by helene.goedl -

03 | Digital Fashion – Topic Overview

Digital fashion refers to clothing and accessories that exist purely in the digital realm, created using computer-generated imagery (CGI) and 3D modelling techniques. It combines elements of fashion, technology, and art to create virtual garments that can be worn and showcased in digital spaces, such as virtual reality (VR) environments, online gaming platforms, and social media. Because of these factors, digital fashion holds great potential for an interdisciplinary case study in the field of media design. It combines factors from different disciplines and intersects in a way that presents both enormous potential and considerable challenges in the design process. Over the next blog entries, I will present several factors of digital fashion that are relevant and interesting to investigate in a further research project. This blog entry presents a brief topic overview to establish some of the main areas of the topic.

History

As an introductory entry, it will be interesting to take a closer look at the history of digital fashion. Arguably, the core concept of digital fashion has existed since the development of digital animation and computer games. These two areas have provided the most opportunities to showcase digitally designed and created garments. In a future blog entry, the history of digital fashion will be revisited in more detail. 

Digital Fashion for Avatars 

In the gaming and virtual reality space, digital fashion is gaining popularity as a way for users to customize the appearance of their avatars. Players can purchase or earn virtual clothing items to enhance the aesthetics of their digital personas.

Collaborations and Digital Fashion Brands

Traditional fashion brands are starting to collaborate with digital artists and designers to create limited-edition virtual collections. Some brands are also emerging specifically as digital fashion entities, focusing on creating unique and innovative digital clothing. Some of the collaboration projects also tie in with the previous topic as they have taken place in the video game sphere. Most notably, the 2021 collaboration between luxury fashion brand Balenciaga and the gaming studio Epic Games for the popular game Fortnite has made waves in the business. A future blog entry will explore said collaboration in more detail as a case study.

Virtual Fashion Shows

Designers are increasingly exploring the possibilities of presenting their collections through virtual fashion shows. These events take place in digital environments, allowing for unique and immersive presentations that go beyond the constraints of traditional runway shows. This has gained relevance especially in the pandemic years and will be looked at in more detail, with a special focus on differences in potential between real life and virtual fashion shows and what the introduction of the new possibilities could mean for the fashion industry in the future.

Sustainability

Digital fashion is often touted as a more sustainable alternative to traditional fashion. Since there is no physical production involved, there is no need for raw materials, manufacturing, or shipping, potentially reducing the environmental impact associated with the fashion industry. At the same time, the discussion around digital products and their sustainability is a point of contention on its own, since the ever growing need for larger server farms, computers and their energy consumption need to be weighed against traditional forms of production. 

NFTs and Digital Ownership

Some digital fashion items are being sold as NFTs, providing a sense of ownership and authenticity in the digital space. Buyers can use these NFTs to showcase and trade their virtual fashion items within specific platforms. This is especially interesting because it brings up discussions around the value of digital products in general, the merit of owning a purely virtual item and the relationship to the analogue equivalent of attributing value to fashion items. An intersting point of discussion for this topic is also the relationship between original fashion pieces and fake products or counterfeit items in the real world and in digital space.

Augmented Reality (AR) Fashion

AR technology allows users to superimpose digital clothing onto their real-world surroundings through smartphone apps or AR glasses. This enables users to experiment with different looks without physically trying on clothes. This also ties in with the previous topic of digital ownership and how this might be handled in AR spaces.

3D Modelling for Fashion Design

Digital fashion designers is mainly done in 3D modelling software to create detailed and realistic virtual garments. This process enables them to experiment with unconventional materials, shapes, and designs that may be challenging or impossible to produce in the physical world. A closer exploration of material qualities and possibilities in digital space will be continued in its own blog post. 

Digital fashion is a dynamic and evolving field that continues to push the boundaries of creativity and technology. As technology advances, we can expect to see even more integration of digital fashion into our virtual and augmented reality experiences.

by ellen.dressler -

07 | Transformation of urban spaces for a people-centered transport transition

While I was listening to various scientific podcast episodes of DDCAST for another university module, I came across a very interesting approach on how to ensure more sustainability within urban planning, both on an environmental and social level. In the interview, Janina Albrecht mentions various approaches to tackling the issue.

Urbanization has a significant impact on our lifestyle. Transport planning in urban areas in particular has a lasting impact on the quality of our life. But how could a redesign of urban transport infrastructures drive a future-oriented, people-centered transport transition?

Currently, car-centric cities dominate, primarily focused on accelerating car traffic while excluding other road users. A growing discussion on both an environmental and social level is striving for cities that offer more space for interaction, individual development and diverse lifestyles. The design of transportation infrastructure in cities therefore needs to be comprehensively rethought to create a more liveable environment for all.

