This article provides the short and non-linear history of digital fashion, arguing that it is entangled with the development of digital environments and virtual worlds. Unlike material clothes, digital fashion end products are created digitally, for digital use. Digital fashion can range from digital skins for gamified environments or virtual influencers to superimposed images, Augmented Reality filters, Non-Fungible Tokens (NFTs), and digital twins or phygital fashion. We trace the emergence and development of digital fashion through pivotal themes: from its relation to virtual worlds, the Internet, and e-commerce, to the implementation of avatars and fashion in videogames, to the commercially led digital fashion industry that has emerged in the past few years in what is called Web 3.0, and finally, we look at the recent surge of interest in artificial intelligence and its potential complications for digital fashion.
The rapid advancement of Web 3.0 is accelerating the development of NFT and blockchain technologies, substantially improving consumers" digital activities and experiences. The rapid growth of the NFT market highlights the growing importance of digitalization, particularly in the fashion industry, which is expected to be restructured and commercialized in this new environment. NFTs guarantee originality, uniqueness, and scarcity, adding value to digital works through media data, smart contracts, and metadata. The continuous growth of art-related NFTs underscores the potential for issuing and expanding fashion product NFTs. This study analyzes data from recent NFT-related papers, domestic and international literature, and reports from various research institutes. The findings were reinterpreted to provide insights applicable to fashion-related studies and the fashion industry. While fashion product NFTs and the development of suitable platforms for their trading can be viewed as extensions of the existing NFT industry, the unique characteristics of the fashion industry must be considered. It is essential to incorporate additional factors into fashion NFTs beyond the inherent qualities of originality, uniqueness, and scarcity associated with existing NFTs. Doing so can establish a marketing environment based on consumer experience and perceived value.
Abstract Digital items that have the appearance of real utilitarian products are often tied to NFTs (Non-Fungible Tokens) in the virtual space known as the metaverse, and sold as goods. The designs of real utilitarian products are increasingly being converted into the designs of such NFT goods without the permission of their developers. In order to deal with these imitations, which intersect the real and the virtual worlds, the Japanese legislator decided to utilize the existing provision for the protection of forms of goods in the unfair competition prevention law (UCPA 1993). The law was amended in June 2023 to newly define ‘the act of offering through telecommunication line’ goods that imitate the form of another person’s goods as an act of unfair competition. Copyright protection under Japanese case law has rarely been granted to designs of utilitarian products, and under Japanese design law the product design is identified not only by its shape but also by its product type. The protection of image designs is almost exclusively limited to specific images unrelated to the NFT goods. However, the revised provision of UCPA 1993 has also been generally interpreted as the provision prohibiting the imitation of designs between homogeneous products. The amendment effectively negates this interpretation. This paper reveals the impact on the existing interpretation of the relevant provision of UCPA 1993 and the issues arising from other legal provisions with respect to such imitations.
Although there is not yet a consolidated and shared definition of metaverse, this concept has established itself in recent years within the public debate, in particular within specific markets, such as in the case of fashion. We constantly read in specialized and non-specialized magazines, about brands who landed in the metaverse or opened their first store there, or released their first Non Fungible Tokens (NFTs ). However, the apparent concreteness of these statements corresponds to a widespread confusion from the consumers’ side. The aim of this article is to reflect, starting from the results of a qualitative research on international Millennials and Generation Zed consumers, on the meanings associated with the metaverse, on the overlap between it and the concepts of fashion digitalization and digital clothing; finally on the effective media literacy and expectations of who should be the target of these innovations. In particular, the goal is to investigate the well-known relation between fashion and individual self-presentation within the metaverse.
Over the last few years, blockchain technology and Non-Fungible Tokens (NFTs) have gained significant attention among professionals and scholars. NFTs are unique digital assets verified using blockchain technology, representing ownership or proof of authenticity. The fashion industry’s adoption of NFTs marks a significant shift towards digital innovation and consumer engagement. This study explores the impact of NFTs on the fashion industry, focusing on consumer awareness and perceptions of blockchain technology and its applications. An online survey on a convenient sample in Croatia reveals a general awareness of blockchain technology yet a limited understanding of its full implications. While most respondents are familiar with NFTs, their actual engagement, particularly in purchasing fashion NFTs, is minimal, indicating diverse spending tendencies and an emerging adoption trend. The survey results highlight a gap in consumer knowledge and engagement with NFTs in fashion, suggesting a need for additional research efforts in this evolving domain. As NFTs continue to emerge as a novel aspect of fashion, understanding consumer perspectives becomes crucial for brands trying to increase their competitiveness through technological innovation. The study emphasizes the potential of NFTs in reshaping consumer behavior and the fashion industry’s approach to digital assets.
