TechStyle NYC Explores Innovation in Fashion
Influencers, celebrities and fashionistas came out to a recent TechStyle NYC event to check out some of the hottest new brands in fashion, lifestyle and tech. From dressed up Apple Watches to dresses made out of recycled soda bottles, the creator of the event, Janine Just, gave our Entrepreneur Network partner, Jessica Abo, an inside look at what’s trending.
Click here to watch their video: Entrepreneur
Many digitally born businesses are taking the plunge into physical retail as they tap into the rise of the experience economy
American eyeglass retailer Warby Parker’s foray into bricks-and-mortar retail began in one of its co-founders’ apartments.
Warby Parker launched in 2010 as an e-commerce business enabling customers to order a range of affordable glasses to try at home before sending the unsuitable ones back. After a surge in demand, customers started asking Warby Parker if they could buy the spectacles in person.
Without a store or office, co-founder and co-chief executive Neil Blumenthal let people come to his apartment to try them on, displaying the stock on his dining room table. Dave Gilboa, also co-founder and co-chief executive, used his laptop as the cash register, getting customers to make transactions via the website. “It was clear that some of our customers wanted a physical shopping experience,” says Blumenthal.
This experience became the blueprint for Warby Parker’s brick-and-mortar strategy. After several experiments with pop-up shops, concept stores and a mobile store on a bus, Warby Parker opened its first flagship store in New York City in 2013. Now the business, which is valued at $1.2bn (£908m), has 31 stores across the US.
“There’s something special about interacting with customers first-hand, and we’re thrilled to have an opportunity to create immersive environments filled with books, locally specific design features and, of course, lots of glasses,” says Blumenthal.
Warby Parker is in the vanguard of digitally born businesses praised for their online business model but taking the plunge into physical retail. Nasty Gal, Everlane, Bonobos and Birchbox are also among those. Even e-commerce megalith Amazon has entered the fray, with a bookstore in Seattle and more reportedly in the works.
This may seem counterintuitive; after all, Amazon’s rise was due to the fact it could undercut high street competitors on price and convenience, contributing to the demise of Borders, among others. But with so many e-commerce businesses opening physical stores, and many traditional retailers bolstering in-store technology, the mass migration of shoppers from offline to online has not been as straightforward as pundits predicted.
“Shoppers will always want to touch and feel and experience a product in the flesh before they purchase it,” says Zoё Kelly, planning director at Vivid, a shopper marketing agency. “They might use digital to research and narrow down their choice, but when it comes to paying, they want to see it in the flesh and make sure it’s the right choice.”
The majority of Warby Parker’s sales are through e-commerce and 80% of its customers who have visited the store have also visited the website, according to Blumenthal. Warby Parker helps customers prepare online for a store visit, such as allowing them to browse frames, book eye exams or reminding them to bring along their prescription. It has also integrated social media in-store.
“We believe the future of retail sits at the intersection of e-commerce and brick and mortar,” says Blumenthal. “The two experiences should be seamlessly integrated and complementary. The ultimate goal for each shopping experience is the same: to make the process of buying glasses as easy and fun as possible.”
In recent years, many e-commerce businesses launched with the false assumption that it would be cheaper to operate than physical retail, says Ari Bloom, chief executive of Avametric, a fashion tech startup that creates virtual fitting rooms. As the e-commerce landscape becomes more competitive and the cost of deliveries and returns rises with shoppers expecting on-demand and speedier services, the cost of acquiring customers has become higher.
“It’s hard to present a compelling, sticky brand experience online, especially when selling non-utility items like apparel, accessories, home goods,” says Bloom. “Many companies actually lose money online and are still highly profitable offline.
“Many of us who come from the physical retail world have been waiting for the balance to tip – and I think we are finally see that happening, with more e-commerce first companies finally realising that physical retail is a crucial part of their brand experience and business,” he adds.
Take Birchbox, for example. It delivers boxes full of beauty product samples, with the aim of getting subscribers to buy full-sized versions from its e-commerce site. The dilemma it faces is that many people still buy beauty products in-store, meaning other bricks-and-mortar beauty retailers stores also feel the benefit of customers buying full-sized versions of the beauty product samples. Birchbox opened a store in New York in 2014.
While bricks and mortar presents an ever more compelling business case for online retailers, this does not mean they are following in the footsteps of traditional retailers; the retail space is being reimagined as something different, such as a gallery, museum, clubhouse or events space.
