Investigation of emerging

technologies during
product development
process of clothing industry
Sofia Chatzopoulou

UNIVERSITY CENTER OF INTERNATIONAL PROGRAMMES OF STUDIES

SCHOOL OF SCIENCE AND TECHNOLOGY

A thesis submitted for the degree of

Master of Science (MSc) in Strategic Product Design

March 2022
Thessaloniki – Greece
Student Name: Sofia Chatzopoulou

SID: 1106190021
Supervisor: Prof. Ilias Matsas

I hereby declare that the work submitted is mine and that where I have made use of
another’s work, I have attributed the source(s) according to the Regulations set in the
Student’s Handbook.

March 2022
Thessaloniki - Greece
Abstract

This dissertation was written as part of the MSc in Strategic Product Design at
the International Hellenic University.

Digital transformation pushed the fashion industry to adopt digital technologies

in its manufacturing processes. Meanwhile, the pandemic of Covid-19 has enforced the
digitalization of many services, which in turn has enabled innovation, efficiency, and
new ways for businesses to scale up.
In the creative process of the fashion industry, the Covid-19 epidemic sped up
the adoption of digital technologies, which had remained untouched, depending on
analog technologies that made the process extremely bureaucratic, time-consuming,
and costly. The widespread adoption of digital technology in manufacturing industries
has resulted in a revolutionary approach to business activities that connects both
mechanical and human components of the value chain, resulting in more efficient,
flexible, fast, and reliable business processes. However, the status of Digital
Transformation in the Greek manufacturing fashion industry has not evolved
significantly during the recent years.
The objective of this research study is to critically illustrate how emerging
technologies can be applied during the product development process, in a post-Covid
period, in the Greek manufacturing fashion industry. This study provides value to all
enmeshed members via a use case that investigates the application and effectiveness
of the integration of digital tools in the process of apparel product development; and
illustrate a possible solution for manufacturers and designers to launch their new
developments using AR technology.

Keywords: digital, AR, fashion, transformation, 3D.

Sofia Chatzopoulou
3/3/2022
Acknowledgements

The completion of the dissertation indicates the end of two very challenging
academic years. The last two years were full of hard work, enthusiasm, and fun but
also of many challenges which I had to overcome.
During this journey, I was surrounded by wonderful people who supported me
all the way. Therefore, I would like to express my sincere gratitude to my supervisor
Dr. Ilias Matsas, for his faith, his contribution and valuable guidance, his perseverance,
his continued support, and the undiminished interest he showed from beginning to
end. I especially thank Professor Dr. Evridiki Papachristou, as a member of the three-
member committee, for her constructive suggestions and her valuable contribution to
the completion of this thesis. Without her support and motivation, the completion of
my dissertation would be much more difficult. I would also like to warmly thank
Professor Dimitris Tzetzis, for his support, who was present whenever I needed him
during my studies at IHU, as the Head of the Strategic Product Design, and as a
member of the three-member committee. Also, I would like to express my
appreciation to CADLab of the School of Production Engineering & Management,
Technical University of Crete, for the courtesy of its V-Stitcher software license only for
this research interest.
Finally, I am deeply grateful to my parents and my brother Apostolis for their
endless support and understanding on this journey.

-i-
List of illustrations

List of Pictures
PICTURE 1: LEVI’S F.L.X. PROJECT (SOURCE: LEVI STRAUSS & CO) ........................................................................... 17
PICTURE 2: ASOS’ VIRTUAL CATWALK (SOURCE: FISH,2019) .................................................................................. 20
PICTURE 3: PUMA’S LQD CELL ORIGIN AIR (SOURCE: KOLBRÜCK, 2019) ................................................................. 21
PICTURE 4: KHAITE’S (SOURCE: COURTESY OF KHAITE , 2020) ................................................................................ 22
PICTURE 5: THE ENVIRONMENT OF VSTITCHER SOFTWARE ...................................................................................... 27
PICTURE 6: THE AVATAR WITH MEASUREMENTS.................................................................................................... 28
PICTURE 7: THE PHYSICS OF THE DIGITAL FABRIC ................................................................................................... 29
PICTURE 8: IMPORTED PATTERN BLOCKS IN VSTITCHER SOFTWARE ............................................................................ 30
PICTURE 9: ORGANIZED PATTERN PIECES IN VSTITCHER SOFTWARE ........................................................................... 31
PICTURE 10: ASSIGNMENT OF DIGITAL FABRICS..................................................................................................... 31
PICTURE 11: VIRTUAL STITCHING IN VSTITCHER SOFTWARE ..................................................................................... 32
PICTURE 12: PIECES ARRANGEMENT ON AVATAR PERSPECTIVES................................................................................ 32
PICTURE 13: DIGITAL GARMENT PREPARATION BEFORE SIMULATION ......................................................................... 33
PICTURE 14: VIRTUAL PROTOTYPE ..................................................................................................................... 34
PICTURE 15: PRESSURE MAPS OF VIRTUAL PROTOTYPE .......................................................................................... 35
PICTURE 16: TENSION MAPS OF VIRTUAL PROTOTYPE ............................................................................................ 35
PICTURE 17: COLORWAYS WORKSPACE ............................................................................................................... 36
PICTURE 18: COMMUNICATION WITH ANNOTATION MESSAGES ............................................................................... 37
PICTURE 19: PREVIEW OF THE REQUESTED GARMENT ............................................................................................ 38

List of Figures
FIGURE 1: 2D PRODUCT DEVELOPMENT PROCESS.................................................................................................. 11
FIGURE 2: TECHNOLOGY OPPORTUNITIES ACROSS THE APPAREL VALUE CHAIN (SOURCE: ACCENTURE, 2019).................... 12
FIGURE 3: END-TO-END DIGITAL TRANSFORMATION (SOURCE: BCG, 2020) ............................................................. 13
FIGURE 4: WORKFLOW OF THE 3D PD PROCESS IN THE APPAREL INDUSTRY ................................................................ 16
FIGURE 5: HOW XR INTERFERE (SOURCE: ROJAN,2017) ........................................................................................ 19
FIGURE 6: AR SHOWCASE WIREFLOW ............................................................................................................. 1641
FIGURE 7: AR SHOWCASE................................................................................................................................. 41

-ii-
Contents

ABSTRACT ...................................................................................................................... III

ACKNOWLEDGEMENTS .................................................................................................... I

LIST OF ILLUSTRATIONS.................................................................................................. II

List of Pictures ................................................................................................... ii

List of Figures .................................................................................................... ii

CONTENTS...................................................................................................................... III

INTRODUCTION ................................................................................................................1

DIGITAL TRANSFORMATION IN THE FASHION INDUSTRY ..............................................3

THE ROLE OF INDUSTRIAL REVOLUTIONS IN THE FASHION INDUSTRY & DIGITAL TRANSFORMATION ...3
DIGITAL TRANSFORMATION ENABLERS .................................................................................4
Sustainability .....................................................................................................4
Customer Awareness..........................................................................................5
The Covid-19 Pandemic.....................................................................................6
INNOVATION IN PRODUCT DEVELOPMENT .............................................................................8
THE 2D PRODUCT DEVELOPMENT PROCESS ...........................................................................9
DIGITAL TECHNOLOGY OPPORTUNITIES IN PRODUCT DEVELOPMENT PROCESS ..............................11
VIRTUALIZATION DURING PRODUCT DEVELOPMENT ..............................................................13
DIGITAL PRODUCT DEVELOPMENT – A SHIFT FROM 2D TO 3D PRACTICES .................................15
INTERNATIONAL FASHION BRANDS IMPLEMENT DIGITAL TECHNOLOGY .......................................16

THE POWER OF AUGMENTED REALITY (AR) IN THE FASHION INDUSTRY....................18

AUGMENTED REALITY IN FASHION INDUSTRY........................................................................20

DIGITAL TRANSFORMATION IN THE GREEK FASHION INDUSTRY ................................22

USE CASE .........................................................................................................................24

FIRST STAGE – DIGITAL FASHION COLLECTION USING 3D TECHNOLOGY ......................................25

The Ideation .....................................................................................................25
The Specification sheets ...................................................................................26
The 2D pattern development ............................................................................26

-iii-
 The 3D PD process ..........................................................................................26
The Avatar creation .........................................................................................27
Digital Fabrication ..........................................................................................28
The 3D Prototype and Fit sample (FS) ............................................................29
FS review .........................................................................................................34
Different Colorways .........................................................................................36
Communication and review between the supplier and the stakeholder...........36
PP Sample – Pre-Production Sample ..............................................................38
SECOND STAGE – AR SHOWCASE .......................................................................................38
The structure ....................................................................................................39
Screen design ...................................................................................................40

RESULTS & DISCUSSION .................................................................................................43

CONCLUSION ..................................................................................................................44

BIBLIOGRAPHY ...............................................................................................................45

APPENDIX A – MOODBOARDS .........................................................................................1

APPENDIX B – FLAT SKETCHES .........................................................................................4

APPENDIX C – SPECIFICATION SHEETS ............................................................................8

APPENDIX D – VIRTUAL PROTOTYPES ...........................................................................13

-iv-
Introduction

The purpose of this research is to investigate the drives the fashion industry
into adapting technology in its manufacturing processes; to explore the way digital
technologies enhance the design process; and to evaluate how AR technologies can
facilitate B2B interaction and communication, boosting clothing brands’ economic
performance and extending their stakeholders’ satisfaction, or other enmeshed
involved in the supply value chain. It will be critically illustrated how emerging
technologies can be applied when creating collections, providing value to previous
mentioned focus groups in a post-Covid period in the Greek fashion industry.
The clothing industry produces 2% of global GNP (GDP) (Vilaca, 2022), emerging
its significance for the economy. Many enterprises around the world are investing
money in designing and producing clothes. However, manufacturing practices remain
almost untouched over time as production demands increase rapidly. This draws the
attention of research, focusing on the aspects of sustainability, profitability, and
efficiency in the clothing production industry.
This research will critically illustrate how emerging technologies can be applied
when creating collections, providing value to the professionals of the Greek apparel
manufacturing sector of the supply chain in a post-Covid period. The practical
significance of this work is that going digital will assist the designers and manufacturers
to reach a wider audience and position the supplier and the stakeholders much closer
in global business. Vendors of 3D may benefit, bringing new built-in possibilities to
their products to serve better communication among stakeholders.
In the following chapters of this thesis, we will present the evolution of
technology till the Digital Transformation of the industry; and will discuss the enablers
of Digital Transformation during the product development of the fashion industry. In
the next chapter, we will describe the need for innovation at the Product Development
stage of the supply chain by describing a typical PD process of the fashion industry. We
will then identify the digital technology opportunities that arise in the PD process and
the tools which help the designers to create a digital garment; followed by the new 3D
digital process accordingly. Next, we will observe examples of the way international
fashion brands implement digital technology in their practices. In the following

