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Batchen, G. (2002) ‘Spectres of Cyberspace’ in Mirzoeff, N. (ed) The Visual Culture Reader. London: Routledge, pp 237-243.

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Batchen, G. (2002) ‘Spectres of Cyberspace’ in Mirzoeff, N. (ed) The Visual Culture Reader. London: Routledge, pp 237-243.

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This thoroughly revised and updated second edition of The Visual Culture Readerbrings together key writings as well as specially commissioned articles covering a wealth of visual forms including photography, painting, sculpture, fashion, advertising, television, cinema and digital culture.
The Readerfeatures an introductory section tracing the development of visual culture studies in response to globalization and digital culture, and articles grouped into thematic sections, each prefaced by an introduction by the editor and conclude with suggestions for further reading.

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This thoroughly revised and updated second edition of The Visual Culture Readerbrings together key writings as well as specially commissioned articles covering a wealth of visual forms including photography, painting, sculpture, fashion, advertising, television, cinema and digital culture.The Readerfeatures an introductory section tracing the development of visual culture studies in response to globalization and digital culture, and articles grouped into thematic sections, each prefaced by an introduction by the editor and conclude with suggestions for further reading.

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-Briggs, A. (2013) ‘Capitalism’s Favourite Child’: The Production of Fashion. In, Bruzzi, S. and Church-Gibson, P. (eds) Fashion Cultures revisited Abingdon: Routledge 

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-Briggs, A. (2013) ‘Capitalism’s Favourite Child’: The Production of Fashion. In, Bruzzi, S. and Church-Gibson, P. (eds) Fashion Cultures revisited Abingdon: Routledge 

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Enhanced descriptions from Syndetics:

<p>Following on from the ground-breaking collection Fashion Cultures , this second anthology, Fashion Cultures Revisited, contains 26 newly commissioned chapters exploring fashion culture from the start of the new millennium to the present day. The book is divided into six parts, each discussing different aspects of fashion culture:</p> Shopping, spaces and globalisation Changing imagery, changing media Altered landscapes, new modes of production Icons and their legacies Contestation, compliance, feminisms Making masculinities <p> Fashion Cultures Revisited explores every facet of contemporary fashion culture and the associated spheres of photography, magazines and television, and shopping .Consequently it is an ideal companion to those interested in fashion studies, cultural studies, art, film, fashion history, sociology and gender studies.</p>

Description based on publisher supplied metadata and other sources.

Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2020. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.

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Enhanced descriptions from Syndetics: Following on from the ground-breaking collection Fashion Cultures , this second anthology, Fashion Cultures Revisited, contains 26 newly commissioned chapters exploring fashion culture from the start of the new millennium to the present day.

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-Healy, R. (2013) ‘Immateriality’ in The Handbook of Fashion Studies. London: Bloomsbury. ·

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-Healy, R. (2013) ‘Immateriality’ in The Handbook of Fashion Studies. London: Bloomsbury. ·

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-Campbell, C., (2005) ‘Culture, Craft and Consumption in a Postmodern Society’, in, Journal of Consumer Culture Vol 5 no. 1 ·

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-Campbell, C., (2005) ‘Culture, Craft and Consumption in a Postmodern Society’, in, Journal of Consumer Culture Vol 5 no. 1 ·

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The second edition of Consumer Culture explores the nature and role of consumption in modern societies. Celia Lury's up-to-date revision of this successful classic establishes the importance of new object-based studies for consumer culture, and incorporates new chapters on branding and the rise of ethical consumption.

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https://libsearch.arts.ac.uk/cgi-bin/koha/opac-detail.pl?biblionumber=1263519&query_desc=

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Enhanced descriptions from Syndetics:

Learning how to think through fashion is both exciting and challenging, being dependent on one's ability to critically engage with an array of theories and concepts. This is the first book designed to accompany readers through the process of thinking through fashion. It aims to help them grasp both the relevance of social and cultural theory to fashion, dress, and material culture and, conversely, the relevance of those fields to social and cultural theory. It does so by offering a guide through the work of selected major thinkers, introducing their concepts and ideas. Each chapter is written by an expert contributor and is devoted to a key thinker, capturing the significance of their thought to the understanding of the field of fashion, while also assessing the importance of this field for a critical engagement with these thinkers' ideas.This is a guide and reference for students and scholars in the fields of fashion, dress and material culture, the creative industries, sociology, cultural history, design and cultural studies.

Description based on publisher supplied metadata and other sources.

Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2020. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.

# data[].attributes.attachment_link.description
Enhanced descriptions from Syndetics: Learning how to think through fashion is both exciting and challenging, being dependent on one's ability to critically engage with an array of theories and concepts. This is the first book designed to accompany readers through the process of thinking through fashion.

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Rocamora, A 2015, Thinking Through Fashion : A Guide to Key Theorists, I. B. Tauris & Company, Limited, London. Available from: ProQuest Ebook Central. [15 January 2021].

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Rocamora, A 2015, Thinking Through Fashion : A Guide to Key Theorists, I. B. Tauris & Company, Limited, London. Available from: ProQuest Ebook Central. [15 January 2021].

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The future of the fashion calendar is uncertain. Each day offers new challenges for designers and their teams to overcome amid a health pandemic, an economic depression, and a global social justice movement. Planning for the next season is no longer business as usual, but small steps are being made. After months in quarantine, fashion houses have returned to work in France and Italy with an urge to rethink everything, most notably the fashion show.

While the prospect of attending IRL fashion shows in any great number seemed far off earlier this month, recent announcements from the Fédération de la Haute Couture et de la Mode (FHCM) and Camera della Moda confirm a revival of the physical runway come fall. Until then, designers are forming new ways to showcase their collections and express their ideas during the digital fashion weeks staged to replace big production catwalks and presentations this season.

Here, a rundown of what we know so far.
June 12-14
The British Fashion Council was first to adopt an online format when it announced that its usual men's fashion week would move forward as a coed, digital week in early June. The three-day week brought together a diverse selection of British brands to share a variety of creative content from podcasts and photo diaries under the BFC's new editorial website. "By creating a cultural Fashion Week platform, we are adapting digital innovation to best fit our needs today and something to build on as a global showcase for the future," Caroline Rush, the chief executive of the British Fashion Council, said in a press release. However, most major players like Burberry, Richard Quinn, and Wales Bonner are holding off on showcasing their spring collections until September.
July 5
Ahead of the rescheduled Paris men's fashion week, Hermès is livestreaming a digital experience tied to its spring 2021 collection, slated to go live at 8 a.m. ET.
July 6-8
In Paris, FHCM will host the first-ever virtual couture fashion week. During the three-day digital event, accredited couture maisons will present videos and complementary content that will go live on a preset show schedule, emulating the format of a physical fashion week. As per regular couture programming, Schiaparelli, Iris Van Herpen, Christian Dior, Giambattista Valli, and Azzaro, led by the French house's [newly appointed creative director Olivier Theyskens,(https://www.vogue.com/article/olivier-theyskens-talks-azzaro) will headline day one of the highly anticipated week. Chanel will debut Virginie Viard's third couture collection during the house's usual Tuesday morning time, with Ronald van der Kemp set to close out day two. The final day of couture does not loose steam, with showings slated for Maison Margiela, Guo Pei, Bouchra Jarrar, Viktor & Rolf, and the premiere of Nick Knight's immersive, virtual experience for Valentino.

July 9-13
The FHCM has announced that the men's spring 2021 collections would pivot to a video-only format this season. Similar to the flow of an IRL men's fashion week, the digital week will be organized by time slots, allowing for back-to-back streams on one central platform. "Digital is clearly part of the shape of fashion to come and we will take it as an opportunity for innovation to complement tradition," Ralph Toledano, the president of the FHCM, told Vogue. "This being said, [in the] last weeks behind our screens, we all felt that a dimension was missing: the sensorial one. This has tremendously reinforced our position that nothing will ever replace the unity of time and place. Shows are a major component of the fashion industry, and this will remain.... Physical events will always have our preference, but as long as there is uncertainty, there should be flexibility."
July 14-17
Italy's Camera della Moda team similarly announced a cyber-focused men's and women's fashion show format with new July dates titled Milano Fashion Week Digital. From panel discussions on social media to virtual showroom appointments, this season's physical-digital showcase will allow designers to present their latest collection or something totally different. "Everybody can decide their own message. The advantage is that in a digital world, you are completely free. You find your way of expression. We said to everybody, 'You have from one minute to 15 minutes, and you decide what you want to show,'" Carlo Capasa, the president of the Camera della Moda, told Vogue.

Virtual spectacles and special projects, including Etro's coed catwalk staged at the Four Seasons Hotel, Sunnei's three-dimensional showroom platform, and Prada's virtual capacity show, will all be shared globally during the digital fashion week for fashion lovers around the world to enjoy from home. On the final day of Milan's new digital fashion week, Gucci is confirmed to premiere its men's and women's resort 2021 collection in the form of a digital fashion show slated to go live at 8 a.m. ET. However, this will be creative director Alessandro Michele's last pre-collection spectacle for the Italian house. On May 25, Michele announced that the house will produce only two coed shows (one in the fall and one in the spring) instead of five seasonal runways a year. "I'm passionate about fashion shows, but maybe we can be open to seeing them in a different way," Michele said.

Directly after Michele's cruise debut, Ermenegildo Zegna is staging a "phygital" show to launch the brand's spring 2021 collection, set to launch at 9 a.m. ET. "I have always wanted to use alternative formats to communicate my creative process to an even wider audience. The idea that this season I will present the collection with a digital tool gives me great energy and freedom of thought because I can finally enter directly into people's place," Alessandro Sartori, artistic director of the Ermenegildo Zegna Group, explained in a press release. The innovative-slash-intimate hybrid event will also celebrate the brand's 110th anniversary.

Date TBD
Michele is not alone in breaking from the fashion calendar. Saint Laurent, which is also owned by Gucci's parent company, Kering, announced its departure from this year's preset schedules and beyond. "Conscious of the current circumstance and its waves of radical change, Saint Laurent has decided to take control of its pace and reshape its schedule," Anthony Vaccarello, the house's creative director, wrote in an Instagram post published in April. "Now more than ever, the brand will lead its own rhythm."

August 9-12
Editors, buyers, and influencers from around the world flock to Denmark's capital city twice a year to take part in Copenhagen Fashion Week. This season's event has shifted five days as a result of the pandemic. "We're fortunate that the Danish society is opening up much more quickly than expected, making it possible for us to hold Copenhagen Fashion Week very close to the originally scheduled dates," Cecilie Thorsmark, CEO of Copenhagen Fashion Week, noted in a press release. "All of our activities will, of course, be set up to meet applicable regulatory requirements."
August 26-28
Stockholm canceled its fashion week the past two seasons due to sustainability concerns and financial issues, but the Swedish Fashion Association is slated to resurface in the era of digital fashion events. Set to run over three days in late August, the SFA's premiere virtual Fashion Week will cater to press, influencers, and other stakeholders alongside consumers. In addition to prerecorded product presentations, designers will step into the spotlight during live interviews and themed conversations with Vogue editors.
September 2020
Known for his annual fashion show spectaculars, Kerby Jean-Raymond of Pyer Moss is proving that playing it safe doesn't mean canceling all large gatherings. In light of social distancing efforts, Jean-Raymond is staging a full-fledged drive-in fashion experience tour to showcase his new film American, Also. "It's always been our mission to show the amount of thinking and laboring that goes behind putting together a collection-we've been slowing down the speed of how much we produce and improving the quality of what we produce throughout the years," Jean-Raymond told Vogue.

Jean-Raymond is not the only New York-based designer banking on something big in September. With the resort season more or less canceled as a result of factory closures and shelter-in-place orders, many brands have refocused their efforts on New York Fashion Week. Veteran headliners like Proenza Schouler and notable newcomers like Collina Strada are said to be saving up for September, a strategy that is shaping up in Milan and Paris too.

On June 24, France's FHCM announced that IRL shows will return in time for brands to debut their ready-to-wear collections come fall. The spring 2021 women's fashion week "will take place from Monday, September 28, to Tuesday, October 6, and will comply for its implementation to the recommendations of public authorities," read a statement from the FHCM. Following in the FHCM footsteps, Camera della Moda confirmed that catwalks would come back in Milan once approved by safety professionals. Since its unveiling, Camera della Moda's online portal was always promoted as a collaborative platform aimed to complement rather than co-opt runway shows. "It's an ultra-inspiring tool, designed to support, rather than replace, the physical fashion calendar, which will resume in September and will remain vital in promoting Made in Italy and the value of its manufacturing prowess," Capasa said in a statement.

