COVID-19 has radically accelerated the need for the fashion industry to innovate. The second edition of the Circular Fashion Summit bears fruit of this new socially distanced reality. The world’s first virtual reality (VR) fashion summit Oct. 3 and 4 was pioneered by founders Lorenzo Albrighi and ShihYun Kuo of Lablaco, a company that uses technology to accelerate the transition towards a circular economy for fashion, and was an official part of the Paris Fashion Week program this fall.
The virtual reality environment was mirrored after the Grand Palais, an iconic architectural exhibition hall at the heart of Paris and home to the famous Chanel shows. Fashion week formats have evolved dramatically during the pandemic — with digital and virtual shows or mixed digital plus in-person elements events taking place. The Circular Fashion Summit continued to push expectations. Participants were able to not just consume fashion content but also discuss, network and learn from others joining from around the globe —as long as they had a VR headset and an internet connection.
Global apparel and footwear consumption is expected to grow by 81 percent by 2030, according to Global Fashion Agenda and the Boston Consulting Group. Under its current carbon emissions reduction trajectory, the fashion industry is projected to miss the 1.5 degree Celsius pathway by 50 percent, according to a recent study from McKinsey and the Global Fashion Agenda. Clearly, COVID-19 is no time for inaction. Originally planned as an in-person gathering, the Circular Fashion Summit team decided to host the summit in virtual reality — just like being at a real event but without the footprint of travel, and in the shape of your customized avatar.
4 summit takeaways
1. Digital technologies are opening up new ways for us to consume fashion without the waste or carbon footprint…
During the “Technology: The New Product Storytelling” panel, it was astoundingly clear that emerging digital technologies can make a big difference for fashion brands and their customers. “Now that we socially-distance, we need different ways of engaging with audiences, from the first point of creation and design to retail and engaging the consumer. Digital and 3D is becoming integral for every fashion brand,” said Matthew Drinkwater, head of Fashion Innovation Agency at the London College of Fashion. As the technology gets better, digital prototypes of garments are becoming much closer to the real thing, and you can get feedback on early iterations to save material and time in producing real prototypes.
As fashion is transitioning to digital, the lines between industries have started to blur even more, and the relationship between fashion and the gaming industry has grown. Agatha Hood, head of advertising sales at Unity Technologies, a software development company that specializes in creating and operating interactive real-time 3D content, shared that 25 percent of in-game purchases in the U.S. are being spent on customizing personal avatars, characters or the virtual space.
After the conference, Hood added: “While VR is obviously a great way for both consumers and industry experts to view and explore fashion, another medium that makes us really excited is augmented reality. Being able to view fabrics, textures, designs in real life through a device really brings the products to life — to say nothing of the ability to try fashion on.”
The technology already exists for us to interact with digital objects as a seamless part of the real world. In the future, we are likely to see more designers creating fashion in a digital format, making it easily available for consumers to engage in self-expression without buying new physical clothing — lowering the environmental and social footprint of fashion significantly. Virtual consumption could help us curb our everlasting appetite of buying physical clothing while keeping the creativity and fun of fashion alive.
2. …with an emphasis on the need for new skills, and a reminder that the transition to digital fashion needs to be inclusive.
With stronger digital integration, we are rapidly seeing the need for education and new skills in the fashion workforce. Drinkwater pointed out the large generational gap in this regard. “A few years ago [fashion] students couldn’t leverage [digital creation platforms] such as Unity or Unreal Engine, but now they can and it makes a difference.”
From a global perspective, Omoyemi Akerele, founder of Style House Files, a creative development agency for Nigerian and African designers, and Lagos Fashion and Design Week, reminded attendees that we need to ensure that the transition is inclusive. “The future lies in virtual platforms; however, it’s important that nobody is left behind. The socio-economic impacts and value that fashion creates will go away from some,” she said.
Global apparel and footwear consumption is expected to grow by 81% by 2030 and under its current carbon emissions reduction trajectory, the fashion industry is projected to miss the 1.5 degree Celsius pathway by 50%.
