Next week sees Fashion Tech take a step closer to the mainstream with the ‘Wardrobe of the Future’ showcase at the Munich Fabric Start trade show, in collaboration with FashNerd.
Top, Orange Fiber X Salvatore Ferragamo. Above, Nadi X
The showcase features a number of existing products, including the citrus waste recycler Orange Fiber’s collaboration with Salvatore Ferragamo, which proved the quality and appeal of their waste to cellulose textile. Alongside this is Nadi X by Wearable X, the yoga legging that uses sensors and an App to guide your alignment during poses.
Flair Atelier’s mass customisation
Other brands in the showcase include Flair Atelier, which offers shoppers ‘base designs’ that they can customise within a set of design parameters on their website. With mass customisation a key opportunity for product and brand differentiation, this business model looks to a changing consumer landscape, breaking the usual retail mould. Their website states that they “create a unique digital pattern with your name on it and send it to our tailors in Italy”, suggesting the use of Gerber or Lectra digital pattern cutting software, which no doubt helps them achieve the 2 week order to delivery time. It would be interesting to know if there is any other technology employed in the manufacturing process that would allow this business to scale and truly achieve mass customisation, or whether the remainder of the process is essentially manual, as per tradition.
Thesis Couture heels
Thesis Couture have used technology, broadly speaking, for R&D to design a sole for high heels that redistribute weight more effectively than standard heels, thereby reducing pain under the ball of the foot and shifting some of the weight back to the heel. Tackling the problem of foot pain by “using structural design and advanced materials” to replace the metal shank and cardboard in standard heels makes Thesis Couture’s development a smart leap in the engineering of a product that has barely changed for a hundred years.
Top, Lorna & Bel. Above, Emel + Aris
Lorna & Bel will also feature in the ‘Wardrobe of the Future’, with their bags with built-in phone chargers. London-based brand Emel + Aris, will also be presenting their heated coats.
PerFlex 3D printed composite bra.
On the speculative side, the PerFlex project bra is a ‘proof of concept’ that harnesses the customisable sizing and 3D printing of plastics by PerFlex, in collaboration with Brigitte Koch of the Technical University of Eindhoven.
The PerFlex website provides consumers with the option to combine parametric patterns made by designers with their body data to get a personalised 3D printed product at the same unit cost as a mass produced item – truly achieving mass customisation. This application of 3D printing combined with traditional textiles could be a game-changer.
The significance of this fashion tech showcase is the placement of products that have arguably been viewed as ‘futuristic’ amongst mainstream textiles at a trade show, throwing them into the commercial spotlight.
Target Open House Garage
Along with the recent launch of Target’s Open House Garage – a testing ground for new fashion tech products that are not yet ready for widespread industry roll-out – it seems like commercial retailers and the industry at large are showing increasing interest in fashion tech products and innovations and their potential to woo consumers.
The Wardrobe of the Future runs from 4th-6th September 2018 at Munich Fabric Start’s KEYHOUSE.
Before meeting Vanessa Friedman, I considered the perspective she could lend on the tension between designers’ ability to create freely and the need to choose sustainable materials. Is there a conflict? Does working with sustainable fabrics limit designers? What new technologies excite her? What does she think of ‘wearables’? I posed these questions and more to her, considering her answers in the context of the the wider fashion industry.
When discussing whether she perceives sustainability being at odds with unlimited creativity in fashion design, Vanessa told me “Fashion has always had that tension – sometimes it’s about pricing, sometimes its more practical restrictions, like the need for two armholes and a place for your head… that creates discipline for designers and I don’t think there is anything wrong with that. Sustainability is part of the challenge of design”. She believes that when you are making something that is functional, which fashion is, you have to wrestle with the egregiousness of the product you are making. Her standpoint is one of sustainable materials posing a challenge, rather than being a problem.
Vanessa cites the possibility that aesthetics may be shaped by the advance of new materials, smart textiles and new fibre composites – cellulosic and animal fibre blends, for example – as a huge opportunity. If such advances could result in less seams required and ultra light materials, like those used by Moncler who are “making warm coats that can by smushed into a tiny ball for carry on”, then all these advances are exciting. “Designers should embrace these challenges and opportunities as a chance for them to think differently – It should be something they look forward to”.
