 3D virtual stores. This research pioneers the development of an atmospherics typology for personalizing 3D virtual shopping environments as a persuasive selling tool in the emerging field of 3D virtual reality (VR) retailing.
Purpose
The purpose of this paper is to propose an interactive 2D–3D garment parametric pattern-making and linkage editing scheme that integrates clothing design, simulation and interaction to design 3D garments and 2D patterns. The proposed scheme has the potential to satisfy the individual needs of fashion industry, such as precise fit evaluation of the garment, interactive style editing with ease allowance and constrained contour lines in fashion design.
Design/methodology/approach
The authors first construct a parametric pattern-making model for flat pattern design corresponding to the body dimensions. Then, the designing 2D patterns are stitched on a virtual 3D mannequin by performing a virtual try-on. If the customer is unsatisfied after the virtual try-on, the adjustable parameters (appearance parameters and fit parameters) can be adjusted using the 2D–3D linkage editing with hierarchical constrained contour lines, and the fit evaluation tool interactively provides the feedback.
Findings
The authors observed that the usability and efficiency of the existing garment pattern-making method simplifies the garment pattern-making process. The authors utilize an interactive garment parametric flat pattern-making model to generate an individualized garment flat pattern that effectively adjust and realize the local editing of the garment pattern-making. The 2D–3D linkage editing is then employed, which alters the size and shape of garment pattern for a precise human model fit of the 3D garment using hierarchical constrained contour lines. Various instances have validated the effectiveness of the proposed scheme, which can increase the reusability of the existing garment styles and improve the efficiency of fashion design.
Research limitations/implications
First, the authors do not consider the garment pattern-making design of sophisticated styles. Second, the authors do not directly consider complex garment shapes such as wrinkles, folds, multi-layer models and fabric physical properties.
Originality/value
The authors propose a pattern adjustment scheme that uses the 3D virtual try-on technology to avoid repetitions of reality-based fit tests and garment sample making in the designing process of clothing products. The proposed scheme provides interactive selections of garment patterns and sizes and renders modification tools for 3D garment designing and 2D garment pattern-making. The authors present the 2D–3D interactive linkage editing scheme for a custom-fit garment pattern based on the hierarchical constraint contour lines. The spatial relationship among the human body, pattern pieces and 3D garment model is adequately expressed, and the final design result of the garment pattern is obtained by constraint solving. Meanwhile, the tightness tension of different parts of the 3D garment is analyzed, and the fit and comfort of the garment are quantitatively evaluated.
There has been exponential growth is the use of wearable technology, and these are now considered to be of critical importance in certain consumer goods and services sectors, including healthcare. However, research on this topic remains fragmented, and the approaches to aid its study and enhance the understanding of how these technologies are used and its implications for the future have not yet been delimited. Thus, this study aims at identifying the different trends and themes prevailing in the literature on wearable technology. Through a systematic literature review, using bibliometric analysis, we identify five themes: i) Wearable technology decision-making; ii) Wearable technology well-being; iii) Wearable technology consumer behavior; iv) Wearable technology utility, and v) Wearable technology and big data analytics. Our analysis of the review data suggests that despite being multidisciplinary, there is a lack of integration between this research field’s micro and macro perspectives of this research field. This lack of integration and dialogue has led to several disconnected constructed terminologies, overlapping research questions, studies that are not based on appropriate results, fragmentation, and mixing or confusion of different theories. The study articulates key questions that could drive future research on wearables and consumer interaction.
The ongoing COVID-19 pandemic is disrupting the fashion industry and forcing fashion businesses to accelerate their digital transformation. The increased need for more sustainable fashion business operations, when coupled with the prospect that business might never be as usual again, calls for innovative e-commerce led practices. Recently, stakeholders have been experimenting with the idea of introducing digital humans for a more active role in fashion through the developments in artificial intelligence, virtual, augmented and mixed reality. As there is a lack of all-important empirical evidence on the consumer's propensity to interact with digital humans, we aim to quantitatively analyse consumer attitudes towards the propensity to interact with digital humans to uncover insights to help fashion businesses seeking to diversify their operations. The results reveal interesting, and statistically significant insights which can be useful for fashion business stakeholders for designing, developing, testing, and marketing digital human-based solutions. Besides, our findings contribute current insights to the existing literature on how consumers interact with digital humans, where research tends to be scarce.