-1-
chapter, we will present the role of Augmented Reality (AR) in the fashion industry. In
the next chapter, we will present data on the status of the Greek fashion industry in
Digital Transformation. On the chapter to follow, a use case will follow, aiming to
investigate the use and effectiveness of current digital tools and software in apparel
Product Development. The author’s contribution to this process is significant through
her professional experience as a fashion designer. During this process, we will create
technical drawings of the garments in Adobe Illustrator and the specification sheets in
Excel. We will develop 2D pattern blocks using Polypattern software. The virtual 3D
prototypes of the garments will be created with the help of V-Stitcher software
(Browzwear). Finally, a simple mobile AR demo will be implemented. Through the AR
demo, we will examine some preliminary benefits in the PD process, especially in
terms of 3D visualization, mutual understanding, and productivity. In the next chapter,
we will present and discuss the outcome of the use case in relation to the primary
goal. Finally, in the last chapter, we will report the conclusions coming out of our
research and we will propose future research.

-2-
Digital Transformation in the fashion industry

Throughout history, people depended on technology. People exploited

technology either to solve a problem, to live better, or to innovate. Production systems
are also changing because of technological advancements. In this concept, since 1765,
humankind has experienced several industrial revolutions. Each industrial revolution
refers to a shift in manufacturing technology radically different than prior. In this
concept, the fashion industry was also affected.

The role of Industrial Revolutions in the fashion industry & Digital Transformation
The 1st industrial revolution, which started at the end of the 18th century,
ushered the mechanization, powered by water and steam. The 2nd industrial
revolution, a century later, enabled the start of mass production by equipping industry
with electricity and other inventions. The 3rd industrial revolution, in the second half
of the 20th century, was based on automation and optimization while focusing mainly
on maximizing the already enhanced productivity (Insitute of Entrepreneurship
Development, 2019). We are currently experiencing the 4th Industrial Revolution, also
known as Industry 4.0. It is the next step in production automation. Industry 4.0
introduced digital technologies to upgrade industries to overcome some of the
challenges that manufacturers were facing, from global competition to environmental
pollution, and working conditions (Kaplanidou, 2018). The term “digital technologies”
refers to various intelligent and innovative technologies, such as big data analytics, the
Internet of Things, and cloud computing (Li, et al., 2020).
Apparel manufacturing is characterized by labor-intensive -often craft-
processes, a wide range of product designs, a large production volume and intense
competition. During the first three industrial revolutions, the industry was trying to
meet efficiency in its production system. From increased productivity to mass
production, to maximize productivity in combination with the reduced price. (Jin &
Shin, 2021). During the 3rd Industrial Revolution, CAD and CAM systems entered the
industry and increased the production’s speed, flexibility, and accuracy, which led to
automated production while the use of these systems became the new norm for the
PD process (Jin, et al., 2019). Currently, on the rise of the 4th Industrial Revolution, the

-3-
deployment of digital technologies in the apparel manufacturing processes target at
improving productivity, exploiting resources optimally and reducing labor intensity.
This new era marks the beginning of cultural, organizational and operational
changes across the industry, where technology advancements push the industry to
transform. The industry shifts from a labor-intensive industry to a heavily technology-
driven one. Digital transformation is “the profound and accelerating transformation of
business activities, processes, competencies, and models to fully leverage the changes
and opportunities brought by digital technologies and their impact across society in a
strategic and prioritized way” (Demirkan, et al., 2016).

Digital Transformation Enablers

We have seen how the advancement of technology, as the primary enabler,
pushed the industry to adopt digital technologies in its manufacturing processes. But it
is not only advanced technologies that drive the fashion industry into this digital
transformation.

Sustainability
Firstly, around the world, the clothing industry's environmentally hazardous
supply chain practices are being scrutinized more closely. Industry’s pollution has
emerged as one of the most pressing concerns for governments, policymakers, and
consumers. The fashion industry covers a significant part of the global economy. It
generates 2% of global GNP (GDP). According to recent reports, the fashion industry is
worth over 3000 billion dollars, and the projected growth rate is increasing.
However, the fashion industry's growth is accounted for harming the global
environment (Fung, et al., 2020). According to the Secretary of the United Nations
Economic Commission for Europe (Nelson, 2018), the fashion industry ranks second in
the water consumption of all industries worldwide and generates around 20% of
the world's wastewater and contributes 10% of total global emissions, which is more
than the combined emissions of maritime shipping and international aircraft.
Furthermore, because of fast fashion, the demand for quick manufacturing and
planning increases. The finished products are being manufactured and launched in the
market for consumption in a couple of weeks (Niinimäki, et al., 2020). Zara alone

-4-
produces about 840 million pieces of clothing for sale in its 6,000 stores around the
world each year (Marquis, 2021). According to World Resources Institute, the average
consumer bought 60% more clothes in 2014 than in 2000 but kept each garment for
half as long (McKinsey Sustainability, 2016). It is estimated that 30 tons of used
garments are discarded or end up in landfills annually (World Resources Insitute,
2019).
Despite its negative environmental consequences, the industry continues to
grow, thanks in part to the growth of fast fashion, which is based on low-cost
production, frequent consumption, and short-term garment use (MOTIF, 2021). If
current production and consumption patterns continue, the fashion industry is
expected to contribute a quarter of the world's carbon budget by 2050 (The Guardian,
2018). Thus, fashion executives around the world have stated that environmental
sustainability is the industry's single greatest concern (McKinsey & Company, 2020).
As a corollary, fashion companies and factories strive to improve their long-
term performance because they are aware that their actions may jeopardize their
business. Bearing in mind the triple bottom line approach that considers that the three
pillars of sustainability are based on people, profit, and the planet (Piccarozzi, et al.,
2022), every fashion company should rethink how they run their business to introduce
and accomplish new sustainable practices.

Customer Awareness
The second factor is due to consumer awareness of the challenges that arise
out of fast fashion, during the manufacturing process of fashion products, which has
resulted in a push for environmentally sustainable development and ethics
(Todeschini, et al., 2017). Transparency in the supply chain is increasingly seen as an
essential value by consumers (Souza, 2020). The revelation of the fashion industry
mistreating workers is not new. The Rana Plaza complex, in 2013, became the
deadliest garment factory accident in history, claiming more than 1,000 lives, and
exposed the dangers the global south garment workers experience due to the high
demand of fast fashion (Webster, 2019). In 2020, an undercover report exposed the
unsafe working conditions of an emerging fast fashion brand revealed that workers

-5-
were being paid £3.50 an hour instead of the UK minimum wage of £8.72. The factory
has been accused of modern slavery (Open Access Government, 2021).
In recent years, however, there were some signs to suggest that the fashion
industry is beginning to come to terms with its human and environmental impacts. We
have witnessed some initiatives like the 2015 United Nations Sustainable Development
Goals (SDGs) (UN - SDG, 2021), the Fashion Industry Charter for Climate Action
presented at COP24 in Poland in 2018 which were renewed in the UK in 2021 (UN
Climate Change, 2021). This initiative was followed in 2019 with the United Nations
Alliance for Sustainable Fashion (UN Alliance for Sustainable Fashion, 2021) and The
Fashion Pact presented to G7 world leaders in Biarritz by Emmanuel Macron. Many of
these initiatives are supported by some of the world’s largest fashion brands, such as
Adidas, H&M, Inditex, Gap, and Ralph Lauren (Fashion Pact, 2020).
For this reason, many companies make constant efforts to comply with
international laws and standards on ethics.

The Covid-19 Pandemic

In the early months of 2020, Covid-19 brought the whole industry to a halt
described as a “perfect storm”. Fashion weeks were canceled, stores were shuttered,
workers were furloughed, and unsold inventory was accreted, putting the industry
increasingly in financial distress. (McKinsey & Company, 2020). Especially, when China
was hit by Covid-19, had a strict lockdown, factories were forced to shut, and that
challenged the manufacturing global supply chain with profound delays in materials.
Such delays in sourcing for the fashion industry are crucial since its products are
seasonal. Then, the virus spread in most countries resulting in massive order
cancellations or postponements affecting heavily both the vendors and manufacturers
(ITMF, 2020). As the global textile market is interconnected, this outbreak has a global
impact due to travel restrictions and raw materials shortages. Smith (2022), in
comparing the Europeans’ clothing industry production of April-June 2020, when
global coronavirus cases reached a peak, to the same period of 2019 announced a
dramatic production fell by 37.4%.
On the other hand, the pandemic of Covid-19 has enforced the digitalization of
many services, which in turn has enabled innovation, efficiency, and new ways for

-6-
businesses to scale up (McKinsey & Company, 2020). In the creative process, the
Covid-19 epidemic sped up the adoption of digital technology, which had remained
untouched, depending on analog technologies that made the process extremely
bureaucratic, time-consuming, and costly. Computerized production methods, such as
3D body scan technologies, automated pattern generation, virtual simulation, and 3D
printing have revolutionized the creative environment in which designs are developed
and eventually manufactured (Spahiu, et al., 2021). Matthew Drinkwater, Head of
Fashion Innovation Agency (FIA) stated that “COVID-19 is forcing brands to engage and
experiment with immersive technologies. We've been inundated with requests on how
to create virtual clothing, virtual catwalks and virtual showrooms” (Rondoni, 2021).
Fashion designers experimented with digital technologies to reach their
audience. We saw, Balmain, teamed up with LG to reimagine the exclusive front row
for celebrity guests at the spring 2021 show, where VIPs tuned in via LG OLED TVs
situated in rows across the venue, just as if they were sitting in seats facing the show
(Azzarello, 2020). While major fashion businesses rush to innovate in the face of
COVID-19, Hanifa, a Congolese fashion designer, presented a totally virtual fashion
show. Streaming over Instagram Live, each garment appeared in 3D in a black
background, as if worn by invisible models. Her show has been marked as
“groundbreaking” (Barr, 2020). Moreover, we have witnessed the found of new
fashion houses that only produces digital clothing and how co-operating with major
international brands put the digital and virtual fashion on a new level, such as the
Fabricant with Napapirji. In this cooperation the Fabricant created digital clothing
samples in place of physical ones, eliminating textile waste in the process (Roberts-
Islam, 2020). The fashion industry and the creative environment have transformed
dramatically.

