by helene.goedl -

30 | Digital Fashion – Practical Work: Comparing the Digital Fashion Design Process to the Traditional Fashion Design Process

In this final blog entry, I want to reflect on the digital fashion design process, especially compared to the traditional fashion design process and approaches I discussed in the previous entry. With this exploration, I want to relay the experiences I have had so far while designing digital clothing pieces that are meant to be digital end products and anticipate possible challenges as well as opportunities for new creative potential. 

Just as in the traditional fashion design process, the starting point for digital fashion design is often a phase of intensive research and collecting sources of inspiration. As opposed to the traditional design process, the sources this inspiration might be drawn from can gravitate towards digital instances. It is common that the final environment the design will be shown in influences the process of collecting impulses. In traditional design, this accordingly can include historical and cultural influences, art, nature, and personal experiences1. The digital process can very well include the step of creating a mood board to organise ideas through images, color palettes, textures, and patterns for inspiration2. Overall, this step of the process can look very similar to the analog fashion design process with a possible wider range of inspiration sources that can be included.

In the conceptualisation and sketching phase, my experience has shown that for a digital design, the tools for this step are more likely to be digital. In my processes so far, I have used reference materials and 3D models to capture the general direction I want for the final garment. I have also found that the sketching process is less important to me, because I have felt that moving straight into the 3D program and starting to model is sometimes easier and the more direct root for externalising my thoughts and explore possibilities.

Design boards are a step I have skipped in the digital process so far, but since I have so far only designed individual digital pieces, I might incorporate the creation of a design board for the development of a cohesive collection. Showcasing each design’s fabrics, colours, and details, will be important to visualise how the pieces will work together in a cohesive collection2.  

In the fabric selection step, the digital process differs most significantly from the traditional process. Since there is no tangible fabric, the selection of digital “materials” depends much more on their behaviour and movement on the model. What I found interesting in the digital process is that I can test different materials straight on the finished or in-progress model of the piece. I can make a pre-visualisation and see how the chosen material moves, how it works with the cut of the piece and if it has any behaviours that do not work with the piece. From the factors influencing fabric selection in the traditional fashion design process – such as weight, texture, drape, durability, and maintenance requirements2 – only the factors of texture, weight and drape can really translate into the digital process.

Creating prototypes or samples is significantly more integrated with the concept phase in digital fashion design. The lines between sketching, prototyping, and final product are not as strict because changes are more easy to make on digital garments. Testing the fit, functionality, and appearance of the designs on real or dummy models in the traditional fashion design process usually translates to testing the garment on an animated moving model in the digital process. In this stage, it is crucial to see if the digital model creates problems in the interaction with the movement of the model, such as clipping or unanticipated movements.

The question of sustainability is also relevant for digital fashion design. Digital fashion has been discussed as a vehicle for enabling a more sustainability in the fast-paced fashion system3. Short-lived trends and experimental ideas can be explored more quickly and without resource waste in the digital space. It should be noted however, that digital tools can also be a strain on the environment, especially when they require high computing power such as 3D rendering.

The fashion design process, whether traditional or digital remains a complex journey that combines creativity, technical skill, and market awareness. The iterative nature of the process is even more prominent in the digital process, with a higher potential for designers to constantly evaluate and adjust their ideas throughout the development of a collection. One significant feature of the digital design process that has already come to light in my limited experience is the more fluent progression through the design steps. While the fluency is also present in the traditional process, the malleability of digital objects makes it even easier and invites it even more. Through my masters thesis, I hope to gain even more insights and make more concrete observations on the digital fashion design process and contribute to the establishment of the digital fashion design field in design research. 

1 Kapoor, “Fashion Designing and Fashion Trends in Current Scenario.”
2 Southwell, “Starting a Collection: The Fashion Design Process Explained.”
3 Driever, “Digital Fashion and the Environment – Can ‘Digital Fashion’ Be Used as a Medium for Sustainability in the Fashion Industry?”

Sources: 

Driever, Anne B. C. Digital Fashion and the Environment – Can “Digital Fashion” Be Used as a Medium for Sustainability in the Fashion Industry?, 2023.

Kapoor, Deepa. “Fashion Designing and Fashion Trends in Current Scenario.” International Journal for Research in Applied Science and Engineering Technology 11, no. 1 (January 27, 2023): 1491–94. https://doi.org/10.22214/ijraset.2023.48852.

Southwell, Elaine. “Starting a Collection: The Fashion Design Process Explained.” Elaine Southwell Designs (blog), November 30, 2023. https://elainesouthwelldesigns.com/fashion-design-process-2/.

by helene.goedl -

29 | Digital Fashion – Practical Work: Exploring the Traditional Fashion Design Process

Fashion designers approach the creation of a collection through a complex and multifaceted process that combines creativity, technical skill, and market awareness. This blog entry will explore the various approaches taken by different fashion designers in developing their collections, with a particular focus on their design processes.

For many designers, the design process typically begins with extensive research and gathering inspiration. Designers draw from a wide range of sources, including historical and cultural influences, art, nature, and personal experiences1. This initial phase is crucial for defining the collection’s theme, mood, and overall direction. For instance, some designers create mood boards to organise their ideas, incorporating images, color palettes, textures, and patterns that inspire them2.

Once the inspiration is established, designers move on to conceptualisation and sketching. This stage involves translating abstract ideas into concrete designs. Sketching serves as a vital tool for fashion designers to externalise their thoughts and explore various possibilities.

After initial sketches are created, designers refine their ideas and develop more detailed design boards. These comprehensive layouts showcase each design’s fabrics, colors, and details, helping to visualise how the pieces will work together in a cohesive collection2. This stage often involves experimentation with unique design elements, such as embroidery, appliqués, or unconventional silhouettes, to make the collection stand out2.

The design process often continues with fabric selection and color theory. The choice of fabrics and colours plays a crucial role in the design process. Designers carefully select materials based on factors such as weight, texture, drape, durability, and maintenance requirements2. Color theory is also applied to create a mood that resonates with the target audience and reflects the brand’s identity2.

Once designs are finalised on paper, the next step is creating prototypes or samples. These are physical representations of the garments made from chosen fabrics and materials. Samples are used to test the fit, functionality, and appearance of the designs on real or dummy models. This stage often involves multiple fittings and adjustments to refine the designs and ensure quality and consistency across the collection.

Some designers adopt a collaborative approach to the design process. For instance, a study of US undergraduate clothing design students revealed how team-based learning strategies can be implemented in conceptual clothing design. In this approach, students worked cooperatively to develop a group collection under a shared theme, with each student creating an outfit that contributed to a cohesive collection3.

