Nothing can be as unpredictable as the future-and for fashion an industry that relies heavily on predictions and trends, the post- Coronavirus era has been a catalyst for radical changes. Social distancing and health regulations meant the idea of a fashion week as we knew it had to change-with first being the fashion shows. The most recent Copenhagen fashion week showed us that the buzz word of the future would be “phygital” – physical space and digital technologies combined.
Copenhagen Fashion Week was redesigned both as a hybrid format of virtual showrooms which allowed buyers to review the clothes and as a newly designed digital platform to host the shows that would take place both in a digital and phygital format. The advisory board made up of Ganni’s founder Nicolaj Reffstrup; Stine Goya’s CEO Thomas Hertz; Holzweiler’s creative director Susanne Holzweiler; Hope’s creative director Frida Bard; and the creative agency MOON’s CEO Martin Gjesing decided on a series of installments that included almost everything: from presentations, runways exhibitions to installations.
The experimental format performed well-that is, for a compromise. However, the organizers knew right the start it was a challenging choice. “We know from other fashion weeks that the numbers haven’t been crazy high” Cecilie Thorsmark, chief executive of Copenhagen Fashion Week told Vogue Business. Vogue Business also reported that according to Traakr, the best performing Copenhagen Fashion Week brand was Ganni, which hosted an exhibition-by-appointment instead of a runway gathering with 208 posts and over 156,000 engagements, thus suggesting that people still want to engage in physical events,
Now that Copenhagen Fashion Week is over, the conversation about how the fashion show will evolve becomes more relevant than ever. If the fashion show is based on the shared experience-a communal feeling of participation, then how this could be reproduced in the non-physical world? How would we get the excitement, the thrill, the show? And how can consumers want to actually buy without the fantasy offered, without the immediate reaction? “If I’m a buyer I’m not going to spend tens of thousands of pounds of my budget on a collection I haven’t physically seen. The digital platforms are great for discovering brands and great for re-orders for instance, but if I was buying from a new designer or spending vast sums, I would want to see and touch the collection first,” notes Lauretta Roberts, CEO & Editor in Chief of The Industry.fashion media.
She is not the only one who sees radical changes coming. For Evelyn Mora, the founder of Helsinki Fashion Week, the fashion industry will embrace interdisciplinary collaboration to the fullest. “It is a new start for the fashion industry and I personally see it as a positive opportunity to reinvent ourselves and our industry. “ she notes. She also feels digital shows do have a future-in a complementary form. “Digital shows might replace the physical shows as we know it but I do think that digital can never replace IRL interactions and socializing. Digital is an essential tool for the fashion industry to embrace. I don’t think that it is an either-or question. Digital compliments physical and vice versa.”
Katie Baron is an author and the Director of Brand Engagement at Stylus. For her, the future of the fashion show will be a mixture of gated, industry-only content like debates, and public-facing experiences from shows to further discussions. “One of the most significant changes will be the introduction of not only live-streamed shows that we’ll comment on akin to watching sport but also, slightly further down the line, the capacity to enter virtual environments with digital models allowing even smaller brands to showcase worlds more closely aligned with their creative vision than at present when even a basic show requires significant funding.”
For Lauretta Roberts, the catwalk, and the showroom experiences are vital. “The catwalk or runway is a device used by a designer to market their collection and present a coherent and compelling creative vision for their collection – they are important and often just joyous to watch. Yes, they are expensive to produce but the marketing benefit and the content created from it endures long after the show has ended. But the buying, from a retailer perspective, happens in the showrooms afterward when they really get a chance to get up close and personal with the collection.” She predicts the new fashion show format is here to stay. “I would not be surprised to see brands investing more in digital presentations” she notes, “either through the digital fashion weeks or through their own channels to cover off the marketing and creative vision side of the equation. “
If phygital is to stay as the new fashion show format, then technology will be vital in securing a future for the industry. “Tech will certainly put consumers in the picture to a greater extent, making shows much more of a ‘tentpole’ moment, but not necessarily bound to the conventional seasons.” remarks Katie Baron. “Consider too, she adds, a greater play on the components that constitute great shows, such as (AR)-trialling of catwalk make-up – straight to fans’ faces – allowing their audiences to continue generating the buzz.”
According to Lauretta Roberts,the change is coming-and will most likely affect both smaller designers and big brands. “There does need to be some sort of physical presentation of a collection for trade but I don’t think it needs to be four times a year and we need to give clothes a chance to sell in-store before they are discounted and moved on to allow space for new deliveries. It’s a bit insane that all the summer stock is cleared in June and the stores are full of coats and chunky knitwear in August. That has to change.”