January 2021
In April, Pitti Immagine Uomo postponed its spring fashion week from June to September with the idea that some socially distanced shows could take place. However, the organization recently decided to defer all physical presentations until January 2021, meaning that the regularly biannual men's fashion week would only gather once in Florence this year due to the pandemic. In lieu of June and September programming, Pitti Immagine will launch a digital platform titled Pitti Connect aimed at enhancing exhibitor connectivity this July.

Instead of participating in FHCM's digital couture fashion week, Giorgio Armani will host his seasonless Privé show at the Palazzo Orsini in January. Joining Armani, Chitose Abe of Sacai will debut her couture collection for Jean Paul Gaultier as his first guest designer in the New Year.

Unlike the majority of brands set on staging something in September, Virgil Abloh is holding out until 2021 to present his own women's and men's spring collections. Abloh's decision to wait until January means Off-White is officially experimenting with the see-now, buy-now calendar. The collection will available for purchase in February, about a month after the looks debuted on the runway.

While Balenciaga has not officially confirmed a new date, the French house has likely postponed Demna Gvasalia's couture debut until 2021.

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Digital Fashion Weeks and Virtual Shows: A Rundown of Fashion's New Rhythm

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Everything We Know About the New Fashion Calendar

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Think beyond the regular runway. Think about greater diversity. And let technology follow, not guide, your concept.

Oh, and please entertain and surprise us.

Those are among suggestions for designers and brands plotting digital fashion presentations for the coming spring-summer 2021 season. For the first of a new, recurring featured called Suggestion Box, WWD reached out to a sampling of top editors, retailers and creative figures to evaluate the summer's digital fashion weeks, which were hinged mainly on creative films.

Among those nonplussed was Laura Brown, editor in chief of InStyle.

"To be honest, I didn't really watch a lot of the pre-done presentation videos - with the exception of Dior - because they don't make me feel anything," she told WWD. "Live presentations like Valentino, captured on video, feel different. Also something like Gucci showing the prep for a shoot had a real-time feeling, and the kids love all that behind-the-scenes stuff.

"That said, fashion still needs its moments," she mused. "Otherwise you might as well just be looking at an ad."

Most say the digital presentations largely met their expectations - with Dior, Prada and Jonathan Anderson receiving many plaudits - while few awarded grades higher than six out of 10 overall.

Here's what they had to say:
Lisa Armstrong, head of fashion, The Telegraph, London:
Overall impression: I didn't have any preconceptions. If anything, I was surprised by how many [digital shows] there were. It's hard to give an overall rating because the results were so variable. Some, like Maria Grazia Chiuri at Dior, had put a lot of thought (and money, presumably) into creating a new kind of experience. Others couldn't seem to get beyond the format of a lookbook.

Highlights: Dior, both the mermaids film and the Lecce show for pushing the boundaries of the medium and reintroducing us to the concept of dolls in couture, which became a real talking point; Valentino, for the breathtaking optics and the way Pierpaolo [Piccioli] combined a small, live audience with what looked like an art installation; Victor & Rolf, for wit, and J.W. Anderson's show in a box, for sheer charm and imagination, everything was so beautifully thought through; Gucci for taking the public backstage; Prada 3-D, for making us all feel a bit futuristic. They're all established names, with budgets. But I did one Zoom appointment with a designer called Hanna Fiedler, a 29-year-old based between London and Switzerland, who talked me through her collection, with a PowerPoint and an accompanying box of sample fabrics and illustrations. It was tiny but on point. I'd love to see more of that kind of thing.

Room for improvemen t: If you're used to seeing [fashion shows] live, then they definitely lacked the communal experience. I watched one as part of a spontaneous WhatsApp group and it was interesting to see how different it was when you could see and respond to your colleagues' comments in real time. It brought much more energy to the experience. For the wider public who don't get to travel across the globe to watch them, I think these shows were quite an interesting novelty. One lesson came through loud and clear: Simply pointing a camera at a catwalk and hoping for the best doesn't work. And moving lookbooks, however beautiful, aren't very engaging either.

Suggestions: To think really carefully whether they need a traditional catwalk show. Even before lockdown, every publication was seeing signs of viewer fatigue when it comes to the catwalk - just putting on a big show doesn't necessarily get you an audience and while it might score a lot of social media posts, that doesn't always equate to engagement. Personal, quirky, something that comes from the heart - they're all big winners. I'm excited to see what some of the small independent labels come up with and whether they can think beyond the catwalk.

Thom Bettridge, editor in chief, Highsnobiety, Berlin:

Overall impression: The digital fashion weeks completely met my expectations, because I wasn't expecting much. When our team first surmised that the men's weeks were going to go digital back in April, it was clear to us that a digital runway or a digital showroom is not what our audience wants. Over the past years, the fashion show has become a contemporary form of opera - in which music, art, fashion and design meet in one venue. Becoming immersed in that brand universe is what makes teenagers in Atlanta or Seoul care about what happens in Paris at a Dior show. This idea was the fundamental thesis behind why we decided to do our own digital exhibition called "Not in Paris," in lieu of focusing too much coverage on the official digital fashion weeks.

Highlights: What we're seeing now is a schism between brands that make clothes and market them, versus brands that are cultural institutions that happen to make clothes. For the brands that participated in "Not In Paris" - from Daily Paper to GmbH to Rick Owens - making something for an exhibition and not just a fashion show was innate to how they work. A great example of this is Prada. The brand and Mrs. [Miuccia] Prada have been working like curators for decades - there's an entire foundation dedicated to this - so putting together this quintet of video commissions for their digital was natural and perfect.

Suggestions: Try something new. Because the rules are out the window and the world is listening. A "normal" fashion show in fall 2020 is going to feel like those depressing sidewalk seating areas they're setting up outside New York restaurants. Either accept that the world has fundamentally changed, or order delivery.
Karl Templer, KTCS Inc., New York:
Overall impression: I think a lot of brands thought outside the box and adapted, while still staying true to their brand identity. That being said, it's extremely hard to translate the energy and excitement of seeing a fashion show in person digitally.

Highlights: I was most struck by houses that took advantage of either a small in-person audience or no audience at all to put on a cinematic show in spite of the traditional obstacles that come with putting on a show: tight schedules, accommodating location, and audience. Transporting their collections to fantastic locations like Dior and Jacquemus did created a unique environment and contextualization of their collections while also translating beautifully digitally. I also enjoyed Prada's films and the Maison Margiela film as I felt Prada was quite honest to their aesthetic and impressive at the same time and the Margiela one was quite emotional. Each was a true representation of the houses.

Room for improvemen t: I think the absence of the experience of the show and catering to and courting celebrities and influencers which result in an added layer of engagement for houses was evident. It seemed like there wasn't as much pickup on online channels as one would hope.

Suggestions: Brands will continue to need to think outside the box in scale and approach. From a marketing perspective, the spectacle of a show was once a great investment giving you months of content and clout. As that evolves, I think we will need to create many more smaller-scale events to feed an audience at the same rate. I think there needs to be a curated Internet channel or somewhere that presents the experiences and shows and can comment on them almost like the way there is live sports commentary so that there is an added layer of engagement. It would be enjoyable to hear what WWD thinks immediately and compares or critiques the looks, presentation, etc.

Laurent Coulier, men's wear merchandising and buying director of Galeries Lafayette and BHV Marais:

Overall impression: I had two main expectations. Have a global overview on spring-summer 2020 men's collections and discover new designers. The digital format was perfect to have a look at all shows, which is absolutely not possible when the fashion week is physical because I don't have time to attend all collections. I was a little bit disappointed as some brands decided not to show any collection, or only a few styles. In terms of new designers discovery, this format was really interesting as I could have a look at many new names I was not able to see when they had a physical show. I would rate this digital fashion week 6 out of 10.

Highlights: I think Casablanca, Dior and Lemaire were perfect presentations to show their new collection and designers' intentions, each one in a different way. Y/Project's presentation was also very interesting as it showed how clothes can be worn, which is a true part of the brand DNA - and is less easy to show on a runway.

Room for improvement: For some brands, products were lacking! Of course my buying team had the opportunity to watch the whole collections online, but I didn't. Usually shows are very useful to have a global eye on designers' work. Also, when the show is digital, you can't feel the usual atmosphere that is given by the venue, the loud sound and the thrilling waiting for a new collection discovery.

Suggestions: I think brands should consider agreeing on a calendar so that all shows are more or less presented in the same area. I remember a time where many shows took place at Le Carrousel du Louvre and people did not have the necessity to cross all Paris within 30 minutes. This would help people to save time and to reduce the ecological impact during the fashion week. Why not dedicate a huge space in Paris to show many collections during the fashion week in the same area?

Robin Givhan, fashion critic, The Washington Post:

Overall impression: I really had no expectations other than wanting to get a sense of the clothes and how designers see themselves fitting into our new reality. I was surprised by how often the clothes were really overwhelmed by the technological shenanigans.

Highlights: I found Jonathan Anderson 's show-in-a-box to be a very human way of presenting his work. I thought it captured the mood of the moment but practically speaking, you got a very good sense of the collection. I also found the Maison Margiela Artisanal film to be quite compelling as a behind-the-scenes look at the making of the collection. It really showed a lot of what goes into making a collection without overly romanticizing the ateliers. The Valentino couture show had the most magnificent, high-quality camera work I've seen.

Room for improvement: Some of the multipart presentations, I think, overestimated how interesting the making of a collection really is to most people. And again, technology is great, but it really should be in service to the collection.

Suggestions: I don't know that it's my place to suggest to designers or brands how to show their wares. However they choose to do so, I'll be happy to see it and write about it.
Donald Schneider, founder and creative director, Donald Schneider Studio, Berlin:
Overall impression: I would give the digital fashion weeks 6 out of 10.

Highlights: The one show which really stood out was Jacquemus. Every aspect of it was mesmerizing: Watching it live on screen almost made me forget that we're in COVID-19 conditions. Starting with the digital countdown to excite his global community for that one moment. Then the choice of the stunning location, an endless unbelievably beautiful untouched wheat field in the countryside outside Paris, reinforcing that Simon Porte Jacquemus "owns" forever this concept of an epic landscape staging. Then despite all the logistical challenges, actually inviting the exact right crowd-of-the-moment to sit front row, which is crucial for a live-show feeling. And a stunning casting. The whole show, the long, beautifully winding wooden catwalk from horizon to horizon. The summer sunlight, the somber music, the innovative live video-editing and the stunning camera angles with drones. The models walking with such serenity. The beautiful collection. It was that one moment where everything came together, one of those unforgettable moments in fashion history.

Room for improvemen t: The challenge seems to create fashion-show magic at the same time for the physical audience present and for the global audience watching.

Suggestions: Most of all, a fashion show or presentation needs a unique creative vision and idea. Technology has to follow that idea, not the other way around. And unlike before, it now needs to create an "unforgettable live moment" for both the front-row guests and everybody around the world watching it on-screen live. In this new world, we not only need to reinvent fashion shows, we also need to reinvent the campaigns and communication. As a campaign creative director, I see a lot of unused potential to create something much bigger out of that fashion show moment. To actually extend that magic storytelling around this collection much more directly into the campaign and 360-degree communication for all channels and touch points for the whole season, to create a mega-experience.
Katie Grand, editor in chief, Love magazine:
Overall impression: I'm not sure people had huge expectations for digital fashion weeks. As Marc Jacobs put it so well when he was in quarantine at the Mercer - he was in mourning for what had gone before. We were and still are in the middle of a pandemic and huge sociological change and to be rejoicing or even talking about fashion whilst there are much bigger and more important events in the world seems well, glib and morally incorrect on one side but people have jobs to fulfill. Having said that, I think anyone who managed to get anything together deserves a 10 out of 10 for effort. The most simple things which previously would have been easy - like getting fabrics, thread to match the color of the fabrics and then a zip to match the fabric and the threads - was near impossible. To photograph or shoot anything was also near impossible: My personal feeling was it was "too soon" but fashion is an "industry."

Highlights: The Loewe show in a box was charming. It didn't pretend to be a fashion show or replicate what we had previously known. Prada was very chic and also devoid of any pretense and was purely "the show that never happened."

Room for improvemen t: One word: diversity.

Suggestions: Take it easy, be gentle with yourselves. We are grieving for the fashion calendar as it was, even though it had become a circus for designers, journalists, models, everyone. But to expect it to have some miracle, enticing replacement within six months is impossible.
Riccardo Ruini, Riccardo Ruini Studio, Rome:
Overall impression: My expectations were not very high because everything happened very quickly and the brands had to take decisions and produce in incredibly difficult times. I think that everyone tried to propose something, but the result wasn't really exciting. My expectation was 7 out of 10 and my evaluation of what I've seen is 6. It was not easy to do something really outstanding in these conditions.