Birchbox’s store is not just for flogging stock. Spread over two floors, it has a beauty and nail salon, and people can use touchscreen devices to create bespoke beauty boxes. The staff have iPads and the in-store tech allows Birchbox to get valuable real-life insights into how their customers interact with the brand.
Similarly, Harry’s, the online razor subscription business, has focused on experience as a way of selling its products. A few years ago it opened a barber shop in New York, where its barbers introduce customers to its various products. It also uses an app so customers can get the same haircut each time.
This trend is being driven by a desire to tap into the rise of the experience economy: people choosing to buy experiences over products. While e-commerce is convenient, customers are still looking for surprise and spontaneity in their shopping experience, which can be achieved in the physical environment, says Michelle Du-Prat, experience strategy director at retail design and branding agency Household.
“There’s a positive tension between convenience and smart shopping, in the knowledge there will be this experiential element too,” she says. “That’s being pushed by millennials, who want to spend money on experiences as much as items.”
But traditional retailers also have the opportunity to compete with the internet upstarts by reimagining the shopping experience. Homeplus, for example, experimented with a virtual reality store that enabled people to buy their groceries in real life using their smartphones.
According to Du-Prat, there is also an untapped opportunity in click and collect, which is growing in popularity for traditional retailers such as John Lewis and Marks & Spencer. She says they could create engaging brand experiences for customers when they pick up items, which might compel them to shop in-store more.
“It’s about understanding different needs of customers and meeting them in interesting and quirky ways, not just online and offline, but the link between them all,” says Du-Prat. “It’s about how you can disrupt that.”
French designer Philippe Starck has created a minimal and recyclable summer sandal collection for Brazilian brand Ipanema.
The range features four designs, each available with plastic straps and soles in 12 different colours, including bright green, orange and pink.
The shoes range from simple flip-flops – with or without heel support – to sandals with a circular toe bar and single fastening, and shoes with multiple, crisscrossing straps.
The footwear was produced using 30 per cent recycled materials, and according to the brand is 100 per cent recyclable.
Sportswear brand Adidas is similarly using reclaimed materials in its running shoes, which feature uppers made from reused plastic harvested from the ocean.
A plastic injection moulding technique was used to create Ipanema's shoes, with the sandal straps attached by hand to the soles, which also bear Starck's trademark plus symbol.
"The Ipanema with Starck collection explores the territory of high elegance paired with the utmost minimalism," said the designer.
Starck's existing body of work includes a customisable furniture showroom, a smartphone-controlled thermostat and a ceiling light that can be rotated with a broom handle.
"When you reach elegance with a few dollars or euros, this is no longer magic; it is a modern miracle," added the designer.
Starck previously experimented with recycled materials for his Broom seating collection for furniture brand Emeco, which was made from discarded material found in lumber factories and industrial plastic plants.
He also addressed waste with a range of taps for Axor that used half as much water as regular taps by spurting a combination of liquid and air.
Source: Business of Fashion
Robotics can help fashion companies drive business efficiencies in their factories, warehouses and stores.
LONDON, United Kingdom — In the 1990s, fashion’s relationship with robots was the stuff of fantasy. On the runway of Alexander McQueen’s imaginative Spring/Summer 1999 show, two robotic arms spray-painted a white dress worn by Shalom Harlow. Today, the industry’s relationship with automation is much more practical.
In the distribution centres of e-commerce giants like the Yoox Net-a-Porter Group and Amazon (which, in 2012, paid $775 million to acquire Kiva Systems, a manufacturer of robotic fulfilment systems used by Gap, Gilt Groupe and Saks 5th Avenue) software-controlled robots routinely navigate giant warehouses, picking and transporting inventory faster and more accurately than humans, enabling services like same-day delivery.
“Automated storage and retrieval systems provide high storage density as well as inventory accuracy and management, yet require a smaller footprint,” explains Steve Crease, director of operations at Yoox Net-a-Porter Group, which uses ASRS to deliver its “key service level” of same-day delivery. The robots retrieve items from giant storage systems and bring them to human-manned packing stations, where “light displays instruct the operator where and how to allocate stock to orders,” he says.
But beyond e-commerce fulfilment, fashion has yet to seriously embrace robotics, even as robots have become cheaper and smarter, driven in part by advances in artificial intelligence. In 2014, global sales of industrial robots reached 229,261 units, according to the International Federation of Robotics. The same year, shipments of industrial robots in the textiles, leather and apparel sectors numbered just 289 (up from 25 in 2009).