In recent years, there has been a growing trend towards sustainable and ethical fashion design. Some designers are incorporating eco-friendly materials and production methods into their process. This can also lead to the rediscovery of traditional craftsmanship and methods. As an example, a practice-based research project by fashion designer Allegra Jane focused on creating a sustainable fashion collection using eco-friendly handloom weaving for the Australian market4. This approach involved learning about the cultivation of eri silkworms for peace silk production and exploring natural weaving and dyeing processes to reinforce sustainable design concepts4.

In addition to rediscovering traditional methods, some designers seek inspiration from unconventional sources to innovate their design process. This can also involve seeking inspiration from other disciplines’ design process. A study examined the application of creative bridge or creative leap theory in developing a garment collection using an architect’s creative design process5. This approach aimed to foster creativity in designers through non-traditional methods, potentially benefiting the education and practice of apparel designers5.

The fashion design process is a complex journey that combines creativity, technical skill, and market awareness. While individual approaches may vary, most designers follow a general framework that includes research, conceptualisation, sketching, fabric selection, prototyping, and refinement. The process is often iterative, with designers constantly evaluating and adjusting their ideas throughout the development of a collection.

As the fashion industry evolves, designers are increasingly incorporating sustainable practices, collaborative approaches, and innovative techniques into their design processes. These developments reflect the industry’s response to changing consumer preferences, environmental concerns, and technological advancements.

Understanding the diverse approaches to fashion design not only provides insight into the creative process but also highlights the complexity and depth of thought that goes into creating a successful fashion collection. As the industry continues to evolve, it is likely that we will see further innovations in design processes, driven by technological advancements, sustainability concerns, and changing consumer demands.

In the next blog entry, I will explore how the design process might translate to the process of designing a digital fashion collection, which aspects will remain similar and which might pose challenges or offer new opportunities for incorporating new and innovative methods in the design journey.

1 Kapoor, “Fashion Designing and Fashion Trends in Current Scenario.”
2 Southwell, “Starting a Collection: The Fashion Design Process Explained.”
3 Sohn and Kim, “Conceptual Clothing Design Process Using Cooperative Learning Strategies: Senior Clothing Design Class.”
4 Teowarang, Kurniawan, and Van Lunn, “Creating Sustainable Fashion Collection Made of Handloom Textile for Australian Market.”
5 Mcroberts, Freeman, and Thibodeaux, “Creative Apparel Design Process Approach Using Architectural and Artistic Influence.”

Sources: 

Kapoor, Deepa. “Fashion Designing and Fashion Trends in Current Scenario.” International Journal for Research in Applied Science and Engineering Technology 11, no. 1 (January 27, 2023): 1491–94. https://doi.org/10.22214/ijraset.2023.48852.

Mcroberts, Lisa Barona, Charles Edward Freeman, and Julianne Thibodeaux. “Creative Apparel Design Process Approach Using Architectural and Artistic Influence.” International Journal of Costume and Fashion 15, no. 2 (December 31, 2015): 79–91. https://doi.org/10.7233/ijcf.2015.15.2.079.

Sohn, MyungHee, and Dong-Eun Kim. “Conceptual Clothing Design Process Using Cooperative Learning Strategies: Senior Clothing Design Class.” Fashion, Industry and Education/International Journal of Costume Culture 14, no. 1 (June 30, 2016): 59–68. https://doi.org/10.7741/fie.2016.14.1.059.

Southwell, Elaine. “Starting a Collection: The Fashion Design Process Explained.” Elaine Southwell Designs (blog), November 30, 2023. https://elainesouthwelldesigns.com/fashion-design-process-2/.

Teowarang, Janet Rine, Michael Nathaniel Kurniawan, and Carla Van Lunn. “Creating Sustainable Fashion Collection Made of Handloom Textile for Australian Market.” CORAK 11, no. 1 (October 30, 2022): 23–40. https://doi.org/10.24821/corak.v11i1.6842.

by helene.goedl -

28 | Digital Fashion – The Societal Role of Clothing Throughout History

Throughout history, clothing has played a pivotal role in shaping society, reflecting cultural values, social hierarchies, and technological advancements. This blog entry explores some of the most significant developments in the societal role of clothing, highlighting how garments have evolved from mere protective coverings to powerful symbols of identity, status, and cultural expression.

Clothing has developed from a necessity to a social signifier. In its earliest form, clothing served primarily as protection against the elements. However, as human societies developed, so did the functions of clothing. One of the most important shifts was the emergence of clothing as a social signifier. During the long eighteenth century, for instance, textiles became crucial in defining gender, rank, and race in the context of British imperial expansion1. The emphasis on whiteness in both skin and cloth symbolised social status and racial hierarchy, with pristine garments representing social „whiteness“1.

This period saw the rise of opulent societal lifestyles among the elite, characterised by events such as masquerade balls, which further reinforced social hierarchies and the imperial ethos of race1. The maintenance of these pristine garments, largely performed by low-ranked and racialised women, underscored the intersectionality of class, race, and gender in clothing’s societal role1.

Garments have also shaped our cultural identity in the form of traditional garments. As societies became more complex, traditional clothing emerged as a powerful reflection of cultural identity. Garments like the Japanese kimono, Indian sari, and Jordanian thobe came to embody the history, values, and craftsmanship of their respective communities2. These traditional clothes were not just aesthetic choices but served as visual representations of cultural heritage and social identity. The significance of traditional attire extends beyond mere appearance. These garments are often influenced by environmental conditions, historical events, and societal practices2. For instance, in Kenya, self-adornment plays a crucial role in ensuring the continuity of political, socio-cultural, and ethno-moral principles of communities3. Whether through permanent marks like tattoos or temporary decorations like makeup and clothing, adornment serves as a way of signalling an individual’s place in society, marking special moments, or celebrating life transitions3. Similar uses of fashion are documented in cultures across the world.

Fashion could also be used as a tool of oppression as well as liberation. The relationship between fashion and societal power structures, particularly in the context of gender, has been a significant aspect of clothing’s role throughout history. Fashion has often been considered a mechanism of oppression, with restrictive garments physically and metaphorically constraining women to fit into narrow, idealised standards of beauty dictated by patriarchal societies4. However, the feminist movement has actively challenged and rejected these restrictive garments, defying norms and advocating for women’s autonomy in clothing choices4. This shift represents a crucial development in the societal role of clothing, transforming it from a tool of oppression to a means of empowerment and self-expression.