The revolution on the Product Development Process in the fashion

industry

We have described the significance and the evolution of the fashion industry
throughout the years. This new era marks the beginning of cultural, organizational and
operational changes across the industry, where technology advancements push the
industry to transform.

-7-
 In this chapter we will describe first the need for innovation, focusing on the
stage of product development of the supply chain. To understand the emergence, we
will illustrate how fashion companies currently cope with the product development
process. We will then identify the digital technology opportunities that accelerate the
product development process and we will introduce 3D virtual technology as a
solution. Then, we will describe how a digital workflow using 3D technology would
affect the apparel product development process and we will present some examples
on how international brands have embraced digital technologies in their practices. In
the last section of this chapter we will show the role of immersive realities, and
especially augmented reality (AR), in the fashion industry.

Innovation in Product Development

Unlike many other industries, fashion remains a very traditional industry. For
many years, the product design and development process has changed little. It follows
repetitive cycles of samples, fittings, and design alterations to interpret the designer's
vision into a physical product –sample– until its approval for production. However,
social distancing and lockdown highlighted how the digitization of fashion brands must
be a priority, not only to recover from the Covid-19 crisis, but also to anticipate the
needs of the modern customer. For this reason, during and post- Covid19 period, a
radical shift happened. Most activities moved online.
The pandemic brought the significance of the digital in fashion industry even
more to evidence. McKinsey (2020) in a report outlining where the fashion industry
should focus in the post-Covid period, highlighted the fact stating that “To cope with
new restrictions, mitigate the damaging impact of the pandemic and adapt to
economic and consumer shifts, companies must introduce new tools and strategies
across the value chain to future-proof their business models. Fashion players must
harness these innovations and scale up those that work in order to make radical and
enduring changes to their organizations — and to the wider industry — after the dust
settles” (McKinsey & Company, 2020).
Innovation is the development of new products, production processes,
business practices or forms of organization. It is key to the creation of competitive
advantages in organizations and increasingly at the center of long-term strategy. In

-8-
their study “Product Innovation in the Global Fashion Industry”, Jin and Cedrola (2017)
indicated that apparel items can gain additional value in three ways; a. by using high-
quality materials, c. producing creative styles, and c. by the way an apparel item is
envisioned at the final product development stage (Jin & Cedrola, 2017).
To understand the emergence for the fashion industry to include new
innovative practices during the product development process, we will illustrate how
fashion companies currently struggle with existing product development process.

The 2D Product Development process

The traditional, and most widespread practice (Lou, 2020), of the industry’s
Product Development (PD), starts with the design phase or ideation phase. In this
phase, the stakeholder’s creative ideas are communicated to the suppliers. The
creative minds of the stakeholder provide to supplier 2D information of the brand’s
vision, usually as flat sketches –line sketch-, which illustrate the final product, along
with the relevant technical information –instructions and measurements-. Papahristou
(2016) states that “some designers still use pen and paper as design tools, where others
might use inexpensive computers, systems, and graphics software such as Photoshop,
Illustrator, and CorelDraw to strengthen the creation and development of their designs
(technical illustrations and visuals), presentations and clothing ranges, and manage
their workflow”. This tech pack is significant and forms the basis of a binding contract
between the stakeholder and the supplier that produces the garment (Papachristou,
2016). All these data are known as specification sheets or specs. After providing all the
necessary data to the supplier, the apparel product development process begins.
The process begins with the development of 2D patterns according to the
measurements defined by the interested party in the provided specification sheet. The
next step is to prepare the first sample for sewing. At this stage, the patterns are
placed on the fabric and the fabric is cut, usually with the help of CAD / CAM systems,
and send the pieces to assembly. This is the first sample of the process and is known as
Proto Sample (PS). It is based on the sketch, specifications, and construction details
from the technical package provided to the pattern maker. The PS is then given either
as a physical or as a picture to the salesperson who gathers feedback from buyers to
forecast the demand for a specific style. Upon a successful style, the supplier develops

-9-
a Fit Sample (FS) according to the stakeholder’s specs and sends it back to the
stakeholder. The stakeholder will conduct a fit session of the FS on a live model. A
relevant team will check the fit and the accuracy of the style based on the technical
pack. The stakeholder will measure the FS, pin the garment, and send it back to the
supplier revised with updated specifications to make a new FS. The supplier will make
the appropriate alterations, will develop a new FS, and send it back to the stakeholder
for approval. This process of back and forth can be repeated many times till the sample
gets approval. As soon the FS will get approved, that sample is the Pre-Production
sample (PP Sample). This is the final sample before bulk production starts. PP sample
works as reference throughout the production for workmanship, specifications, and
fabrication (fabric, trims, and accessories) (Nikolic, 2019) and represents what the end-
customer will buy in stores. The PP sample is of the foremost importance since it is the
visual and tangible contract between the stakeholder and the supplier that develops
the garment. Figure 1, shows the workflow of the 2D PD process in the apparel
industry based on author’s previous working experience in export manufacturing
companies.
As a result, reaching the PP sample following the traditional 2D PD process is a
very time-consuming and high-cost procedure, as each stage of it is successively
independent of another – one stage needs to complete so the next starts-.
Furthermore, communication failures among stakeholders during this iterative
process, frequently result in incorrect interpretations of the initial design (Papachristou
& Bilalis, 2016), resulting in an even more inefficient PD process.

-10-
 Figure 1: 2D Product development process

Digital technology opportunities in product development process

To face these constraints in the 2D PD process, it has been broadly reported
that the adoption of 3D digital technologies during the design and development
process can help fashion companies reduce the lead time, as well as the errors in
prototypes due to misunderstandings with manufacturers or other actors involved in
the chain, and the number of physical samples required (Arribas & Alfaro, 2018). The
pervasiveness of technologies in manufacturing industries has given rise to a novel
approach to business activities that interconnects all the components of the value
chain, both mechanical and human; this interconnection results in more efficient,
flexible, fast, and reliable business processes (Varra, 2021). Digital technologies can
become the future norm in the fashion media and the technology ecosystem,
reinforcing the digitalization process of the industry (Silvestri, 2020).
Accenture, a world-known strategic and consulting company, in researching the
transformation on the fashion supply chain, identified the technology opportunities
across the apparel value chain. However, to this thesis’s scope in product
development, the focus will be on the Plan & design stage of the value chain. The first

-11-
opportunity is during the digital product design, where design tools allow real-time
sharing of digital design/fit assets between manufacturers and stakeholders, as well as
rapid sampling using innovative technologies, such as 3D-printing; and these design
tools are associated with digital technologies. The second opportunity has been
pinpointed upon Virtual design tools, where the use of Digital Product Creation
technologies provides designers with tools to visualize garments to a higher fidelity
earlier, to eliminate early physical sample iterations. The associated means are AR/VR
technologies (Accenture Strategy and Consulting, 2019). Figure 2 shows the technology
opportunities across the apparel value chain.

Figure 2: Technology opportunities across the apparel value chain (Source: Accenture, 2019)

However, fashion companies, to meet the challenge and capture the

opportunity of digital transformation, need to transform from end to end. The whole
value chain should be affected, starting with planning (Hämmerle, et al., 2020). Figure
3 illustrates Digital Transformation should be an end-to-end solution.

-12-
 Figure 3: End-to-end Digital Transformation (Source: BCG, 2020)

Virtualization during Product Development

Currently, innovations in 3D visualization technology allow 3D Visual
Prototyping (VP) and bring a unique opportunity for the suppliers and the stakeholders
to overcome the aforementioned challenges. 3D product virtualization is defined as
the creation of a digital asset that offers a true-to-life representation of both the visual
and physical properties of the final manufactured product. (Weave, 2020).
Several vendors offer 3D software solutions –like Browzwear, Clo, Optitex, and
Gerber– and provide the industry with digital tools to 3D visualize garments in real-
time. Unlike the traditional 2D process, 3D visualization technology enables the
enmeshed in the PD process, to cover the needs of communication for shorting the
prototyping stages by carrying out virtual fit reviews and approvals, as well as buying
sessions across the supply chain on true-to-life virtual avatars, while significantly
reduce the PD time and cost (Lou, 2020). The benefits of 3D visualization have been
broadly studied by researchers in the previous years. (Papachristou, 2016) in exploring
the effective integration of 3D virtual prototypes in the PD of the fashion industry,
identified the most significant benefits of this technology. Concisely, 3D digital
prototyping: a. reduces the product development time, b. reduces the need for
physical samples, c. reduces the consumption of raw materials, d. improves workflows
and decision-making, e. enhances decision making, and f. it allows companies to be
more agile and responsive to changing market needs. Moreover, the current lifecycle
for a garment is between 36 to 60 weeks (Berg, et al., 2018) of which the product

-13-
development process covers from 32 to 52% of overall time (Weave, 2020). Optitex
(2021), claims that a company can save up to 60% of sample production time and
showcase accurate true-to-life virtual samples within hours (Optitex, 2021). It is
evidence that 3D solutions have a substantial impact on sustainability and waste
reduction, where fewer samples mean less material waste and a smaller carbon
footprint.
However, as with any innovative technology, there are also barriers that
prevent the industry from adopting 3D prototyping in their PD process. The main
barrier today remains the lack of experienced users with technical knowledge and
specific skills for this technology (Kampakaki & Papahristou, 2020). However, following
the latest trends in the industry and the use of new digital technologies, the PD
process cannot be restricted to the traditional processes. That does not mean that
everything will go digital. According to Papahristou & Bilalis (2016, pp.4) “the process
will continue to need physical skills like pattern making. Not everything can be replaced
in 3D” (Papahristou & Bilalis 2015). But, employees of the future must be prepared
with a new set of skills to master digital technology, discover new possibilities,
translate innovative ideas into actions, communicate and interact with other people
and machines (Kampakaki & Papahristou, 2020). Varra (2021, pp311), further explains
that “traditional artisans will coexist in companies and within the same role with
hyperspecialized engineers, augmented workers, and advanced craftspeople” (Varra,
2021).
Another great barrier for companies who interact with remote factories is the
lack of communication between different 3D software tools (Papachristou, 2016).
Globalization has allowed collaborations all over the world. Fashion companies today
cooperate with other companies located far away. If these companies use different
software, they might face communication and interoperability problems. And since
each company has many partners, the problem is growing.
Moreover, to leverage 3D technology for the industry to gain critical mass in
using 3D visualization tools is a long-time commitment. For example, in July 2020,
PUMA released a case study describing their 3D product virtualization experience.
Adopting 3D virtualization has required over 3 years at PUMA. This indicates the
timeframes required to build a successful 3D foundation (Weave, 2020).