The overall aim is to identify strategies for redesigning transportation infrastructure to create an inclusive and liveable urban environment. In the long term, this should lead to a sense of well-being, respect and an improved quality of experience for all residents.

The problem is, that current city design separates people from each other. Graphics such as the one by Donald Appleyard (1980) illustrate that a reduction in car traffic increases the likelihood of interaction and human encounters. On the other hand it also shows that the more car traffic there is on the streets, the less interaction happens between the citizens.

Human interactions depending on the traffic situation (2)

Way in the past, the street was a social hub, whereas today it mostly has a purely traffic-oriented function. A redesign of urban spaces should therefore restore opportunities for social interaction and encounter.

To develop solutions for effective redesign, a detailed analysis of existing urban spaces and consideration of the needs of different road users should be done. A low-threshold approach that visualizes new perspectives and gives people the opportunity to get actively involved is essential.

Therefore there should be created activities that arouse curiosity and create irritation and thus attention.

Janina Albrecht was also talking about the results of some public research that was conducted, which shows that public spaces are not quite designed for the human use. Whilst public spaces always have rectangular structures, the analysis of human behavior/traces shows, that they are round and smooth. This leads to a tension with reality.

She also is aware of the fact, that currently it is hardly possible to unite car and bicycle traffic, which is why the two are still separated most of the times.

But she also mentions that we already got strategies that work well for a car-centered city and that these exact strategies can be used to make cycling and walking more user-friendly.

Concluding it is important to be aware that a redistribution of urban spaces can improve the quality of life by promoting diverse use of transportation and increasing the safety and well-being of residents a lot. A long-term vision is to integrate all road users into the development of urban spaces in order to create a more harmonious coexistence.

Also the social acceptance of new concepts is a very important step. Solutions should take into account diverse perspectives and requirements and be implemented gradually, building on one another. Successful design includes the integration of green spaces, shaded areas, barrier-free paths and balanced access to different modes of transportation such as public transport and safe cycle paths.

References

(1) Albrecht, J., & Bertsch, G.-C. (o. J.). DDCAST 13—Janina Albrecht „Die Stadt vermenschlichen“ (13). https://open.spotify.com/episode/3CFljymuME6gznnWp23Ein?si=1d7ccea67f884786

(2) Appleyard, D. (1980). https://useruploads.cdn-decorrespondent.nl/image/o0-h4m0KqFUDWNpGddNKbIUATFU=/904×1528/dc-useruploads-images/e2a875cc44d44330ba75c44b6f32fe50.png

by alexandra suvakova -

A Report on Digital vs. Printed Media Sustainability Case Study

Amidst the global push for environmental consciousness, the ongoing discourse between printed and digital marketing materials gains significant traction. The Dodonut team, spearheaded by Tomasz Osowski, Co-founder, and Head of Design, recently undertook a rigorous case study to unravel the complexities of environmental impact associated with both printed agendas and their digital counterparts. In this comprehensive exploration, we delve into the insightful results and thought-provoking insights derived from the DesignWays Conf Sustainability Case Study.

Setting the Stage: A Journey Towards Sustainability

The study began with a mission to raise awareness about sustainability, utilizing Statsy, an analytics tool, and the co2.js library. Beyond the initial intention, the team sought to conduct a comprehensive exploration, questioning the widely accepted belief that digital alternatives are inherently more eco-friendly.

Unveiling the Carbon Footprint of Printed Media

Dodonut’s investigation into the carbon footprint of printed materials revealed a nuanced picture. Referring to research by Pihkola, Nors, and others, the team calculated that printing 1500 leaflets generated an estimated 30 to 45 kg of CO2. This foundational understanding set the stage for comparing the environmental impact of digital alternatives.

Navigating the Digital Landscape: Carbon Footprint of Designways.io

Transitioning into the digital realm, the Dodonut team explored the performance of the Designways.io website. The blog post details challenges in optimization and presents a comprehensive breakdown of the carbon footprint associated with each visit to the digital agenda page. The nuanced distinction between first-time visits and cached device revisits provided crucial insights into the varying environmental impact of digital engagement.

Crunching the Numbers: Detailed Calculations by Statsy & co2.js

Precision was paramount in the case study, and the team employed Statsy.com and the co2.js library for detailed calculations. Considering factors like data transfer, connection type, electrical grid efficiency, and session type, Dodonut determined that during the event, the Design Ways website generated 16,800g of CO2. This insight allowed for a direct comparison with the printed leaflets.

Electronic and Paper Communication: Important Considerations

Beyond raw data, the case study prompted consideration of broader aspects in electronic and paper communication. Factors such as web traffic, electricity grid efficiency, recycling potential, and overall website traffic were brought to the forefront, challenging simplistic viewpoints and encouraging a more holistic understanding of environmental impact.