The use of three-dimensional printing is prevalent in many industries, including fashion industry. Three-dimensional printing has come into wide use in different industries including fashion industry. Fashion and textile designers adopt the 3D printing technology as their creative design tool, for example, when creating 3D printed garments, fabrics or fashion accessories. It can be predicted that 3D printing technology will be rapidly applied and it will play an important role in the fashion industry in the future. This research study aimed to develop a theoretical design process model specifically for the creation of a 3D printed fashion prototype with multi-coloured surface texture. By adopting the practice-based research methodology and the developed design process model with reference to the theories of 3D printing technologies, practical concept, physical prototyping techniques and corresponding evaluation of various design elements, an innovative 3D printed fashion prototype was finally produced.
This paper presents the instructional design and development process for a fashion design education programme promoting creativity in a VR (Virtual Reality) environment. We designed the instructional model prototype based on the R2D2 (Recursive, Reflective, Design and Development) instructional design model and the creative thinking process model. The VR environment supported the design sessions, including the collaborative exploration in concept generation. We developed a feasible instructional model prototype using a VR environment through constant cooperative inquiry among instructional design team members. Furthermore, we conducted a multidimensional evaluation to obtain more pedagogical insights to develop an instructional model. Consequently, we could provide new insights into possibilities of using VR in collaborative exploration, promoting creativity, in future fashion design education.
Using environmentally friendly materials is a popular business practice in the fashion industry nowadays, which can affect both a fashion product's cost and its environmental impacts in the manufacturing process. Given the growing social consciousness of the public, the integration of environmentally friendly materials can also influence the market demand of fashion products. This article studies the information disclosure games over the environmental efforts in fashion supply chains. We consider a fashion retailer, which is the Stackelberg leader, orders sustainable fashion products made from environmentally friendly materials from a manufacturer. The fashion retailer can choose either to affix the eco-label or to adopt the blockchain technology, to declare the environmental quality of the fashion product to consumers. Meanwhile, given that the environmental quality is unobservable to the fashion retailer and the consumers, the manufacturer with credibility concerns can have the actual environmental quality of the fashion product discounted. We discuss how the application of the blockchain technology influences the information disclosure games over the environmental efforts in the fashion industry. Findings in this article advance the understanding on the application of the blockchain technology in sustainable practices in fashion supply chains.
This study aimed to understand how apparel design students perceived virtual reality (VR) technology as a source of inspiration for garment design. Students interacted with VR technology as a part of an experimental apparel design project in an upper-level university course. Open-ended questionnaires, documentation, and reflections provided data for the study. A majority of the students indicated VR technology was beneficial as inspiration, and students said they would recommend VR use in future classes. After participating in this study, students expressed interest in exploring other interactive apps in future coursework that could allow students to draft patterns and design in VR. Student comments about interactions with the technology were useful and will inform future curriculum development. Little research has been published using VR in university apparel design classrooms, and this study serves as a starting point to gauge future interest in VR as a part of the apparel design process.
The coronavirus pandemic brought the world to a halt and its impact on the fashion industry was significant. Moreover, consumer behavior and media consumption habits changed due to social distancing measures and as a consequence, the importance of digital channels was highlighted. Brands were forced to rethink their strategies and address consumers' needs. This paper presents an overview of the subject by examining how fashion brands adapted the communication strategies in the digital space to reach their audiences in a meaningful way. Furthermore, it delves into the consumer shifts and into the role of digital channels, to understand how they might shape the future. The findings of the study suggest that during the crisis, fashion brands focused on people's well-being and published content aimed to inspire, motivate , and entertain. Furthermore, it reports technology as a path for innovation for its contribution to improving online shopping experiences. A reflection on the theme also revealed that emotions are central to fashion strategies, and they can be used further to elevate communication.