In modern times, the advent of globalisation has had a profound impact on the role of clothing in society. While traditional garments continue to hold cultural significance, they are increasingly influenced by modern fashion trends2. This intersection of tradition and modernity has led to new forms of cultural expression through clothing, often blending elements from different cultures. Moreover, the rise of fast fashion and mass production has democratised access to trendy clothing but has also raised concerns about sustainability and ethical production practices. In response, there has been a growing interest in sustainable and circular fashion, with initiatives like recycling clothing waste gaining traction5.

A fascinating recent development in our understanding of clothing’s societal role is its impact on the human microbiome, particularly that of the skin. Despite our long history with clothing, little was known about this interaction until recently6. Research in this area has opened up new perspectives on the relationship between clothing and human health, potentially influencing future textile development and hygiene practices.

The societal role of clothing has undergone significant transformations throughout history. From its origins as basic protection to its current status as a complex system of cultural signifiers, fashion trends, and even microbial ecosystems, clothing continues to evolve alongside human society. As we move forward, the challenge lies in balancing the cultural significance of traditional garments with the demands of modern life and sustainability concerns.

The study of clothing’s role in society offers valuable insights into human culture, social structures, and technological progress. As we continue to explore this rich field, we gain a deeper understanding of how something as seemingly simple as the clothes we wear can profoundly shape our interactions, identities, and the very fabric of our societies. The short cross-section of these developments of course have implications for the extended and transformed societal roles digital fashion might take on in the future.

1 Lemire, “Empire and the Fashioning of Whiteness: Im/Material Culture in the British Atlantic World, C. 1660–1820.”
2 Shurman and Qaqish, “Traditional Clothes Around the World: A Cultural Reflection.
3 Nyambura, “Celebrating Adornment in Kenya’s Diverse Cultures.”
4 Jamal and Mohammed, “Fashion and Feminism: A Theoretical and Historical Background.”
5 Hamdan, “A Survey of the Role of Charity Societies in Recycling Clothing Waste and the Extent of Their Societal Impact in Saudi Arabia.”
6 Sanders, Grunden, and Dunn, “A Review of Clothing Microbiology: The History of Clothing and the Role of Microbes in Textiles.”

Sources: 

Hamdan, Najla Ibrahim Bin. “A Survey of the Role of Charity Societies in Recycling Clothing Waste and the Extent of Their Societal Impact in Saudi Arabia.” Sustainability 15, no. 14 (July 21, 2023): 11380. https://doi.org/10.3390/su151411380.

Jamal, Fatima Salah, and Awfa Hussein Mohammed. “Fashion and Feminism: A Theoretical and Historical Background.” Journal of Tikrit University for Humanities 30, no. 12, 2 (December 30, 2023): 90–114. https://doi.org/10.25130/jtuh.30.12.2.2023.14.

Lemire, Beverly. “Empire and the Fashioning of Whiteness: Im/Material Culture in the British Atlantic World, C. 1660–1820.” The Journal of Interdisciplinary History 55, no. 1 (January 1, 2024): 57–87. https://doi.org/10.1162/jinh_a_02032.

Nyambura, Ruth, Tom Nyamache and Peter Ndirangu Waweru. “Celebrating Adornment in Kenya’s Diverse Cultures.” (2013).

Sanders, Deaja, Amy Grunden, and Robert R. Dunn. “A Review of Clothing Microbiology: The History of Clothing and the Role of Microbes in Textiles.” Biology Letters 17, no. 1 (January 1, 2021). https://doi.org/10.1098/rsbl.2020.0700.

Shurman, Ali, and Raed Qaqish. “Traditional Clothes Around the World: A Cultural Reflection.” IOSR Journal of Humanities and Social Science 29, no. 12 (December 1, 2024): 01–04. https://doi.org/10.9790/0837-2912020104.

by helene.goedl -

27 | Digital Fashion – Self-Perception and Self-Representation in Digital Spaces

In the discussion of digital fashion, it is important to more closely examine the idiosyncrasies of the spaces in which it mainly exists. The following is an exploration into research on the question of how we perceive and represent ourselves in digital spaces and how this could also impact the perception and role of digital fashion.

Digital spaces have a profound influence on self-perception across various cultures, shaping how individuals view themselves and interact with others in virtual environments. This impact is multifaceted and varies depending on cultural contexts and the specific digital platforms used. Digital platforms offer unprecedented opportunities for identity construction and self-representation. Users can craft and inhabit digital personas, potentially influencing their self-perception and social identity. This process of digital self-creation is not necessarily tied to „verifiable“ offline identities, allowing individuals to present aspects of themselves that may be suppressed or unexplored in their physical lives. For example, in some cultures, digital spaces serve as safe havens for marginalised groups, allowing them to find acceptance and support in aspects of their real identity that may be lacking in their offline environments. This can lead to a more positive self-perception and a sense of belonging within these virtual communities.1

The influence of digital spaces on self-perception can vary significantly across cultures. One determining factor is the difference between individualistic and collectivist cultures. In more individualistic societies, digital spaces may encourage self-expression and personal branding, while in collectivist cultures, they might emphasise group harmony and shared identities. A further distinction is between high-context versus low-context cultures. Digital communication may be interpreted differently in high-context cultures, where indirect communication is valued, compared to low-context cultures that prefer more direct communication styles.

In more traditional societies, digital spaces might create tension between online self-expression and offline cultural norms, potentially leading to conflicting self-perceptions. Digital spaces can both reinforce and challenge cultural identities. For example, diaspora communities may use digital platforms to maintain connections with their heritage culture while simultaneously adapting to their host culture’s digital norms2. This dual engagement can lead to a more complex and nuanced self-perception that bridges multiple cultural identities.

The digital culture has created a generational rift, with younger generations developing new forms of self-perception characterised by both positive and negative concepts. Often, digital culture is said to enable and encourage self-centredness and narcissism. This reflects a more general cultural shift towards a more individualistic culture in general. On the positive side of the spectrum, digital spaces can facilitate and promote global relationships, also crossing cultural boundaries. Some research suggests that digital spaces can create novel perceptions of time and space as well as enable defiance of traditional authority2. These shifts in self-perception are particularly pronounced in cultures experiencing rapid technological adoption and social change.

While digital spaces offer new avenues for self-expression and identity construction, they also present challenges which can affect self-representation and self-perception of users within them. One significant area of concern is with privacy and security. Concerns about data protection and potential misuse of personal information can affect how individuals present themselves online1. It might affect how much of the offline-persona users allow into their digital identity. 