Unearthing Surprises: Digital Practices and Competitor Comparisons

The case study took an unexpected turn when it revealed a competitor’s less-than-eco-friendly digital setup. A comparative analysis highlighted that the competitor’s page generated a higher carbon footprint than a single printed leaflet, urging a reevaluation of assumptions regarding the sustainability of digital practices.

The Verdict: Digital vs. Printed Media

In conclusion, Dodonut’s experiment challenged the prevailing notion that digital alternatives are inherently more eco-friendly than printed counterparts. While the study indicated that the carbon footprint of the digital media was generally lower than that of printed leaflets, various factors influenced these results. The case study emphasized the importance of considering a multitude of factors and encouraged readers to move beyond the binary perspective, promoting informed decision-making for a more sustainable future.

In this comprehensive breakdown of the DesignWays Conf Sustainability Case Study, the Dodonut team provides valuable insights, challenging industry norms and advocating for a more nuanced understanding of the environmental impact of marketing practices.

Links:

by mathilde.bogen -

07 | Repairing in modern society

This weeks focus will be on repairing in the modern society and community repair. It will be based on the research paper ‘Fixing the World One Thing at a Time’: Community repair and a sustainable circular economy written by Maja van der Velden.

REPAIRING AND CIRCULAR ECONOMY

A circular economy is a system that focuses on reducing waste and maximizing the use of resources. It emphasizes recycling, reusing, and regenerating products. In a circular economy, materials are kept in a continuous loop, promoting sustainability and minimizing environmental impact.

One of the ways to achieve circular economy is through repairing. Extending the life time of popular consumer goods can lead to large sustainability gains. The role of repair in circular economy is growing, but no country has set specific targets for repair (van der Velden, 2021). The number of repair enterprises in France decreased from 2461 in 2009 to 1942 in 2013 (van der Velden, 2021).

A challenge for the repair technicians is that consumers are less willing to repair low-priced products which leads to a decreasing demand for repair. Another challenge is that many products are designed in a way that makes them difficult to open and therefor repair.

The European Commission mentions the „right to repair“ of citizens in two of its primary policies related to sustainable production and consumption. EU created a standard for repairability labelling of products in 2019 (van der Velden, 2021).

COMMUNITY REPAIR

Community repair is a non-profit event which involves people coming together to fix items, such as electronics, appliances, or clothing, within a local setting. It’s a collaborative effort where community members share skills and knowledge to repair and extend the lifespan of items. This practice fosters a sense of community engagement and environmental responsibility.

The first community repair initiatives started in 2009, two in the US and one in the Netherlands (van der Velden, 2021). Since then, the movement has expanded and as of October 2020 there were 2091 Repair Cafes in 37 countries (van der Velden, 2021). Some of the Repair Cafes have fixed place for repair events, while others are organized as pop-up events. There is for example a Repair Cafe in Graz (and multiple others in the area) that arranges regularly events every two months.

RepairMonitor

RepairMonitor is a website that the Repair Cafes can use as a tool to document the repairs they implement. It is a way to collect and share repair data and a way to gain insight into the durability and reparability of the items in our daily lives.

Here is an overview over the amount of repairs through the years and where the Repair Cafes that are using RepairMonitor are located. The amount of repairs is varying but there is an overall tendency that it increases through the years, but the amount amount of Repair Cafes using this platform has also been increasing. 44 Repair Cafes were using RepairMonitor in 2018, while 167 Repair Cafes were using RepairMonitor in 2023. So the amount of Repair Cafes documenting on RepairMonitor has increased significantly, and the amount of documented repairs has therefore also increased.

REPAIR AND ATTATCHMENT

Research on product attachment indicates that a significant level of attachment is usually reached once a product has been used or owned for more than five years. Consumer product attachment is typically at its lowest after the first three years post-purchase, and then gradually increases over time (van der Velden, 2021).

Attachment to our belongings often drives us to repair rather than replace them. Fixing items creates a sense of connection and care, fostering a sustainable mindset by extending the life of possessions and reducing waste.

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References

  • van der Velden, M., & AbstractThe notion of a circular economy is often presented in discourses on a more sustainable future. A circular economy proposes more efficient material flows in growth-based economy and in support of sustainable development. Repair is presented as one. (2021, April 16). “fixing the world one thing at a time”: Community Repair and a sustainable circular economy. Journal of Cleaner Production. https://www.sciencedirect.com/science/article/pii/S0959652621013706
  • Dashboard Repairmonitor. (n.d.). https://dashboard.repairmonitor.org/?language=en
by mert.altinoez -

04 | Digital Life Cycle Assessment 🌱

Should I buy apples that were produced regionally, or ones imported from Poland, which are somehow a little bit cheaper? I guess everyone has had thoughts like this while shopping for groceries or other items. But have you ever had these thoughts while buying, downloading, or using digital products? I guess not, and that’s not a shame, because I haven’t had these thoughts either. Therefore, I want to talk about the Life Cycle Assessment (LCA) of digital products in this blog post.

