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As fashion e-commerce grows, the online return rates are running higher than ever before. Online customers buy the same product in multiple sizes or colors with the intention of returning what is not necessary as they are unable to have a tactile experience during their purchase. In terms of sustainability, returns have a huge negative impact on the environment, causing waste sent to landfills and carbon emissions. In the United States alone, over 15 million metric tons of carbon dioxide are annually emitted from transporting returned inventory. This study explored an innovative way to help reduce online returns due to fit and sizing issues using four-dimensional (4D) golf apparel wear simulation. The study observed how online customers reacted to an apparel wear simulation where they could see the body–clothing interactions, such as dynamic changes in the drape of a garment and cloth deformations caused by different body movements, with a focus on golf apparel. Female customers (n = 13) with experience playing golf and purchasing golf apparel online participated in randomized experiments where three different e-commerce demo websites embedded with simulations were shown. In-depth interviews were followed to collect qualitative data, and surveying was used to quantitatively assess the perceived usefulness of 4D golf apparel wear simulations. The findings of the study indicated that the wear simulation has the potential to help customers find the correct fit and size when shopping online. By exploring the idea of providing a more accurate representation of how apparel fits and interacts with the body, this study sheds light on the promising approach of leveraging 4D golf apparel wear simulations in online shopping to enhance sustainable fashion and potentially contribute to reducing the carbon footprint by minimizing returns.

Sewing patterns have been the principle blueprint for making garments in the home for centuries. From their origins in the tailoring manuals of the 16th century to the widely produced pamphlets of the 18th and 19th centuries, through to the full size packet patterns of today, their history and development has reflected major changes in technology (such as the advent of the sewing machine), retailing and marketing practices (the fashion periodical), and shifts in social and cultural influences. This accessible book explores this history, outlining innovations in patternmaking by the companies who produced patterns and how these reflected the fashions and demands of the market. Showcasing beautiful illustrations from original pattern pamphlets, packets and ads, as well as 9 complete patterns from which readers can reproduce vintage garments of different eras, the book provides a unique visual guide to homemade fashions as well as essential exploration of the industry that produced them.

\"... Pull back the curtain on making fun and innovative costumes and accessories incorporating technologies like low-cost microprocessors, sensors and programmable LEDs. Fashion tech can require skills in design, pattern-making, sewing, electronics, and maybe 3D printing. Besides the tech skills, making a good costume or accessory also requires knowledge of the intangibles of what makes a good costume. This book is a collaboration between two technologists and a veteran teacher, costumer, and choreographer. Regardless of whether you are coming at this from the theater costuming, sewing, or electronics side, the authors will help you get started with the other skills you need. More than just a book of projects (although it has those too), Practical Fashion Tech teaches why things are done a certain way to impart the authors? collective wealth of experience. Whether you need a book for a wearable tech class or you just want to get started making fantastic costumes and wearables on your own, Practical Fashion Tech will get you there.\" -- back cover.

PurposeDigital innovation and circular business model innovation are two critical enablers of a circular economy. A wide variety of digital technologies such as blockchain, 3D printing, cyber-physical systems, or big data also diverges the applications of digital technologies in circular business models. Given heterogeneous attributes of circular business models and digital technologies, the selections of digital technologies and circular business models might be highly distinctive within and between sectorial contexts. This paper examines digital circular business models in the context of the fashion industry and its multiple actors. This industry as the world’s second polluting industry requires an urgent circular economy (CE) transition with less resource consumption, lower waste emissions and a more stable economy.Design/methodology/approachAn inductive, exploratory multiple-case study method is employed to investigate the ten cases of different sized fashion companies (i.e. large, small medium-sized firm (SME) and startup firms). The comparison across cases is conducted to understand fashion firms' distinct behaviours in adopting various digital circular economy strategies.FindingsThe paper presents three archetypes of digital-based circular business models in the fashion industry: the blockchain-based supply chain model, the service-based model and the pull demand-driven model. Besides incremental innovations, the radical business model and digital innovations as presented in the pull demand-driven model may be crucial to the fashion circular economy transition. The pull demand–driven model may shift the economy from scales to scopes, change the whole process of how the fashion items are forecasted, produced, and used, and reform consumer behaviours. The paths of adopting digital fashion circular business models are also different among large, SMEs and startup fashion firms.Practical implicationsThe study provides business managers with empirical insights on how circular business models (CBMs) should be chosen according to intrinsic business capacities, technological competences and CE strategies. The emerging trends of new fashion markets (e.g. rental, subscription) and consumers' sustainable awareness should be not be neglected. Moreover, besides adopting recycling and reuse strategies, large fashion incumbents consider collaborating with other technology suppliers and startup companies to incubate more radical innovations.Social implicationsAppropriate policies and regulations should be enacted to enable the digital CE transition. Market patterns and consumer acceptances are considered highly challenging to these digital fashion models. A balanced policy on both the demand and supply sides are suggested. The one-side policy may fail CBMs that entail an upside-down collaboration of both producers and consumers. Moreover, it is perhaps time to rethink how to reduce unnecessary new demand rather than repeatedly producing and recycling.Originality/valueThe pace of CE research is lagging far behind the accelerating environmental contamination by the fashion industry. The study aims to narrow the gap between theory and practice to harmonise fashion firms' orchestration and accelerate the transition of the fashion industry towards the CE. This study examines diverse types of digital technologies in different circular business models in a homogeneous context of the fashion industry with heterogeneous firm types.