Since the early developments of Web3 and the Metaverse, the fashion industry has been actively launching initiatives, especially through gamification, Non-Fungible Tokens (NFTs) and shopping experience. Up until now the academic literature relating to the implications for fashion brands in a digital fashion marketing context has been scarce. Through a systematic content analysis of 235 articles published between 2021 and 2023 in Vogue Business and The Business of Fashion, this research has focused on the main brands and uses of the Metaverse, as well as their real applications. Through a thorough analysis, this research reveals that the most active fashion sub-industries on the Metaverse are those relating to luxury, sportswear and beauty, with Nike, Gucci and Hermès emerging as the leading brands. Furthermore, when it comes to fashion and the Metaverse, the most popular topics relate to NFTs and gamification, to the point that they are used as synonyms of the Metaverse. This practice creates confusion, not only in terms of the meaning of the term “metaverse”, but also regarding its implications for fashion brands. Finally, the study identifies issues that demand further analysis in subsequent academic research regarding the notion of falsity and the Metaverse.
In this era of boundless potential that the age of technology brought with it, artists are lured by the limitless terrain of digital world. Regardless, the existing backdrop presents issues for artists who work in the old-fashioned mediums and even one’s who work in the digital mediums, as it seems that they possess distinct challenges such as reduced revenue, complicated views on streaming statistics, copyright issues, and an old framework that is failing to suit the new digital era demands. This paper seeks to elevate the model in the form of digital art domain by combining non fungible tokens and blockchain technology. This paper proposes to respond to the looming challenges of copyright infringement as well as guaranteeing income security of digital artists. With the help of blockchain technology, this model provides a revolutionary change in the digital art world by providing a decentralized and artisanal environment that changes the digital creativity landscape.
A Non-Fungible Token (NFT) is a digital certificate of authenticity that proves ownership of anything digital such as art, music, and fashion, applying blockchain technology. Due to the growing popularity and high profitability, fashion brands started jumping into the NFT market from which the term “fashion NFTs” has been emerging. Fashion NFTs refer to blockchain-based virtual fashion items which include garments, shoes, accessories, and all fashion-related articles. Little is known about the fashion NFTs and how they are communicated on the web. Thus, this study aims to explore the overall trends of fashion NFTs, using text mining analysis with Google data.
This study aimed to explore consumer responses to freebie promotional bundles involving Non-Fungible Tokens (NFTs) in the fashion industry. The study investigated how the positioning of NFTs as either a focal or freebie product in promotional bundles influences consumers' perceptions of conspicuous value, perceived risk, and purchase intentions according to the brand type (Luxury vs. Non-luxury). The research finds that for non-luxury brands, conspicuous value is higher when NFTs are offered as freebies, while for luxury brands, conspicuous value remains consistent regardless of the bundle type. However, luxury brands face higher perceived risk when NFTs are the focal product. The study concludes that non-luxury brands should use NFTs as freebies to enhance conspicuous value, whereas luxury brands need to carefully consider consumer risk perceptions in their NFT promotions. These insights provide valuable guidance for developing effective NFT promotional strategies in the fashion industry.
Abstract In the modern world, the fashion industry is constantly evolving, and digital technologies are having an increasingly significant impact on its development. Therefore, the research relevance is determined by the need to explore the features of modern digital fashion concerning the commercial aspect, ethical issues and concept of sustainable fashion. This research aims to predict the prospects for the development of digital fashion in the fashion and design industry, and is based on the following methods: analytical, comparative, generalisation and systematisation methods. The study results showed that digital fashion is becoming increasingly popular among well-known brands, designers and fashion houses, while the commercial use of digital fashion is expanding thanks to the non-fungible token (NFT) platform and other digital tools. At the same time, the research also identifies ethical issues related to the protection of intellectual property in digital reality. Furthermore, the research analyses the segmentation of the digital fashion market and forecasts the development of this industry until 2030 and beyond. In terms of the relationship with the concept of sustainable fashion, it is found that digital fashion can contribute to sustainable development by reducing the use of physical resources and preserving the environment.