-14-
 As with any innovative technology, benefits can be accompanied by barriers,
and the transition from a traditionally labor-intensive to a heavily technology-driven
process might be challenging for the industry. Fashion needs to go digital both to
survive attacks and to thrive in the next decade (Hämmerle, et al., 2020).

Digital Product Development – A shift from 2D to 3D practices

As we described previously in this chapter, the traditional 2D product
development process is a very time-consuming and high-cost procedure.
The 3D Product Development follows the same process as the 2D, but without
the need to develop PS or later FS. During the 3D PD process, there are no physical
samples for sewing, neither fabrication nor fit session on a live model. Instead, 3D
technology uses digital fabrication and an avatar – a digital replica of a model- (Jin, et
al., 2019). The avatar is customized on the stakeholder's given measurements and
simulates the live model as on a fit session. The pattern pieces are sewed virtually, and
the fit of the sample is reviewed in the virtual environment, since the digital fabric
simulates its physical properties, creating a Virtual Prototype (VP). Communication and
review between the supplier and the stakeholder upon the VP are possible via email.
The supplier can design alterations directly on the 3D environment avoiding the
repetitive fit controls on a real model that would traditionally be made during the DP
process, till the finalization of all the instructions provided in the specification sheets.
The final stage is the development of the PP sample for final approval, as on the 2D PD
process. This is the only physical sample in the PD process. Figure 4 illustrates the
workflow of the 3D PD process in the apparel industry.
By comparing the two processes, we understand that during the digital 3D
process the evaluation of the prototype virtually eliminates repetitive back-and-forth
movements, as was the case in the previous sample construction model. The apparel
manufacturing companies by potentially shifting their practices and embracing a digital
product development process will benefit at many levels, such as efficiency, cost,
resources, and sustainable issues.

-15-
 Figure 4: workflow of the 3D PD process in the apparel industry

International fashion brands implement digital technology

The fashion industry is undergoing a transition from analog to digital. With
fashion supply chains around the world fracturing in the face of these aforementioned
challenges, international fashion brands and suppliers have already adopted digital
tools such as 3D digital technologies at PD process, thereby reducing waste and lead
time and streamlining physical production post-lockdown.
Several leading fashion brands have already successfully experienced Digital
Transformation by imposing 3D technologies in their PD process. Levi Strauss & Co,
developed the future-led execution project (F.L.X.) that digitizes its traditional
manufacturing techniques to automated while enabling a responsive and sustainable
supply chain. They implemented a revolutionary imaging tool, which replaces manual

-16-
techniques and automates the time-consuming, labor-intensive, and chemical-reliant
process of hand-finishing. This advanced technology enables the brands’ designers to
Create “photo-real” finished garments digitally easier and faster, cutting the
manufacturing time in half (Levi Strauss & Co, 2018). Picture 1 illustrated the F.L.X.
project.

Picture 1: Levi’s F.L.X. project (Source: Levi Strauss & Co)

German fashion luxury house Hugo Boss started experimenting with digital
technology back in 2013. 3D technology for virtual prototypes lets the designers test
the looks of different prints, colors, and fabrics without having to make complete

-17-
physical samples. New models initially created as virtual 3D models on computers and
not on fabrics or patterns as was done typically (Apparel Resources, 2018). At the
conference of the German Fashion Institute (DMI) in November 2018, Brigit Wiech
Senior Head of Product Excellence Woman, said “Eliminating the step of creating
samples in the design process saves money and, more crucially, cuts down the time it
takes to get products on the market. While developing a piece of clothing with a
physical prototype takes two to four weeks, the same process takes only a few days to
a week with a digital alternative” (Zha, 2018). Today, Hugo Boss develops 40 percent
of its collection virtually. Their goal is to digitize the entire process right down to the
store (Apparel Resources, 2018).
Tommy Hilfiger ’s 3D design journey began in 2017. Tommy Hilfiger, which is
owned by PVH Corp., has developed an ecosystem of proprietary tools that enable a
fully digital design workflow. This includes a digital fabric, pattern block, and color
asset library; digital 3D presentation tools, and rendering technology. PVH Corp
announced that Tommy Hilfiger’s Spring 2022 apparel collection will be the first to be
fully digital. This commitment builds upon the company’s vision to digitize its end-to-
end value chain (BusinessWire, 2019).
These are some examples of the way international leading brands increased
their efficiency, through digital transformation, after successfully implementing 3D
technologies in their PD process. However, except 3D visualization, emerging
technologies like augmented reality (AR) are also influencing the fashion industry.

The power of Augmented Reality (AR) in the fashion industry

In today’s world, extended reality (XR), formed by virtual reality (VR) and
augmented reality (AR), is increasingly applied in creative ways in various aspects of
fashion industry.
It's critical to first define the concepts of XR and comprehend how they interact
with the real world as we know it via the usage of technology. The real world we live in
is the perceived reality; virtual reality is a parallel universe that is fully digital and
separated from the real world. In Virtual Reality, individuals can immerse themselves
in a VR experience using VR headsets; on the other hand, in augmented reality, which

-18-
combines parts of the actual world with virtual projections using technology devices
such as smartphones or tablets, lies on the cusp between the two (Rojahn, 2017).
Figure 5 shows a visual representation of the three realities on the way they interfere
with each other. However, to the scope of this thesis, we will focus on AR.

Figure 5: How XR interfere (Source: Rojan,2017)

In AR systems, digital content, such as information and objects, are overlaid in

the real world. AR creates more transformational moments by representing attributes
in an immersive and sensory-rich manner; it makes elements proximal and visually
prominent in physical surroundings (Javornik, et al., 2021). This means that in
comparison to digital technologies, users can still see and interact with the
surrounding environment while getting an enhanced experience with digital details,
such as text description, image and animation illustrations (Gong, et al., 2021).
However, the reproduction of virtual assets using AR may have limited fidelity. Thus,
implementing AR to demonstrate virtual assets may not be able to accurately
reproduce the virtual assets. Moreover, placing virtual assets in a physical space can
become challenging using AR, because interactions are less effective when virtual and
physical objects superimpose (Steffen, et al., 2019).

-19-
Augmented Reality in fashion industry
In the last years, the use of interactive media has been one of the most
relevant trends. In this era where the stimuli from media never leave us alone, fashion
customers are looking more for a rich experience, rather than simple interactivity.
They want to be surprised and involved. Instead of a typical demonstration of new
products, augmented reality can take the monotony out of product launches.
Launching a product using AR allows companies to capture a consumer’s complete
focus. When immersed in an augmented world, customers are less likely to be
distracted, thus allowing them to completely evaluate the product. (Johnson, 2021). In
this manner, AR could work as a new technology solution, to differentiate one’s brand
from competitors and to create an immersive storytelling (Silvestri, 2022).
Increasingly fashion brands are implementing emerging technologies into their
marketing campaigns. For instanse, British online fashion retailer Asos has launched an
experimental new AR feature, called Virtual Catwalk. The aim was to offer its
customers a novel way to view the products in real life with a tap on the screen of
their device, and instantly view models as if they were walking in front of them (Fish,
2019). Picture 2 shows the Virtual Catwalk.

Picture 2: Asos’ Virtual Catwalk (Source: Fish,2019)

-20-
 Sportswear brand Puma, launced the LQD Cell Origin Air sneaker. The physical
sneakers are covered in QR codes that once scanned with a device, it unlocks AR
experiences. Picture 3 shows on the left the LQD Cell Origin Air, and on the right the
LQD Cell Origin Air on augmented fire (Kolbrück, 2019).

Picture 3: Puma’s LQD Cell Origin Air (Source: Kolbrück, 2019)

Augmented reality enables designers to really immerse customers and clients,

“no matter whether we’re talking B2B or B2C”, and bring them into another world, but
without the efforts, costs and special requirements of creating the physical products or
setting for the show (Harba, 2019). Some of the greatest fashion designers have
replaced the traditional demonstartions and fashion shows with AR, providing stunning
storytellings that involve the public. For example, Khaite’s Catherine Holstein, for the
Summer 21 collection, shipped presentation boxes to editors and buyers, each packed
with a lookbook of the collection, including a page of fabric swatches. On some
lookbook photos there were Play buttons that revealed AR elements. Moreover, after
scanning a QR code inside the cover, you were redirected to a new section of the
brand’s website, which took over your phone’s camera and orientation, which
instructed you to scan over the book and 3D renderings of Khaite’s new shoe collection
suddenly appeared in your living room. Picture 4 shows part of Khaite’s collection
using AR (Farra, 2020).

-21-
 Picture 4: Khaite’s (Source: Courtesy of Khaite , 2020)

AR in fashion allows the user to experience and interact with the product
instead of forcing a consumer to imagine how the product would look like. Moreover,
Johnson (2021) argues that “AR increases revenues since when customers experience
products before purchasing them, it deepens their sense of ownership, and may
increase their intention to purchase the product up to 80%”.

Digital Transformation in the Greek fashion industry

In the previous chapter, we have observed how digital transformation via the
adoption of digital technologies can enhance the efficiency of the apparel
manufacturing businesses and how emerging technologies boost customer
engagement in the international fashion industry resulting in increased revenue. In this
chapter, we will examine the status of Digital Transformation in the Greek fashion
industry.