Highlights: I had the feeling that none really managed to get out of the rules. Even the best attempts were very constrained. I expect fashion to break the rules, to create new ways of communicating to their audience and to a greater audience also. It's not an easy task, so every attempt was honest, but nothing I've seen was taking the opportunity to go really beyond.

Room for improvemen t: It's a very difficult task to find the balance between the goal of the content, presenting a new collection, and the form to do it. Fashion brands are masters at what they have been doing forever, but when they have to confront new areas, they are struggling. I think that what was lacking was the awareness of what they were really doing: not presenting a collection to a small group of people in a real space but to a wider audience on a screen. It was the very first time, because until now the shows were still designed for the fashion audience at the venue. Most of them were lacking the entertainment and engagement ingredient that is needed when you are broadcasting an event.

Suggestions: I don't think that they need my suggestions, because there are great personalities and professionals in the fashion world. I'm sure that they will learn from the mistakes made for these "emergency" presentations. And do what we expect from fashion (and why we love fashion): to be able to talk to the audience in a way that touches emotions and minds in a way that only fashion creatives can. Free, contemporary, creative, innovative. But they must understand quickly the media where they are playing and create content designed for the media and for the way that people will watch it, with creativity, storytelling and digital innovation. Entertaining is absolutely necessary to involve the audience in the new media.

Vanessa Friedman, fashion director and chief fashion critic, The New York Times:

Overall impression: I would say 4 out of 10. I didn't really know what to expect, but ultimately I was hoping that brands might try to really wrestle with the whole purpose of a presentation and redefine the medium; Instead, I felt like what we got was largely a random group of efforts to jam fashion into pre-existing forms - the music video, the perfume commercial, the short fantasy film - rather than create something new and relevant. Maybe that was inevitable given the short time frame most designers had to work in, but if this is going to continue, I think a paradigm shift needs to take place.

Highlights: The pieces that worked best for me were those that felt the most transparent, and least styled, that invited viewers into the process of creation: the part of the Dior couture video that focused on the petites mains (rather than the mythic film that followed); the Margiela documentary of a collection creation; Gucci's 12-hour livestream - because they offered something most people who may have watched a livestream of a show never get to see. And they reflect the confusion we are all experiencing now, and instead of trying to dress it up, simply offered a view into a brand trying to manage and keep going and honor its work (and workers) during the crisis.

Room for improvemen t: Most lacked a sense of surprise or of immediate absorption that keeps you glued to a screen to see what happens next. They lacked the high-wire risk that live shows provide, where there are no do-overs, no air-brushing, and only a runway to get a point across. Far too often, it was easy to look away. They also often failed to connect to this particular moment in time, either to share the confusion or provide a solution (Prada being an exception). And when they were streamed films of actual shows themselves, the cutaways and camera angles were often frustratingly limited.

Suggestions: I think honesty and integrity are going to be incredibly important to consumers and employees as we all struggle through the next period together, and doing something that fashion has historically avoided - pulling back the curtain to invite customers and fans in on the creative process, in all its lumps and bumps and imperfections - will be increasingly important, as will allowing customers to know and connect not just to the boldface names on the top of a brand, but to all the individuals who go into making the products people eventually buy. It's that human interaction, and touch of the hand, that makes fashion special, and that will buoy it going forward. I also think, if we are trying to get past the old show system, then pushing out of the classic fashion box and thinking about alternate ways of using clothes in the world - creating a video game; making a mystery series - will be more effective than simply mimicking the old way in a new form. Products are often referred to as the "hero" of a fashion story, but the fact is, in life they are more like a tool. So why not treat them as such?

Federica Montelli, head of fashion, La Rinascente, Milan:

Overall impression: The digital fashion weeks met our expectations, considering the overall difficulties in creating a real engagement with the public throughout a digital platform yet managing to communicate a clear concept with often positive messages related. Every city presented a different approach to this new digital concept of fashion shows and presentations. General rating: 6.

Highlights: London was the first one and the one revolving mostly into a more artistic approach: the designer and the inspiration behind [the collection] were the real focus, with a general message linked to the concepts of diversity and inclusivity as milestones (and the Black Lives Matter movement, which was experiencing a peak at that time). We also really appreciated the positive commitment in sustainability with brands such as Anya Hindmarch and Marques'Almeida as great examples.

Paris put the spotlight on the collections themselves and the specific features of each one of them as J.W. Anderson and Loewe demonstrated through their videos and show-in-a-box.

Lastly Milan, which is easily associated to tradition and techniques, surprised us with interesting and young content such Magliano's presentation with contemporary poetry on the background, Sunnei's engaging video and Gucci's presentation featuring the real creative team behind the collection. Zegna has also been one of the most inspiring and complete collections presented.

Room for improvemen t: The digital fashion week format, as seen up until now, is lacking mostly in interaction with the public. The more obvious concern is the difficulty in perceiving the physical qualities of every product and collection: a modern VR experiential tool could be a good improvement for the future, as Ahluwalia for LFW did.

Bosse Myhr, director of men's wear and women's wear, Selfridges, U.K.:

Overall impression: Brands and fashion organizations were quick to react to the situation and limitations imposed by the COVID-19 pandemic with imagination, creativity and sensitivity. I would rate the experience 7 out of 10 - caveating that there is much opportunity to build on learnings from this first digital season, likely as per many other facets of our industry, toward a physical/digital hybrid that capitalizes on the best elements of each. I also think that as lockdown progressed people became more inventive, with an evolution to the formats. For example, Jacqumeus right at the beginning of lockdown created an entire lookbook via FaceTime. And then when lockdown measures were eased he staged a fashion show, but outside, in the countryside in a wheat field.

Highlights: I think Jacquemeus stood out as one of the masters of creativity during lockdown. The collection also provided a positive break from the constant news of the impact of the pandemic. Simon's creative way of presenting the collection was a great example of how a brand is able to adapt. I also thought that Kim Jones' Dior fashion film during the men's collection was a great example of how a film has played an integral part of the way that designers are able to showcase collections. Before we started on the selection to buy the new Rick Owens SS21 collection (via Zoom appointment), we were allowed a look behind the scenes into Rick Owens' studio, and the shoot of the lookbook of the collection. That video was also available for everyone to view on the Paris Fashion Week web site. In general, the fact that most collections were either films or livestreams meant that the access to new collections was very much more democratized than ever before - everyone who logged on had a front-row seat in their living room.

Room for improvemen t: It is very hard to describe the feeling of the build-up of anticipation and excitement before attending an actual fashion show in person. There is always an energy in the air that contributes enormously to the overall feeling when attending an actual show that simply can't be re-created in the same way online. Much the same as attending a theater premiere is compared to watching a movie on a Sunday night. Or watching a football game in the stadium and experiencing it firsthand compared to watching it at home; emotion isn't there in the same way.

Suggestions: Sustainability must play a central role. Our customers are demanding this more and more and buying sustainable products is a huge part of our buying decision. This is for the production process as well as other mechanisms such as materiality, repair processes etc.

Exciting designs - I think customers want to be inspired by fashion and really desire certain pieces. This does not have to be a showpiece necessarily, it can be a great coat or knit. But it does need to be desirable.

Seasonality - we don't really pay attention to whether a collection is called spring-summer or autumn-winter. We evaluate each collection depending on what week or month they are actually delivering to be super relevant to our consumer at that point.

Daniel Todd, buying manager, Mr Porter, London:

Overall impression: It was certainly a change to what myself and the industry are used to, but I appreciated the dedication and spirit from the brands to keep things moving and create new platforms to showcase the collections.

Highlights: The creativity and quick digital response was what stood out the most. Whether it was a live digital show from Dior or a 24-hour online showcase of talks and workshops from Loewe - brands were searching for ways to provide global interest and cut-through whilst staying genuine to their roots.

Suggestions: I think this is a great opportunity for brands to do something new, the old established order of fashion weeks has been shaken up which provides a platform for change. I think designers need to use this as an opportunity to think about what works for them and their business model right now, which might mean thinking less about the seasons and more about the right kind of product at the right time.
Editor's Note: Suggestion Box is a recurring feature in WWD in which assorted experts weigh in on how to improve newfangled - and longstanding - practices in fashion.

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Suggestion Box: How to Improve Digital Fashion Shows

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Think beyond the regular runway. Think about greater diversity. And let technology follow, not guide, your concept. Oh, and please entertain and surprise us. Those are among suggestions for designers and brands plotting digital fashion presentations for the coming spring-summer 2021 season.

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Once upon a time the meaning of luxury was part aspiration, part exclusivity and part too expensive for most to afford. It was the Hermès bag, the Cartier watch and cashmere designer coat that equalled status, good taste and most of all exuded wealth.

Brands communicated their campaigns through magazines, who had the power to enthral readers and consumers as arbiters of refinement and aestheticism. It was a time when craftsmanship, elevated design and high quality materials were the 'be all and end all' when it came to defining true luxury.

Democracy changed luxury

But times have changed. Because where once brands and the magazines who communicated their messages were in full command of their image and stories, the world has democratised. Anyone can share their story and thoughts about luxury goods and the shifts in power and consumer tastes have many asking what is the meaning of luxury today?

Are sneakers, sweatpants and pool sliders considered luxury? Because Louis Vuitton is retailing these in abundance. As are Gucci, Prada and Saint Laurent. Are graphic t-shirts considered luxury if they cost 500 pounds and are made by high end brands like Balenciaga? Is a 5,000 pound dress a luxury item when it becomes available from The Outnet at 70 percent discount? How about that Chanel handbag which can be rented for an event at just a fraction of the cost?

A decade ago these wouldn't have been classified as true luxury. But that age-old perspective and conversation has changed. More importantly, shoppers no longer buy into luxury in the same way.

Why invest in a dress when you can rent it?

There is much written and discussed about millenial buying habits, the next generation with spending power, who seem less interested in the acquisition of luxury goods. Why buy a car when there is Uber? Why splurge on a dress when you can rent it?

Goldman Sachs in its report 'Millennials Coming of Age' explain the reluctance of buying big ticket items and luxury goods. Instead, millennials are turning to a new set of services that provide access to products without the burdens of ownership, giving rise to what's being called a "sharing economy." So too their affinity for technology is reshaping the retail space. With product information, reviews and price comparisons at their fingertips, Millennials are turning to brands that can offer maximum convenience at the lowest cost.

Still, luxury brands are trying to woo millennials into their designer-filled stores, which is why sportswear remains such a trend on the catwalks. The aforementioned sneakers and sweatpants are driving luxury brand profits more so than tailoring and evening wear. It is no coincidence that Louis Vuitton appointed Virgil Abloh as artistic director of menswear as he understands the millennial demographic and is himself both creator and purveyor of streetwear de luxe.

Not buying for the sake of buying

In an era where conspicuous consumption is no longer deemed luxurious, luxury brands are keen to share their values on sustainability, environmental and social responsibilities. Gwyneth Paltrow's site Goop, which began with offerings of wellness advice now sells luxury fashion and accessories. Similarly Net-a-Porter has expanded into beauty and wellness and has its sibling menswear site, Mr Porter.

So what is true luxury? Not following fashion

Dan Herman, Ph.D., stated in his 2006 article, "The Eternal Principles for Creating Luxury Brands," luxury goods in the most traditional sense "are not designed and planned according to consumer tastes and expectations." Instead, he noted, "A luxury brand sets its own standards and does not adhere to fashions."

Photo credit: Chanel haute couture, source Chanel website. Article quote The Fashion Law, "Where Do Fashion's Traditional "Luxury" Brands Stand in 2018?"

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How luxury changed from being exclusive to democratic

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Once upon a time the meaning of luxury was part aspiration, part exclusivity and part too expensive for most to afford. It was the Hermès bag, the Cartier watch and cashmere designer coat that equalled status, good taste and most of all exuded

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https://www.google.co.uk/books/edition/Global_Luxury/l7M4DwAAQBAJ?hl=en&gbpv=0

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This book explores the luxury industry and how it has undoubtedly been one of the fastest-growing sectors since the 1970s, and one in which Europe has managed to strengthen its competitiveness in the world market. While many aspects of globalization remain abstract and intangible, the luxury industry has created markets where previously there were none, by educating Japanese about the history of French handbags, Chinese about the finest wines, and setting global standards for an elite, inspirational lifestyle. In this edited volume, a wide range of scholars comes together to analyze the history of the business and the innovations in management and marketing that have emerged from it. Invaluable for scholars, industry figures, and dilettantes alike, it will define the field of study for years to come.