Non-Fungible Tokens were unknown territory for many but came to the fore with the $69 million sale of Beeple at Christie’s in 2021. Since then, a lot has happened in the world of NFTs, especially in the art world and on the art market. The main problem that this article seeks to address is the lack of an overview of the tangle of NFTs in the art world. It is therefore useful to take a bird’s-eye view of the phenomenon. The NFT puts digital art in a different perspective and raises questions about decentralization, sustainability, and copyright. This article will give a brief overview of the history of the NFT in the art market, as well as definitions and insights helpful for understanding the role of NFTs in the art world. The popularization of digital media and the never-ending digitalization are factors that need to be considered. As it caused a small but substantial rupture in the art world during and after COVID-19, this article also considers the future role of the NFT in the arts.
In a new era of technology and sustainable financing, the poignant revival of traditional handloom techniques in contemporary fashion is gaining prevalence.This return to quality reflects an upsurge in the respect for genuine artisanal techniques from of old, a concern about environmental sustainability and-across all spectrums-the desire to fund models that better effect the planet.This study aims to explore the revival of traditional techniques within contemporary fashion culture to approach towards an emerging sustainable, cultural and ethical priority.Unlike efficiently manufactured textiles, handloom textures frequently use normal filaments and dyes, minimizing the environmental impression of the material industry.Even the decentralized idea of handloom creation lessens dependence on energy-escalated hardware and transportation, lining up with standards of economical utilization and production.By embracing and reviving the techniques, societies recover their social identity, fostering a feeling of satisfaction and Continuity.Moreover, the recovery of conventional handloom procedures holds huge financial significance, basically where these practices have been the foundation of occupations for generations.By supporting nearby craftsmen and winding around communities, this restoration engages underestimated groups, promotes fair work rehearses and adds to the monetary versatility of rustic areas.Through a mix of verifiable investigation, financial examination and natural considerations.It looks to enlighten the importance and capability of resuscitating customary handloom techniques.Nowadays the intricacies of globalization and modernization, the recovery of these strategies fills in as a guide of resilience, offering a pathway towards an additional comprehensive, socially rich and ecologically feasible future.
Two years into the metaverse utopia and with the promising launches of metaverse Fashion Weeks for two years in a row, the creative industries have not yet lost their enthusiasm for experimenting with digital worlds. In practice, brand owners ‘mint’ non-fungible tokens,or NFTs, associated with their real-world or purely digitalassetsthat most commonly enjoy intellectual property (IP) protections, such asfashion designs. Those can be sold at dedicated NFT marketplaces, but are often interoperable, or capable of being used across a number of different digital worlds. This articleendeavours to shed light into the following key question: to what extent intellectual property rights vested into real-world creations can be transposed into the digital and by extension, whether the legal protection offered can be given its full effect in a digital unregulated space, where users’ identities are anonymous or pseudonymous. By weighing the expected benefits and losses from a UK & EU intellectual property perspective, the authorquestions: Are NFTs and the metaverse more than a gimmick? And hence, is the metaverse a market worth investing for fashion brands? The articlefirst exploresthe metaverse for fashion, as well as designers’ andbrands’ activity in this novel market space, followed by an in-depth discussion on the intellectual property question posed.
Blockchain technology and Non Fungible Tokens (NFTs) have been a hot topic for several years now, as proven by the multitude of brands launching their own NFT projects. In this paper, we will consider some popular fashion NFT collections, namely: adidas Originals Into the Metaverse, AMBUSH OFFI-CIAL POW! REBOOT, Azuki x AMBUSH IKZ, CULT & RAIN - The Genesis Collection, Dolce& Gabbana: DGFamily, Dolce& Gabbana: DGFamily Glass Box, Chito x Givenchy NFT, MUGLER - We Are All Angel, RTFKT x Nike Dunk Genesis CRYPTOKICK, Prada Timecapsule. First, we will analyze and examine if we can find salient characteristics of transactions pertaining to these collections. Second, we will attempt to propose a first taxonomy of fashion NFT transactions. From the results, we can state that most transactions occur at the NFT launch and that they belong to the Memberships category. Secondly, the results show that we can propose a taxonomy of four transaction groups or clusters. The findings can have practical implications for both researchers and practitioners, indeed the results: (i) can be a stepping stone for future research on (fashion) NFTs, (ii) can help practitioners analyze transactions using our preliminary taxonomy.