Digital retail is a technology-driven business. Customers shop with the help of cutting-edge self-service technologies deployed by marketers to enhance customer experience and e- service quality (e-SQ). However, there is a lack of understanding of how customers differentiate between various digital retailers while shopping. We attempt to compare similarity and dissimilarity between top e-retailers based on customer perception grounded in seven dimensions of e-SQ using data from an important emerging market. Multi-Dimensional Scaling (MDS) technique was applied to analyze similarity judgments of the respondents to draw an aggregate perceptual map of the selected e-retailers. Subsequently, discriminant analysis was carried out and the results were used to create combined spatial maps of e- retailers and e-SQ attributes. It was found that consumers can perceive top e-retailers as similar or isolated brands. Our findings suggest that all seven e-SQ attributes can create differentiation among leading e-retailing brands. However, we recommend e-retailers to fortify their service recovery dimensions, as consumers give greater importance to them. Further, we benchmarked fulfilment and contact as critical dimensions for managing e-SQ from the top two e-retailers (Amazon India and Flipkart) and discussed how they are deploying cutting-edge technologies to beef up these dimensions.
Purpose
The purpose of this research is to investigate the millennial consumers’ purchasing behavior of fashion clothing brands in the spectrum of brand awareness, brand schematicity with brand consciousness and brand nationality. This study mainly considered the millennial consumers as they are the most dynamic and discerning segment when choosing a distinct fashion brand.
Design/methodology/approach
The study uses a well-structured questionnaire developed and distributed to 266 millennial respondents using shoping malls and university campus intercept methods. Data were analyzed by applying the structural equation modeling.
Findings
The results show that brand awareness has a mediating effect on the millennials’ purchasing behavior toward fashion clothing brands. The study also confirms the active moderation role of brand schematicity on the purchasing behavior toward fashion clothing brands.
Practical implications
Based on these findings, the fashion clothing retailers should aim to maximize their sales from the millennial segments by enhancing brand awareness. The schematic consumers are more engaged in the numbers of quality hints to make their choice on the fashion clothing brands. Therefore, the practitioners must consider such information, and that should be available in the fashion clothing retail outlets.
Originality/value
The study contributes to the existing literature of the millennials’ purchasing behavior toward the fashion clothing brands. Moreover, research on this segment related to brand awareness and brand schematicity is insufficient, and the current study may add significant value.
Despite the strong societal demand for circular fashion (CF) businesses, the literature lacks a contextualized understanding about what has been explored versus what has been underexplored in the current literature. Although the fashion supply chain involves many stakeholders, the majority of the literature discusses CF from the stance of internal stakeholders. Less is understood about the external stakeholders' perspective. To offer a holistic understanding about the CF traits (i.e., drivers, strategies, practices, barriers, and enablers) for all stakeholders, we have systematically reviewed the CF literature and integrated a stakeholder's perspective into this review process. Through content analysis, Study 1 shows the current trends in the CF literature and suggests avenues for future research. Through thematic analysis, Study 2 identifies the CF traits for all stakeholders, both internal and external. The results yielded a conceptual framework offering an integrated understanding about how fashion businesses can institute true circularity by engaging external stakeholders in their CF‐related endeavors.
Purpose
The paper presents a method for the patterns simulation in the 3D virtual stitching and try-on system.
Design/methodology/approach
First, the patterns are designed using the garment CAD software and stored in the DXF format. Second, the regular grid method is employed to mesh the patterns to be quadrangular, and the patterns triangular meshing can be obtained by connecting the diagonal of the quadrangular. Then a mass-spring model is established, and the forces analysis and the explicit Euler integration method are employed to accomplish the patterns simulation. The paper demonstrates the robustness of our simulation through two sets of experiments, including a lady’s dress patterns meshing experiments and the experiments of the virtual stitching of the lady’s dress.
Findings
The patterns meshing algorithm can meet the requirements of the internal meshing and the boundary meshing, and it is very important to select an appropriate meshing density. The implementation of the virtual stitching of the lady’s dress proves the effectiveness and usability of the simulation methods.
Research limitations/implications
The lady’s dress used in the experiments is a relatively simple fashion style, with only the front and back pattern. It is very worthy of further research on the effectiveness of the complex structure of clothing.
Practical implications
The paper includes practical implications of the methods of the patterns meshing and the virtual stitching of the simple fashion styles.
Originality/value
The simulation system is developed using VC++ 2015 with the help of the OpenGL functions library, which is proved as a simple, lower computation and robustness for the patterns simulation of the simple garments.
Purpose
The purpose of this study was to create a corset—understructure as well as fabric covering—using only computational, 3D approaches to fashion design. The process incorporated 3D body scan data, parametric methods for the 3D-printed design, and algorithmic methods for the automated, custom-fit fabric pattern.