I am curious to know whether (and when) Vanessa sees a future where the discussion on sustainability becomes a part of the high profile seasonal fashion discourse during fashion month, taking place in New York, Paris, London and Milan, where she sits front row in her capacity as the Fashion Director and Chief Fashion Critic of The New York Times. “In my dream world, you don’t need a Copenhagen Fashion Summit that’s all about sustainability – this is not a discourse that is combined with a mainstream event because it is a mainstream event and it is part of best practice – period”. Her take on the sustainability message is “we can talk about it or not talk about it. You don’t want to be an eco brand, you just want to be a brand that happens to be sustainable. It shouldn’t be the thing that sets you apart, it should be the thing that makes you part of the general conversation”.
It’s Vanessa’s opinion that using sustainability as a sales tool and part of the brand message, has an upside and a downside. The upside is the point of differentiation which can attract consumers, while the downside is that it puts the brand in a different niche for other consumers. She reflects on Vogue’s former “eco or green design section of the magazine where they would feature a different designer every month… You don’t want to be there – you want to be with Gucci, you want to be with Vuitton”. Reflecting on her comment, it seems to me that sustainability shouldn’t be a consolation or an optional brand choice – it should be quietly integrated into all fashion brands.
Moving onto the subject of textiles and manufacturing, I asked Vanessa if she has seen any ‘game-changing’ developments emerging. She highlights 3D printing and manufacturing to order, thereby eliminating stock and production processes (that have long and complicated supply chains) as the most exciting. “If you can produce a garment in a very short amount of time to order for someone, you will change everything”. Vanessa is thinking of the likes of 3D printed shoes and advances in digital knitting. It is her opinion that the biggest change for fashion as a result of advances in technology is going to be in the production process, rather than “the accessory that tests your heart rate… To me, the really exciting opportunity is in how you manufacture”. Evidence in the form of the Adidas Speedfactory and the mass customisation by NIKEiD support her comments, as do the advances in digital knitting that have led to a complete transformation of the entire footwear industry through the creation of Flyknit and Adidas Ultra Boost, amongst many other digitally knitted products with simplified supply chains, local manufacturing and short lead times.
Image: Adidas Ultraboost
When I asked Vanessa which designers or brands that she feels are doing exciting things fusing tech and fashion she is of the leaning that there is a giant gap in this area. She defines it as “A problem that no-one has quite figured out, between technology companies that can make gadgets, and they are trying to make them ‘fashiony’ – and fashion companies that make fashion and are trying to make them ‘techy’. You need a third point of the triangle, which is someone who is going to figure out how to meaningfully combine the two”. Enter a number of innovative cross-disciplinary labs and incubators emerging for the express purpose of making this happen, including Plug and Play and Mira Duma’s Fashion Tech Lab.
On the subject of ‘wearables’, Vanessa pulls no punches: “I think ‘wearables’ is the most ridiculous word I have ever heard – everything is a ‘wearable’ – my jacket is a ‘wearable’ and it has no tech in it at all. I don’t think ‘wearables’ has figured out what it is yet. It’s a catch all word for techy gadgets you wear, but that’s not really a sector”. To a degree, we may be talking semantics here, but based on the abandoned Fitbit and Google Glass, amongst others, it’s true that the gaping divide between where tech provides clever capabilities and fashion provides aesthetics and desirability to create life-enhancing products, remains wide.
Image top: Google Glass Image bottom: Fitbit
Reflecting further on the state of wearables, Vanessa reminisces about the iPhone and iPod “changing the way that everybody interacted with music”. She says that in contrast, “there has been nothing like that with fashion – no wearable has achieved that”. Considering the outcome of our discussion and my questions about sustainability playing a bigger role in fashion, it seems that to Vanessa’s mind, there is a tension between fashion and tech, but not between fashion design and sustainability.
As I wrap up this article, an invitation to the launch of Nadi X by Wearable X – the first Wearable yoga pant to ‘communicate with the user to ‘aid alignment’, hits my inbox. Perhaps our ‘Wearable’ future is about to take a new life-enhancing turn towards the perfect fusion? Stay tuned for the verdict.