Nathier Abrahams, Pitso Tsibolane, Jean-Paul Van Belle
Digital art has many major pitfalls, ranging from issues around tracking ownership to piracy.Non-fungible tokens (NFTs) can solve these issues and bring new benefits, such as access to larger markets.Despite this, South Africa's digital artists have slowly adopted NFTs.This research aims to understand the values-based perceptions of South African digital artists toward NFTs.Fifteen South African digital artists were interviewed using semi-structured interviews guided by the updated Holbrook's Typology of Consumer Value framework.Ten positive perceptions, three negative perceptions, three risks and one benefit were identified, explored and analyzed using the framework.This research can assist digital artists and other stakeholders in the NFT ecosystem to understand the values-based perceptions of South African digital artists.It can be used to help assist decisionmakers, artists, intermediaries and other stakeholders in South Africa and potentially elsewhere.Additionally, the validated and updated Typology of Consumer Value can benefit researchers using this framework in future research.
Küresel pazarda yaşanan değişmeler spor markalarını çeşitli faaliyetlere yönlendirmektedir. Günümüz teknolojisi ile spor markaları ürünlerini tüketicilere sunmaktadır. Bu ürünlerinden biri de NFT (Non Fungible Token- Değiştirilemez Jeton)’dir. NFT, sanat ve teknolojiyi bir araya getirerek dijital içeriklerle oluşturulan sanal ürünler olarak tanımlanmaktadır. NFT teknolojisi ürünleri ile spor markaları, pazardan daha fazla pay alabilmek, rekabette üstünlük sağlayabilmek ve tüketicilerle etkileşim sağlayarak markalarına yönlendirmeyi amaçlamaktadır. Çalışmada; spor markalarının NFT teknolojisi ile hangi tür ürünleri piyasaya sunduğunu ortaya çıkarmak amaçlanmıştır. Çalışmanın literatür kısmı; akademik veri tabanlarından, örnekler ise farklı web sayfalarındaki bilgilerden ve görsellerden oluşturulmuştur. Sonuç olarak; Nike, Adidas, Puma, Under Armour, Reebok, Asics, Mizuno spor markalarının NFT teknolojisi ile ilgili ürünler meydana getirdiği belirlenmiştir. Ayrıca Nike, Adidas ve Puma markalarının diğer markalara göre daha fazla NFT teknolojisi ürünlerini pazarladığı görülmüştür.
Among the earliest projects to combine the Meta-verse and non-fungible tokens (NFTs) we find Decentraland, a blockchain-based virtual world that touts itself as the first to be owned by its users. In particular, the platform’s virtual wearables (which allow avatar appearance customization) have attracted much attention from users, content creators, and the fashion industry. In this work, we present the first study to quantitatively characterize Decentraland’s wearables, their publication, minting, and sales on the platform’s marketplace. Our results indicate that wearables are mostly given away to promote and increase engagement on other cryptoasset or Metaverse projects, and only a small fraction is sold on the platform’s marketplace, where the price is mainly driven by the preset wearable’s rarity. Hence, platforms that offer virtual wearable NFTs should pay particular attention to the economics around this kind of assets beyond their mere sale.
Christian Tenkhoff, Philipp Grotkamp, Sylvia Burgess-Tate
Abstract Brands have identified the metaverse, Web3 and NFTs as new means of engaging with their consumer base. Digital fashion, in particular, seems to have a bright future ahead. However, novel forms of virtual counterfeits are also on the rise. Brand owners are concerned that their existing trade mark registrations might not provide sufficient protection against infringements in the virtual space. The present article examines whether a likelihood of confusion within the meaning of Art. 9(2)(b) EUTMR can exist where a trade mark registered for physical goods is used almost identically in respect of their virtual counterparts.