What is a Life Cycle Assessment (LCA)?

Life Cycle Assessment (LCA) evaluates the environmental impact of a product from creation to disposal or recycling. The goal is to explore the product’s environmental footprint. It involves examining the following five phases of a product:

  • Raw Material Extraction
  • Manufacturing & Processing
  • Transportation
  • Usage & Retail
  • Waste Disposal

There are four main models, based on those five phases of a product:

1. Cradle-to-grave: Considers the product’s impact across all five life cycle steps, from raw material extraction (cradle) to product disposal (grave).

2. Cradle-to-gate: Focuses on assessing the product until it leaves the factory gates, excluding the use and disposal phases.

3. Cradle-to-cradle: Linked to the Circular Economy, this concept replaces the waste stage with a recycling process, making the product reusable for another purpose.

4. Gate-to-gate: Used in product life cycles with multiple value-adding processes. Simplifies assessment by focusing on one value-added process in the production chain.

Now you know what a LCA is, so let’s move on to digital LCAs and apply this to digital products.1

Digital LCAs

“Compared to the physical world, sustainable web design will de-emphasize the manufacturing (production) stage, making it qualitatively different from print design. Why? Unlike physical products, web pages don’t produce waste paper or ink after the page disappears, only heat from the electronics. For this reason, the cost of web page manufacture will be small compared to the cost of ongoing use. On the other hand, the longer a web page is viewed, the more bits it burns, so efficient use based on good user experience will be very important.“ – Dr. Pete Markiewicz

How can we apply the LCA to digital products? Dr. Pete Markiewicz proposed the following framework for equating DLCAs to their physical counterparts:

LCADLCA
MaterialsSoftware and visual assets
ManufacturingDesign and development
PackagingUploaded to the Internet
DistributionDownloaded through the network
UsageInteraction, UX, completing tasks
DisposalData erased form client

Software and visual assets
In exploring the environmental impact of digital products and services, the focus shifts from the energy consumption of manufacturing processes to the software and visual assets involved. Questions arise about the sustainability of cloud-based services, specifically whether they are hosted on platforms powered by renewable energy. Additionally, the energy efficiency of software creation becomes a crucial consideration, with concerns ranging from the application’s design principles to the company’s use of renewable energy in its offices. It’s also important to consider the resource usage of software, including factors like unnecessary features and the energy efficiency of equipment.

Design and development
In the realm of digital product design and development, efficiency gains and energy savings can be achieved, particularly during the initial phases. Employing strategies like progressive enhancement and adopting a mobile-first approach ensures broader accessibility to digital products and services. Utilizing web standards such as HTML5 and CSS3, along with emerging open-source frameworks like webVR and OSVR, facilitates efficient content delivery across various devices. Compliance with accessibility standards ensures that content can be accessed by users with disabilities, expanding the reach across different platforms. When conducting an inventory analysis for digital product design and development, crucial questions include assessing the use of outdated or nonstandard technology, optimizing for mobile devices, and ensuring the compression or minification of images, scripts, and other assets for optimal delivery speed.

Server uploads, network downloads
The absence of physical packaging and transportation for digital products doesn’t eliminate energy consumption. Even though these products don’t rely on cargo ships, energy is still essential to deliver them to their virtual destinations. To address this, designers and developers can enhance the efficiency of applications and ensure they are hosted on servers powered by renewable energy sources, milder energy loss during transmission. Leveraging Content Delivery Networks (CDNs) further aids in minimizing energy loss by serving pages and content from servers closest to the user.

Interaction
All digital products and services require energy to run. Interaction represents the most profound way they differ from their physical counterparts. Question is how much energy do they use? How can one answer this for a DLCA? Here are some questions to ask:

  • How much traffic does the site or app get?
  • How much of the traffic comprises computers versus mobile devices?
  • How much energy do each of those devices use per second or per minute?
  • How much data is uploaded/downloaded per device per minute?
  • What is the average amount of time spent using the digital product or service?

You can find answers to many of these questions via Google Analytics or other metrics measurement applications.