The use of robots in garment manufacturing, for instance, remains low. This is partly due to a key technical challenge: while automobiles or electronics products — often assembled with the assistance of robots — are largely comprised of hard parts, garment manufacturing involves pliable, elastic fabrics that have, traditionally, made the process difficult to automate.
SoftWear Automation, an Atlanta-based robotics firm focused on sewn product manufacturing, believes it has the solution. SoftWear’s automated system uses high-speed photography to take pictures of garments as robots work on them. The images are interpreted in realtime by software, which, in turn, directs the robot’s movements. “Our robots know when the fabric is being stretched and by exactly how much, and it can make adjustments accordingly,” explains KP Reddy, chief executive officer of the company, which was born out of a university research project three years ago.
In the last few years, the cost of this kind of system has also dropped rapidly. “To buy a $5 million robot to do the work of a $50,000 a year employee, you could never get the economics to work,” says Reddy. Today, SoftWear’s systems cost $50,000 to $100,000. “If your seamstress is costing you $50,000 a year, you’re getting a sub-three-year payback,” he says (in the developing world, however, garment workers earn considerably less — in 2014, Bangladesh's government raised its minimum wage for garment workers to the equivalent of $68 a month). It takes one person to manage four or five Softwear robots, enabling companies to limit their labour costs or invest in staff in other functions of the business.
At the moment, SoftWear’s systems can make a limited range of clothing such as jeans, basic dresses and skirts, as well as home goods like towels and curtains. Softwear declined to reveal its current apparel clients, but Reddy says most are focussed on fast fashion or athletic apparel.
Indeed, some apparel companies are ahead of the curve on automation. Later this year, Germany sportswear giant Adidas will open Speedfactory, its first shoe manufacturing plant controlled largely by robots. The company, which employs over a million workers in contract factories, and sources most of its production in Asia, is tapping automated production as a way to quickly produce and deliver goods in response to consumer demand in major markets closer to home. The first Speedfactory will be in Ansbach in Southern Germany.
The factory is also a bid to deliver personalised products through mass-customised manufacturing. “One of the most important trends will be toward customisation,” says Martin Ford, author of books including “Rise of the Robots: Technology and the Threat of a Jobless Future,” of the use of robotics in apparel manufacturing. “Customers will be able to design or customise their own clothing and then have in produced in automated factories and delivered within days.”
Robotics are also beginning to revolutionise fashion manufacturing in the developing world, according to KP Reddy of SoftWear, which has shipped machines to major garment manufacturing hubs including Turkey, Bangladesh, India, China and Sri Lanka. “In those markets, most of these factories are in rural areas. The young people are not staying in these rural markets, they’re moving to city centres,” he says. “The [factory] CEOs are telling us that in 10 years it’s not going to be a function of cost of labour — it’s going to be a function of no labour. There will not be people in these towns and villages to do this kind of work.”
Robots could also improve efficiency at retail. In a 2015 report on The Future Of Jobs, J.P. Gownder, vice president and principal analyst at Forrester, forecast that by 2022, 76 percent of sales tasks — such as cashier work, restocking shelves and inventory control — will be done by robots (which he defines as both hardware that automates physical tasks and software that performs intellectual tasks). “Customers will increasingly use mobile technologies to access information and advice while in stores,” adds Martin Ford, thereby lowering the need for human sales assistants.
As the pace of automation continues — the IFR predicts double-digit growth in global sales of industrial robots between 2015 and 2018 — Ford predicts that, in the fashion industry as well as the broader economy, “robotic technologies and machine learning technology are likely to eventually automate nearly any job that is on some level routine and predictable.”
This will challenge companies to develop plans for human-robot collaboration among employees and implement these technologies gradually to give their businesses and workers time to adapt to the change. According to KP Reddy, fashion is now in a position to follow the lead of industries like automotive and electronics, which have tapped robotics to implement just-in-time delivery and just-in-time manufacturing. “If we can minimise the amount of clearance racks, the amount of product that just gets kind of wasted and can move more on demand, that’s just a better thing for everybody,” he says.
Source: New York Business Journal
Eight fashion technology startups working on everything from A/B testing to help fashion retailers cut inventory bloat to a cocktail ring that can help women fend off would-be criminals had a chance to strut their stuff today.
In an event held at the sleek new Time Inc. headquarters in downtown Manhattan, the founders shared their business models with a roomful of investors and retailers as they graduated from the New York Fashion Tech Lab incubator, which is a joint venture between the nonprofit Springboard Enterprises, which aims to accelerate opportunities for female-led companies, and the city’s Partnership Fund for New York City investment arm.