-22-
 Five years ago, Kaplanidou (2018, pp50) in studying how Greek apparel firms
are managing the Digital Transformation stated that “Greek apparel manufacturers are
still in a transition phase. They invest in training their employees to acquire IT skills to
engage them in the digital transformation.” In the same research, evidence shows that
small-size companies “appear to be more open-minded, having embraced the new
innovative technologies and reshaped their business models.” However, in Greece,
there was a great financial crisis that deeply affected the decisions and investments of
that period, leaving limited space for innovations. “Due to the financial situation, there
is quite an uncertainty in the apparel industry, which is a considerable barrier to
innovate” (Kaplanidou, 2018). For that reason, the transformation to digitalization was
going at a low pace.
For the few companies which had already embraced digital transformation, the
main drivers were, firstly, efficiency and accuracy to meet production targets and by
extension firms’ growth; and secondly, for sustainability issues; while little less of
importance was the need to use digital technologies to communicate with the
stakeholders. Greek companies had limited awareness about the advantageous
implementations of the digital technologies in manufacturing, while XR technologies
like augmented reality (AR), and simulation were still in the primary phase. Instead,
Greek firms were investing in training their employees to acquire IT skills to engage
them in the digital transformation (Kaplanidou, 2018).
Recent research from Ponis and Lada (2021) reviewed the current level of
knowledge, understanding, and adoption of Digital Transformation among Greek
fashion companies. They provided insights into how fashion companies perceive and
react to the emerging concept of DT and assessed the current level of its penetration
in their management and operational processes. The research revealed that the Greek
fashion companies “are still hesitating to take daring steps towards digitization,” even
though “92% of the respondents believe that DT will have a severe impact on the
fashion industry”. Instead, they use the digital tools currently available in the market,
mostly for marketing purposes. However, emerging technologies like
Virtual/Augmented Reality and simulation “significantly lag behind”. Meanwhile, the
executives of the Greek fashion companiew, believe that current digital strategy

-23-
measures do not provide efficient competitive advantage, showing that fashion
companies need to upgrade their strategies. (Ponis & Lada, 2021).
The same research identified the barriers currently preventing the Greek
companies from adopting Digital Transformation in their practices. These are a.
organizational resistance to change, b. budget constraints and barriers of the same
significance c. security concerns, d. organizational structure, and, e. lack of overall
strategy. Surprisingly, the less important barrier for Greek companies to adapt a digital
strategy is the lack of skills. This finding contradicts the academic researches position
which sets the lack of skills as the main barrier for fashion companies from adopting
digital technologies (Kampakaki & Papahristou, 2020; Papahristou & Bilalis, 2016;
Varra, 2021). On the other hand, for the companies that had already embraced digital
transformation, the main objectives were a. increased customer satisfaction, b.
increased productivity, and c. cost savings.
By providing evidence and comparing these two pieces of research, we
conclude that the status of Digital Transformation in the Greek fashion industry has
not evolved significantly during the recent years. Greek fashion companies are still
hesitant about Digital Transformation. Moreover, Greek fashion companies still do not
embrace emerging technologies in their manufacturing process, such as AR / VR and
3D simulation in their practices.
We have critically demonstrated how digital technologies can be applied to the
creation of collections. Moreover, we have observed the way emerging technologies
are able to enhance customer's engagement resulting in increased revenue. To provide
value to the professionals of the supply chain of the Greek clothing chain in a post-
Covid period, we decided to conduct a use case.

Use Case

In order to investigate the application and effectiveness of the integration of

digital tools in the process of apparel PD we will conduct a use case. This use case is
carried out in two stages. During the first stage, we will design a small collection of
clothing using 3D digital technology. The collection consists of two (2) dresses and two
(2) skirts. In the following subchapters we describe the necessary steps to create the

-24-
digital 3D assets of this collection. During the second stage, we illustrate a possible
solution for manufacturers and designers to launch their new developments using AR
technology.
The limitations of the use case are found in the second stage, where due to the
large files we could not represent the Virtual Prototypes of the garments in augmented
reality. Working on visualization projects using Augmented Reality applications have
significant limitations; and 3D files for AR applications for mobile are far too complex.
Mesh size limitations of the exported 3D file is a common issue in AR. The complexity
of a 3D model should be limited up to 100,000 triangles for the entire scene; 5,000
vertices for a large mesh, 1,000 vertices for a mid-size mesh, and 250 vertices for a
small mesh; 1 UV per mesh; maximum of 10 shaders, as more than 10 causes random
errors; and a texture resolution of 2048 x 2048 pixels. Since there is not an automated
3D optimization solution to optimize the 3D files, we relied on manual optimization
through trial and error. The initial 3D files created in Vstitcher software deviated
significantly from the limitations. For this reason, we first tried to simplify the 3D file
created in VStitcher software by minimizing all the attributes. We increased the mesh
size; we excluded the avatar; we excluded the geometry (garment inside and garment
thickness); we scaled the asset by 0.01; and lowered the definition to 50 dpi. Then, we
attempted to simplify further the mesh using Rhino V6. This action resulted in a
decreased mesh count, yet not the optimal. When we tried to reduce further the
mesh, it resulted to spoil the 3D asset and still not reached the optimal mesh count.
For this reason, we decided instead of creating the AR experience to design the layout
content and functionality to demonstrate our proposal, using wireframes.

First stage – Digital fashion collection using 3D technology

The Ideation
Starting from the design stage, we have created moodboards to present to
those interested the trends and inspiration for the collection to be designed. This is a
seasonal collection for spring 2022 targeting the Mediterranean mainstream woman
who is between 25 to 40-year-old, cares about high-quality items, pays attention to

-25-
small details, and wants to wear an everyday item today that stands out. The
moodboards of this collection are shown in the Αppendix A.
Then four (4) garments were designed in 2D format with the help of Adobe
Illustrator software. The purpose of the two-dimensional designs is to communicate
with clothing technologists to develop pattern-blocks. In these two-dimensional files,
the designer provides the necessary information to the garment technologist in order
to develop the garment as accurately as the designer envisions. This 2D technical
drawing is known as a flat sketch. The flat sketches of this collection are shown in the
Appendix B.

The Specification sheets

In order for the clothing technologist to develop the patterns of the garments,
a table must be developed that will relate to the technical specifications of the clothes.
This document explains the measurements of the desired garment in detail, the fabrics
and materials used, the prints where they exist, and any other information technically
related to the development of the garment. To create the technical specifications, we
used Office Excel. The technical specification sheet for one of the garments created for
the collection can be found at Appendix C.

The 2D pattern development

Having all the technical information for the development of the clothes, we
created the two-dimensional pattern with the help of Polypattern CAD software. Up to
this point, the stages for the implementation of the clothes remain the same, as would
have been in a 2D PD process. From Polypattern software, we export the file to DXF
format. This is for interoperability purposes to communicate with the 3D software.

The 3D PD process
As we have already mentioned, during the 3D PD process, there are no physical
samples for sewing, neither fabrication nor fit session on a live model. Instead, 3D
technology uses digital fabrication and an avatar – a digital replica of a model-. The
avatar is customized on the stakeholder's given measurements and simulates the live
model as on a fit session. The pattern pieces are sewed virtually, and the fit of the

-26-
sample is reviewed in the virtual environment, since the digital fabric simulates its
physical properties, creating a Virtual Prototype (VP). To develop the 3D VPs of the
clothes, we used VStitcher software version 2021.2.0 –product of Browzwear-. Picture
5 shows the VStitcher’s environment.

Picture 5: The environment of VStitcher software

The Avatar creation

The first stage is to create the Avatar. We have created the avatar according to
the measurements of a hypothetic real model. The author, due to her professional
knowledge, has provided the appropriate measurements, such as shoulder width,
height, waist. Since Vstitcher offers built-in parametric avatars allowing us to
customize its dimensions, we created our avatar directly to VStitcher software. The
process mimics the relevant process for gathering the appropriate measurements that
would traditionally have happened during the first session with a physical model.
Picture 6 shows the process for the creation of the avatar.

-27-
 Picture 6: The avatar with measurements

Digital Fabrication
As during a typical 2D During a typical 2D PD process for the garment
development, it is essential to have raw materials. In the digital process, the
fabrication -fabric, trims, and accessories- are either developed on third party software
or the supply chain partners provide them. However, VStitcher, through partnerships
offers a built-in digital fabric library, the fabrics of which can be modified, both in
terms of their physical properties and in their appearance. The selection of the
appropriate digital fabric is critical since the simulation demonstrates realistically how
the garment will behave, as if it was in the real world. In our process we used digital
fabrics from the software’s library. For this collection we used silk fabric. The physics of
the fabric and certain properties needed for the simulation are shown in picture 7.

-28-
 Picture 7: The physics of the digital fabric

The 3D Prototype and Fit sample (FS)

Having all the necessary elements for the creation of clothes, avatar, fabric, and
materials, we must import in the 3D environment the relevant file of the 2D pattern
that we have previously prepared during the 2D pattern development process. Picture
8 shows the 2D patterns of a garment imported in Vstitcher software.

-29-
 Picture 8: Imported pattern blocks in Vstitcher software

The next step is to organize the pattern blocks in the 3D environment and
assign the appropriate digital fabric. Picture 9 shows the organized 2D patterns and
picture 10 the assignment of the digital fabrics. This stage simulates the placement and
cuts of the fabric using the relevant pattern.

-30-
Picture 9: Organized pattern pieces in Vstitcher software

Picture 10: Assignment of digital fabrics

-31-
 In the next step, we virtually sew the pattern, as would in a typical process.
Picture 11 shows the virtual stitching process.

Picture 11: Virtual stitching in Vstitcher software

Before we simulate the garment, we must arrange the layout of the pieces
from avatar perspectives. This is how the software understands where each piece
belongs to. Picture 12 shows the arrangement on the avatar perspectives.

Picture 12: Pieces arrangement on avatar perspectives

-32-
 We have prepared the patterns; we have sewn them, and we have defined the
places where the pieces will be placed on the avatar’s body. The next step is in the 3D
environment, where we will simulate the clothes on the avatar. Picture 13 shows a
preview of the digital garment ready to simulate after being sewed.

Picture 13: Digital garment preparation before simulation

Picture 14 shows the simulated garment on the avatar, hence the Virtual
Prototype. The Virtual Prototype represents the FS – fit sample- for the stakeholder
since the digital garment has been developed on predefined measurements and it is
simulated on the avatar’s body of specific measurements. The Virtual Prototypes of
the four (4) garments created for this collection can be found in Appendix D.