Disposal of Data
Unlike physical products, digital products don’t involve recycling, but the turnover in digital products can result in residual data, increasing application size and environmental footprint. The front-end power used for removal is minimal compared to overall usage, but practices like data backup (e.g., in systems like Git) may raise concerns about electricity use and efficiency. As applications grow in size and complexity, addressing questions about processor resources for removal, residual information on users‘ devices, and the number of unused accounts in the database becomes crucial to understand and minimize environmental impact.2

  1. Quist, Zazala (n. d.): Life Cycle Assessment (LCA) – Complete Beginner’s Guide.
    URL: https://ecochain.com/blog/life-cycle-assessment-lca-guide/#who-needs-LCA ↩︎
  2. Frick, Tim (2016): Designing for Sustainability. A Guide to building greener digital products & services. ↩︎
by ellen.dressler -

06 | First interview guide

In my last blog posts, I provided some general insights into the topic of sustainability. In this context, I first defined the term more precisely and then took a look at governmental European and international agreements. However, as there are many challenges involved in achieving these, it is essential that not only the governments of all countries work together, but that we as individuals also play our part.

Therefore, it is necessary to find out to what extent people are aware of the sustainability issues, we are facing at the moment, and how an interactive educational approach could help to make the topic more present and show people with simple means how they can contribute to more sustainability.

But before I begin to expand my research into the topic of sustainability education to find out what systems and opportunities for personal education in this area already exist, what platforms, projects and initiatives are available for personal engagement, I would like to conduct a first interview to gain further insights into the topic.

For this purpose, I will interview a friend who has been intensively involved in Fridays for Future for many years and studies Psychology with focus on environmental psychology. Therefore she has a lot in-depth knowledge in this area, as she has also come into contact with many different people.

It will be a semi-structured guided interview in order to provide a rough framework of what the conversation should be about, but at the same time offer the necessary freedom to deviate from this and gain further interesting insights into the topic. The interview will be in German, but to make this blog post accessible to all, I have translated the questions into English.

Interview guide

Introductory questions:

  1. To what extent have you already dealt with the topic of sustainability and how are you involved in this area?
  2. You have certainly come into contact with many different people from different social groups in this context. What is your perception of the current level of education on sustainability issues and environmental awareness in society?
  3. What obstacles do you see with regard to people’s involvement and participation in the topic of sustainability?

Key questions:

  1. Do you think existing educational approaches are effective enough to promote general sustainability awareness?
  2. Do you see specific challenges or barriers in communicating sustainability issues to different age groups?
  3. Do you have any ideas or suggestions on how to better communicate sustainability issues in different social and cultural contexts?
  4. What role could schools or universities play in promoting a deeper understanding of sustainability?
  5. What role do you think the media landscape plays in facilitating or inhibiting a comprehensive understanding of sustainability?
  6. What forms of communication could be particularly effective in raising awareness of the issue among the general public?
  7. How would you assess the role of government or other public institutions in promoting sustainability awareness?
  8. What types of interactive offers, activities or events could help to increase general public engagement in sustainability?
  9. Do you think an individualized approach to sustainability issues (e.g. adapting to different professions, lifestyles or age groups) could be more effective?
  10. Do you have any idea what incentives or motivations could encourage people to integrate sustainability more into their daily lives?

I’m very much looking forward to the outcomes of the interview and hoping to gain more insights into the topic from the perspective of someone who was involved in climate action a lot.

by mathilde.bogen -

06 | Survey

This weeks focus has been to create a survey to gather information about habits and behaviour when it comes to shoe shopping. It has been difficult to conclude or see any tendencies in the secondary research I have read so far. It has also been centered around other cultures where the consumers may have other habits. I would also like to include a part about consumer habits when it comes to cobbler so that I hopefully can understand if this is a service that people actually take use of.

Here is a link to the survey if you would like to participate: https://forms.gle/X2bunEL4SjLdAAET7

INTRODUCTION TO SURVEY

I am currently studying the topic of Sustainability in the Footwear Sector in a course called Design and Research. My current task involves gathering information about consumer behaviour and habits related to footwear. Your insights are crucial for understanding this consumer behaviour.

Completing the survey will only take 2-4 minutes, and your participation would be greatly appreciated.

If you have additional thoughts on the topic, feel free to email me at: mathilde.bogen@edu.fh-joanneum.at

ESTABLISHING QUESTIONS

These questions will help me to gain a better understanding about differences when it comes to social factors like which generation you belong to, gender and which culture you are a part of.

  1. How old are you?
    • 18 – 33
    • 34 – 44
    • 45 – 54
    • 55 +
  2. Gender
    • Male
    • Female
    • Other
    • Don’t want to answer
  3. Nationality

QUESTIONS ABOUT HABITS

This is the main part where I want to gather the general information about consumer habits like how many pairs of shoes people have, how often and why people buy shoes and what factors are the most important ones when people buy shoes.