After getting intros from executives at the companies that they’d been working with during the 12-week program, including Alex and Ani, Bloomingdale’s, Halston, Kate Spade & Co., Kohl’s, and Macy’s, the startups, each of which had one or more female founders took the stage.
Take a look at their ideas:
Closet Collective: The millennial consumer’s embrace of the sharing economy — consider the success of Airbnb — and the $100 billion worth of unworn clothing hanging in women’s closets were the inspirations behind Closet Collective, a peer-to-peer fashion platform that cofounders Claire Allison and Seema Gohil created to help women rent out what's in their closets. “We’re still at the beginning of this rental trend,” Allison said. One thing renters like about the service is the extra money they can earn. One client, Andrea made $5,500 renting out her closet and used it to buy 300 new pieces that she subsequently rented out. Closet Collective recommends prices, which range from about 5 to 10 percent of the retail value per rental.
Thursday Finest: Personalized fashion is a key trend, and Thursday Finest, which partnered with Macy’s (NYSE: M) for the accelerator program, created a vertically integrated brand that helps people customize their own accessories by color and size (which is based on height), and then making it to order. Everything is 3D printed and currently the company is able to make men’s ties and knit scarves using a 3D printer. The company, which held a pop-up store in SoHo, was able to make items for customers on the spot using the printer. “We create individual patterns and we are able to make these for customers in minutes,” said cofounder Veronika Harbick. The company plans to introduce a third category later this month. Leslie Revitt, a vice president of strategy and innovation at Macy’s, said in her intro that the concept is in line with putting the customer at the center of the decision making. ”We think this is a great example of what on-demand manufacturing can do in the future,” Revitt said.
Smartzer: Brands that feature promotional video content, also called pre-roll video, on their websites to drive sales may not be getting the return on investment they want — and that’s a problem, because hiring models and creating videos can get expensive. “The trick with branded content is to get as much as you can out of it,” said Suzanne Hader, chief marketing officer for Halston. Through the lab program, the fashion brand has been working with Smartzer, founded by Karoline Gross on changing that. Smartzer is a video player that allows users to click on videos, find items that they see people wearing and easily click through to learn more about product and make purchases online. Smartzer has worked with brands including Puma, QVC, and Barbour, to make their videos more profitable. The results: 19 times more engagement than video pre-rolls, nine times more click-through than video pre-roll, and, pivotally, a conversion from browsing to buying rate that is five times more than pre-roll video, Gross says. A forthcoming Halston video featuring dancers will include the technology.
Genostyle: With her fashion data startup, cofounder Veronica Cabezas says she aims to take on the product recommendation issue by applying machine learning to the shopping process. Genostyle, which examined 5 million products and 6,500 brands, has developed a taxonomy to categorize them, consisting of 15 different “style genomes,” such as sporty/active, gothic, glam, and Bohemian. Each customer using a style platform gets a style code indicating the degree to which they skew toward or away from each of those styles, and that allows retailers to better target them with highly personalized offers. On the flip side, it can also examine retailer inventory to see whether the styles it stocks the most of really sell. For example, one retailer it worked with had a merchandise selection that was 33 percent “glam” but that category accounted for only 10 percent of its revenue. Meanwhile sporty accounted for 22 percent of revenue and 9 percent of inventory. “Money is being left on the table,” Cabezas said.
Elemoon: Cofounder Jing Zhou — who already sold a mobile ad company for $16 million in China — says her new company Elemoon has created what is the first consumer-ready flexible computer, a feat accomplished by creating its own supply chain using 17 factories across China. Its first-use case is in the wearable jewelry market, where Zhou found the style to be lacking. The Elemoon bracelet, which displays the time and alerts such as names or symbols when select people call your phone, has sold via Kickstarter, and in U.S. stores including Fred Segal and Free People, but there are many other product possibilities that can be produced by using the technology, including one especially appealing to harried New Yorkers. “Elemoon lets you use a handbag handle as a Metrocard,” Zhou said.
Fittery: Founder Catherine Iger created big data startup Fittery based on the concept that most recommended sizing tools for those shopping online are inaccurate and that leads to $18 billion worth of returns annually. It bases fit not on size, but on actual garment measurements, and then curates items specific to the shopper’s measurements, as well as the way they prefer things to fit. “We’re only going to show people the items that fit,” Iger said. The tool promises sizing that is 34 percent more accurate, and has found in tests that it can cut retail return rates from the current standards of 30 to 40 percent for online purchases to 6 percent. The company, which started out with menswear and plans to move into women’s wear, can also use its data to make recommendations to brands. For instance, a shirtmaker might sell significantly more shirts if it just makes them an inch narrower.