In the move from physical to virtual engagement, education will be critical. “We need to be able to empower everyone, where a virtual fashion economy still gives opportunity for meaningful employment and meaningful work for many,” Akerele said.
3. To accelerate progress on circularity, we need investment, expertise and a whole lot of collective action.
During the “Sustainability: Turning Circularity into Business” panel, speakers discussed the barriers of circularity and how we can overcome them. More investments to scale circular innovation are critical. There is also a need for accessing information and expertise to unlock circular solutions. “Right now a handful of experts have the knowledge, and we need to give access to this expertise to more people,” said Nina Shariati, sustainability strategist at H&M who founded the pro-bono consultancy Doughnate Hour to help bring circularity expertise to brands.
Most strikingly, radical collaboration was the ingredient that was repeated again and again. The only way to overcome barriers in knowledge and scaling these innovations is if brands work pre-competitively and actively collaborate with policymakers and circularity experts.
To embody this philosophy, the Circular Fashion Summit promised to do more than just convene conversations and plans to take collective action. It has set three Action Goals to be achieved by 2021: recirculate 100,000 fashion item; tokenize 10,000 fashion items on the blockchain; and upcycle 1,000 pairs of sneakers.
Perhaps it is time that we redefine the circular economy not as a siloed environmental issue but recognize the interconnected social impacts that circular business models could have.
The goals are powered by Lablaco technology and will be achieved together with the summit attendees (“Catalysts”). For example, The Lane Crawford Joyce Group’s social initiative Luxarity launched a resale initiative featuring pre-loved items from celebrity closets, with Lablaco tokenizing the items on the blockchain to help achieve the goals. Unilever is partnering with the blockchain powered peer-to-peer platform Swapchain to recirculate fashion. A partnership with Plastic Bank is also underway, in which the summit team is launching a recycled sunglasses collection. All in all, achieving the goals will save an estimated 2,000 metric tons of CO2 and 793,000 gallons of water from landfill.
4. Circular fashion can be more than closing the loop. Going beyond neutrality, companies can embrace regenerative practices and the social benefits of a circular economy.
Maggie Hewitt, founder of fashion company Maggie Marilyn, emphasized the need for brands to embrace regenerative practices. “The idea that we only have 60 years of top soil left if we continue to degrade our soil is scary. We will need to regenerate our soil if we want to be a lasting business,” she said.
The circular economy is often is seen through a lens of waste reduction and ensuring that materials go back into a circular system. Although Ellen MacArthur Foundation’s definition of circular economy includes the concept “regenerate natural systems,” regeneration doesn’t get as much attention. To achieve real progress from circular solutions, we need to think beyond neutral and aim for positive impact.
Another highlight is how circular business models can be used to increase access and inclusion to fashion, well-being and even economic opportunity. As Darren Shooter, design director at The North Face, shared, the company successfully piloted a rental service for tents and backpacks. “This opened up products to consumers that might not afford or have space for outdoor gear at home to still experience the outdoors. This rental pilot went really well and we are trying to scale it further to see how we can give people even more access to the outdoors,” he said, highlighting the human side and social benefits of a circular economy.
It’s clear that the potential of new technologies to bring forward more sustainable ways of consuming fashion is endless. Smart fashion brands and innovators such as Lablaco and the Circular Fashion Summit are at the forefront of capturing this opportunity. In the same way that the summit presented a glimpse of our technological fashion future, it also opened up for the notion that we need to continue to push our circular impact and ambition. Perhaps it is time that we redefine the circular economy not as a siloed environmental issue but recognize the interconnected social impacts that circular business models could have.
So, how did I feel attending my first VR summit? As I was teleporting between stages and exhibition hubs, I couldn’t help but wonder if we will ever gather as normal again, getting on an airplane instead of putting on a headset in my living room. With over 300 people getting up to speed with VR, which was a first for many, there were the inevitable tech glitches here and there, such as reboots of the system (and even some spontaneous dancing on stage!). Still, so much more engaging and fun than being on a zoom call. Would I do it again? Absolutely.