As we step into the third decade of the millennium, we increasingly uncover digital facets of modern reality and embrace “The New Normal.” The fashion industry has always aimed to be one of the most creative and imaginative spaces, yet with a particular “allergic tendency” towards anything contributing to the development of the digital world.
But how problematic can this “allergic” fashion be? Is it time for it to refine and absorb every positive aspect of it? Why does it staunchly resist any evolution?
As observed in recent shows, creativity has never been absent. After all, who can question the fairytale beauty and dreamlike atmosphere that characterized some of the most beloved collections for 2020-21? Shall we recall the breathtaking cinematic performance by Dior for Haute Couture SS2021 collection, or the magnificent artistic spectacle for Haute Couture AW2020/21 collection, evocatively portraying the magic of Greco-Roman mythology? Should we forget the spectacular digital festival Guccifest, or use fashion films like Versace’s for the FW2021 collection as a benchmark, redefining the meaning of fashion shows in a digital world yet familiar and widespread in the world of advertising?
Undoubtedly, no one underestimates the commendable efforts of fashion houses to cope with the new conditions. However, it is particularly useful to understand that “The New Normal” expects much more from the fashion world. It awaits those who will radically change the way we think. Those who will abolish everything we took for granted.
What has been missing from most fashion weeks in recent years is innovation. Although with the COVID-19 pandemic, we expected a sudden advancement of the digital reality, most brands seem to have distinctly condemned the forthcoming opportunity, deliberately misinterpreting its semantics.
While the striking digital collections attracted the attention of online viewers, a crucial part of the digital reality did not receive the same recognition. I am referring, of course, to the most potent weapon of science, graphic design technology, and predominantly the use of 3D virtual reality, which, while thriving in most industries, is admittedly stagnating in fashion.
However much the fashion industry tends to distance itself from the implications of “The New Normal,” its adaptation and adoption of new innovative methods render the new reality as something inevitably unavoidable. Contrary to obvious interests, we expect to see a truly interdisciplinary approach to the concept of digital fashion, as has been exploited in every scientific field or industry. The time has come for negotiations where we must adopt new business strategies that will yield significant gains with ethical, sustainable, and primarily long-lasting results.
Initiatives like the unmatched online video game “Afterworld: The Age of Tomorrow” by Balenciaga, the highly commercial yet symbolically significant presentation of the Maritine Rose collection, or even the extremely smart placement of Xander Zhou for the AW21 collection, are uniquely modernized strategies that resurrect the concept of digital fashion.
Digital Models and Virtual Clothing
Who can forget the unparalleled surprise appearance on the red carpet of the 2019 Bafta Awards? Of course, I am referring to the famous avatar of the creator-photographer Cameron-James Wilson, the world’s first globally recognized digital supermodel, Shudu, who made her presence felt in the form of a spectacular hologram. The model wore a stunning Swarovski creation, a yellow virtual dress that managed to garner countless reviews. Positive or negative, the broader acceptance was expected from both sides. There is no doubt that the presence of Shudu did not go unnoticed. The awe of human perception towards digital reality, namely the creation that the creator essentially built over time as an influence of its evolution, seems quite intimidating and condemning to a significant percentage of people.
At the same time, the fashion industry’s most influential consumer audience – Gen Z and Millennials – have repeatedly shown a strong appreciation for the digital fashion world and embrace every aspect of it, embracing the opportunities of the new reality through the rising trend of gaming.
Virtual fashion is not a new discovery or just another trend. From the Norwegian retailer Carlings with its profitable “Neo X” collection – earning €120,000,000 in a minimal timeframe – to The Fabricant with its 3D modeling software and virtual influencers like Lil Miquela, who now boasts over three million followers, virtual reality has always been present at every opportunity. In fact, as a virtual influencer (@lilmiquela), the latter has already collaborated with Prada and Calvin Klein, while according to The Cut, she charges around $8,000 for each Instagram post.
Source: Independent
The virtual footprint of Hanifa with the Pink Label collection.