Design/methodology/approach
The methods or protocol-based framework that nucleated this design project (see Figure 1) enabled more concentrated research into the iterative step-by-step procedure and the computational techniques used herein.
Findings
The 3D computational methods in this study demonstrated a new way of rendering the body-to-pattern relationship through the use of multiple software platforms. Using body scan data and computer coding, the computational construction methods in this study showed a pliant and sustainable method of clothing design where designers were able to manipulate the X , Y , and Z coordinates of the points on the scan surface.
Research limitations/implications
A study of algorithmic methods is inherently a study of limitation. The iterative process of design was defined and refined through the particularity of an algorithm, which required thoughtful manipulation to inform the outcome of this research.
Practical implications
This study sought to illustrate the use and limitations of algorithm-driven computer programming to advance creative design practices.
Social implications
As body scan data and biometric information become increasingly common components of computational fashion design practices, the need for more research on the use of these techniques is pressing. Moreover, computational techniques serve as a catalyst for discussions about the use of biometric information in design and data modeling.
Originality/value
The process of designing in 3D allowed for the dynamic capability to manipulate proportion and form using parametric design techniques.
Purpose
The adoption of augmented reality (AR) settings represents an extraordinary opportunity to enrich the value of the omni-customer brand experience, especially in fashion retail. AR enhances the brand of extra-contents, both informational and sensorial, amplifies its significance toward consumers and inflects its commercial and emotional charm through new dimensions in the store. In this light, the purpose of this paper is to verify whether AR affects customer behavior toward brands in the retailing system.
Design/methodology/approach
By means of a qualitative approach, a preliminary research question linking technological settings of the store/brand and customer informational eagerness has been analyzed in a fashion retailing chain store. To frame the research question, the omni-customer segment perspective has been assumed, taking into consideration two main dimensions as follows: implementation of in-store AR settings; and affective/cognitive/functional structure of the experiential brand value.
Findings
Preliminary findings suggest that AR can create extra brand value by simplifying the decision-making process and engaging customers. In the sum four “realms” in terms of augmented brand experience can emerge and be managed by retailers.
Originality/value
Even though the contribution of AR is easily understood in selling activities from a marketing perspective, very few retail applied studies can be found to-date. The present analysis aims to narrow this gap. It also contributes to brand management, stimulating the integration of the AR dimension as an additional facet of a brand tool kit in the “project” for value co-creation.
Virtual reality (VR) offers a new medium for marketing communications, where consumers are immersed into technologically synthesized ‘real-use’ experiences of products and services. In this study, we theorize and investigate empirically how consumers derive meanings from VR experiences. Using the ZMET technique, we uncover three themes: VR as democratization, VR as embodied escapism, and VR as actualized anxiety. Our focus on the consumption meanings of VR experiences provides an illuminating entrée into the discussion of how this technology is likely to shape marketing communications and consumer behavior in the foreseeable future.
Purpose
The purpose of this study is to draws on self-determination and self-evaluation theories to examine the psychological factors impacted by augmented reality (AR) services, an augmented reality try-on system. This study highlights three characteristics of modality, synchronous sense or ownership and re-processability within an AR try-on experiences as well as the moderating effects of consumers’ body surveillance and fashion consciousness.
Design/methodology/approach
Using a scenario survey approach, this study designs characteristics of an AR try-on system to examine the research model and the hypotheses. A total of 207 responses are collected and analysed using the SmartPLS 3 statistical software.
Findings
The results show that modality, synchronous sense of ownership control and re-processability of AR try-on system positively affect consumer’s rapport experience. Both body surveillance and fashion consciousness significantly moderate the effects of AR try-on service system characteristics on consumer rapport experience.
Research limitations/implications
This study highlights the importance of understanding the implications of the evolution of cyborg consumerism where consumer technology interface systems such as AR, as a source of technologically mediated modality, become part of the consumer’s body, an extension of their body if you will.
Practical implications
Based on the study findings, marketing managers can understand how to better use AR to implement digital promotional strategies for various body-involvement products.
Originality/value
Using immersive technologies, this study shows that AR allows a consumer see an authentic self and tangible extension of their physical self in an online shopping setting, thus enhancing a consumer’s online shopping experience.