  1. How many pairs of shoes do you own?
    • 1 – 5
    • 6 – 10
    • 11 – 15
    • 16 – 20
    • 21 +
  2. How often do you buy new shoes?
    • More than once a month
    • Once a month
    • Once every three months
    • Once every six months
    • Once a year
    • Once every second year
    • Less than once every second year
  3. Why do you usually buy shoes? (can choose multiple)
    • Need to replace worn out shoes
    • To reward myself
    • Need to find something comfortable
    • Because they were on sale
    • Because of changing season
    • For a special occasion
    • To keep up with the latest fashion
    • Other: …
  4. What do you do with your worn out shoes?
  5. What is/are decisive factor/s when shoe shopping? (can choose multiple)
    • Price
    • Quality
    • Trendyness
    • Brand
    • Comfort
  6. Have you ever bought second hand shoes?
    • Yes
    • No

QUESTIONS ABOUT COBBLERS

This is a small part about cobblers where I want to understand if people actually take use of them or not.

  1. Have you ever used a shoe repairer service?
    • Yes
    • No
  2. If yes: What was repaired/fixed?
  3. If no: Why not?

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It might be challenging to get enough answers to actually be able to come with a conclusion. I will in the upcoming weeks hand the survey out to people and hopefully get some answers that I can analyse after Christmas.

by mathilde.bogen -

05 | Consumer habits

This weeks focus has been to research consumer habits when it comes to footwear. My research is mostly based of a research paper written by Alena Pospisilova who wrote the paper as a part of her study program BA (Hons) European Business at University of Huddersfield. The article explored gender and generational differences in consumer habits in the UK. It is important to have in mind that the paper was written in 2012/13 and Pospisilova writes about other articles from 2003. Both the article and the sources used in the article are a bit outdated, but the paper is still useful to gain a better understanding of the habits of different consumers and some aspects might be similar today.

THE PERCEPTION OF FOOTWEAR

The perception of footwear has gone through considerable changes. The footwear’s original purpose is to protect the feet. In the past, footwear has amounted different roles in peoples lives, while footwear is now representing fashion style, power and richness. It is a way to show social status. People are influenced by the people they surround: friends, family, co-workers or classmates. The shoes people buy can reflect the peoples inner feelings and how they want to express themselves to others.

GEOGRAPHICAL MARKETS

The footwear market can be split into different geographical markets. The different fashion trends in different cultures leads to different needs. However, due to mass media the differences are not that big and the world could also be seen as one big market (Pospisilova, 2013). Some might think that there will be different needs for people living where there are rough winters compared to where there are no snow, but it is not always like that. The shoes that UGG originally produced were for surfers. However, today, you can find these shoes globally, used not only by surfers on the beach but also by people in Nordic regions during the coldest winter days.

GENDER

To understand the differences in consumer behaviour, women’s and men’s purchasing habits must be distinguished. Women’s shopping tendencies often mirror their relations to others, while men typically emphasize personality and functional benefits (Pospisilova, 2013). A woman pays in general more attention to her appearance, investing more extensively in apparel and footwear compared to men.

GENERATIONS

Another important factor to take into consideration when it comes to consumer habits are the different generations. The teenagers are the most powerful people that strongly control the world market. Teenagers‘ minds and preferences are changing all the time, and it is therefore difficult to understand their wants and needs (Pospisilova, 2013). People belonging to generation X make rational decisions and purchase goods, which are practical rather than good looking. When it comes to the mature consumers, the most important factors for them is recommendations from friends and family, as well as sales and special offers.

HABITS

It is difficult to find any noticable tendencies in habits because there are a lot of differences in different studies. Some studies show that there is a strong predominance of female shoe shoppers, while others show that men shop equally often as women do. Mintel (2012) examined motivators for shoe shopping. The most commonly mentioned motivator was to replace a worn out shoe or find something comfortable, but many people also reported that they bought shoes to reward themselves. Other commonly mentioned reasons was reduced price and change of season.

RESULTS FROM SURVEY

Pospisilova made a survey with questions about consumer habits. There were 81 responses, and the result from the survey mainly disproves the information from other researchers, but this may be caused by a quite low response rate.

Key findings from survey

  • Most people shoe shop from practical reasons
  • More than half of the men own less than five pairs of shoes
  • Women own in average more than 10 pairs. Keep in mind that this is not representative, because there were some extreme cases, showing women with more than 50 pairs
  • Most women shoe shop every three months
  • 51% of the men shoe shop every six months

It is difficult to draw any conclusion due to several factors, such as old and conflicting research findings and research from another geographical area und culture. I will in the upcoming week try to gather more relevant information about the topic and create a survey to gain a better understanding of todays‘ consumer habits.