Digital spaces can also foster a phenomenon called the digital divide. Unequal access to technology across cultures can create disparities in how digital spaces influence self-perception2. Especially with online spaces facilitating users to compare themselves to each other, this divide can become very visible and discourage less advantaged users to present themselves in an authentic way. In relation to this, digital spaces can also lead to cultural homogenization. The global nature of many digital platforms may lead to a degree of users approximating their self-representation to each other. This harbours the danger of eroding unique cultural perspectives on self-perception2. We already observe that certain digital spaces such as social media have a tendency to reward and promote content that aligns with a certain predetermined ideal that can lead to exclusion and marginalisation of users who do not fit these standards.

In conclusion, digital spaces have become integral to how individuals across cultures perceive themselves and construct their identities. While offering new opportunities for self-expression and community building, these virtual environments also present challenges that vary across cultural contexts. As digital culture continues to evolve, its impact on self-perception will likely become even more nuanced and culturally diverse. All of the above developments also affect how digital fashion might find a role in these digital spaces. As a means of expression, it will be faced with the same opportunities and challenges that apply to digital spaces as a whole. 

1 Garcia, “Educational Leadership: When Self-Perception Stymies Social Progress.”
2 Jolia and Jolia, “The Phenomenon of Digital Culture in the Modern Technological World.”

Sources: 

Garcia, Camille Marie and Wager, Amanda Claudia, „Educational Leadership: When Self-Perception Stymies Social Progress“ (2018). Lesley University Community of Scholars Day. 2. https://digitalcommons.lesley.edu/community_of_scholars/2018/session_d/2

Jolia, Guram, and Nino Jolia. “The Phenomenon of Digital Culture in the Modern Technological World.” Economics 105, no. 03 (April 15, 2022): 81–103. https://doi.org/10.36962/ecs105/3/2022-81.

by helene.goedl -

26 | Digital Fashion – The Decline of Quality: Fast Fashion’s Unsustainable Legacy

My previous blog entries have been concerned with discussing digital fashion with one of the main concerns being the absence of materiality. I described how materiality is a central component in the fashion design process and that materiality also helps us connect to clothes through the sensory experience. In connection to this, I want to discuss a related issue which has plagued the fashion industry in recent decades: the decline of fabric and garment production quality. This exploration aims to investigate if materiality is generally on the decline as a determining factor in fashion design today, or if the increasing loss of quality is a phenomenon limited to the fast fashion side of the industry.

In recent years, the fashion industry has undergone a significant transformation, with the rise of fast fashion dramatically altering the landscape of clothing production and consumption. This shift has not only changed how we shop but has also had a profound impact on the quality of fabrics used in our garments. The decline in fabric quality, largely attributed to the fast fashion model, has far-reaching consequences for both consumers and the environment.

Fast fashion refers to the rapid production of inexpensive, trendy clothing designed to be worn only a few times before being discarded. This model prioritises speed and cost over quality, resulting in garments that are often made from lower-grade materials and with less attention to craftsmanship1.

The fast fashion industry has experienced significant growth, with revenue showing an upward trend since 2021 after a brief decline during the COVID-19 pandemic2. This resurgence, however, comes at a cost to fabric quality and environmental sustainability.

One of the most notable changes in fabric quality is the increased use of synthetic fibres. Fast fashion brands often rely heavily on materials like polyester, acrylic, and nylon, which are derived from fossil fuels. These synthetic fabrics are chosen for their low cost and ease of production, but they come with significant environmental drawbacks, such as non-biodegradability. Synthetic fibres can take hundreds of years to decompose, contributing to long-term pollution.

When washed, synthetic clothing releases microfibres that escape filtration systems and end up in waterways, harming aquatic ecosystems. Apart from these environmental concerns, synthetic fibres also feel different on the body than natural fibres, with their characteristics often being described as less comfortable and of lower quality. 

The emphasis on rapid production and low costs for fabrics has also led to a decline in the overall quality of garment construction. Fast fashion items often feature inferior stitching techniques, making them more prone to tears and loose threads3. The rush to meet high consumer demand results in less thorough quality control, leading to more defects in finished products3. This decline in craftsmanship not only affects the longevity of clothing but also contributes to the devaluation of traditional textile skills and artisanal practices4.

The deterioration in fabric quality has had a ripple effect on the second-hand clothing market. Traditionally, second-hand stores have played a crucial role in extending the lifecycle of garments. However, the influx of poorly made fast fashion items is undermining this sector:

Many fast fashion garments are of such poor quality that they cannot be resold after just a few uses3. Clothes made from low-quality materials often fall apart after minimal wear, making them unsuitable for resale3. This trend is particularly concerning as it hampers efforts to create a more circular and sustainable fashion economy.

The decline in fabric quality, driven by fast fashion, has severe environmental implications:

The short lifespan of fast fashion items leads to millions of tons of textile waste in landfills annually4. The constant production of new, low-quality garments also requires continuous extraction of raw materials and energy resources. Moreover, the fast fashion model often relies on exploitative labor practices in developing countries, where workers face harsh conditions and minimal pay to meet the demands of rapid production3.

Research supports the observed decline in fabric quality. A study published in the Journal of Cleaner Production found that the average lifespan of clothing items has decreased significantly over the past two decades, correlating with the rise of fast fashion1. The study also noted a marked increase in the use of synthetic fibres, which now dominate the textile market due to their low cost and ease of production. Another scientific investigation, published in Environmental Science & Technology, revealed that synthetic microfibres from clothing are a major source of microplastic pollution in aquatic environments5. This research underscores the environmental impact of low-quality, synthetic fabrics commonly used in fast fashion.

While the current state of fabric quality in the fast fashion industry is concerning, there are signs of positive change: Consumers are becoming increasingly conscious of the environmental and social impacts of their clothing choices6. Some brands are exploring more eco-friendly materials and production methods, including organic and recycled cotton. There’s a growing movement towards investing in higher-quality, longer-lasting garments as an alternative to fast fashion.

The decline in fabric quality, largely driven by the fast fashion industry, has significant implications for consumers, the environment, and the future of the fashion industry. Developments analysed in this post suggest that materiality has been on the decline as a deciding factor for consumer behaviour in recent decades, at least in the fast fashion market. But the decline in quality has reached all segments of the fashion industry and is therefore a more general concern in fashion. However, more recent developments towards awareness of the advantages of natural and higher quality materials in consumers might indicate a change in the tides.

1 Yu, Gomez-Borquez, and Zaichkowsky, “Mitigating Trendy Cheap Fast Fashion’s Negative Impact.”
2 Dai, “The Fast Fashion Industry in the Post-Pandemic.”
3 “Fast Fashion Causes Decline in Quality Second-Hand Clothes.”
4 Jovells, “Why Is Fast Fashion Bad? Beyond the Price Tag.”
5 Ruiz, “47 Official Sustainable Fashion Statistics 2025.”
6 Güven and Yakın, “Fashion Consumption Behaviors of Sustainability Consumers: Fast Fashion or Slow Fashion?”