We are on the cusp of a revolution, where the intersection of technology, the human body and everyday objects will become completely seamless. Smart textiles are a key part of this revolution. Smart Textiles for Designers introduces the different qualities and properties that can be embedded in, integrated with, and applied to fabrics and looks at the different contexts in which these smart textiles can be used, from healthcare to haute couture, firefighting to sportswear. A survey of specific fabrics grouped by properties provides a core reference section and a palette for the designer to work from. The book also examines five different design approaches and features interviews with leading designers and design teams, showing their processes and working methods.

Fashion firms have transferred their manufacturing processes to Asia, seeking minimum labor costs, supported by the academic literature’s proposals for alternative supply chain configurations to maximize profits. Fashion industry has undergone public analysis, facing demands for greater transparency about environmental and social sustainability. The growing public awareness of sustainability issues has led firms to declare their commitment to sustainable resources, but few changes have been registered. United Nations Economic Commission for Europe listed technological innovation as a key tool for making the fashion industry transparent and traceable regarding sustainability and circularity. The research and responsible innovation framework indicate appropriate ways to manage innovation from a responsible and ethical perspective, according to ethical corporate behaviour (ECB), particularly in the industries characterized by productive phases processed in more countries, such as the fashion industry. However, the linkages between responsible innovation, ECB towards innovative and sustainable business models, and their conceptualization, are still unclear in the fashion industry, achieving the goals included in the UN 2030 Agenda. This study draws on bibliometric analysis and systematic review of the literature on 114 articles published between 1990 and 2021 allows to identify the above issues in the research domains, and outline the evolutionary trajectories, as well as to explore the literary corpus about responsible innovation (RI) in the ethical corporate behaviour (ECB) of the fashion industry and its Asian suppliers. The results highlight that fashion brands strive to develop RI and ECB along their supply chain. Still, the misalignment of corporate ethics and cultural values represents a significant obstacle to the adoption of business models, especially to achieve the goals of UN 2030 Agenda. To the best of our knowledge, this is the first study that discusses RI as enabling driver in the ECB for fashion companies also defining a future research agenda including RI, ECB, iSBMs towards SDGs.

\"The catalogue that accompanies the 2016 Costume Institute exhibition \"Manus x Machina\" features exceptional fashions that reconcile traditional hand techniques with innovative machine technologies such as 3-D printing, laser cutting, circular knitting, computer modeling, bonding and laminating, and ultrasonic welding. Featuring 90 astonishing pieces, ranging from Gabrielle \"Coco\" Chanel's iconic tweed suit to Karl Lagerfeld's 3-D-printed version, and from Yves Saint Laurent's bird-of-paradise dress to Iris van Herpen's silicone adaptation - all beautifully photographed by Nicholas Alan Cope - this fascinating book is an exploration of both the artistry and the future of fashion. Interviews with Sarah Burton of Alexander McQueen; Hussein Chalayan, Maria Grazia Chiuri, and Pierpaolo Piccioli of Valentino; Nicolas Ghesquiلere of Louis Vuitton; Lazaro Hernandez and Jack McCollough of Proenza Schouler; Iris van Herpen; Christopher Kane; Karl Lagerfeld of Chanel; Miuccia Prada; and Gareth Pugh enhance this expansive and absorbing book.\" -- Publisher's description

This article provides a comprehensive overview of the digital transformation of the fashion industry and describes the opportunities and influences on supply chains, business models, and sustainability-oriented innovations that it offers. Desk research was performed to review emerging cases of companies that engage actively in using 3-dimensional virtual and digital (3DVD) technologies, such as 3D modeling, virtual and augmented reality (VR and AR), 2- and 3-dimensional (2D/3D) scanning, and digital twinning (DT). The analysis shows how the adoption of digital technologies provides opportunities to dematerialize the traditional fashion supply-chain model of garment production and distribution and maps the innovative shifts occurring in the fashion industry’s processes, products, and services. The adoption of 3DVD technologies by fashion companies unleashes new opportunities with respect to innovation in products/services and optimization of operational processes to streamline activities, shorten the lead time for designing, prototyping, manufacturing, marketing and retailing, and reorganizing the working phases. These capabilities also drive multicentred business-model innovations and thus affect value creation and delivery and capture changes. In addition, the analysis shows that digital transformation affects the four dimensions of sustainability that are interconnected intrinsically across supply-chain processes. Cultural sustainability is paramount, as fashion is a complex cultural system that is able to create products/services that influence the environment, economy, and society. In particular, 3DVD technologies promote cultural transformation of design processes to achieve a remix of skills and open knowledge, a behavioral shift from the consumer perspective in terms of diversity and self-expression, and a change in the organizational culture of companies that drive the digital transformation.