-33-
 Picture 14: Virtual Prototype

FS review
As we have already stated, the previous simulation represents the FS that the
supplier digitally developed for approval from the stakeholder. To replace the fitting
session and to simulate the fitting, as in other 3D software, we have to advise the
pressure maps and the tension maps. Especially useful tools to review garment’s fit.
These are colored maps, for each part of the garment based on the physics of the
fabric that show how stretched out the fabric is when the garment is worn. White
color means that the fabric is not stretched, no tension, and red color means that the
fabric is stretched to the maximum, hence the most tension. Picture 15 shows the
pressure maps, and picture 16, the tension maps for one of the prototypes created.
Since this garment’s fit is loose-fit, the tension and pressure maps are white colored.

-34-
Picture 15: Pressure maps of Virtual Prototype

Picture 16: Tension maps of Virtual Prototype

-35-
Different Colorways
Usually, the stakeholders wish to evaluate the garment to be produced in all
the color combinations that will be produced. According to the specification sheet, the
requested garment has two colorways. In a typical 2D PD process that would require
the development of equal number of physical samples of color combinations. During
the 3D PD, the colorways are part of the 3D file. There is a powerful tool in the
software for creating colorways in real-time. Picture 17 shows the workspace for the
creation of colorways.

Picture 17: Colorways workspace

Communication and review between the supplier and the stakeholder

Communication between the supplier and the stakeholder can happen in real-
time. The software allows the members to communicate with annotation messages. To
attribute the significance of this tool, we created a small scenario. Assuming that the
stakeholder approves the digital garment without any alterations. However, there are
new ideas coming up from the prototype. The stakeholder makes a new request, to
prepare also a long skirt out of the prototype of the long dress. On the left of the
picture, we can see the annotations shown further to the avatar in small balloons.
Picture 18 illustrates the communication between the stakeholder and the supplier,
where the stakeholder requests a new style. Picture 19 shows the response of the
supplier with a preview of the latter request.

-36-
Picture 18: Communication with annotation messages

-37-
 Picture 19: Preview of the requested garment

PP Sample – Pre-Production Sample

Since the stakeholder approved the FS. The final stage of the 3D PD process is
the development of the PP sample for final approval, as would be on the 2D PD
process. This is the only physical sample the manufacturer will develop during the 3D
PD process. This is the end of the use of 3D simulation for PD purposes.

Second stage – AR showcase

To visually represent the initiative for manufacturers and designers to launch
their new developments using AR technologies, we started by brainstorming to
provide some initial guidelines for this project. We decided that our proposal would be
based on some basic principles. The original design will be for an IPhone device. We
will keep it simple not to disturb. We will create layout screens; and we will focus
primarily on the AR features. As key features for the concept, we have selected being
able to see the worn garment on the avatar; being able to view information about the

-38-
fabric of garment; being able to view different representations of the garment in terms
of fabric, color, and prints; and also being able to view the 3D model isolated from the
environment. We based our decision for the user to be able to view different
representations of the garment on Think Mobiles’ report, where Sokhanych (2021) in
“Augmented Reality in eCommerce”, revealed that 65% of online shoppers use AR to
discover product information and 77% of consumers prefer to use AR to preview
product variations such as color or style differences.

The structure
To build the structure of the AR experience we used wireframing with the help
of Figma (web-based user interface design application). A wireframe is a blueprint that
provides a clear overview of the structure, the layout, the information architecture,
the user flow, the functionality, and the intended behaviors of the user. As a
wireframe usually represents the initial product of a concept, attributes such as styling,
color, and graphics are kept to a minimum. Following the basic principles, to specify
the structure, we have built a low-fidelity wireflow which is essentially wireframes
showing user flow. Arrows between the wireframes indicate the paths a user make
take during his/her experience. For better visualization we mapped out the screens
that eventually will be needed in its experience. As mentioned before, we wanted to
focus primarily on AR view, and that is why we analyzed more this part of the initiative.
The user first request is to allow the AR showcase to access the device’s
camera. Then, the user sees on the device’s screen a text requesting to aim the device
at a QR code. After scanning the QR code, the user receives guidance on how to start
the initialization. The first instruction is to move his/her device and the second to tap
on the screen to position the element on the specified position. When the user taps
the screen to position, the element is placed on the chosen spot on the environment.
In this point, the user has two options. Either to continue viewing in AR or to shift in 3D
viewing. In continuous to the AR choice, the user will see a text explain that there are
more options available for the element and urges to check them by indicating where to
tap to access them. When tapping in the designated symbol, 3 (three) additional
options pop-up. These options refer to the possibility for the user being able to view
different representations of the garment in terms of fabric, color, and prints. Selecting

-39-
any of them reveals the corresponding options. In each case since the element is
placed in the environment, the user is able to take screenshots using the device’s
camera. The screenshots are stored in the user’s device. In case the user decided to
view the element in 3D, then the environment disappears, and it is being replaced by a
black background showing the 3D asset in 360. However, screenshots in 3D viewer are
not possible. Figure 6, illustrates the wireflow of the AR showcase.

Screen design
To proceed with the design of the layout, we have first specified the style,
colors, fonts (and some options for them), some specific symbols and icons, and the
environment image we were to use during the design process of the initiative. The
overall layout needed to be well balanced and simple for not disturbing the user.
Therefore, we used basic colors of black and white, and a blue color just as activation
indicator. We applied Montserrat fonts, which are very versatile typeface and can be
used in multiple domains such as websites, the publishing world, branding, editorial,
logos, print, posters, etc. and are readable and pleasant to the eye of the user. The
style of icons and symbols followed the same minimal rules. Figure 7 shows the AR
showcase as viewed by the user.

-40-
Figure 6: AR showcase wireflow

-41-
Figure 7: AR showcase

-42-
Results & Discussion

This use case purpose was to investigate the application and effectiveness of
the integration of digital tools and advanced technologies during the apparel PD
process of the Greek manufacturing fashion industry.
To the author’s experience, through the effective creation of a garment
collection using 3D visualization software, the exploitation of digital technologies
enhances the design process. The new available digital tools with visualization
capabilities, enable a more creative and innovative workflow, than the typical one
most Greek manufacturers follow till today. 3D visualization software unleashes
fashion designer’s creativity. Designers can experiment and evaluate their ideas in real-
time directly in the 3D environment without the need to develop a physical model.
However, the author –even though she is familiar with fashion technologies- to reach
the level of skills needed to be able to create the Virtual Prototypes, invested a
significant amount of time and effort to master VStitcher software. This allows us to
agree to Kampakaki and Papahristou (2020) that employees of the future must be
prepared with a new set of skills to master digital technology, discover new
possibilities, translate innovative ideas into actions, and communicate and interact
with other people and machines. Thus, leveraging digital technologies needs
substantial time and effort.
Moreover, by exploiting 3D digital technologies during the design and
development process can help fashion companies reduce the lead time, as well as the
errors in prototypes due to misunderstandings with manufacturers or other actors
involved in the chain, and the number of physical samples required (Arribas & Alfaro,
2018). Manufacturers can design alterations directly on the 3D environment, as seen in
picture 18, avoiding the repetitive fit controls on a real model that would traditionally
be made during the DP process. Instead fit controls are being reviewed virtually as
shown in picture 15. Consequently, through the virtual evaluation of the prototype,
repetitive back-and-forth movements are eliminated which results in significantly
increased business effectiveness by shortened lead times, while increases the lifecycle
of the product. Optitex (2021), claims that a company can save up to 60% of sample
production time and showcase accurate true-to-life virtual samples within hours

-43-
(Optitex, 2021). Furthermore, 3D digital product development has a substantial impact
on sustainability and waste reduction due to the development of fewer samples, which
means less resources waste and a smaller carbon footprint. Therefore, it can lead to
financial growth via cost savings in the value chain from reduced lead times, raw
materials, human resources, and energy while increasing revenues, as well as
extending the lifecycle of products.
Additionally, implementing AR technology, as for new product launch, improves
the Greek fashion industry’s responsiveness; delivering a better experience in an
engaging and creative way that extends beyond physical realities, where the
enmeshed feels that participates in the design process. When immersed in an
augmented world, individuals are less likely to be distracted, thus allowing them to
completely evaluate the product (Johnson, 2021). As seen in figure 7, the immersed is
being able to control and choose the style, color, fabric and print that will visualize
during the experience. AR in fashion allows the user to experience and interact with
the product instead of forcing the individual to imagine how the product would look
like. Moreover, exploiting AR can lead to financial growth, as Johnson (2021) argues
that “AR increases revenues since when customers experience products before
purchasing them, it deepens their sense of ownership, and may increase their
intention to purchase the product up to 80%”. Additionally, AR technology assists
suppliers to reach a wider audience when launching new products, while positions the
suppliers and the stakeholders much closer in global business. However, it should be
under consideration that Augmented Reality applications have yet significant
limitations in terms of complexity, optimization of 3D files, and visual fidelity. Thus,
implementing AR to demonstrate virtual assets may not be able to accurately
reproduce the virtual assets. Moreover, placing virtual assets in a physical space can
become challenging using AR, because interactions are less effective when virtual and
physical objects superimpose (Steffen, et al., 2019).

Conclusion

The purpose of this research was to emerge the benefits that stem from
applying technology in the Greek fashion industry, and more specifically in the product

-44-
development stage of manufacturing sector of the industry. Implementing digital
technologies during the apparel Product Development process is crucial to a
company’s growth in a post-Covid period, while significantly increasing its
effectiveness by shortening lead times. Exploiting virtualization can lead to financial
growth via cost savings in the value chain from reduced lead times, raw materials,
human resources, and energy while increasing revenues, as well as extending the
lifecycle of products. The environmental impact of technology application is reflected
in the sustainable ways of clothing production which in turn becomes the competitive
advantage of clothing enterprises, while increases its reputation. Moreover, it is
anticipated that using 3D virtualization in their practices will unleash the designer’s
creativity. Additionally, by implementing further AR technology, assists the enmeshed
to reach a wider audience when launching new products, while positions the suppliers
and the stakeholders much closer in global business. Implementing AR technology, as
for new product launch, improves the stakeholder’s responsiveness by delivering a
better experience in an engaging and creative way, that extends beyond physical
realities, where the enmeshed feels that participates in the design process, while can
lead to further financial growth of the business.
The academic contribution of this research can be enriched with future
investigation, which will address the limitations of the present, regarding the
optimization of the 3D files. Also, the present study could work as the base for the
creation of a virtual copy (avatar) of a real person, which will allow the further financial
development of the companies and the higher satisfaction of the customers.