Abstract— This scholarly seminar paper examines the utilization of NFTs that are stored in IPFS for the purpose of identifying exclusive collector items, particularly a dress that is limited edition. Non-fungible tokens (NFTs) leverage blockchain technology to establish and authenticate ownership. Through storage on the InterPlanetary File System (IPFS), their accessibility and legitimacy can be independently validated without dependence on any centralized server. This academic paper delineates the systematic approach involved in generating and disseminating Non-Fungible Tokens (NFTs) for garments, scrutinizes the advantages and constraints associated with the application of NFTs for identifying collectibles, and accentuates the prospect for additional exploration and advancement in this domain. The employment of non-fungible tokens (NFTs) presents a distinctive opportunity for establishing authentication and confirmation of custody with respect to corporeal properties. However, issues like deceit and the widespread integration of blockchain technology require further consideration.Abstract— This scholarly seminar paper examines the utilization of NFTs that are stored in IPFS for the purpose of identifying exclusive collector items, particularly a dress that is limited edition. Non-fungible tokens (NFTs) leverage blockchain technology to establish and authenticate ownership. Through storage on the InterPlanetary File System (IPFS), their accessibility and legitimacy can be independently validated without dependence on any centralized server. This academic paper delineates the systematic approach involved in generating and disseminating Non-Fungible Tokens (NFTs) for garments, scrutinizes the advantages and constraints associated with the application of NFTs for identifying collectibles, and accentuates the prospect for additional exploration and advancement in this domain. The employment of non-fungible tokens (NFTs) presents a distinctive opportunity for establishing authentication and confirmation of custody with respect to corporeal properties. However, issues like deceit and the widespread integration of blockchain technology require further consideration.
Sebastian Schauman, Sharon K. Greene, Oskar Korkman
The global fashion industry is a trillion US dollar market and one of the most wasteful industries in the world. Digital fashion has the potential to decouple some crucial aspects of the fashion industry from their material requirements. Combined with the growing interest around the metaverse, non-fungible tokens, the rapid evolution of AR and VR technology, and the growing presence of major fashion brands in gaming, an understanding of the commercial feasibility of digital fashion is becoming increasingly relevant. In this article, we explore the commercial feasibility of digital fashion and expose a strategically significant alignment of digital substitutes with four emerging consumer expectations, i.e., excitement, utility, relatability, and circularity. Our research shows that these expectations are contingent on consumers’ increasingly sufficiency-oriented mindset and the modes of consumption this mindset generates. By developing what we call a ‘sufficiency-model’, this article provides companies with the heuristic tools necessary to gain future-looking and practical insight that helps them navigate this dematerialization of consumption and to identify long-term market opportunities within this area. Specifically, we offer eight implications that are designed to help companies take their first steps into this emerging space.
Open access
Consumer Retail Behavior Studies
Consumer Behavior in Brand Consumption and Identification
The norms and systems of the fashion industry tend to support a small class of brands and designers creating fashion while the public takes on the role of passive consumer. The rise of digital fashion and a new sector of ‘digital-only’ fashion brands now provides unique ways for consumers to interact with fashion online, from buying wearables for digital gaming avatars, to wearing a digital dress on social media, to investing in non-fungible tokens (NFTs) – digital assets based on blockchain technology, bought and sold online. Digital-only fashion brands are reimagining the hierarchical relationships between brand and consumer towards one of empowerment and mutual value via decentralized co-design platforms. Such endeavours allow brands to build community and challenge the ownership and authorship conventions in the fashion industry. Co-design has been widely used by fashion brands as a strategy that promotes involvement from the public/consumer in creating customized and made-to-order products and experiences. Using established theories of participatory art, an approach to making art which engages the public and communities in the creative process, this article explores how digital-only fashion brands are creating more participatory models of fashion co-design. To confirm and further explore this theory and to consider how a participatory model is achieved in practice, a qualitative case study was conducted on The Fabricant Studio, a collaborative digital fashion atelier. The findings reveal new methods of co-design used by digital fashion brands that allow consumers to design and monetize their craft while retaining creators’ ownership. The application of the theory also underscores the importance of creative control and decision-making in the fashion co-design process to ensure it is truly participatory vs. interactive. The Fabricant’s methods to educate users through accessible platforms contribute to the diversification of co-designers and digital fashion designers in general.