This article first appeared on The Business of Fashion
Rachel Arthur recaps the highlights of this year’s SXSW Interactive conference and identifies key takeaways for the fashion industry.
The big story coming out of Milan Fashion Week today was of course about the Fendi drones.
Referred to as a sign of the luxury house’s commitment to “innovation and creativity”, the initiative saw four drones installed with cameras recording its autumn/winter 2014/15 show. As they flew above the runway, that footage was beamed back to those watching online at home.
“The main reason for doing this is to be able to offer impressive images and an experience that even surpasses being at the actual show,” Pietro Beccari, president and chief executive officer of Fendi, told WWD ahead of the event.
So a couple of key thoughts…
First off, Beccari also said the drones – which were powered by Parrot and in collaboration with the creative department of Google – wouldn’t be at all disruptive. “They are small, and we will increasingly get used to such technology,” he said. That might well be the case, but we’re not used to them yet, which meant most people actually in attendance in Milan focused predominantly on the bots over the collection.
Note several of the below Instagram posts, and this tweet from the FT’s Vanessa Friedman:
As far as publicity goes, that’s not a bad thing of course (more on that in a minute) – fashion shows as entertainment are by no means a new concept, after all.
What should have been spot on though, was the experience for those at home. Beccari said it would be completely “immersive and unprecedented”, thus far better than watching in person from the front row – so what was expected was a high-definition, up-close view.
A dashboard on the Fendi website hosted both a classic stream of the show and the “Drone Cam” to choose from. Like Topshop has done in the past, viewers could take snapshots of whichever they were watching and then share those collection images with their Facebook and Google+ friends and followers.
Unfortunately, the quality of the drone recording was, for all intents and purposes, awful. Up-close and personal? It was not. The shapes of the pieces the models were wearing could barely be made out, let alone the finer details of the line. The snapshot tool did work, as you can see in the screengrab below (which also documents the blurry runway), but the share function didn’t; merely clicking through to Facebook, before just getting stuck.
That was both the case with the live-stream version and the on-demand recording that has been on the Fendi site since. In fact, the recording that is up there now is actually a slightly better version in terms of the drone camera used – a switch was clearly made post live event.
But back to the question in the title of this post, were the Fendi drones merely tech for tech’s sake or a smart Milan Fashion Week move? The answer, I’d argue, is both.
It goes without saying this was absolutely tech for tech’s sake. And by that I mean technology that is essentially pointless (the traditional live stream providing a far more detailed and therefore beautiful view), but is employed on the grounds of the fact it makes for a great, albeit gimmicky, story. This is how most big-budget retail technology launches currently operate.
And a great story it was. Given drones were already buzzworthy thanks to Amazon’s Jeff Bezos’ December 2012 announcement, this was a topic top of mind and tip of tongue for many people, not to mention key members of the press. Fendi captialised on that (smoothly avoiding anything along the lines of privacy or security concerns), and won key coverage in everything from The Guardian to Bloomberg as a result, with New York Magazine’s The Cut, The Times and Fashionista inbetween. The only angle otherwise hyped was the Karl Lagerfeld doll that model Cara Delevingne carried to both open and close the show – and even that also had a Big Brother camera in it.
Let’s not forget this is a big coup for Milan Fashion Week – hardly the epicentre of fashion and tech stories any prior season. Fendi, under the creative direction of Lagerfeld, is also not the first brand you’d think of to lead in this space. Burberry maybe. Diane von Furstenberg perhaps. Even Dolce & Gabbana at a push, but not likely Fendi.
Beccari referred to the company’s investment in the development of its digital content as a bid to speak to a younger customer base. One thing’s for sure, there’s a whole raft of tech (and journo) types who have at least now heard of that brand called Fendi. And on that basis, yep, it was a pretty clever move too.
Remember that time when…
What’s interesting about Topshop’s digital plans for London Fashion Week this season, is its focus primarily on the store – on shoppers rather than showgoers.
The British retailer is partnering with a company called Inition to offer consumers a virtual reality experience from its Oxford Circus flagship. Specially commissioned Oculus Rift-based headsets will enable individuals to see its catwalk event taking place in the Tate Modern’s Turbine Hall on Sunday, February 16, through a 3D virtual world – from VIP arrivals and backstage sneak peeks, to the Unique collection show itself. The telepresence technology will make them feel as though the models are walking in front of their eyes, and the celebrities sat right beside them.
This is substantially more advanced than Burberry’s 3D streaming to customers in its stores in 2010. Wired has a great write-up explaining why: “Those wearing the [Inition] headsets – incorporating headphones and the Oculus Rift – will be able to see the live catwalk unfold if they look straight ahead on one virtual screen as well as the celebrities they are sitting ‘next to’, thanks to an 180-degree wide angle on the stream. If they look behind them at a second virtual screen they’ll get a view into the backstage area, where models will be having their hair and makeup done. If the wearer happens to look up, they will ascend into a higher level, where they will be able to see the rafters and a number of 360-degree images of, for example, celebrity selfies. All around the virtual screens and other elements, the environment has been designed to look like the Turbine Hall, with concrete and large girders.
“On top of the live stream will be built a number of animated elements that reflect the theme of decay that characterises the autumn/winter collection. So there will be leaves, flowers and crows that fly around on top of the space. Tweets using a specific hashtag will emerge in the virtual world as petals dropped by the virtual crows.”
Andy Millns, co-founder and creative director of Inition, said: “Virtual reality is the ultimate interface to the digital world with the power to transport the user to another place as soon as they put on a special display. This unique technology has the potential to open up fashion shows to the consumer at home and we believe this will be the first of many executions of this kind.”
Last season, Topshop partnered with Chirp, a start-up that enabled the sharing of content via sound. It was a cute idea, and was fun to play with for those who tried, but the truth is (according to those involved) it wasn’t all that successful. Very few people at the show actually downloaded the app you had to have, let alone then had it open ready to collect the specific sounds emitted as the show took place. The Chirp Garden hosted in the store was no doubt a smarter move in terms of engagement. That said, it led to content shared, rather than an immersive experience.
The headsets for this coming weekend, as abstract as they might look and feel to wear, go back to what opening up show access is really about: making consumers feel involved. And not just via the web or social media, but in the brand Mecca that is the flagship store. Topshop Oxford Circus is arguably one of the best global examples of this – a tourist destination, an immersive consumer experience, and a space that has played host to all sorts of other campaigns; a shoppable Pinterest wall, a series of talks and events for those interested in the industry, a Tweet Shop for Halloween and more.
The one downside with this virtual reality initiative of course is that it’s restricted to just a few. A competition is being held in the run up to Sunday’s show via social media, which will result in five winners who will be the first to experience it. The installation will then be available to further visitors – we presume those who sign up, or queue for it – on-demand, for three days.
But as mentioned, that’s only at the Oxford Circus location, and not any of the other 400+ Topshop stores – directly owned or otherwise – around the UK and the rest of the world.
And that’s part of the issue with in-store tech innovation at present. It’s a costly move, it’s also an experiment most of the time, so it tends to be limited to one place. This campaign specifically is quite a unique example, and undoubtedy one best suited to the flagship on the basis it’s the theatrical homeland of the brand. With most other initiatives, however, the technology – no matter how far away from being a gimmick it is – won’t become more than a PR story if the majority of consumers don’t ever get to see or experience it.
Topshop is referring to this virtual reality installation as not just transporting the viewer, but providing an insight into how we will consume media in the not so distant future. This fashion week, it’ll still largely be an exclusive experience, but the potential is there.