One might say that society’s need to strongly distance itself from technological advancement is akin to trying to escape one’s fate. Initiatives such as those by The Fabricant, the Moschino x The Sims Capsule collaboration, The Tribute Band, Carlings X Perl, Pink Label (by Hanifa), Dress-X, Dior x Rimova, Abasi Rosborough, Louis Vuitton x League of Legends, and Burberry’s virtual store in Japan (in collaboration with Elle Digital) are some of the digital initiatives that have literally captivated the fashion world, prompting the industry to adopt ‘radical’ marketing strategies.
It is true that broader skepticism towards the vision of technology often thrives. And as the public ponders, it draws closer to the digital revolution…
CGI models and their positive impact
A quick search on Instagram for the account @shudu.gram reveals that the comments under the model’s photos tend to vary. There’s one voice saying ‘Why replace a natural model?’ and there’s the other side, beyond leaving many positive emojis, expressing particular excitement about the evolution of the avatar and broader digital developments in fashion.
But perhaps most impressive of all is the fact that the account owner doesn’t hesitate to interact with their audience and essentially create fruitful engagement even with the… haters. So, if you’re wondering what the user replied to the ‘malicious’ comments, I’ll inform you that the explanation was quite mild. In response to the ‘hater’s’ question, the person behind Shubu stated that essentially no one is being replaced, as her creation is a digital artwork based on a physical model that was subsequently transformed into 3D. Additionally, in some other comments, it was added that for the completion of most projects, these models are required as ‘muses’ – as they were even called – who are paid normally, and there is the respective respect. For more, visit her account; it is certain that you will feel like you are traveling in the world of Black Mirror.
CGI (Computer Generated Imagery) models are the future of fashion marketing. Fashion giants like Dior, Louis Vuitton, Balenciaga, and Balmain have already signed profitable partnerships that rejuvenate the fashion industry, with the ultimate goal of evolving traditional business models. Graphic design and 3D virtual reality technology are necessary investments for highlighting technological development and ensuring immediate securing of long-term innovative development strategies. These houses tend to cleverly consolidate their position, diversifying their activities, while increasing their competitiveness within an ever-changing international market.
What sets CGI models apart? Let’s examine the virtual reality under a microscope. Bringing back our beloved Shudu as an example, she is essentially a digital supermodel, whose every facial feature, body part, and image has been meticulously created using 3D design technology. Shudu’s virtual existence doesn’t prevent her from mingling with her live human friends. She has appeared in magazines, participated in high fashion campaigns, and has gathered over 200,000 followers on Instagram.
Like Shudu, Margot, Zhi, Koffi, and Dagny belong to a new generation of models who are increasingly ‘signing’ major campaigns such as Balmain’s, adopting a high-profile digital path. Olivier Rousteing leads the charge, following an exceptionally successful campaign with 3D models. He directly addressed negative comments, stating:
‘Everyone is always welcome to join the growing ranks of the Balmain army—they just need to share our bold spirit of adventure. (…) Our new virtual icons, Margot, Shudu, and Zhi, reflect beauty, rock style, and the power of self-confidence.’
However, the overall project is the result of CLO, one of the platforms that digitize clothing. Specializing in real-time 3D clothing simulation, the technology allows designers and fashion students to realize their vision without wasting countless samples, also assisting brands in creating digital editions of their collections.
Balmain collaborated with CLO to produce digital mini dresses, created through meticulous analysis, making it impressively difficult to distinguish the ‘real’ from the digital. Iris Kim, a marketing specialist at CLO, says:
‘As virtual clothing has become realistic enough to replace physical clothing, their use in many aspects of the industry is inevitable (…) Not only is it extremely cost-effective, but it also allows data and information to travel faster than ever using 3D as a communication tool.’
Following the same line of thought is Cameron-James Wilson, the creator of Shudu. The avatar he created contributed to the establishment of ‘The Diigitals,’ the world’s first digital model agency. It already includes 7 models, with avatars under development.