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This book explores the luxury industry and how it has undoubtedly been one of the fastest-growing sectors since the 1970s, and one in which Europe has managed to strengthen its competitiveness in the world market.

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The word "luxury" is a complicated one. Full to the hand-finished brim with multiple meanings and potential interpretations, ask some people what luxury means to them and they'll talk about beautiful items bought (at great expense) from designer labels. Others will riff on words such as "massage", "spa" and "wellness". Some will talk about delicious food, eaten with friends, while others - many - will talk about time. It's these manifold interpretations of the term that makes life for those producing, marketing and selling "luxury" goods in this, the digital age, so acutely challenging.

And that's not least because, according to a recent study commissioned by Deloitte, millennials and gen Z will make up about 40 per cent of the global luxury goods market by 2025; and if we know anything about millennials and gen Z, it's that they're a tricky bunch to please. Unlike baby boomers - who would be happy enough reading about a luxury brand in the pages of a magazine such as this, going into the store and buying a product because they like the look of it - today's consumer expects the brands they invest in to interact with them, directly, over a wide array of traditional and digital platforms, from magazines and boutiques to social media and online retail outlets. What's more, consumers also expect brands not only to have a heart, but to wear it on their sleeves - sustainability is very important to this burgeoning generation. And if that wasn't enough they want the brands they buy in to to tell them a story too.

"Today, one of the key forms of engagement with audiences is through content and storytelling," Jonathan Akeroyd, CEO of Versace, tells me. "This is particularly compelling with younger audiences, but extends to all age groups. Luxury companies have to fuel their own digital channels with 24/7 content, extending beyond the traditional core competencies of product and retail. Compelling content generation has become essential for brands," he continues. "The myriad of digital channels has opened up so many different and exciting forms of expression that didn't exist in recent history. By mastering these new communication channels and creating captivating, authentic storytelling, brands have the opportunity to keep customers engaged and close to the brand."

Where once luxury labels existed in ivory towers, the playing field has been levelled and the lines of communication opened

But who, apart from Versace, is getting it right? British brand Burberry was one of the first major luxury labels to recognise the value of social media, under the aegis of former creative director Christopher Bailey, and today the label invests about 60 per cent of its entire marketing budget in digital platforms (according to analytics firm Social Wall). It seems to be working - at the end of 2018 Burberry posted a net profit of £173 million. When it comes to more traditional modes of storytelling, many brands have started producing their own print magazines, from watch marques Rolex and Chopard to haute luxury labels Giorgio Armani and Dior. Then there are the retailers. Mr Porter launched less than a decade ago, in 2011 (a year after Instagram), but it was a moment that revolutionised luxury retail both online and off. For the first time, a shop started producing its own "content" in a bid to instruct, entice and inform potential customers and it was, by all accounts, a rip-roaring success. By 2016, Mr Porter's value had increased by 94 per cent.

However, the potential for both brands and retailers to get it wrong is greater than ever before. Where once luxury labels existed in ivory towers - well out of earshot of the people buying their wares - today the playing field has been levelled and the lines of communication opened. "Luxury houses have to be much more democratic in the way they communicate with new and young audiences," says Caroline Rush, CEO of the British Fashion Council. "Although the product might be exclusive, experiences, communications and campaigns need to be much more inclusive. The product has to be great, but building brand loyalty is about tapping in to what inspires them and, often, what concerns them." Social media, after all, not only provides brands with a tool with which they can speak directly to their customer, but it also provides customers the means to speak directly to and - perhaps most importantly - about the brands they're engaging with. It's this shift in dialogue flow, spearheaded by Instagram call-out accounts such as Diet Prada, which has recently landed several brands in hot water for producing what have been deemed by some as racially offensive products. "Customers are hyper-sensitive to brands that don't match their values," says Rush. "And they can often be turned off by a single activation or campaign that gets it wrong."

But that's the big boys. What about those brands starting out in the luxury space or those struggling to maintain a footing in the face of such widespread change? How can they get ahead in this brave new market? "First and foremost, customers will be attracted to a brand with a differentiated and compelling fashion story," says Akeroyd. It's a point mirrored by Rush: "The key to success for new and unestablished brands is to focus. This is a crowded market, so having a very distinct point of view that resonates with your target audience is what will give you a basis to build on and develop brand equity that lives beyond one collection or one product drop.

"Identify the kind of business you want to be and set the foundations for that kind of growth. It isn't easy and sometimes finances or circumstances can take you off plan, but remember where you want to go and adapt to circumstances with this in mind."

+ Next steps

British Fashion Council The BFC is a network of industry leaders and ambassadors charged with representing the interests of UK brands and designers. It organises London Fashion Week and London Fashion Week Men's. britishfashioncouncil.co.uk
Now read: British design hero Sir Paul Smith reveals his life lessons Orlebar Brown founder, Adam Brown, on his business rules for success Adwoa Aboah: 'You don't have to get to rock bottom to be given help'

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The word "luxury" is a complicated one. Full to the hand-finished brim with multiple meanings and potential interpretations, ask some people what luxury means to them and they'll talk about beautiful items bought (at great expense) from designer labels. Others will riff on words such as "massage", "spa" and "wellness".

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Karaminas, V. 2012. “Image: Fashionscapes—Notes Toward an Understanding of Media Technologies and Their Impact on Contemporary Fashion Imagery.” In Fashion and Art, edited by Adam Geczy and Vicki Karaminas, 177–187. London and New York: Berg.

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Batchen, G. (2002) ‘Spectres of Cyberspace’ in Mirzoeff, N. (ed) The Visual Culture Reader. London: Routledge, pp 237-243.

[11/12/2020 14:57] Helen Spencer
Eco, U. (1986 [1973]) Travels in Hyper-Reality (Chapter 5: ‘Lumber Thought'), London: Picador. B

[11/12/2020 14:58] Helen Spencer
Fashion Digital Memories – Special Edition of Journal of Critical Studies in Fashion and Beauty edited by Marco Pecorari: Volume 9, Issue 1

[11/12/2020 14:58] Helen Spencer
Karaminas, V. 2012. “Image: Fashionscapes—Notes Toward an Understanding of Media Technologies and Their Impact on Contemporary Fashion Imagery.” In Fashion and Art, edited by Adam Geczy and Vicki Karaminas, 177–187. London and New York: Berg.

Look in the bibliography of these books because they will have more books for you

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- Find specific examples like screen print or embroidery: across a few designers or do a more in-depth case study, A thread that we’ve through all the topics and subtopics
What relates to both (craft)
-you could read some text or articles: experiential marketing and digital presentations, Because it’s a new subject area you need to look at articles like the Guardian and the Telegraph

-Instead of having the images and examples separated bring them all together

- mind map to redefine the subject area

-Have three subtopics

-Have an introductory paragraph that contextualises the subject area

Then go into the three subtopics
-ashion theory and history perspective, It will be a combination of the two.
-Keyword search in library

Digital fashion

Digital cultures

PLAN;

Produce another draft of the essay plan & begin to write sections, which feel more resolved

Continue primary & secondary research

Utilize the academic support lecture series to polish your academic research practice

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TOPIC 1
EXAMPLES OF DIGITAL AND PHYSICAL SITES OF PRESENTATION.
EXAMPLES OF PHYSICAL AND DIGITAL PRESENTATION HAS INCREASED OR DECREASED ACCESSIBILITY.
EXAMPLES OF THE DEMOCRATISATION OF LUXURY BRANDS / NEW LUXURY REDEFINED
EXAMPLES OF HOW INCREASED ACCESSIBILITY AND CHANGE OF SITE OF PRESENTATION EFFECTS SUSTAINABILITY IN TERMS OF WASTE AND RESOURCES.

Virtual Fashion show examples:
- moschino SS21: Puppet catwalk
- Patrick McDowell: Fairy Tales runway show
- The Fabric of Reality by Sufo
Virtual exhibition examples:
- Collecting comme: digital exhibtion
CGI Model example:
- Lil Miquel: Instagram influencer
Fashion week (in-person) example:
- Mark Fast SS20
- Regina Pyo SS20 & AW21
Exhibitions (in-person):
- Balenciaga: shaping fashion V&A
Karen Millen: Virtual Shopping
mcqueen store
collecting comme

TOPIC 2
EXAMPLES OF HOW TECHNOLOGY EFFECTS DESIGNERS SKILLS AND CRAFTSMANSHIP: CULTURAL CAPITAL
EXAMPLES OF HOW TECHNOLOGY EFFECTS DESIGNERS CREATIVITY
EXAMPLES OF HOW TECHNOLOGY EFFECTS DESIGNERS EXPERIENCE AND ENGAGEMENT: COST, SITE
EXAMPLES OF HOW DESIGNERS TECHNOLOGY EFFECTS SUSTAINABILITY IN TERMS OF WASTE AND RESOURCES.

-Examples of site of fashion designing: in university studios / at home.
- Research cost of digital softwares (Clo 3D, Daz 3D, Photoshop) and Traditional costs (sewing machine, space, pattern cutting equipment)
-Document Waste of: Pattern cutting, sketching, draping and sampling.
-Interview Fashion student about user experience and engagement with digital softwares and traditional design.
-Skills lost: Pattern cutting, fabric sourcing, sewing, draping, crafts.
-skills gained: Clo 3D, Daz 3D, Photoshop.
examples of actual crafts
-Phy-digital design: examples of how can digital and traditional be used together.

TOPIC 3
EXAMPLES OF DIGITAL AND PHYSICAL EXPERIMENTAL MARKETING
EXAMPLES OF CLOTHING BEING BROUGHT TO LIVE THROUGH TECHNOLOGY
EXAMPLES OF BRANDS ENGAGING WITH CUSTOMERS ON A HIGHER LEVEL: LIFESTYLE, INFORMATION, CULTURE CAPITAL, BRAND EXPERIENCES.
EXAMPLES OF HOW INCREASED ACCESSIBILITY EFFECTS SUSTAINABILITY IN TERMS OF WASTE AND RESOURCES.

Virtual Fashion show examples:
- moschino SS21: Puppet catwalk
- Patrick McDowell: Fairy Tales runway show
- The Fabric of Reality by Sufo
Virtual exhibition examples:
- Collecting comme: digital exhibtion
CGI Model example:
- Lil Miquel: Instagram influencer
Fashion week (in-person) example:
- Mark Fast SS20
- Regina Pyo SS20 & AW21
Exhibitions (in-person):
- Balenciaga: shaping fashion V&A
Karen Millen: Virtual Shopping
mcqueen store
collecting comme

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FASHION PRESENTATION AND DESIGN PRACTICES IN A DIGITAL AGE
Fashion Presentation:
Fashion week, models,  exhibitions, Fashion shows, fashion stores, social media, websites.
Fashion Designing:
Pattern cutting, Fabric sourcing, sketching, sampling, draping, sewing, craft
(Digital: Clo 3D, Daz 3D, Photoshop, online fabric sourcing.)

1 - SITE OF PRESENTATION AND ACCESSIBILITY
- Effect 'Site' of presentation (digital or physical): People are viewing it through a screen so it’s an immediate.
-Site of engagement: People are viewing it through a screen so it’s an immediate are it’s not a direct engagement anymore it’s indirect (affects these are engagement)
- Effect accessibility? (Virtual presentation accessible to anyone around the world) democratisation of luxury and brands / new luxury redefined
- SUSTAINABILITY: How does increased accessibility and digital site effect the environment in terms of waste (Over consumption, clothing) and resources (Travel & space)?

2 - FASHION DESIGNING AND PRODUCING
-effect on designers skills and experience?

Site of designing

Costs
User experience and engagement

-effect on creativity and craftsmanship?

Cultural capital
-effect on sustainability?

Waste and resources
- Effect the environment in terms of waste (Pattern paper and fabric: left over cuttings) and resources (fabric and materials: water and energy)?

3 - CONSUMER EXPERIENCE AND ENGAGEMENT

-Experimental marketing: Forbes article by 2020 experiential marketing will overtake other types of marketing.
-fashion historians debate: terminology associated with fashion is it dress is it style? do we actually have to engage with it to wear it? can you bring clothes to life through technology.
-Conscious consumption: Consumers want more then just products now they want to know about the brand and to engage with. Digitally savvy then just buying a product: buying into a lifestyle
- Effect cultural capital: brands are becoming curators of brand experiences a application of museum curation

-is there an effect on sustainability?

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How does digital and physical fashion presentation practices:

Effect 'Site' of presentation?