Siren: Founded by Kat Alexander, a former retailer who sold her business, Siren creates wearable safety accessories designed to prevent crimes such as rape and assault. Its signature product for now is the Siren Ring, which emits a 114-plus decibel alarm that activates instantly, with a simple twist of the ring, during an emergency. It is about the sound level of a smoke alarm and can be heard 50 feet away. The idea is to surprise or shock an assailant by holding out your hand toward their face, giving would-be victims time to escape, attract help, or to prompt the assailant to give up. It sold out a beta version of the ring that went for $245, and with partnership opportunities from 200-plus retailers, the company is now producing a less expensive version that will retail for $99 to $129.
Claire: This A/B testing platform for products and price points helps retailers figure out what to produce or stock next by sending customers online games to determine their preferences, in exchange for money-saving incentives when they shop. “It’s about providing clarity and simplifies the process of gathering data from consumers,” says cofounder Marta Jamrozik. Jamrozik says their work with one retailer helped determine that given the choice between a light gray and a dark gray sweater, consumers chose the latter by a margin of 3 to 1. The retailer had intended to order the same amount of light and dark gray. Thus, instead of selling $400,000 worth of the sweaters, they were able to sell $800,000 by producing three times more for the dark gray version. Claire, which was a finalist but not a winner for a Rent the Runway Foundation/UBS accelerator program held earlier this spring was instead handpicked by one of the judges, Rebecca Minkoff, to spend the summer in her company’s corporate offices.
Over the past few months, five fashion schools have been working with the European Space Agency to find out what happens when space-age technologies and materials collide with couture design. The results, shown here, were unveiled at the London Science Museum yesterday.
Over the past few months, five fashion schools have been working with the European Space Agency to find out what happens when space-age technologies and materials collide with couture design. The results, shown here, were unveiled at the London Science Museum yesterday.
As part of the project—known as Couture in Orbit—designers from the Fashion Akademiet in Denmark, the Politecnico di Milan in Italy and the International University of Art for Fashion in Germany and France were each assigned a theme. Meanwhile, the European Space Agency provided space-certified textiles.
The results aren’t perhaps going to save the wearers from the hostile of space in their current form—that’s what the space suits of the future are for. But as the space agency points out, the challenge was “to predict the future of fashion in designs that are desirable and practical, while showcasing their national cultures.” Whether they’ve achieved that, you can decide.
Earlier this month, SpaceX hired the legendary costume designer Jose Fernandez to develop its new in-house spacesuits. He’s probably taking note.
Source: USA TODAY
Technology and fashion come together to produce the 'Cognitive Dress' for the Metropolitan Museum of Art's annual gala. The fashion house Marchesa and IBM's Watson collaborated on the design of the dress.
Every year there are Met Gala attendees who take the theme seriously, and those that treat it more as a suggestion. Nicki Minaj and designer Jeremy Scott fell in the later category this time around, telling us on the red carpet that their main priority was glamour. And who can fault them or their rhinestone-encrusted selves? It’s a time to go big for the fun of it.
But there were designers and their muses who managed a glamorous arrival while embracing this year’s theme: "Manus x Machina: Fashion in an Age of Technology."
Georgina Chapman and Keren Craig of Marchesa had a true fashion moment with model Karolína Kurková on the steps of the Met, twinkly lights and all. The designers partnered with IBM’s Watson to create a “cognitive dress” that analyzed tweets for the emotion of the fans watching on social media, and lit up embedded LED lights in corresponding colors.
When the group reached us near the end of the carpet, the peony-shaped appliques were glowing in a soft lilac and shifting to light blue.
“Everyone is excited!” Kurková exclaimed. Indeed, the dress inspired some shock, awe and delight on the Twittersphere, which according to Watson, we could just call purple (which is fine with us, we’re kind of partial).
“It’s probably one of the most creative projects we’ve done to date,” Chapman said.The dress was months in the making, Chapman and Craig told us at a preview Sunday night.
Another creative highlight? Zac Posen’s similarly radiant and high-tech gown, made with a custom fiber optic woven organza.
It was especially impressive outside of the bright lights of the red carpet, where it turned its wearer Claire Danes into a living Cinderella.