Bibliography

Accenture Strategy and Consulting, 2019. Transforming the Fashion Supply Chain.
[Online]
Available at: https://www.accenture.com/_acnmedia/PDF-115/Accenture-Threads-That-
Bind.pdf
[Accessed 14 August 2021].
Apparel Resources, 2018. Hugo Boss turns to 3D software to develop 40 percent of its
collection. [Online]
Available at: https://apparelresources.com/technology-news/retail-tech/hugo-boss-turns-
3d-software-develop-40-percent-collection/
[Accessed 12 2 2022].

-45-
Arribas, V. & Alfaro, J. A., 2018. 3D technology in fashion: from concept to consumer.
Journal of Fashion Marketing and Management: An International, 22(2).
Azzarello, N., 2020. the future fashion show? LG x balmain reimagine the front row
experience with digital guests. [Online]
Available at: https://www.designboom.com/technology/future-fashion-show-lg-
balmain-front-row-digital-guests-10-01-2020/
[Accessed 15 February 2022].
Barr, S., 2020. Fashion label Hanifa puts on "groundbreaking" virtual show using 3D
models. [Online]
Available at: https://www.independent.co.uk/life-style/fashion/fashion-3d-show-
runway-online-hanifa-instagram-live-congo-a9530551.html
[Accessed 14 February 2022].
Berg, A., Lobis, M., Rölkens, F. & Simon, P., 2018. Faster fashion: How to shorten the
apparel calendar. [Online]
Available at: https://www.mckinsey.com/industries/retail/our-insights/faster-fashion-
how-to-shorten-the-apparel-calendar
[Accessed 14 2 2022].
Bertola, P. & Teunissen, J., 2018. Fashion 4.0. Innovating fashion industry through
digital transformation. Research Journal of Textile and Apparel, 22(4), pp. 352-369.
BMF, 2016. Industry 4.0. [Online]
Available at: https://www.bmbf.de/bmbf/de/forschung/digitale-wirtschaft-und-
gesellschaft/industrie-4-0/industrie-4-0
[Accessed 13 2 2022].
BusinessWire, 2019. Tommy Hilfiger Commits to 3D Design to Realize Ambitious
Digitalization Journey. [Online]
Available at: https://www.businesswire.com/news/home/20191107005718/en/Tommy-
Hilfiger-Commits-to-3D-Design-to-Realize-Ambitious-Digitalization-Journey
[Accessed 11 2 2022].
CIC, 2021. Industry 4.0: New Challenges for the Digital Transformation. [Online]
Available at: https://www.cic.es/en/industry-4-0-the-digital-transformation/
[Accessed 13 2 2022].
Demirkan, H., Spohrer, J. C. & Welser, J. J., 2016. Digital Innovation and Strategic
Transformation. Business Publications, 18(6), pp. 14-18.
Desoutter, 2019. Industrial Revolution - From Industry 1.0 to Industry 4.0. [Online]
Available at: https://www.desouttertools.com/industry-4-0/news/503/industrial-
revolution-from-industry-1-0-to-industry-4-0
[Accessed 13 2 2022].
Dicuonzo, G., Galeone, G., Ranaldo, S. & Turco, M., 2020. The Key Drivers of Born-
Sustainable Businesses: Evidence from the Italian Fashion Industry. Sustainability
2020, 12(24).
Eppinger, S. D. & Chitkara, A. R., 2006. The New Practice of Global Product
Development. [Online]
Available at:
https://dspace.mit.edu/bitstream/handle/1721.1/87030/Eppinger_New%20practice%20g
lobal%20product.pdf?sequence=1&isAllowed=y
[Accessed 23 1 2022].
Farra, E., 2020. This Is the First Augmented Reality Experiment of Spring 2021.
[Online]
Available at: https://www.vogue.com/article/khaite-spring-2021-augmented-reality-

-46-
experience
[Accessed 20 February 2022].
Fashion Pact, 2020. ABOUT THE FASHION PACT. [Online]
Available at: https://thefashionpact.org/?lang=en
[Accessed 13 2 2022].
Fast Company, 2020. Hanifa’s virtual 3D fashion show is haunting, beautiful, and
brilliantly executed. [Online]
Available at: https://www.fastcompany.com/90513959/hanifas-virtual-3d-fashion-
show-is-haunting-beautiful-and-brilliantly-executed
[Accessed 14 February 2022].
Fish, I., 2019. Asos launches virtual catwalk. [Online]
Available at: https://www.drapersonline.com/news/asos-launches-virtual-catwalk
[Accessed 12 February 2022].
Fung, Y.-N., Ghoi, T.-M. & Liu, R., 2020. Sustainable planning strategies in supply
chain systems: proposal and applications with a real case study in fashion. Production
Planning & Control, 31(11-12), pp. 883-902.
Gong, L., Fast-Berglund, A. & Johansson, B., 2021. A Framework for Extended Reality
System Development in Manufacturing. IEEE, February.
Greder, K. C. & Shin, J., 2020. Design in 3D: a computational fashion design protocol.
International Journal of Clothing Science and Technology, 32(4).
Hämmerle, V. et al., 2020. Why Fashion Must Go Digital—End to End. [Online]
Available at: https://www.bcg.com/publications/2020/why-fashion-must-go-digital-end-
to-end
[Accessed 1 2 2022].
Hanelt, A. και συν., 2015. Digital Transformation of Primarily Physical Industries –
Exploring the Impact of Digital Trends on Business Models of Automobile
Manufacturers. Osnabrück, Germany, s.n.
Harba, J.-N., 2019. New approaches to customer experience: where disruptive
technological innovation meets luxury fashion. s.l., s.n., pp. 740-758.
Insitute of Entrepreneurship Development, 2019. The 4 Industrial Revolutions. [Online]
Available at: https://ied.eu/project-updates/the-4-industrial-revolutions/
[Accessed 14 1 2022].
ITMF, 2020. 4th ITMF-Survey about the Impact of the Corona-Pandemic on the Global
Textile Industry. [Online]
Available at: https://www.itmf.org/images/dl/press-releases/2020/Corona-Survey-4th-
2020.06.18-Press-Release.pdf
[Accessed 2 2 2022].
Javornik, A. et al., 2021. Strategic approaches to augmented reality deployment by
luxury brands. Journal of Business Research, 3 August, Volume 136, pp. 284-292.
Jhanji, Y., 2018. Computer-aided design—garment designing and patternmaking. In:
Automation in Garment Manufacturing. s.l.:s.n., pp. 253-290.
Jin, B. & Cedrola, E., 2017. Product Innovation: Core to Continued Success. In:
Product Innovation in the Global Fashion Industry. New York: Palgrave Pivot, pp. 1-
33.
Jin, B. E., Cedrola, E. & Kim, N. (., 2019. Process Innovation: Hidden Secret to Success
and Efficiency. In: Process Innovation in the Global Fashion Industry. s.l.:Palgrave
MacMillan, pp. 1-24.
Jin, B. E. & Shin, D. C., 2021. The power of 4th industrial revolution in the fashion
industry: what, why, and how has the industry changed?. Fashion and Textiles, 8(31).

-47-
Johnson, P., 2021. Augmented Reality in Fashion. [Online]
Available at: https://rockpaperreality.com/ar-use-cases/augmented-reality-in-
fashion/#Augmented_Reality
[Accessed 19 February 2022].
Kampakaki, E. & Papahristou, E., 2020. Digital Intelligence as prerequisite of Artificial
Intelligence’s integration in the Clothing Industry 4.0. AI4Fashion, September.
Kaplanidou, A., 2018. Digitalization in the apparel manufacturing process. [Online]
[Accessed 1 8 2021].
Kleiderly, n.d. Did COVID-19 change the Fast Fashion industry?. [Online]
Available at: https://kleiderly.com/blogs/kleiderly-magazine/did-covid-19-change-the-
fast-fashion-industry
[Accessed 14 2 2022].
Kolbrück, O., 2019. How Puma and Co make augmented reality a sales lever. [Online]
Available at: https://etailment.de/news/stories/Augmented-Reality-Business-22211
[Accessed 14 February 2022].
Kopacek, P., 2018. Development Trends in Cost Oriented Production Automation.
IFAC-PapersOnLine, 51(30), pp. 39-43.
Levi Strauss & Co, 2018. Project F.L.X. Redefines the Future of How Jeans Are
Designed, Made and Sold. [Online]
Available at: https://www.levistrauss.com/2018/02/27/project-f-l-x-redefines-future-
jeans-designed-made-sold/
[Accessed 14 2 2022].
Li, Y., Dai, J. & Cui, L., 2020. The impact of digital technologies on economic and
environmental performance in the context of industry 4.0: A moderated mediation
model. International Journal of Production Economics.
Li, Y., Zhao, X., Shi, D. & Li, X., 2014. Governance of sustainable supply chains in the
fast fashion industry. European Management Journal.
Lou, X., 2020. Fashion Design and Development Deciphered, North Carolina: s.n.
Marquis, C., 2021. What Does Slow Fashion ‘Actually’ Mean?, s.l.: Forbes.
McKinsey & Company, 2015. Industry 4.0 How to navigate digitization of the
manufacturing sector, s.l.: s.n.
McKinsey & Company, 2020. The State of Fashion 2020, s.l.: s.n.
McKinsey & Company, 2020. The State of Fashion 2020, s.l.: s.n.
McKinsey & Company, 2020. The State of Fashion 2020 : Coronavirus Update, s.l.:
BOF.
McKinsey Sustainability, 2016. Style that’s sustainable: A new fast-fashion formula.
[Online]
Available at: https://www.mckinsey.com/business-functions/sustainability/our-
insights/style-thats-sustainable-a-new-fast-fashion-formula
McKinsey, 2019. Digital transformation: Improving the odds of success. [Online]
Available at: https://www.mckinsey.com/business-functions/mckinsey-digital/our-
insights/digital-transformation-improving-the-odds-of-success
[Accessed 30 1 2022].
MOTIF, 2021. ReWire: Sustainability Insights 2021. s.l., s.n.
Nelson, C., ed., 2018. Fashion for the SDGs: Sustainable supply chains. Washington,
s.n.
Nexusintegra, 2019. The importance of digital transformation for the industry. [Online]
Available at: https://nexusintegra.io/digital-transformation-industry/
Niinimäki, K. et al., 2020. The environmental price of fast fashion. Nature Reviews
Earth & Environment, 1(4), pp. 189-200.