Effect accessibility? Democratisation of luxury

Effect the environment in terms of waste and resources?

How does digital and physical fashion presentation and design practices? traditional vs experimental

Effect how we engagement? Conscious consumption: Consumers want more than just products now they want to know about the brand and to engage with. Digitally savvy then just buying a product: buying into a lifestyle

- Effect cultural capital: brands are becoming curators of brand experiences a application of museum curation

-is there an effect on sustainability?

Effect the need for physical garments? do we actually have to engage with it to wear it?

fashion historians debate: terminology associated with fashion is it dress is it style?

How does digital and physical fashion DESIGN practices:

Effect skills and craftsmanship: cultural capital

effect designers creativity

effect  designers experience and engagement: cost, site

effect SUSTAINABILITY IN TERMS OF WASTE AND RESOURCES.

# data[].attributes.body
Fashion Design and Fashion Presentation in a digital age.

# data[].attributes.body
TOPIC 1
Traditional methods: Pattern cutting, Fabric sourcing, sketching, sampling, draping, sewing, craft
Digital Methods: Clo 3D, Daz 3D, Photoshop, online fabric sourcing.
SUB-TOPIC 1
-Examples of site of fashion designing: in university studios / at home.
- Research cost of digital softwares (Clo 3D, Daz 3D, Photoshop) and Traditional costs (sewing machine, space, pattern cutting equipment)
SUB-TOPIC 2
-Document Waste of: Pattern cutting, sketching, draping and sampling.
SUB-TOPIC 3
-Interview Fashion student about user experience and engagement with digital softwares and traditional design.
-Skills lost: Pattern cutting, fabric sourcing, sewing, draping, crafts.
-skills gained: Clo 3D, Daz 3D, Photoshop.
examples of actual crafts
SUB-TOPIC 4
-Phy-digital design: examples of how can digital and traditional be used together.

TOPIC 2
Digital catwalks, online fashion week, cgi models, digital exhibitions, photoshoots, phy-digital presentation, live streams.
Virtual Fashion show examples:
- moschino SS21: Puppet catwalk
- Patrick McDowell: Fairy Tales runway show
- The Fabric of Reality by Sufo
Virtual exhibition examples:
- Collecting comme: digital exhibtion
CGI Model example:
- Lil Miquel: Instagram influencer
Fashion week (in-person) example:
- Mark Fast SS20
- Regina Pyo SS20 & AW21
Exhibitions (in-person):
- Balenciaga: shaping fashion V&A
SUB-TOPIC 1
-Examples of physical and digital presenations
-loose of exclusivity, accessible to many
SUB-TOPIC 2
-Research the resources used to create a digital presentation vs a physical presentation.
SUB-TOPIC 3
-Examples of how we gain and loose creativity and skill
-example of brands using culural capital
mcqueen store
collecting comme
SUB-TOPIC 4
-ask consumer questions
-reasons why they might engage more

TOPIC 3
Virtual shopping, magic mirrors, instagram shopping feature, screenshop app, apple pay, Dressing room app.
Karen Millen: Virtual Shopping
Magic Mirror: interactive changing room mirror
SUB-TOPIC 1
-examples of digital and physical shopping.
-example of increased accessibility
SUB-TOPIC 2
-examples of over consuming due to consumption practices: karma
-examples of how resources are effected
SUB-TOPIC 3
-examples of digital and physical shopping and how that effected my experience

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TOPIC 1:  FASHION DESIGN PRACTICES IN A DIGITAL AGE
Fashion Design and Producing: Digital design practices vs traditional design practices. Should we leave traditional design behind as fashion evolves or will we lose creativity, skills and craftsmanship into a profit led industry.

SUB-TOPICS:
1 - SITE OF DESIGN AND ACCESSIBILITY
- Effect 'Site' of fashion designing (digital or physical)
- Effect accessibility? (being able to design anywhere: not just in a studio, enabling more people access, will fashion degrees still be needed?, cost of software / machines)

2 - SUSTAINIBILITY
- Effect the environment in terms of waste (Pattern paper and fabric: left over cuttings) and resources (fabric and materials: water and energy)?

3 - CREATIVITY AND SKILL
- Effect Creativity, skill and craftsmanship (Loss and gain of skills, creativity and craftsmanship)
-User experience and engagement

4 - PHY-DIGITAL DESIGN
-Is there a happy medium between digital and traditional design that benefits from the positives of both?

TOPIC 2:  FASHION PRESENTATION PRACTICES IN A DIGITAL AGE
Fashion Presentation: digital presentations/exhibitions

Digital catwalks, Fashion week, cgi models,  exhibitions (digitally or in person), photoshoots, Phy-digital presentations: fashion shows are in decline.

SUB-TOPICS:
1 - SITE OF PRESENTATION AND ACCESSIBILITY

- Effect 'Site' of presentation (digital or physical)
- Effect accessibility? (Virtual presentation accessible to anyone around the world) democratisation of luxury and brands / new luxury redefined

2 - SUSTAINIBILITY
- Effect the environment in terms of waste (Over consumption, clothing) and resources (Travel & space)?

3 - CREATIVITY, SKILL AND CULTURAL CAPITAL
- Effect Creativity, skill and craftsmanship (Loss and gain of skills, creativity and craftsmanship)
- Effect cultural capital: brands are becoming curators of brand experiences a application of museum curation

4-CONSUMER EXPERIENCE AND ENGAGEMENT
- Effect Consumer experience and brand engagement?

TOPIC 3:  FASHION CONSUMPTION PRACTICES IN A DIGITAL AGE
Fashion Brands: Customer Culture, Commerce and Capitalism

(How does this affect the consumption of fashion and broaden the concept of consumption? What impact does this have on the consumer experience/engagement with fashion? How brand identity is communicated?) Technological aid, virtual stores, magic mirrors

SUB-TOPICS:
1 - SITE OF PRESENTATION AND ACCESSIBILITY
- Effect 'Site' of consumption (digital or physical)
- Effect accessibility? (Virtual stores accessible to anyone around the world) democratisation of luxury and brands / new luxury redefined

2 - SUSTAINIBILITY
- Effect the environment in terms of waste (Over consumption) and resources (Travel & space)?

3 - CONSUMER EXPERIENCE AND ENGAGEMENT
- Effect Consumer experience and brand engagement?

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Fashion design, consumption and presentation in a digital age.

# data[].attributes.body
How does digital fashion design practices: (Pattern cutting, toiling and sketching)
- Effect 'Site' of fashion designing (digital or physical)
- Effect accessibility? (being able to design anywhere: not just in a studio, enabling more people access, will fashion degrees still be needed?)
- Effect the environment in terms of waste (Pattern paper and fabric: left over cuttings) and resources (fabric and materials: water and energy)?
- Effect Creativity, skill and craftsmanship (Loss and gain of skills, creativity and craftsmanship)
-Is there a happy medium between digital and traditional design that benefits from the positives of both?

How does digital fashion presentation practices (exhibitions/fashion week):
- Effect 'Site' of presentation (digital or physical)
- Effect the environment in terms of waste (Over consumption, clothing) and resources (Travel & space)?
- Effect Creativity, skill and craftsmanship (Loss and gain of skills, creativity and craftsmanship)
- Effect Consumer experience and brand engagement?

- Effect accessibility? (Virtual presentation accessible to anyone around the world) democratisation of luxury and brands / new luxury redefined

- Effect cultural capital: brands are becoming curators of brand experiences a application of museum curation

How does digital fashion consumption practices: (Technological aid and virtual stores)
- Effect 'Site' of consumption (digital or physical)
- Effect the environment in terms of waste (Over consumption) and resources (Travel & space)?
- Effect Consumer experience and brand engagement?
- Effect accessibility? (Virtual stores accessible to anyone around the world) democratisation of luxury and brands / new luxury redefined

DESIGN, PRESENTATION AND MARKET

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THE FUNDAMENTALS OF DIGITAL FASHION MARKETING

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THE FUNDAMENTALS OF DIGITAL FASHION MARKETING

# data[].attributes.headline
Kennedy, A, Banis, SE, & Calderin, J 2013, Fashion Design, Referenced : A Visual Guide to the History, Language, and Practice of Fashion, Quarto Publishing Group USA, Osceola. Available from: ProQuest Ebook Central. [27 November 2020].Created from ual on 2020-11-27 06:09:18.

# data[].attributes.subject
Kennedy, A, Banis, SE, & Calderin, J 2013, Fashion Design, Referenced : A Visual Guide to the History, Language, and Practice of Fashion, Quarto Publishing Group USA, Osceola. Available from: ProQuest Ebook Central. [27 November 2020].Created from ual on 2020-11-27 06:09:18.

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Consumption

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Kennedy, A, Banis, SE, & Calderin, J 2013, Fashion Design, Referenced : A Visual Guide to the History, Language, and Practice of Fashion, Quarto Publishing Group USA, Osceola. Available from: ProQuest Ebook Central. [27 November 2020].Created from ual on 2020-11-27 06:02:24.

# data[].attributes.subject
Kennedy, A, Banis, SE, & Calderin, J 2013, Fashion Design, Referenced : A Visual Guide to the History, Language, and Practice of Fashion, Quarto Publishing Group USA, Osceola. Available from: ProQuest Ebook Central. [27 November 2020].Created from ual on 2020-11-27 06:02:24.

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Presentation: Fashion shows

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Kennedy, A, Banis, SE, & Calderin, J 2013, Fashion Design, Referenced : A Visual Guide to the History, Language, and Practice of Fashion, Quarto Publishing Group USA, Osceola. Available from: ProQuest Ebook Central. [27 November 2020].Created from ual on 2020-11-27 05:37:10.

# data[].attributes.subject
Kennedy, A, Banis, SE, & Calderin, J 2013, Fashion Design, Referenced : A Visual Guide to the History, Language, and Practice of Fashion, Quarto Publishing Group USA, Osceola. Available from: ProQuest Ebook Central. [27 November 2020].Created from ual on 2020-11-27 05:37:10.

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Traditional fashion design - construction

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Yelavich, S, & Adams, B (eds) 2014, Design As Future-Making, Bloomsbury Publishing Plc, London. Available from: ProQuest Ebook Central. [27 November 2020]. Created from ual on 2020-11-27 05:22:33.

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Yelavich, S, & Adams, B (eds) 2014, Design As Future-Making, Bloomsbury Publishing Plc, London. Available from: ProQuest Ebook Central. [27 November 2020]. Created from ual on 2020-11-27 05:22:33.

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DIGITAL CRAFTING AND THE CHALLENGE
TO MATERIAL PRACTICES Mette Ramsgard Thomsen

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Magic mirrors

In 2014 Rebecca Minkoff collaborated with eBay to improve the shopping experience in her New York store. Customers were able to choose garments using a large touch screen display and were notified by SMS when they were ready to try on. Fitting rooms used sensors to read the RFID tags on garments, providing the customer with information on additional sizes, styles, and colors. Touch screen mirrors allowed customers to place products in an online cart to purchase or to ask store associates to bring additional items to try on.

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Karen Millen

360° scenes of online space via avenueimperial. com

https://libsearch.arts.ac.uk/cgi-bin/koha/opac-detail.pl?biblionumber=1161939&query_desc=

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Touch - the way we know things through our bodies

Clo - less hands on time. Less engagement with materials

Touch interface for clo

Google jacard

Sense of movement - close your eyes and touch your nose

Life size screen for clo

Muscle memory (arm hole curve, collar curve)

Response of fabric to movement of body

Making touch activities online

D.atkinson@fashion.arts.ac.Uk

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How does digital fashion design consumption practices
effect:

the effect on the environment, waste (pattern cutting process*) and resources (fabric and materials) ?

How does does design Creativity, skill and craftsmanship effect the final outcome (presentation or design)

How does the promotional techniques effect Consumer experience and brand engagement?

'Site' of consumption (digital or physical)*

accessibility? democratisation of luxury and brands / new luxury redefined*

Branding and  identity (brand values and consumer values = alining the two)

cultural capital? brands are becoming curators of brand experiences a application of museum curation

DESIGN, PRESENTATION AND MARKET

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Fashion design and producing: Digital design practices vs traditional design practices

(Using digital technologies, pattern cutting: Should we leave traditional design behind as fashion evolves or will we lose creativity, skills and craftsmanship into a profit led industry.)
DESIGN

Fashion consuming: digital presentations/ promotions + site of consumption

(Digital catwalks, cgi models,  exhibitions (digitally or in person) Phy-digital presentations: fashion shows are in decline)
PRSENTATION

Fashion Brands: Customer Culture, Commerce and Capitalism

(How does this affect the consumption of fashion and broaden the concept of consumption? What impact does this have on the consumer experience/engagement with fashion? How brand identity is communicated?)
MARKET

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Fashion design, consumption and presentation in a digital age.