Sources: 

Dai, Yukun. “The Fast Fashion Industry in the Post-pandemic.” BCP Business & Management 38 (March 2, 2023): 598–603. https://doi.org/10.54691/bcpbm.v38i.3745.

Güven, Hüseyin, and Volkan Yakın. “Fashion Consumption Behaviors of Sustainability Consumers: Fast Fashion or Slow Fashion?” Journal of Human Sciences 20, no. 4 (October 21, 2023): 596–610. https://doi.org/10.14687/jhs.v20i4.6424.

Jovells, Salva. “Why Is Fast Fashion Bad? Beyond the Price Tag.” Sumissura (blog),  February 6, 2025. https://www.sumissura.com/en/blog/why-is-fast-fashion-bad.

Ruiz, Arabella. “47 Official Sustainable Fashion Statistics 2025.” TheRoundup, March 18, 2024. https://theroundup.org/sustainable-fashion-statistics/.

Winssolutions. “Fast Fashion Causes Decline in Quality Second-hand Clothes,” December 20, 2024. Accessed February 28, 2025. https://www.winssolutions.org/fast-fashion-triggers-troubling-decline-in-quality-of-second-hand-clothing/.

Yu, Yunzhijun, Claudia L. Gomez-Borquez, and Judith Lynne Zaichkowsky. “Mitigating Trendy Cheap Fast Fashion’s Negative Impact.” Journal of Sustainable Marketing, September 28, 2023, 1–21. https://doi.org/10.51300/jsm-2023-108.

by helene.goedl -

25 | Digital Fashion – Arriving at the Final Research Question 

Through the previous blog entries, I narrowed in my research topic to a specific area of digital fashion that proved to be my main interest. I was able to determine that I am mainly interested in exploring the design process specifically and that two factors in this process would be of special interest to me. These two factors are materiality and the body as a parameter of fashion design.

In the literature research, the topic of the body as a design parameter in fashion design was discovered to be a fairly recent focus of the research in the field. The body has always been central to fashion design, but an increasing interest in exploring its role has come up over the past decades. This trend extends to the digital fashion space. Baek et al. in their systematic review on digital fashion define the body as “the third most dominant theme within the digital fashion literature”1

This is not surprising, since the absence of the physical body is a central element in digital space by default. Apart from the digital space, the question of physicality remains an interesting topic in traditional fashion design as well. It is a continuous area of interest to investigate how consideration of the human body influences the design process, whether physical or digital. An example of an interesting study on the body in the design process is Julia Valle-Noronha’s design led study, which among other things poses the question if “the personal experience of wearing  clothes can be reflected on the making of new clothes”2

The factor of materiality is another central aspect of traditional fashion design. Materiality is crucial in fashion design because it directly impacts the aesthetics, functionality, sustainability, and emotional experience of a garment. It affects several crucial aspects of the design process and the final product. Materiality directly impacts aesthetic and design expression. The texture, drape, opacity, and sheen of a fabric all influence the final look and feel of a garment. Designers choose materials that align with their creative vision and their unique requirements for garments, whether it’s structured tailoring, flowing silhouettes, or avant-garde experimentation.

Materiality also determines a garment’s functionality and wearability. The choice of material affects factors such as wearer comfort, durability, breathability, and movement. A winter coat needs insulating fabrics, while activewear requires moisture-wicking and stretchable materials.

Advances in textiles, such as smart fabrics, biodegradable materials, and 3D-knitted garments, push the boundaries of fashion by offering new possibilities for design and performance.

The material factor also significantly influences considerations on sustainability and ethics. Designers are increasingly turning to recycled, organic, and biodegradable textiles to reduce waste and pollution. In connection to this, there are also economic and production factors that influence material choices. The cost and availability of materials affect the scalability of a design, influencing pricing, accessibility, and production feasibility.

On the more abstract end of the spectrum, materials often facilitate cultural and emotional connection to clothing. Fabrics often carry historical and cultural significance, connecting wearers to traditions, craftsmanship, and storytelling. Additionally, textures and materials evoke emotions and sensory experiences. This last aspect especially makes it challenging to think about the factor of materiality in digital spaces. An exciting experiment on the sensory experiences as a material in itself was introduced by Jan Tepe in 2021.3

Materiality is at the heart of fashion because it determines how a garment looks, feels, functions, and interacts with both the body and the environment.

Through evaluating these issues, I revisited my preliminary master thesis structure and finally arrived at the research question:

How do the parameters of materiality and the human body influence the design thinking process in digital fashion, and how do these constraints and possibilities compare to traditional fashion design workflows? 

Through this research question, the master thesis will explore the hypothesis that the shift from traditional to digital fashion design requires a fundamental change in design thinking with regards to designing fashion, as digital materiality and digital body shapes and characteristics redefine garment construction, functionality, and creative constraints. Digital fashion offers expanded creative possibilities in the design workflow of a collection but also introduces new limitations compared to traditional workflows. 

The main goals of the thesis are to design and develop a digital fashion micro collection in the form of three avant-garde full-body looks as a case study to explore the constraints and opportunities of digital fashion design. To analyse through a personal design project how digital materiality and (non)- human body shapes can impact the design thinking process compared to traditional fashion workflows. A further goal is to identify key differences and challenges in digital versus traditional fashion design, supported by expert interviews with traditional and digital fashion designers. Additionally, the thesis will document the design process of a personal digital fashion design project in depth, showcasing the iterative nature of digital fashion design and how designers must adapt to digital tools and environments. 

1 Baek et al., “Defining Digital Fashion: Reshaping the Field via a Systematic Review.”
2 Valle-Noronha, “The Body Within the Clothes: A Case Study on Clothing Design Practice From a Practitioner Viewpoint.”
3 Tepe, “Investigating Sensory Perception as a Material for Fashion Design,” May 8, 2021.

Sources: 

Baek, Eunsoo, Shelley Haines, Omar H. Fares, Zhihong Huang, Yuwei Hong, and Seung Hwan Mark Lee. “Defining Digital Fashion: Reshaping the Field via a Systematic Review.” Computers in Human Behavior 137 (August 4, 2022): 107407. https://doi.org/10.1016/j.chb.2022.107407.

Tepe, Jan. “Investigating Sensory Perception as a Material for Fashion Design.” New York City, New York, United States of America, May 8, 2021. https://doi.org/10.1145/3411763.3450384.