-48-
Nikolic, N., 2019. Sampling stages for apparel. [Online]
Available at: https://www.taas.nyc/blog/sampling-stages-for-apparel
[Accessed 1 2 2022].
Open Access Government, 2021. Post-Rana Plaza: Why is the fast fashion industry still
growing?. [Online]
Available at: https://www.openaccessgovernment.org/fast-fashion-industry-2/117973/
[Accessed 13 2 2022].
Optitex, 2021. Shaping the future of fashion and apparel. [Online]
Available at: https://optitex.com/
[Accessed 2 2 2022].
Papachristou, E., 2016. The effective integration of 3D virtual prototype in the product
development process of the textile/clothing industry. [Online]
Available at: https://www.didaktorika.gr/eadd/handle/10442/38729?locale=en
[Accessed 4 8 2021].
Papachristou, E. & Bilalis, N., 2016. Can 3D Virtual Prototype Conquer the Apparel
Industry?. Journal of Fashion Technology & Textile Engineering, 4(2).
Papahristou, E. & Bilalis, N., 2016. Can 3D Virtual Prototype Conquer the Apparel
Industry?. Journal of Fashion Technology & Textile Engineering, 4(1).
Papahristou, E. & Bilalis, N., 2017. 3D Virtual Prototyping Traces New Avenues for
Fashion Design and Product Development: A Qualitative Study. Journal of Textile
Science & Engineering, 7(2).
Parker, C. J. & Henninger, C. E., 2018. Enabling Sustainable Behaviours Through M-
Commerce App Design: Focus on The Fast Fashion Industry. Στο: Eco Friendly and
Fair: Fast Fashion and Consumer Behaviour. s.l.:Greenleaf Publishing.
Piccarozzi, M., Silvestri, C., Aquilani, B. & Silvestri, L., 2022. Is this a new story of the
‘Two Giants’? A systematic literature review of the relationship between industry 4.0,
sustainability and its pillars. Technological Forecasting and Social Change, Volume
177.
Ponis, S. T. & Lada, C., 2021. Digital transformation in the Greek fashion industry: A
survey. International Journal of Fashion Design, Technology and Education.
Roberts-Islam, B., 2020. Virtual Catwalks And Digital Fashion: How COVID-19 Is
Changing The Fashion Industry. [Online]
Available at: https://www.forbes.com/sites/brookerobertsislam/2020/04/06/virtual-
catwalks-and-digital-fashion-how-covid-19-is-changing-the-fashion-
industry/?sh=10d290a4554e
[Accessed 15 February 2022].
Rojahn, A., 2017. Augmented & Virtual Reality for the Fashion Industry, s.l.: s.n.
Rondoni, B., 2021. Fashion shows along uncharted path. [Online]
Available at: https://massmediandculture.com/fashion-shows-along-uncharted-path/
[Accessed 16 February 2022].
Särmäkari, N., 2021. Digital 3D Fashion Designers: Cases of Atacac and The Fabricant.
Fashion Theory, 11 October, 1(30).
Silvestri, B., 2020. The Future of Fashion: How the Quest for Digitization and the Use
of Artificial Intelligence and Extended Reality Will Reshape the Fashion Industry After
COVID-19. ZoneModa Journal, 10(2), pp. 61-73.
Silvestri, B., 2022. How Virtual and Augmented Reality Are Reshaping the Fashion
Industry During the Covid-19 Pandemic. In: Extended Reality Usage During COVID 19
Pandemic. s.l.:Springer, Cham, pp. 39-54.
Smith, P., 2022. Impact of coronavirus (COVID-19) on key structural indicators in the
clothing sector in Europe in the 2nd and 3rd quarter 2020. [Online]

-49-
Available at: https://www.statista.com/statistics/1131181/coronavirus-impact-on-
clothing-industry-europe/
[Accessed 14 2 2022].
Sokhanych, A., 2021. Augmented Reality in eCommerce, s.l.: s.n.
Souza, J., 2020. The Ultimate Challenge for Fashion's Digital Transformation. [Online]
Available at: https://www.platforme.com/blog/the-ultimate-challenge-for-digital-
fashion
Spahiu, T. et al., 2021. Industry 4.0 for fashion products – Case studies using 3D
technology. Yambol, Bulgaria, s.n.
Steffen, J. H., Gaskin, J. E., Meservy, T. O. & Jeffrey L. Jenkins & Iopa Wolman, 2019.
Framework of Affordances for Virtual Reality and Augmented Reality. Journal of
Management Information Systems, 36(3), pp. 683-729.
Stylios, G. K., Wan, T. & Powell, N., 1996. Modelling the dynamic drape of garments
on synthetic humans in a virtual fashion show. International Journal of Clothing
Science and Technology.
The Guardian, 2018. Is fast fashion giving way to the sustainable wardrobe?. [Online]
Available at: https://www.theguardian.com/business/2018/dec/29/fast-fashion-giving-
way-sustainable-wardrobe
Todeschini, B. V., Cortimiglia, M. N., Callegaro-de-Menezes, D. & Ghezzi, A., 2017.
Innovative and sustainable business models in the fashion industry: Entrepreneurial
drivers, opportunities, and challenges. Business Horizons.
UN - SDG, 2021. SDGs for Better Fashion. [Online]
Available at: https://sustainabledevelopment.un.org/partnership/?p=28041
[Accessed 14 2 2022].
UN Alliance for Sustainable Fashion, 2021. What is the UN Alliance for Sustainable
Fashion?. [Ηλεκτρονικό]
Available at: https://unfashionalliance.org/
[Πρόσβαση 14 2 2022].
UN Climate Change, 2021. About the Fashion Industry Charter for Climate Action.
[Online]
Available at: https://unfccc.int/climate-action/sectoral-engagement/global-climate-
action-in-fashion/about-the-fashion-industry-charter-for-climate-action
[Accessed 14 2 2022].
Varra, L., 2021. Becoming Digital: The Need to Redesign Competences and Skills in
the Fashion Industry. In: The Art of Digital Marketing for Fashion and Luxury Brands.
s.l.:Palgrave Macmillan, Cham, pp. 299-343.
Varra, L., 2021. Becoming Digital: The Need to Redesign Competences and Skills in
the Fashion Industry. Στο: The Art of Digital Marketing for Fashion and Luxury
Brands. s.l.:Palgrave Macmillan, Cham, pp. 299-343.
Varra, L., 2021. The Art of Digital Marketing for Fashion and Luxury Brands.
s.l.:Springer Books.
Vilaca, J., 2022. Fashion Industry Statistics: The 4th biggest sectr is way more than
clothing. [Online]
Available at: https://fashinnovation.nyc/fashion-industry-statistics/
[Accessed 19 2 2022].
Weave, 2020. Whitepaper - Adoption of 3D Applications in the Apparel and Fashion
Industry. [Online]
Available at: https://www.weavenow.com/2020/11/03/weave-whitepaper-adoption-of-
3d-applications-in-apparel-and-fashion-industry/
[Accessed 14 2 2022].

-50-
Webster, C., 2019. Rana Plaza and Fast Fashion — What is it and why did it happen?.
[Online]
Available at: https://chelsea-webster.medium.com/rana-plaza-and-fast-fashion-
50ad86d2b699
[Accessed 1 2 2022].
Wightman-Stone, D., 2019. Asos launches its first augmented reality feature. [Online]
Available at: https://fashionunited.uk/news/retail/asos-launches-its-first-augmented-
reality-feature/2019061443676
[Accessed 16 February 2022].
World Resources Insitute, 2019. By the Numbers: The Economic, Social and
Environmental Impacts of “Fast Fashion”. [Online]
Available at: https://www.wri.org/insights/numbers-economic-social-and-
environmental-impacts-fast-fashion
Zha, W., 2018. Pioneering 3D technology: digital design at Hugo Boss. [Online]
Available at: https://fashionunited.uk/news/fashion/pioneering-3d-technology-digital-
design-at-hugo-boss/2018120340293
[Accessed 11 2 2022].

-51-
Appendix A – Moodboards

Appendix A: Moodboard for light-tone prints for Spring 2022

-1-
Appendix A: Moodboard for dark-tone prints for Spring 2022

-2-
Appendix A: Moodboard for styles look for Spring 2022

-3-
Appendix B – Flat sketches

Appendix B: Flat sketch of style 6Z106 maxi dress

-4-
Appendix B: Flat sketch of style 6Z108 mini dress

-5-
Appendix B: Flat sketch of style 9Z106 maxi skirt

-6-
Appendix B: Flat sketch of style 9Z106 maxi skirt

-7-
Appendix C – Specification sheets

Appendix C: Cover of Specification sheet for style 6Z106 maxi dress

-8-
Appendix C: Flat sketches on Specification sheet for style 6Z106 maxi dress

-9-
Appendix C: Map for patterns on Specification sheet for style 6Z106 maxi dress

-10-
Appendix C: Colorways and fabrics description for style 6Z106 maxi dress

-11-
Appendix C: Flat sketch on Specification sheet for style 6Z106 maxi dress

-12-
Appendix D – Virtual Prototypes

Appendix D: Virtual Prototype of maxi dress in black colorway

-13-
Appendix D: Virtual Prototype of maxi dress in white colorway

-14-
Appendix D: Virtual Prototype of mini dress in black colorway

-15-
Appendix D: Virtual Prototype of mini dress in white colorway

-16-
Appendix D: Virtual Prototype of maxi skirt in black colorway

-17-
Appendix D: Virtual Prototype of maxi skirt in white colorway

-18-
Appendix D: Virtual Prototype of mini skirt in black colorway

-19-
Appendix D: Virtual Prototype of mini skirt in white colorway

-20-