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Primary Sources? ·
-Instagram screen shots, videos, digital fashion shows, exhibitions·       -Compare the process of pattern cutting with digital processes using tacit design knowledge
Theories? Consumption; sustainability and craft

Student/Tutor To do: ·
Continue researching topic and finding key texts/primary sources·       Go back to essay plan and mind map and make a second draft

Key Texts? ·
-Blaszczyk, R. (2009) Producing Fashion: Commerce, Culture and Consumers. Philadelphia: University of Philadelphia Press. (eBook).·
-Lury, C. (1996) Consumer culture. Cambridge: Polity. ·
-Campbell, C., (2005) ‘Culture, Craft and Consumption in a Postmodern Society’, in, Journal of Consumer Culture Vol 5 no. 1 ·
-Healy, R. (2013) ‘Immateriality’ in The Handbook of Fashion Studies. London: Bloomsbury. ·
-Briggs, A. (2013) ‘Capitalism’s Favourite Child’: The Production of Fashion. In, Bruzzi, S. and Church-Gibson, P. (eds) Fashion Cultures revisited Abingdon: Routledge

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-Challenging the whole concept of fashion season and fashion shows

-Go on a research journey and see what you get and then analyse all the directions you go in and then regroup and see what’s important to your topic

-With exhibition making and curation - you can go on a virtual tour , Question what impact that has on the experienc, Looking at exhibition text also

-Further democratisation of fashion because luxury brands that were once exclusive and now very accessible

-Brands have realise that cultural capital is really important , So partnering on exhibitions, collected an archive, Because they understand there’s a cultural statues

-section: brands culture and commerce, Section: fashion and art, Within this there is capitalism as well , Put together a frame work , Start with these themes (^) and then start talking about things more specific to your research (after the introduction obviously)

- Maybe you could look at cdg in more depth and compare it to another example

When you introduce ideas try and thing of examples but then find a place you can go into more depth with something central to your topic

- Pattern cutting, toiling in person: tasit design knowledge

methodology

- Look at the attributes of traditional and digital presentations and how they’re different: branding , How are they translating and communicating their brand identity

You can use old images/research

- Take a key word summary and search that in the library

Work out how sustainability connects to all of this - needs to be explained

By next meeting:So that it becomes even more specific

- Look at past examples of cyp essays  again, Look at context page and see how they’re formatted it and see how you can translate your topic into that
- Keep researching and prime resources , Don’t start writing

- Develop a bibliography

- Collect more images (mood board)

- Shaping fashion also Balenciaga museum

Interdisciplinary - the fields are crossing over

Experience design and other designs

There’s an intersection in the middle

So the traditional and modern and this new in between

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Defining my designs

My concept is to add value to waste through reconstruction of 2nd hand items and incorporating scrap fabric into my garments. I want to focus on quality and durability: with strong seams, strong fabric, tailoring techniques and natural finishes.

I want to add value to my designs by only creating one-off-pieces, having clear skill and handwork while also focusing on narrative and Process, Hopefully this will prevent them from being thought of as disposable because the customer knows this is the only version of this garment that exists, and that a lot time as gone into creating it.

I also hope that my digital skills with Clo, daz and photogrammetry are more developed

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Silk marbling: a Japanese technique rediscovered | Hermès Footsteps Across The World

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Inside Chanel's Subsidiary, Lesage, Embroider | The Business of Fashion

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Consumption, Sustainability and Craft.

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Who is Lil Miquela, The Digital Avatar Instagram Influencer?

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Who is Lil Miquela, The Digital Avatar Instagram Influencer?

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Over lunch this spring, Nikola Burnett, a 15-year-old who always carries two cameras - one film and one digital - sat staring at an Instagram selfie, perplexed. The subject was Miquela Sousa, better known as Lil Miquela, a 19-year-old Brazilian-American model, musical artist, and influencer with over a million Instagram followers, who is computer-generated. "She's not real, right?" Nikola asked me shyly. She knew the answer, but something about Miquela made her question what her eyes were telling her.

At first glance, or swipe, Miquela could understandably be mistaken for a living, breathing person. She wears real-life clothes by streetwear brands like Supreme and luxury labels like Chanel. She hangs out with real-life musicians, artists, and influencers in real-life trendy restaurants in New York and Los Angeles, where she "lives." When Miquela holds her phone to a mirror, her reflection stares back. When she is photographed in the daylight, her body casts a shadow. She even complains about allergies and often references the temperature with tweets like "39 degrees out im still getting this iced matcha."

In selfies, you can see the freckles on Miquela's face; her gap-toothed smile. But up close, her brown hair, often pulled into Princess Leia-esque buns, looks airbrushed (Twitter users have noted that her flyaway frizz always falls in the same pattern). Her skin reads as smooth as the glass screen that separates us. And when you peer into Miquela's big brown eyes, she fails the ultimate test of humanity. No, Miquela isn't real - at least not like you and me. She is an avatar puppeteered by Brud, a mysterious L.A.-based start-up of "engineers, storytellers, and dreamers" who claim to specialize in artificial intelligence and robotics.

Until my conversation with Nikola, it seemed like an indisputable fact that Miquela wasn't real. But then I remembered something similar had happened to me in February as I watched the Instagram livestream of Gucci's fall 2018 show. Inspired by Donna Haraway's 1984 A Cyborg Manifesto, the collection was a hybrid of actual and fantastical references. Two models carried replicas of their own heads down the runway, while another cradled a "dragon puppy" that looked like it had come straight from Game of Thrones. Maybe it was the jet lag - I was in Milan for Fashion Week - or maybe it was the dizzying effect of good art, but something moved me to text my editor, seated in the front row: "Those dragons weren't real ... Right?"

We humans have been tripping over the differences between real and fake ever since our forebears saw shadows on cave walls. But it used to be that real-looking fake humans were confined to Disney parks, movies, music videos, or video games. We could turn them off, or leave them behind. Now they occupy spaces once reserved for real-life people experiencing real-life things.

Like having your Instagram account hacked. Miquela is positioned as a social-justice warrior of sorts, and on April 18, a pro-Trump, self-proclaimed "robot supremacist" CGI character named Bermuda wiped her account clean, posting photos of herself, instead. She proceeded to accuse Miquela of being a "fake ass person" who was duping her followers (the irony being that Bermuda isn't real either). Then she issued an ultimatum: Miquela couldn't have her account back until she promised to "tell people the truth."

Naturally, this got Miquela's followers, or "Miquelites," all worked up. "Bring back the real Miquela!" they cried. Conspiracy-driven corners of the internet linked the hack to a theory that the world was going to end on April 18, coincidentally via a robot takeover. For the average Instagram user, though, it was like watching a soap opera unfold on their phones. "Why is robot drama more dramatic than my life," wrote one.

In the end, Miquela's big reveal was shocking only in its obviousness: "I'm not a human being," she said when Bermuda relinquished her account. "I'm a robot." Miquela blamed Brud for leading her (and consequently her fans) to believe otherwise. But, of course, that was also her creators talking.

If this is starting to sound like the plot of Westworld, that's the point. Miquela's "hack" seems to be an elaborate PR stunt orchestrated by Brud (though as is its Oz-like wont, Brud insists that another AI company called Cain Intelligence begat Bermuda). To what end, though? Was this just a way to vault Miquela into the influencer stratosphere, so beauty and fashion brands would pay her handsomely to peddle their wares? (The buzz generated by Bermuda's attack did push her to over a million followers, a benchmark that opens up new partnership opportunities.)

Or was this a Kanye West-style press junket to stir controversy before an album drop? Brud co-founder Trevor McFedries has a past life as a DJ and music producer, working with Katy Perry, Kesha, and Azealia Banks under the moniker "Yung Skeeter." And Miquela has two delicately Auto-Tuned pop singles on Spotify, which have amassed a combined 1.5 million streams. I listened to one of them for a month before realizing it was sung by a robot that I happened to follow on Instagram.

The plot thickens when you know that McFedries, according to his LinkedIn account, used to work at Bad Robot, the production company of famed sci-fi director J. J. Abrams. Maybe all of this is an extended trailer for Abrams's next film, in which Miquela could potentially star. Or could Brud be pursuing something more ambitious with Bad Robot's help? The start-up reportedly raised as much as $6 million from big-ticket investment firms like Sequoia Capital in a recent funding round. It's not a huge number, but enough to suggest that the faux hack isn't just some elaborate joke.

One tantalizing theory proffered by L.A. techies has it that Brud's plan is to move Miquela from Instagram to a Brud-built social network where anyone with an iPhone can create, dress, and promote his or her own personal CGI model. "Maybe it's more of a Bitmoji-style product," speculates Kyle Russell, a former deal partner at a Silicon Valley firm. "That said, we don't know enough about their tech to really say if they would be great at that. Also, I don't know if that would have been an appealing pitch to VCs. There's far more value in the distribution of a celebrity on these platforms without the cost of having to pay a [real-life] celebrity."

We're forced (or allowed) to indulge in all this mad speculation because the company that puts words into Miquela's Kylie Jenner full-lipped mouth mostly refuses to talk specs. In what's either a brilliant strategy to heighten the suspense or an annoying affectation - probably both - Brud only preaches grandiose ideas about fighting fake news with fake news, and using influencers to make the world a better place.

Even if there isn't a hidden endgame for Lil Miquela, she holds up a mirror to the ways in which technology has morphed our own constructions of self. We don't yet live in a world where realistic-looking fake humans roam the streets, but in the meantime, technology has transformed us into fake-looking real humans. Social-media personalities like the Kardashians alter their bodies and edit images of themselves so heavily that CGI characters somehow blend naturally into our feeds. Influencers, who were once a novelty in the industry for their unfiltered content, have also become burnished personal brands. Meanwhile, the average Instagram, Snapchat, or Weibo user has access to apps and filters that eliminate the need for makeup or plastic surgery altogether.

During a rare "phone interview" with YouTube conspiracy theorist Shane Dawson last year, Miquela deflected the question of whether her images are edited: "Can you name one person on Instagram who doesn't edit their photos?"

When Miquela first appeared on Instagram two years ago, her features were less idealized. Her skin was pale, her hair less styled. Now she looks like every other Instagram influencer. She'll rest her unsmiling face in her hands to convey nonchalance, or look away from the camera as though she's been caught in the act. The effect is twisted: Miquela seems more real by mimicking the body language that renders models less so.

Miquela's outfits and poses aren't especially racy, yet she attracts the same fetishized gaze as anyone else selling her own image. "So beautiful," one guy wrote on a post where a bit of cleavage can be detected, adding drooling emoji. "@LilMiquela Ur so pretty," wrote a young woman on Twitter. "I wish I was that pretty." Others have even asked for her skin-care routine.

In this way, Miquela represents perhaps the pinnacle of unrealistic beauty standards. How can we compete with someone who never ages or gets hungry and who can be in ten different places at once? Could the result be that real-life models and influencers become obsolete, or will their likenesses be frozen in time and replicated ad infinitum? There's conjecture that Miquela is a mix of animation and photographs, of a female human. But the techniques used to create her are heavily guarded by Brud, and at least one influencer who posed chummily with Miquela told me she couldn't share details because was bound by an NDA.

Whatever Lil Miquela's secret sauce, similar technology is being used to make others like her. The most prominent is Shudu, created by the British former photographer Cameron-James Wilson. After a decade working in fashion, Wilson says he became "disenchanted" by the industry. "Nothing really represents reality," he laments. He's wearing heavy makeup, some of which has rubbed off on his black hoodie.

His experience Photoshopping real people to look fake informed how he makes his fake people look real, Wilson explains. "I always saw that peach fuzz was very distracting in a photo. So, the very first thing I thought when I was designing my character was that I needed to add peach fuzz." Wilson freely reveals that he uses 3-D-animation tools called Daz3D and Clo3D to make his muses, adding that he'd never mess with photography. That's "archaic," he says.

Peach fuzz notwithstanding, Shudu presents as a stunning black woman with flawless dark-brown skin. Her eyes, Wilson says, were inspired by the supermodel Iman and her overall look by Princess of South Africa Barbie, who favors gold choker necklaces that resemble those of the Ndebele people.