Valle-Noronha, Julia. “The Body Within the Clothes: A Case Study on Clothing Design Practice From a Practitioner Viewpoint.” Conference Paper. Helsinki, Finland, 2017. https://www.researchgate.net/publication/323336313_The_body_within_the_clothes_A_case_study_on_clothing_design_practice_from_a_practitioner_viewpoint.

Futher Reading:

Body and Space Research Lab. “The Body and Textiles at the Intersection of the Physical and Digital Through Movement — Body and Space Research Lab,” n.d. https://www.bodyandspace.com/the-body-and-textiles-at-the-intersection-of-the-physical-and digital-through-movement.

by helene.goedl -

24 | Digital Fashion – Topic Exploration 1: The Body in Fashion Design, our Relationship to Clothes and the Importance of Materialtiy

The relationship between the human body and fashion design is complex and multifaceted, with designers increasingly recognizing the importance of considering the dynamic nature of the body and the wearer’s experience. This shift in perspective is reshaping the approach to fashion design and our relationship with clothes. In the context of digital fashion design, the elements of the body, our relationship to clothes and the aspect of tangibility in experiencing fashion needs to be reevaluated and reimagined. In the following blogpost, I will discuss some ideas surrounding these concepts and point out how they might be explored further within the field of digital fashion design.

The Dynamic Body in Fashion Design

Fashion design is deeply connected to the human body and our ever-evolving societal understanding of it. In the past, fashion was often designed with a more static concept of the body in mind. But our ideals and standards around bodily expression are evolving to consider the body as a dynamic entity rather than a static form. Traditionally, garment patterns have been designed for a stationary, upright posture, which can lead to discomfort when the body is in motion1. To address this, researchers are developing new methodologies that incorporate the body’s various movements into the design process. For instance, a study conducted in 2024 created a mannequin that combines daily body motions, leading to the development of ‚distorted‘ block patterns that better conform to the mobile human form1. This study is only one instance of how considerations about the body are continuing to influence the fashion design process. In digital space however, the body becomes a more fluent concept and might even be completely excluded as a factor. But the question this brings is whether the absence of a body to dress would be a disqualifier for calling digital fashion “fashion” in the first place, or whether we would have to treat it as a new design discipline. 

Embodied Empathy in Fashion

Apart from mere practical considerations of the aspect of movement, the concept of embodied empathy is gaining traction in fashion design. This approach emphasizes sensitivity to the wearer’s physical experiences, shifting the focus from mere appearances to supporting bodily comportments2. By adopting this perspective, designers can create garments that not only look good but also feel comfortable and enable natural movement. Again, this demonstrates an aspect of fashion design that becomes virtually irrelevant in digital spaces. The concept of “comfort” for digital bodies evokes considerations about the conditions of the digital body and whether or not we can attribute any sort of conditions to them. 

Bio-segmentation and Inclusive Design

Fashion is moving away from binary gender-based designs towards a more inclusive approach based on bio-segmentation. This method considers body somatotypes (ectomorph, mesomorph, and endomorph) and biotypes as the foundation for design, rather than traditional gender categories3. This shift allows for more inclusive and diverse fashion offerings that cater to a wider range of body types. Similar to the above design concepts relating to the body, this is another example of where the transition to digital spaces and the possibility for removing the body as a factor altogether could unlock potential for the field of fashion design. 

The Importance of Materiality

Despite technological advancements, the tangible aspect of fashion remains crucial. The physical interaction between fabric and skin, the drape and feel of a garment, and the way it moves with the body are all essential elements of the fashion experience. Researchers are working on creating comprehensive databases that include physical textile samples, 3D human body models, and 3D garment designs to bridge the gap between digital and physical fashion4. While this is an interesting development when it comes to simulating and representing the general behaviour and movement of material in digital space, it still lacks the important quality of tangibility. Digital clothing can never produce the sensation of textiles on the human body and therefore are bound to lack a very important feature in the way that we experience fashion.

The fashion industry is increasingly recognizing the importance of considering the dynamic human body, individual experiences, and diverse body types in design. This holistic approach, combined with technological advancements, is leading to more inclusive, comfortable, and innovative fashion designs while maintaining the crucial tangible aspects of clothing in the field of traditional fashion design. All of these developments suggest a growing awareness of the body as a crucial aspect of fashion design and open the door to discussing how a transition into digital space might handle questions of physicality. 

This post was written with the assistance of Perplexity AI.

1 Hassan, “Thinking of the Moving Body in Motion as the Starting Point for the Fashion Design.”
2 Robinson, “Body Styles: Redirecting Ethics and the Question of Embodied Empathy in Fashion Design.”
3 Neto and Leal, “Genderless Fashion Design: From Binary Fashion to Bio-Segmentation. Body Biotypes and Somatotypes as Main Bases to Inclusive Fashion Design.”
4 Odhiambo et al., “Creation of Databases for a Virtual Training Library in Fashion Design.”

Sources: 

Hassan, Furat Jamal. “Thinking of the Moving Body in Motion as the Starting Point for the

Fashion Design.” Al-Academy, no. 112 (June 15, 2024): 75–86.
https://doi.org10.35560jcofarts1401.

Neto, Maria João Pereira, and Maria Inês Leal. “Genderless Fashion Design: From Binary Fashion to Bio-segmentation. Body Biotypes and Somatotypes as Main Bases to Inclusive Fashion Design.” AHFE International, January 1, 2022. https://doi.org/10.54941/ahfe1001870.

Odhiambo, Sheilla, Alexandra De Raeve, Cosmin Copot, Ion Razvan Radulescu, Andreja Rudolf, Tadeja Penko, Xianyi Zeng, et al. “Creation of Databases for a Virtual Training Library in Fashion Design.” Communications in Development and Assembling of Textile Products 5, no. 2 (August 16, 2024): 140–50. https://doi.org/10.25367/cdatp.2024.5.p140-150. 

Robinson, Todd. “Body Styles: Redirecting Ethics and the Question of Embodied Empathy in Fashion Design.” Fashion Practice 15, no. 1 (February 24, 2022): 113–35. https://doi.org/10.1080/17569370.2022.2026048.

Further Reading: 

Neto, Ana, and João Ferreira. “Lasting Bonds: Understanding Wearer-Clothing Relationships Through Interpersonal Love-Theory.” Fashion Theory 27, no. 5 (January 26, 2023): 677–707. https://doi.org/ 10.1080/1362704x.2023.2170706. 

Ruggerone, Lucia. “The Feeling of Being Dressed: Affect Studies and the Clothed Body.” Fashion Theory 21, no. 5 (November 21, 2016): 573–93. https://doi.org/10.1080/1362704x.2016.1253302. 

by helene.goedl -

23 | Digital Fashion – Exploring Research Questions

In the last blogpost, I discussed how I narrowed down my research topic by excluding certain aspects of the digital fashion design topic. In this post, I will elaborate on the aspects that I do want to focus on, why they are of interest and how their exploration can be formulated into concrete research questions. 

