Colèchi talks to Ioana Pop about how the digitalisation of fashion could move designers to restructure traditional fashion business models.
‘The inherent nature of fashion brands has led to an increased demand for greater experimentation, demanding for marketing and manufacturing trends to be approached[.]’
What is the title of your work?
Re-Starting Fashion: How Can Emerging Designers Restructure the Traditional Business Model of Fashion Brands by Embracing the Digital Age?
‘Nowadays, the digital age facilitates the client a greater exposure to new platforms, WEB AR, and revolutionised social media channels, all standing as a way of communication (p. 8)’.
What did you specifically explore about digital fashion?
My work tried to identify the main issues within the fashion sphere that can be easily resolved through the use of digital fashion. To be more precise, the paper focused on solving problems like mass production, limited experimentation and the obvious lack of representation. My work thoroughly explored three concerning aspects of the fashion industry in order to raise awareness as well as inform emerging designers and creatives who wish to start a brand of their own. I explored the potential and importance of customisation, and use of data to further avoid mass production, creative limitations and ultimately misrepresentation. The study also explored the metaverse’s unique characteristics and potential it upholds.
‘Digital fashion is not a fix to all problems but is a great starting point for starting conversations and imposing change by presenting existing challenges (p. 18)’.
Did you make any interesting discoveries whilst researching and writing?
Within my research I have noticed an increased interest manifested by emerging creatives and new graduates towards digital innovations. My main assumption was that people are not really open to the idea of an intangible reality, especially when it comes to clothing – only to discover that actually every single candidate that’s contributed to my research has, in one way or another, engaged with digital fashion. This has proven that digital fashion is here to stay and that its true potential is yet to be discovered. Through my study I wish to open a new conversation regarding the future of fashion for an audience that is craving for actual change.
‘Through digital fashion, the designer would be offered a platform to organically express ideas and creative standpoints in the most accurate, organic, and honest way (p. 17)’.
What did your research on the digital age conclude, and how could this digitalisation impact the future of fashion culture?
I concluded that digital fashion can, if implemented, shape the future of a brand from both economical and socio-cultural points of view. I believe that my work can definitely influence many to incorporate some practises that could eventually further benefit their organisations […] I do honestly think that at this moment in time, there are no successful brands that do not use digital innovations in one way or another.
However, I also concluded that digital fashion is not a fix to all problems – but it is a significant starting point towards, what I would say, is ‘a more promising fashion future for all’. Through digitalisation, brands as well as creatives can jointly develop a new, more appropriate business model that can have inclusivity and creativity at its core through customisation and personalisation. Creative agencies like The Institute of Digital Fashion offer free workshops and support with adapted strategies aiming to educate those who wish to embrace the future of fashion – proving that there is a cultural shift in requirements generated by a global phenomenon.