Thanks in part to a Fenty Beauty repost, Shudu has more than 100,000 followers. But because Wilson is a 28-year-old white man, his work has sparked as much controversy as admiration. "A white photographer figured out a way to profit off black women without ever having to pay one," wrote one Twitter user, picking up 52,000-plus likes. "Black models, specifically dark-skin black models are not a trend," wrote another. In a piece for The New Yorker, writer Lauren Michele Jackson said Wilson's work made her think of blackface minstrels.

"I just wanted a beautiful muse to come home to," Wilson protests. Yet now that he's in the thick of it, he believes Shudu has sparked an important conversation about representation, even if he has been misunderstood. "Shudu is a platform to showcase fashion designs from brands I feel share similar views to me in terms of top-down diversity," he says, adding that his work is about art and collaboration, not monetization. So far, he says, he's turned down paid partnership offers, and every brand he's promoted has a person of color or woman in a position of power.

Brud, too, has expressed altruistic goals, arguing that promoting diversity among robots will change the way humans treat each other. Miquela urges her followers to donate to Black Lives Matter and LGBTQ+ causes, and she sold a line of "Uncanny Valley Girl" merch to raise funds for victims of the California fires. McFedries, who is black - his co-founder Sara DeCou is Latina - has said that, like Wilson, Brud only accepted venture capital from firms with "a woman or person of color in a position to write them a check." The pair also issued a statement this spring comparing the impact they hope to have to Will & Grace: a seemingly frivolous media confection that had "real-life impact on marriage equality." As with all things Brud, it's hard to tell if they're trolling us with this reference or if they've been sipping too much of the Silicon Valley Kool-Aid.

The Federal Trade Commission requires influencers to disclose when they're paid to tout a product, and so far Lil Miquela hasn't done that. (Fashion-law expert Julie Zerbo says there's no reason that a CGI character's creators would be exempt from the FTC rules.) And in another of her "interviews," Miquela told the Business of Fashion in February that she hadn't earned a dime from any of her collaborations. She borrows or gets free swag from designers, she says, though that was before she promoted a series of gifs inspired by the Prada collection during Milan Fashion Week. (Prada declined to comment on whether Brud was paid.)

Which brings us back to the nagging question of what Brud's up to. One of the oddest strands of the whole story is why they chose a right-wing troll to out Miquela, ultimately painting themselves as the bad guys. Thinking hard about it - okay, maybe too hard - it occurs to me that the hack could have been a clever bit of jujitsu to build fans' trust in Lil Miquela. Because Brud "lied" to her about her origins, she could come clean about being computer-generated while seeming ever more sincere about her "woke" consciousness.

"I'm not sure I can comfortably identify as a woman of color," a recent Instagram post from Miquela said. " 'Brown' was a choice made by a corporation. 'Woman' was an option on a computer screen."

Post-hack, Miquela declared herself a "free agent" who'd no longer work with Brud. Support for her choice poured in, with Riley Keough, the actress and granddaughter of Elvis Presley, sending her a heart emoji and gossip blogger Perez Hilton calling her a "shero." Meanwhile, thousands of others didn't seem to care that she wasn't real. "I know this is crazy but I believe you," wrote one commenter. "Even though you are a robot physically, everything else is human."

Presumably, Miquela is still operated by Brud, even if the company is now focusing its promotional efforts on Blawko, her male equivalent with significantly fewer followers. The freedom she gained by admitting she wasn't real, though, is something a lot of us real-lifers wish for ourselves. We spend so much time pretending that hip parties and cool people are an organic part of our lives - that we aren't curating the narratives we put out in the world. What a perverse relief it would be to confess that everything is fake! It brings to mind the Buddhist doctrine of no-self, of how liberating it might be to recognize that there is no real "you" that must be clung to, that has to be propped up and defended.

Existential philosophizing aside, we continue to follow Lil Miquela and her cohorts - even if we know they're not real - because we're suckers for a good story. (You've made it this far.) It's possible that what you see is what you get with Brud. But maybe we hope that there will be a way one day to fully upload ourselves online, and let go. There is no grand plan; they're just a bunch of righteous millennials with a good idea and a genuine love of Will & Grace.

When I asked Nikola if she'd ever Miquela-ify herself, at first she said why not? It would be fun to wear clothes she couldn't afford; it wasn't so different from building a character of herself in the Sims. But then Nikola second-guessed her original answer. "You can get lost in that world so easily," she said. "It would be hard to stop."

*This article appears in the May 14, 2018, issue of New York Magazine. Subscribe Now!

A Pro-Trump Troll Hacked Instagram's Favorite Virtual Influencer

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Miquela Sousa, a.k.a. Lil Miquela, has over 1 million followers on Instagram and was recently hacked by a Trump troll. But she's a digital avatar created by a L.A.-based start-up called Brud.

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The world’s first digital blockchain clothing sells for $9,500

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The world’s first digital blockchain clothing sells for $9,500

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Well, apparently, the owner of the AR dress has 28 days to provide an image of themselves wearing the piece so that the creators can custom tailor it to their proportions. As the one-of-a-kind garment is also a blockchain digital asset, it doubles as both an item of virtual clothing and as a cryptocurrency. Think of it as a long-term investment.

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Move aside AR face filters and CGI influencers, it's all about digital fashion now. The world's first digital blockchain dress has just sold for $9,500 at an auction at the Ethereal Summit in New York.

Called "Iridescence", the virtual garment - auctioned on the Ethereum cryptocurrency blockchain - was made by Dutch startup The Fabricant, in collaboration with net artist and creator of everyone's favourite futuristic face filter Beauty3000, Johanna Jaskowska, and Dapper Labs (not to be confused with Dapper Dan), the team behind online feline phenomena Cryptokitties. Using a combination of 2D garment pattern-cutting, 3D design, and rendering software, the hyperreal haute couture clothing item, much like Jaskowska's glossy, artificial face filter lewks, appears to shimmer and float in mid-air - online, that is.

With the line between the real and virtual becoming ever-increasingly blurred and the crypto collectibles market worth over $200 billion, it's unsurprising that virtual fashion is now a thing - just look at the success of VR influencers like Lil Miquela and Blawko22. "Global brands in the real world are vying to enter the digital-only fashion space to forge deeper engagement with Gen Z consumers," says Dapper Labs in a statement. But how does the digital clothing actually work? Well, apparently, the owner of the AR dress has 28 days to provide an image of themselves wearing the piece so that the creators can custom tailor it to their proportions. As the one-of-a-kind garment is also a blockchain digital asset, it doubles as both an item of virtual clothing and as a cryptocurrency. Think of it as a long-term investment.

Recently, Norweigan company Carlings debuted the Neo-Ex collection, in partnership with AI influencer Perl, that lets influencers pick a look from the 19-piece collection and for a small fee and have it digitally 'fit' on them by digital 3D designers. Once fitted, the image is sent over, ready for your IG.

Given fashion's ever-evolving transition to sustainability, it can sometimes feel like the only option is to buy second-hand or now, go digital, I suppose.

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The world's first digital blockchain clothing sells for $9,500

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Move aside AR face filters and CGI influencers, it's all about digital fashion now. The world's first digital blockchain dress has just sold for $9,500 at an auction at the Ethereal Summit in New York.

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Trashy Muse put on the world’s first virtual avatar fashion show

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Trashy Muse put on the world’s first virtual avatar fashion show

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Unless you've been living under a rock for the last couple of years, it's likely you're fully aware that the digital world is increasingly creeping into fashion with each passing season. From Lil Miquela and Bella Hadid's wholly problematic Calvin Klein make-out session, to the fact the world's first digital couture dress sold for an eye-watering $9,500 just a few months ago, technology is redefining the way we interact with brands and their clothes themselves. Computer-generated crossovers are clearly having a moment, so it makes sense to assume the next step could be seeing these two concepts meet on the catwalk - which is exactly what creative duo Trashy Muse have done.

Last week, the pair launched the world's first augmented reality and virtual avatar fashion show at EP7 gallery in Paris during the capital's SS20 fashion week, because fashion IRL is cancelled, apparently. Featuring a cast of mostly digitally rendered avatars, including the world's first digital supermodel Shudu, virtual superhuman Dagny and Trashy Muse's very own monogrammed influencer, Branded Boi, the one-day show saw Instagram's hottest AR designers (read: the people behind your favourite artsy face filters) come together to create bespoke digital fashion and accessories designed for and worn by virtual avatars.

The show itself was a collective effort, featuring work by approximately 100 creators across Trashy Muse's online network, primarily consisting of 3D artists like Anthony Rosati, creative studio NDA Paris and the brains behind virtual shopping experience RELMS. "We've been working in AR together with a lot of 3D artists so this is familiar territory for us, but bringing it all together in one show isn't typical," Carina Bucspun and Ann-Britt Dittmar, co-founders of Trashy Muse, tell us. "Normal fashion shows are on catwalks with real models and real clothes - we made everything digital."

The Berlin-based artists are part of a small yet dedicated pocket of Instagram pushing the boundaries of augmented and virtual design into the mainstream by creating hyperreal clothing and accessories that exist exclusively online. "We've seen physical fashion shows presented virtually (like Moschino's SS17 presentation), but virtual avatar fashion shows have never existed in the offline world. At least, until now," they explain.

Structured as a video montage-of-sorts, the digital screens that make up EP7 gallery projected short videos of virtual avatars modelling hyperreal garms which were digitally crafted by ten select artists across the online community. Among them, Trashy Muse's own collection exuded 00s net nostalgia: low-rise jeans, crop tops and facekinis printed with "™" monograms were juxtaposed with 'stripper' latex and body chains. "It's in the name, we like it trashy," Dittmar laughs. Their collaboration with NDA Studio felt like the sort of Y2K style born at the turn of millennia, probably alongside Windows '95 and Myspace: a low-cut unitard with barely-there diamante straps; a cropped jacket with tailored trousers paired with a skimpy body harness; a holographic leotard with tribal motifs and thigh-high boots - you know, the kind of Net 2.0 thirst trap aesthetic that's hot RN on Depop.

For his collection, digital artist Anthony Rosati wanted to explore the way 3D fabric interacts with movement and light. "I used a lot of holographic textures for this reason because they reflect light in a unique way and I created a sort of identity for my characters playing with glossy and shiny surfaces," he tells us. Drawing on the retro-futuristic style of Hajime Sorayama's Dior, the artist used a combination of 2D garment pattern-cutting, 3D design, and rendering software to make the hyperreal clothing. One look sees a purple-skinned virtual avatar standing amidst a digitally-rendered meadow surrounded by giant iPhones playing viral Youtube sensation the Nyan cat. He wears a holographic tunic that appears to float mid-air - online, that is.

Some avatars even wore clothes taken from the world IRL. Team Relms, the creators of immersive virtual shopping experience RELMS, dressed virtual model Tanto in a Raf Simons cut-off dungaree top, printed with a portrait of Patti Smith - an image that represents digital fashion's punk roots. "If this was 50 years ago, the equivalent would probably be spray painting a T-shirt but in 2019, you can get a laptop for £250. You can use sites like YouTube to learn how to create avatars and virtual worlds that reflect our (personal) reality," they tell us.

So what's next? "We want to bring this show and similar to as many cities as possible," say Trashy Muse, who are already planning on expanding their community to include IRL fashion designers and textile makers. "We don't want to give too much away but what we will say is there will be stronger mix between virtual and reality. You'll have to see for yourself."

A full list of collaborators can be found below.

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Trashy Muse put on the world's first virtual avatar fashion show

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Unless you've been living under a rock for the last couple of years, it's likely you're fully aware that the digital world is increasingly creeping into fashion with each passing season.

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https://www.ngv.vic.gov.au/virtual-tours/collecting-comme/

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0:53 / 1:39CATHOLIC FAIRYTALES DIGITAL RUNWAY SHOW 202

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0:53 / 1:39CATHOLIC FAIRYTALES DIGITAL RUNWAY SHOW 202

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Viewers “claimed” half of designer Patrick McDowell's 100 available assets in two days. “If fashion had more of an authentic storyline, they might see their businesses grow in ways they didn't expect,” he says.© Patrick McDowell (Vogue Buiness)

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CATHOLIC FAIRYTALES DIGITAL RUNWAY SHOW 2020

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The Fabric of Reality by Sutu and Damara Ingles - virtual-reality experience

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The Fabric of Reality by Sutu and Damara Ingles - virtual-reality experience

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The Fabric of Reality by Sutu and Damara Ingles

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“Fashion brands tried just streaming a runway show, and it didn't work. So now they're faced with these new ways of using technology to appeal to the customer,”

“Creating in virtual reality allowed us to pull the audience through the screen, into an entirely new era of experience and utterly dispel the myth that digital shows can never match the excitement and emotion of a physical one.”