The main focus of my thesis will be the digital fashion design process. I decided to focus on this aspect because it will allow me to integrate the practical part of my thesis with the theory part and  enable me to incorporate my own experiences from the digital design process. This will also create a possibility to explore the traditional fashion design process as a comparison point for the digital design process. Through this inclusion, I will have the opportunity to feature point of views from traditional fashion designers in the literature and interview section of my research, which will help in broadening the pool of possible experts that I can contact.1 

To recap the factors of interest I defined in my last blogpost, the main focus of my exploration of the digital fashion design process are working without materiality, working without a physical body and working without physical space as an influence factor. 

I further defined the tension between physical and digital and the implications of these new design conditions as areas of interest in my work. The practical part of my thesis will be designing a micro collection of digital fashion items and finding presentation strategies for the digital clothing items.2 My plan is to incorporate the findings from the practical work into my theory part. 

With the above considerations in mind, I proceeded to formulate some possible concrete research questions. Below, I am giving a short elaboration on what using the respective questions could result in within my thesis. 

Possible Research Questions:

“How do designers conceptualize the role and purpose of fashion in digital spaces, and how does this differ from the role of fashion in physical spaces?”
This research question would allow me to explore the purpose of fashion (self-expression, status, etc.) in the digital realm, as well as how designers are navigating this space. The resulting thesis could study how digital fashion challenges or expands the traditional purposes of clothing.

“What design methodologies are employed by fashion designers when creating virtual clothing, and how do these methods differ from traditional fashion design practices?”
Through this question, I would focus on the design process itself. It could explore how designers transition from physical garment creation to 3D garment creation and how this shift affects their design philosophy and methodology.

“How do fashion designers perceive the relationship between physical and digital fashion, and to what extent are they integrated into a holistic design approach?”
With this question at the heart of my thesis, I could explore how designers view the two realms—do they consider digital fashion as a distinct category, or is it something they aim to merge with traditional fashion? How do they address the challenges of bridging these worlds?

“What are the cultural and ethical considerations that designers must navigate when creating digital fashion, particularly in relation to identity, body representation, and inclusivity?”
While I did not formulate the sociological aspect as the main focus of my research, this question could enable me to touch on the cultural and ethical implications of digital fashion. For example, how do designers ensure that virtual clothing does not perpetuate harmful stereotypes or exclude certain body types or identities?

“How does the rise of digital fashion impact the role of the designer in the future of the fashion industry, and what implications does this have for the academic study of fashion design?”
This research question would open the door to understanding how digital fashion is reshaping the designer’s role and could have interesting implications for academia and future curriculum development in fashion design education.

„How do fashion designers approach the integration of digital and physical fashion, and what does the concept of ‚fashion‘ mean in digital spaces, where traditional functions of clothing—such as materiality and bodily adornment—are absent?“
This question brings together the key elements I am interested in: Designers‘ perspectives on digital vs. physical fashion, the concept of fashion in a virtual context, the philosophical exploration of clothing in spaces where physical presence is not required. 

    With these possible research questions formulated, I can now revisit my literature, expand my literature research keywords and refine my methodology further. 

    1 Clarke and Harris, Digital Visions for Fashion and Textiles: Made In Code.
    2 Neuburger “Signature Pieces by Signature Moves : Potentials of Motion Tracking in Digital  
      Fashion – Infusing Aestethics and Shapes with Apporaches from Club Dance Cultures.”

    Sources: 

    Clarke, Sarah E. Braddock, and Jane Harris. Digital Visions for Fashion + Textiles : Made in Code. 1. publ., 2012.

    Neuburger, Magdalena. Signature Pieces by Signature Moves : Potentials of Motion Tracking in Digital Fashion – Infusing Aestethics and Shapes with Apporaches from Club Dance Cultures, 2021.

    by helene.goedl -

    22 | Digital Fashion – Narrowing down the Research Topic

    In the process of working towards the final master thesis, an important step is the continuing refinement of the concrete research topic and research question. In this process, the challenge is to comprehend what it really is that makes the topic of digital fashion design so interesting for me. 

    In this blogpost, I will briefly explain the origin of my interest in the topic, outline the scope of the research topic that will be covered in the masters thesis and define some areas that will be excluded in my exploration of digital fashion within my thesis.

    The origin of my interest in the topic of digital fashion stems from my original background. My venturing into the field of design started at the age of 14 when I began studying in fashion school. I had always been interested in clothes and especially, I had always had a fascination with materials, how they behave in certain circumstances, how they can be strategically used, made and manipulated. I was also very intrigued by how fashion design incorporates the human body as a core element of the design process1. Now, many years later and having ventured away from my original design discipline through photography to moving image media design, I rediscovered my interest in these core topics of materiality and physicality. When it came to choosing a topic for my masters thesis, I actively looked for a topic through which I could merge the media design field with my interest in fashion design. Quite soon, I came across the topic of digital fashion. Since defining it as my master thesis field of research, I have been faced with the challenge of determining a more focused research topic and question that would encompass my interest in materiality and physicality, as well as reflecting relevant issues in the current discourse surrounding digital fashion design. 

    When narrowing down the scope of a topic, it can often be helpful to exclude certain aspects to gain more clarity. With this aim in mind, I went through my sources and determined some aspects of the current discourse on digital fashion that will not be the main focus of my thesis. 

    Firstly, I decided to broadly exclude all aspects of the topic revolving around video games, which is an aspect that has continued to be prominent in the discussion of digital fashion use cases.2,3 My decision to exclude it is mainly rooted in the fact that I am not familiar at all with games culture and I don’t find it a sufficiently rich source of discussion for my approach to the topic. Although digital fashion in video games may still come up in some side notes, it will not be the main focus of my thesis.

    In relation to this, I also made the decision to not focus prominently on the discussion around NFTs and the marketability aspect of digital fashion as an end product in general. My thesis is not concerned with exploring how digital fashion as an end product can be sold to consumers and what role it can have in the fashion market. Naturally, this aspect might also be mentioned in passing, but it will not be the focus of my work.

    One topic I did not want to entirely exclude in my research was the question of sustainability. Digital fashion is sometimes touted as a solution that can aid in reducing the demand for fast fashion, especially in relation to fashion influencers and use cases of fashion that are limited to the digital sphere. While this aspect is still of interest to me, I have decided against making it the main focus of my thesis.