As previously emphasized, it is important to understand that Wilson’s main muses are physical models. For the creation of Shudu specifically, he drew inspiration from the Barbie doll in the ‘Princess of South Africa’ edition, as well as from supermodels Alek Wek, Naomi Campbell, and Iman.
The impact of the online world on the fashion industry is profound. It has changed the way we shop and find inspiration. However, it seems that the greatest digital developments have not yet been completed. Not only are computer-generated models steadily establishing their position in the market, but digital clothing is also becoming a reality.
Source: Instagram
Digital creations by Fabricant posted on the company’s Instagram account.
Countless recognized models are beginning to clash with the new reality, which is entirely expected since “The New Normal” is reshaping the existing landscape. Among them was the well-known model Louise Stone from London, who boasts numerous collaborations with brands like Adidas and L’Oreal. The 24-year-old appeared deeply concerned when the topic of the new wave of CGI models was raised in an interview with Radio 1 Newsbeat, stating:
“It’s so easy to be replaced now. Competing with literally unreal girls is terrifying – you can shape whatever you want and have the exact perfect look without the casting process. (…) Many of these CGI models are based on women of color. While the industry is already competitive for colored models, they now have an additional burden that forces them to work even harder.”
Louise’s stance is followed by a series of intense comments from every pillar of the fashion industry. From supermodel Tyra Banks to photographer Manny Roman, the broader questioning against the awe and usefulness of technology in fashion decentralizes the essence of The New Normal and its derivatives. However, these criticisms do not represent the rule. The meaning of digital fashion tends to have much deeper roots, despite superficially clouding the waters, perplexing public opinion.
Similarly, Carlings Sweden, the first brand in the world to offer digital clothing lines, provides the opportunity to digitize customers’ images and offer them a unique digital experience of virtual clothing tailored uniquely to their bodies. Carlings created this capability in an effort to help combat the real – not digital – environmental threat posed by the fast fashion industry…
Many would seek the same “revolutionary spirit” we observed – from the same faces – towards the “monster” of technology advancement to exist in other areas, such as the biggest problem of all, fast fashion. Carlings Sweden’s marketing director, Kicki Persson, leaves a wonderful message:
“With this project, we want to challenge ourselves and the entire industry to take the next step. (…) Our question from the start was how we could help young people express their creativity online without harming the environment? That was the result. The response was huge – it was 95% positive. The last five percent of skepticism probably comes from their overexposure to Black Mirror – the audience seems impressed, but at the same time fearful for the future.”
Carlings’ successful campaign not only proves that the Gen Z and Millennial generations are embracing the new reality almost literally but also elevates the environmental and ecological ethics that for so many years admittedly did not have the same power.
Source: The Fashiongton Post
Cameron-James Wilson, the CEO of ‘The Diigitals’ — the world’s first digital model agency. On the right, you can see his first creation, Shudu.
However, concluding the review of virtual reality in the fashion industry, Cameron-James Wilson addresses one last major question. The fashion industry constantly finds itself under society’s microscope for the beauty standards it perpetuates and promotes. Thus, there is concern regarding the presence of digital models for crafting “flawless” features with “unattainable” proportions. Is the technology of 3D Graphic Design and the role of Visual Artists the real culprit and enemy of truth? The creator elucidates with his answer:
“3D models are actually less harmful than ‘unretouched’ but digitally altered photos circulating. When you know you’re looking at a 3D model, you understand that the entire image is a fantasy, a work of art. On the other hand, when we know we’re viewing a photo, we’re less likely to question whether what we see is ‘real,’ making it more likely for us to compare ourselves to it. During photo retouching, it’s expected to remove most of the things we might consider flaws, but in 3D, those natural imperfections are what make an image authentic, and I’ve spent hundreds of hours adding them back into my work. 3D has given me a better appreciation of my physical imperfections, and now I look at people’s skin wondering how I can recreate that texture in 3D, rather than wondering how to remove it. It’s much healthier for me… 3D fashion design is the most significant step the fashion industry must take. I see hope and am confident that the digital revolution is on the right track.”
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