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Last week, Helsinki Fashion Week events matched designers with tech firms demonstrating some surprising, new innovations.

Patrick McDowell was inspired by the concept of a queer-friendly Catholic church for his recent Helsinki Fashion Week collection. The London designer used an unlimited number of crystals and sourced fabric in the exact Pantone colour he wanted - Taroni silk pink. His venue was also a first: a Vatican City in the clouds. Two days later, London designer Damara Inglês presented an immersive installation that all but defied gravity. Attendees at the event, called The Fabric of Reality, could fly around her "runway" inspired by ocean creatures floating in space.

Both of these shows were entirely digital. While the technology is still nascent, the formats were a chance for designers and technologists to demonstrate the potential appeal of digital and virtual formats.

"So many of the experiences at digital fashion weeks have felt very flat, both in the content itself and the way in which it was viewed," says Matthew Drinkwater, head of London's Fashion Innovation Agency, which helped produce The Fabric of Reality. "Creating in virtual reality allowed us to pull the audience through the screen, into an entirely new era of experience and utterly dispel the myth that digital shows can never match the excitement and emotion of a physical one."

The digital-only collections created for HFW's Digital Village allowed viewers to pre-order physical garments, or, after the week's events, claim a limited edition digital garment, which could be "dressed" on the customer's picture or used in virtual spaces. On Sunday, the platform saw more than 3,000 transactions. Inglês's presentation was part of a virtual reality fashion event produced by creative agency Ryot (which is owned by Verizon) and the Fashion Innovation Agency, designed for virtual reality headsets, although it can be watched on a computer. It's too early to tell if the technology will resonate or be broadly adopted, but the opening day was so popular, it crashed the servers hosting it, according to the venue, Museum of Other Realities.

After experimenting with digital formats this summer, Paris, London and Milan Fashion Weeks have decided to return to physical shows in September. (New York Fashion Week will host most shows online.) While the pandemic spurred quick experimentation, the urgent timeframe made it difficult for the industry to meet high expectations for digital shows and critics have questioned whether they can be as effective as traditional in-person events. Two divergent camps have emerged: those wanting to embrace new formats and the creative license that technology offers, and those more firmly committed to tradition.

"The fashion industry, for as creative as it is, is a creature of habit. These brands were caught very off guard even though everyone was saying the fashion shows were no longer working," says Robert Burke, founder and CEO of retail and fashion consultancy Robert Burke Associates, whose clients include Marc Jacobs, Chloe and Nordstrom. Still, he says that brands are eager to learn from creatives who have the agility and tech know-how to take more risks.

"Fashion brands tried just streaming a runway show, and it didn't work. So now they're faced with these new ways of using technology to appeal to the customer," Burke says. "Shows have evolved to where it wasn't just about selling items or looks. It was about creating an experience. All of the big houses had been able to travel to destinations. To do that today - needless to say, that's not going to happen. So how do they replicate that? It's an interesting question. The brands are really struggling with it".

The power of digital events is in their full potential

When entering the Fabric of Reality experience, guests moved down a winding purple carpet in a futuristic museum toward the exhibition hall. There, visitors could see and speak with the other guests' avatars and the designers, who were all attending from home. They could visit three separate portals to enter the worlds envisioned by Inglês, Charli Cohen and Sabinna Rachimova. Each show was a 360-degree immersive experience, including music and graphics, in addition to the fashion.

"We wanted to give people a sense that it is incredibly different - it can offer these similar feelings that you would have front row at an amazing show," Drinkwater says. "To show you can experience a sense of adrenaline and excitement."

Similarly, the designers of HFW presented collections in the ocean among fish, walking on water amid giant flamingos or on another planet entirely; when watching live, viewers could "like" and "react" similarly to watching an Instagram Live. "Digital is not there to copy/paste what you do in real life," says HFW founder Evelyn Mora, who is also founder of the Digital Village.

But digital events are a way to return to extravagance while working remotely. McDowell, who had never designed a digital show or clothing before HFW, says the experience was like "opening the door of a new playground". It also saved time and waste, he adds; digitally embroidering a cape with thousands of Swarovski-like crystals took an hour, versus months.

"Extended reality fashion experiences don't replace the ancestral craft," acknowledges Inglês, who created her garment using an HTC Vive Cosmos VR headset and a Google TiltBrush. "Instead, it opens a whole new dimension of fashion possibilities and future dreaming, allowing us to expand the wearable vocabulary in ways that become inclusive of our digital identities".

Mixed reality experiences are still largely unfamiliar territory, and not many own headsets, says Tamara Shogaolu, founder and creative director of mixed reality studio Ado Ato Pictures. She also cautions creators from getting "distracted" by all the possibilities and overwhelming audiences. To that end, her agency, which will unveil a fashion VR experience this week, is currently working on six immersive experiences and only one involves a headset.

Viewers of HFW are able to purchase digital garments from the shows, although only a limited number of each was available, and have their images "dressed" in them. Ownership is transferred through a partnership with fashion-focused blockchain platform Lukso. This means that the owners can use the digital assets anywhere in the future - whether that's dressing their avatar in a future VR experience or using it in a video game.

Helsinki is the first time a fashion week has created and sold digital versions of every piece, so it's too soon to know how commercial this will be. Fashion-tech consultant Karinna Nobbs has already observed that the pandemic has opened up consumer eyes to digital fashion, but says there is still a missing "sustainable revenue opportunity" for brands

Collaboration and iteration are necessary

Each designer showing during HFW and The Fabric of Reality was paired with a digital expert with experience creating in the medium, which Mora says was crucial to success. Inglês, for example, worked with Stuart Campbell, who has created VR art for Marvel and Disney. McDowell worked with 3D artists from creative agency NDA Paris and Soldats Films to animate the videos and digital tailors from Scotomalab to create the garments. The creative process was similar to familiar methods: sending patterns to digital tailors with notes, reviewing, fitting and editing together, then selecting the music, models and venue.

He anticipates a knowledge gap being a limiting factor, and thinks fashion brands will increasingly turn to the gaming industry to recruit talent.

Digital experiences and assets also need standardised formats for adoption to accelerate. Lukso, which worked with HFW, aims to provide fashion with a unified infrastructure and standards for buying and selling digital goods. By securing each item on a blockchain and providing digital certificates of ownership, digital items can be limited in supply, which ultimately increases their value, says Lukso co-founder and managing partner Marjorie Hernandez.

Fashion wants tradition, but brands must appeal to a new consumer

When Burke was SVP of fashion and public relations for Bergdorf Goodman, brands initially wanted to ban beauty bloggers from the store, wanting to maintain control over their narratives. They eventually came around, and he predicts that they'll do the same for digital experiences - perhaps, he suggests, by curating VIP VR experiences for couture customers that foster emotional connections. "The successful brands have realised during this time, if they've created a personal experience or already have a good relationship, this VIP private shopping type of technique is what has paid off. There's a lot of opportunity in how they could appeal to their top clients," he says.

Digital concepts, while they may feel foreign now, serve new customers, Hernandez says, and tech's tradition of incremental updates allows ideas to advance faster. She encourages fashion to adopt that approach.

"The tech world is built around testing and putting it out there when it's not perfect, and that is a different philosophy than fashion shows have," Burke says. "There's great insecurity because you're judged on your ability to be creative in a seven- to nine-minute show."

Patience is key, experts agree. The fashion industry will learn from this, Burke says, and will improve over time. "I don't think they've thrown in the towel because we don't know how long this is going to last, and will it ever go back? There's going to be a real opportunity for people who can help educate the brands on the possibilities."

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The fashion show, as we know it, is over West African designers explore virtual worlds The digital fashion show playbook

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What an inspiring digital fashion week looks like

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Sign up to our newsletter for a truly global perspective on the fashion industry Last week, Helsinki Fashion Week events matched designers with tech firms demonstrating some surprising, new innovations. Patrick McDowell was inspired by the concept of a queer-friendly Catholic church for his recent Helsinki Fashion Week collection.

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‘As Fashion Month has continued in the wake of the ongoing pandemic, fashion designers have flexed their creative muscles through a mix of digital presentations and live, socially distanced shows in lieu of traditional runways. Scott opted for a -- literal -- scaled-down show with all models and attendees as puppets, with lookalikes of famous faces including Anna Wintour and British Vogue editor-in-chief Edward Enninful in the crowd.’

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Written by Jacqui Palumbo, CNN

The tiniest of runway shows was staged during Milan Fashion Week, and no models or guests were present.

Instead, Moschino's newest styles are sported by Jim Henson creations. But this isn't a bizarre Fraggle Rock crossover -- Moschino creative director Jeremy Scott has enlisted the help of Jim Henson's Creature Shop to create his Spring-Summer 2021 show on a miniature set populated entirely by marionettes.

As Fashion Month has continued in the wake of the ongoing pandemic, fashion designers have flexed their creative muscles through a mix of digital presentations and live, socially distanced shows in lieu of traditional runways. Scott opted for a -- literal -- scaled-down show with all models and attendees as puppets, with lookalikes of famous faces including Anna Wintour and British Vogue editor-in-chief Edward Enninful in the crowd.

"Not only did all the clothes have to be scaled down, and all the accessories scaled down (to) the size of the marionettes, but the whole audience had to be not only created and dressed," Scott said in a video interview with CNN Style.

It's a far cry from past presentations for the Italian label, which has become known for its kitschy luxury looks under the American designer's direction. Milan's last fashion week saw Moschino models walk down a chandelier-lit runway in Marie Antoinette-inspired mini pannier skirts and towering wigs to a clubby remix of Duran Duran's "Girls on Film."

For this Spring-Summer 2021 womenswear collection -- which will be available in human sizes -- Scott dialed down the drama with elegant dresses with oversized bows and tulle skirts, and dramatic collars and capes, in soft pinks and blues, pea green, gold and black. But there's also a narrative told through the garments' inverted details, with corset boning, seams and pocket interiors emphasized on the exterior of garments, and underskirts fanning out below the hemlines.

"As the world seems to be splitting along the seams, the bare inner workings of something new will be exposed," Scott said in a press release, referring to the impact of the pandemic on the world.

The creative director has his own lookalike in the show, wearing a crown and a Moschino t-shirt. "As much as I loved working with the marionettes and as proud as I am of this show," he told CNN Style, "I do miss working with real models and that energy and the energy of having a real audience and everyone gathered together. And I hope very soon I can do that in person again."

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moschino ss21: jeremy scott sends puppets down the runway for milan fashion week - cnn

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Moschino sends puppets down the runway for Milan Fashion Week

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Written by Jacqui Palumbo, CNN The tiniest of runway shows was staged during Milan Fashion Week, and no models or guests were present. Instead, Moschino's newest styles are sported by Jim Henson creations.

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How does it relate to your field of practice and design work?

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How does it relate to your field of practice and design work?

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As a womenswear student I want to go against fast fashion by using craftsmanship to add value to my garments. I want to increase the labour and skill that goes into each garment rather than reducing it, making one off pieces that would be really difficult to mass produce. I want to also improve my skills using digital design software’s like CLO because I think this is a good way to reduce waste fabric and pattern paper but also adds to my skill set. Basically, I want to work out what elements of traditional and modern design are going to be most beneficial in me making a creative, innovative and sustainable collection.

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I’m interested in this topic because in a lot of ways the fashion industry is changing, and things are happening for the first time that haven’t happened before. I think it’s important to try and visualise what the future of the industry looks like, then I can work out what’s the best way to move forward and direct my time and studies into things that might be more beneficial. How quickly the pandemic has changed the whole industry is really interesting and seeing the creative ways brands have responded to limitations is great but I also feel like some creativity and skill is being left behind.

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What is your Topic? Briefly explain the wider context of your topic.

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What is your Topic? Briefly explain the wider context of your topic.

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I want to analyse how the industry is changing for better or for worse. With digital pattern cutting and design becoming more common, and the recent online fashion week complete with digital catwalks and computer-generated avatar models. Should we leave traditional design behind as fashion evolves or will we lose creativity, skills and craftsmanship into a profit led industry.

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Digital pattern cutting

Sourcing fabrics online

Digital catwalks

Digital toiling

Digitally made images of garments

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Pattern cutting

Fabric sourcing in person

Drawing

Draping

Toiling

Sewing

Craftsmanship

Catwalks

Photo shoots

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What are the effects of traditional and modern fashion design techniques on the environment?

In terms of creativity, skill and craft is traditional or modern fashion design better?

In terms of consumption, cost and commercial gain, is traditional or modern fashion design better?

In terms of resources and waste, is traditional or modern fashion design better?

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Traditional or modern design, which is better for the future of the fashion industry?