The designer has been known to pull out a tech trick or two. He worked with Google’s initiative, Made with Code, which helps get more young girls interested in computer science, to create a show-stopping dress that closed his ZAC Zac Posen spring 2016 show and was later worn by Star Wars star Lupita Nyong’o.
Despite the fancy coding and fabrics, the dresses feel on-brand for Posen, not like an iWatch strapped to a dress. Particularly Danes’ dress, which fits the fairy-tale silhouette that he’s known for.
Same holds true for the girls of Marchesa, who kept their romantic aesthetic despite the fact that there were plenty of wires buried deep in the seams of Kurkova’s dress.
“That was incredibly important to us, though we were involving technology, the idea was that the dress really felt Marchesa.”
Let’s hope that’s the future of fashion x tech.
Look around and count the number of screens surrounding you. You’ll probably run out of fingers before you’re done, but why stop there? Researchers at UC Berkeley have come up with a way to weave color-changing threads into fabrics, turning even garments into yet another display.
The team behind this technology, which they call Ebb, developed it to explore how fashion and clothing would change if the wearer could adjust the color whenever they wanted to. Using thermochromatic threads that change their hue when a voltage is applied, a garment could be perfectly color-matched to almost anything—or simply programmed to never be white after Labor Day.
In its current form, the colors of the woven textiles take a long time to slowly fade between hues. That’s why the team is currently focused on the fashion implementations for the technology, because the refresh rate would be impossibly slow as a computer display. But the demo video does show the researchers, led by Laura Devendorf, dabbling in recreating a simple segmented alphanumeric display like you’d find on an alarm clock.
As the technological progresses, these textiles might eventually be able to change color as quickly as an e-ink display does. So in addition to just changing its color, dynamic patterns could be introduced to the fabric, animations, and even detailed images. One day you might even be able to just look down at your shirt to see if you’ve missed any phone calls, or have any messages that need a response. No, wait, that’s just spilled ketchup.
lets shoppers ‘try on’ clothes using nothing but images. The Android and iOS-supported app uses a photo of the user as a base upon layers of clothes can be put upon. With a similar concept as paper dolls but digital, shoppers can visualize looks before clicking Buy.
With the app, you can use product photos online or select a photo from your gallery. The app helps you extract garment photos from images. Leaning more towards becoming a social network than an online shopping tool, an integrated messenger allows users to send looks to friends and discuss great finds over the app.
Source: Business of Fashion
For ‘sharing economy’ giants like Uber and Airbnb, the future of consumption is access, not ownership. Will it work for fashion?
Source: Social Media Week
Some retailers are even starting out online or in apps as well, eliminating the entire in-person shopping experience all together.
The fashion and tech industries are two of the most lucrative fields in the world. Millions of dollars are poured into fashion designers and models showing off their chicest trends, as well as tech companies and computer scientists showing off their newest apps.
With such profitable lines of work, it’s no wonder that almost every fashion retailer has its own mobile app. Nordstrom, Chanel and Bloomingdales are just a few retailers with their own apps for shoppers on the go.
However, the list isn’t limited to high-end shopping. Forever 21, Macy’s and American Eagle all offer their shoppers similar experiences. Customers can keep track of their online purchases, count their points if they have a rewards membership and even get access to exclusive online discounts and sales.
According to VisionMobile, mobile apps will have a huge impact on the fashion industry over the next few years. A survey conducted by the Luxury Institute in 2012 confirmed that 80% of wealthy smartphone users had downloaded a fashion app, and two-thirds had shopped on their smartphone.
Some retailers are even starting out online or in apps as well, eliminating the entire in-person shopping experience all together. Tobi and ModCloth are two retailers that have embraced this method of retail, with some of the features being exclusively available on their apps.
ModCloth has a feature called Fit For Me, which allows users to input their measurements and read reviews of clothing that other people with the same or similar measurements have bought. Fit For Me, however, can only be used on ModCloth’s mobile app.
And the apps aren’t even limited to retailers at all. The fashion industry has expanded to include beauty companies such as Glamsquad, an in-home pampering service users could initially order on the Web.
But now, users can order their nail, makeup and hair treatments from the comfort of their iPhone (unfortunately right now that’s the only smartphone Glamsquad operates on) with the site’s app. #BirthdayPartyIdeas, am I right?
In a nutshell, the world of mobile apps has taken the fashion world by storm. We can only hope the future of mobile apps will have an even bigger impact on the fashion world — and vice versa. Cha-ching!
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