    What has become clear to me through excluding these aspects is that my interest in the digital fashion topic are revolving more around the design process rather than being concerned with an end product. For a while in exploring potential focus points in the discussion, I considered exploring the aspect of digital end products and their use cases, but found that this is not the aspect that really sparked my interest in this topic in the first place and was not encouraging me to continue my exploration.

    I decided that my exploration of digital fashion had to revolve more around the applied design process, especially with the consideration of the implications of working without materiality, without a physical body and without physical space in mind. I found that exploring this tension between physical and digital and the implications of these new design conditions are what make digital fashion such an interesting research area for me. In the next blogpost, I will discuss more thoughts on these aspects and elaborate on more possibilities of narrowing the research scope.

    1 McClendon, “The Body: Fashion and Physique—A Curatorial Discussion.”
    2 Reay and Wanick, “Skins in the Game: Fashion Branding and Commercial Video Games.”
    3 Reza et al., “Skins for Sale: Linking Player Identity, Representation, and Purchasing Practices.”

    Sources:

    McClendon, Emma. “The Body: Fashion and Physique—A Curatorial Discussion.” Fashion Theory 23, no. 2 (February 26, 2019): 147–65. https://doi.org/10.1080/1362704x.2019.1567057.

    Reay, Emma, and Vanissa Wanick. “Skins in the Game: Fashion Branding and Commercial Video Games.” In Reinven3ng Fashion Retailing. Digitalising, Gamifying, Entrepreneuring, 73–90, 2023. https://doi.org/10.1007/978-3-031-11185-3_5. 

    Reza, Alia, Sabrina Chu, Zuaira Khan, Adanna Nedd, Amy Cas3llo, and Daniel Gardner. “Skins for Sale: Linking Player Iden3ty, Representa3on, and Purchasing Prac3ces.” In Lecture Notes in Computer Science, 124–31, 2019. https://doi.org/10.1007/978-3-030-15742-5_11. 

    by helene.goedl -

    IMPULSE #8 | Two YouTube Videos – Critical Voices on Digital Fashion 

    Critical voices on the topic of “Digital Fashion” are numerous online. I recently watched two YouTube videos of creators voicing their skepticism on certain aspects of digital fashion.

    YouTuber “Izzzyzz” offers a critical examination of the digital fashion industry, particularly focusing on the company DressX. Through a blend of humor, skepticism, and detailed analysis, she dissects the lofty promises of this burgeoning field, shedding light on its technological flaws, cultural implications, and environmental contradictions.

    In recent years, the tech world has made bold forays into the fashion industry, promising a future where digital clothing would redefine how we dress, consume, and express ourselves. One company at the forefront of this movement, DressX, claims to revolutionize fashion through augmented reality (AR), virtual reality (VR), and artificial intelligence (AI). However, as explored by Izzzyzz, this vision may be more fanciful than feasible, marred by technological shortcomings, questionable environmental benefits, and cultural insensitivity.

    Founded in 2020 by Ukrainian entrepreneurs Natalia Modenova and Daria Shapovalova, DressX markets itself as a digital fashion retailer, offering garments designed to be worn virtually—whether in metaverse environments like Roblox and Snapchat or through photos and videos using their Meta Closet app. This app allows users to map 3D-rendered clothing onto their images, ostensibly blending sustainability goals with tech innovation. On paper, the initiative sounds groundbreaking, yet in practice, its execution raises serious concerns.

    One of DressX’s primary pitches is sustainability. By replacing physical garments with digital ones, the company aims to address overconsumption and waste in the fashion industry. Influencers, notorious for purchasing fast fashion in bulk to maintain fresh content, are a key target audience. However, the practical limitations of digital fashion—such as poorly rendered designs and awkward interactions with physical bodies—render it a hard sell. Furthermore, the company’s involvement in NFTs contradicts its sustainability ethos, as blockchain technologies are widely criticized for their substantial environmental impact.

    Technological flaws also plague DressX’s offerings. The app’s functionality is often compared to basic Snapchat filters, with clothing options frequently clipping, shifting awkwardly, or looking amateurish. These failings are especially jarring considering the high cost of these virtual garments, which range from tens to hundreds of dollars. Even their flagship marketing content, aimed at showcasing the technology’s capabilities, features glaring imperfections that undermine their promise of a high-tech revolution.

    Beyond technical inefficiencies, DressX’s broader implications raise cultural and ethical concerns. The app’s clothing frequently appears to favor slim, conventionally attractive bodies, reinforcing harmful beauty standards. Moreover, some of its marketing materials evoke problematic themes, such as the ability to change race or body type through virtual avatars, which risk trivializing significant social and cultural identities.

    Despite these challenges, DressX has garnered attention from major brands and media outlets. Publications like Vogue and The New York Times have praised the company’s vision, while luxury labels like Fendi and Diesel have partnered with them to create digital garments. This acclaim has translated into financial success, with the company securing $15 million in funding in 2023. Yet, outside of the tech and fashion elite, consumer reception remains tepid at best. Online forums and social media comments often ridicule the product for its aesthetic shortcomings and inflated promises.

    Izzzyzz’s critique highlights a recurring pattern in the tech industry: the promise of innovation often outpaces its practical application. Digital fashion might someday redefine how we engage with clothing, but DressX’s current iteration seems more like a tech gimmick than a revolutionary solution. While the concept of virtual clothing opens intriguing possibilities for creativity and sustainability, its realization requires far greater refinement and cultural sensitivity to truly resonate with the broader public.

    Digital fashion remains a nascent field filled with potential and pitfalls. Companies like DressX are navigating uncharted waters, but the road to meaningful impact will require a commitment to addressing technological, environmental, and ethical shortcomings. Until then, the dream of replacing physical wardrobes with digital ones seems more like a speculative fantasy than a viable reality.

    Another creator, fashion journalist Bliss Foster highlights in his somewhat critical video “The Problem with Digital Fashion” that he does not have a problem with digital fashion per se, but rather with how it is treated and talked about, as a part of a trend cycle and a technical fad. He acknowledges the value of digital fashion design itself, but also makes the argument that it should rather be treated as a separate discipline altogether. He exemplifies this by discussing a physical shirt that he owns and how all the material qualities and aspects of it are such integral parts of the design that it is impossible to reduce them away from fashion design. 

    Sources

    Bliss Foster. “The Problem With Digital Fashion,” April 4, 2022. Accessed January 5, 2025. https://www.youtube.com/watch?v=who1-kptZzo.

    Izzzyzzz. “‘Digital Clothing’ Is the Newest Tech Scam,” November 15, 2024. Accessed January 5, 2025. https://www.youtube.com/watch?v=dWKrK91fk2U.