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REFERENCES

  • Mintel (2012) Footwear Retailing – UK. Minteloxygen reports platform. [online] Available at: http://academic.mintel.com. (Accessed 9th December 2023)
by ellen.dressler -

05 | Sustainability Challenges

In order to achieve the ambitious goals of the various European and international agreements, which I have examined in more detail in my last two blog posts, many challenges need to be overcome.
Environmental issues are inextricably linked to social and economic factors, as changes in one area will inevitably have a major impact on the others. (1)

Example of energy transition

The shift to renewable energy and the move away from fossil fuels are crucial to mitigating climate change. (2) However, this transition presents complex social and economic challenges. On the one hand, the energy transition promises a more sustainable future and a reduction in environmental impact through the use of renewable energy sources such as solar, wind and hydropower (3).
On the other hand, job losses and economic restructuring in fossil fuel-based sectors could lead to social unrest and economic turmoil (4).
The socio-economic transition associated with the energy transition raises questions about how to protect jobs and maintain livelihoods in fossil fuel-dependent regions. Job losses in the fossil fuel industry could severely impact entire communities and cause social tensions (4).
Economic transformation also requires investment in new technologies and the retraining of workers. In addition, policies and economic incentives need to be put in place to ensure a just transition and support affected communities (5).

The path to a sustainable energy future therefore requires a balanced approach that takes into account both environmental goals and the needs of society and the economy. The development of social safety nets, investment in new areas of work and a socially just and comprehensive transition plan are crucial to meet the social and economic challenges of the energy transition.

However, tackling the challenges for a more sustainable future requires much more than just political action. It is undeniable that political decisions and legislation play a key role in shaping sustainable change. But relying on them alone cannot fully bring about the much-needed change. Rather, a more sustainable future requires comprehensive individual commitment and collective responsibility to tackle the most urgent environmental problems.

Individual Behavior

Individual behavior and consumption patterns play a significant role in environmental pollution and climate change, but also bring with them many challenges.
Energy waste, excessive consumption of resources and environmentally harmful consumer habits are just some of the factors that have a negative impact on the environment.

When it comes to energy consumption, every individual can make a contribution by using renewable energy, using energy more sparingly at home and at work and choosing energy-efficient appliances. However, the high cost of purchasing these items can be a barrier. In addition, converting to environmentally friendly alternatives often requires technical know-how or infrastructural changes that not every private individual can carry out independently.

There are also challenges when it comes to the mobility transition. The promotion of environmentally friendly means of transportation such as electric cars can be problematic due to still limited charging stations and high acquisition costs. Furthermore, especially in regions with poor public transport connections, the use of a private car is often essential. Sensible alternatives must first be created before a complete change in this area can be realistically implemented.

Concerning our purchasing behavior, we should fall back on sustainable products whenever possible. This applies to both food and other consumer goods such as clothing, furniture or household appliances. However, these are currently usually offered at higher prices than less sustainable alternatives, which makes access more difficult for the wider population.

Furthermore, it is fundamentally difficult to reach the entire population equally and raise awareness of the aforementioned issues.
To sum up, it is to say that the responsibility for sustainable change lies heavily with individuals, but must be supported by commitment and change at corporate, community and government level. This requires political will and well-coordinated, long-term action.

References

(1) European Environment Agency. (2023). Sustainability challenges. European Environment Agency. youmatter. Sustainability – What Is It? Definition, Principles and Examples. https://youmatter.world/en/definition/definitions-sustainability-definition-examples-principles/

(2) Greenpeace. (2021). Kohleausstieg: Je schneller desto besser fürs Klima. Greenpeace. https://www.greenpeace.de/klimaschutz/energiewende/kohleausstieg

(3) Umweltbundestamt Österreich. (o. J.). Erneuerbare Energie. umweltbundesamt. https://www.umweltbundesamt.at/energie/erneuerbare-energie

(4) Lauro, I. (2022). Was bedeutet die Energiewende für die Zukunft der Arbeit? Schroders. https://www.schroders.com/de-at/at/finanzberater/insights/was-bedeutet-die-energiewende-fur-die-zukunft-der-arbeit/

(5) Europäischer Rechungshof. (2022). EU-Förderung für Kohleregionen: Begrenzte Ausrichtung auf den sozioökonomischen und energiewirtschaftlichen Übergang. https://www.eca.europa.eu/Lists/ECADocuments/SR22_22/SR_coal_regions_DE.pdf

by leonie.dunke -

5 | Theatre in the digital time

How can new digital technology support sustainable stage set production?

I have identified model building and mock-ups as focal points, as new technologies such as VR and AR find a suitable application, particularly in space planning. They allow for the visualization of project ideas in actual size, enabling movement within the space, direct adjustments to the stage set, and evaluation of the impact of individual elements without the need for large physical models. I am exploring the potential of virtual spatial extensions for stage set planning and will also delve into existing projects that have developed concepts in this area.

Virtual modeling for stage sets offers diverse potential and brings numerous advantages:

  1. Efficient Conceptualization: Digital modeling enables precise and efficient conceptualization of stage sets. Creative ideas can be visualized and adjusted quickly.
  2. Collaboration and Teamwork: Virtual models promote improved collaboration across the entire production team. All stakeholders, from the set designer to the director and lighting designers, can work on the same digital model in real-time and provide feedback.
  3. Resource Efficiency: Avoiding physical models significantly reduces material consumption, contributing not only to cost savings but also to environmental friendliness.
  4. Sustainability: Digital models allow for a more sustainable approach. By avoiding physical materials and using eco-friendly software solutions, the ecological footprint can be minimized.
  5. Flexibility and Adaptation: Digital models are easily adaptable, providing flexibility for changes during the design process, crucial in an industry often characterized by spontaneous ideas and creative adjustments.
  6. Simulation of Light and Effects: Virtual modeling allows the simulation of lighting conditions and effects, aiding in understanding and optimizing the visual impact of the stage set under different conditions.
  7. Archiving and Reuse: Digital models can be archived and reused for future productions, saving time and resources for upcoming projects.

Overall, virtual modeling for stage sets offers a contemporary and innovative approach that not only optimizes workflow but also provides ecological and economic benefits.

3D-Programs for stage design

Complex programs like Autodesk’s AutoCAD enable the design and visualization of ideas for a stage production, supporting the process from design through modeling and prototype creation to production. Both 2D and 3D renderings can be designed for better concept communication. However, as AutoCAD focuses heavily on technical aspects and offers numerous features, it may not be suitable for quickly creating stage set concepts. A program with the potential to unite all elements of a stage set (construction, materials, lighting) and make them easily adjustable would be beneficial.

Im/material Theater Spaces

A subproject of the research project „Im/material Theater Spaces“ focused on developing methods and tools for virtual construction rehearsals that can take place in the virtual space and are location-independent.

During the construction rehearsal, the artistic and technical teams come together for the first time in a large group. Here, the previously submitted stage set design model is marked on the stage to visualize ideas and dimensions in a 1:1 scale. Through discussions, the technical feasibility is examined. It is crucial that during the rehearsal, the overall impression, dimension, and atmosphere of the stage set can be experienced for the first time, providing insight into the impact the stage set has on the audience. Additionally, depending on the stage set, the materiality and the use of light and projections are tested for the first time. The approach of the construction rehearsal can also be compared to Greyboxing in gaming, where relevant parts are prototypically simulated. Wouldn’t it be practical to incorporate this aspect directly at the beginning of the design and conceptualization process and use its effect as a design and idea driver?

The result of the project includes methods and tools for conducting virtual construction rehearsals. A workshop format called „How to go Virtual“ was developed to test practical applications with theaters and venues on-site. The focus was on practical application, experimenting with existing applications and programs, and playing through individual usage scenarios.

Results of the project: Virtual Construction Rehearsals: The project developed workflows and methods that serve as guides and tutorials for the theatrical landscape. Three different workflows were developed:

Sketchfab / Zoom „Semi-virtual Preliminary Rehearsal“
_Utilizes the Sketchfab platform for model presentation.
_Enables discussions via video conferences and shared screens.
_No live editing of the 3D model during the discussion.
Mozilla Hubs „Rehearsal for Everyone“
_Uses the Mozilla Hubs platform for virtual rehearsals.
_Easy accessibility for up to 30 people.
_No live editing of the 3D model during the discussion.
Virtual Construction Rehearsal with VR-Sketch
_Utilizes the paid plugin VR-Sketch for SketchUp.
_Enables discussions and construction rehearsals via VR headsets.
_Live editing of the virtual 3D model during the discussion.

Thinking further, a virtual construction rehearsal could not only include the stage set itself but also integrate costume design, with 3D elements related to the stage set. I came across the research project „connecting.stitches“ by Luside Ehrenwerth, where she combines costume design and technologies. Her focus is on the possibility of experimenting with conductive fabrics, 3D printing, and sensors before transferring them into production. This free experimentation could be directly incorporated into the design of an entire scene in VR to examine the overall concept more precisely. This way, all products from different workshops could be coordinated to be viewed in exact scale.

Finally, it’s worth noting that real materials, paper, and pencils are often used for sketching ideas and concepts. Could it be a possible approach to take these 2D representations as they are and transport them directly into the virtual 3D space to make quick decisions for the progressing design process?

Institutions

Deutsche Theater Gesellschaft – Services  

Ressources