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Infographic Alert: Multichannel Marketing Can Be Puzzling

November 2, 2013 Leave a comment

 etail-west

November 1, 2013 -

by Elyse Dupre and James Jarnot

Creating optimal customer experiences is a top priority for many retailers. In fact, 65% of retail executives polled say providing the best customer experience possible is the most important factor when obtaining approval for sales and marketing technology investments, according to the “Breaking Through Customer Engagement Barriers with Innovative Marketing and Technologies” report by Infogroup Targeting Solutions and Retail Touchpoints. And the best customer experiences are those that are relevant—powered by multichannel customer data and messaging.

However, piecing this multichannel data together can leave marketers feeling puzzled. According to the report, 47% of retail executives rank “using their existing customer data effectively,” as their greatest marketing challenge, followed by “integrating social and mobile data” (18%), “using analytics” (11%), and “integrating new data” (8%).

When it comes to completing the overall picture of the customer, a majority of marketers (58%) agree that transactional and purchase history information are the most valuable types of data, the report notes. Following far behind in importance are behavioral and attitudinal data (14%) and demographic data (14%). Just 5% of respondents say social media data is the most valuable, and only 2% list Web browsing history data as important, according to the report. This lack of emphasis on key areas of customer data may leave puzzling gaps in insight.

Real-time data also proves to be a brain twister. The report cites that less than a quarter of respondents (23%) use real-time data to generate customer offers frequently and less than one third (30%) admit to doing so infrequently. In fact, 11% say they don’t use real-time data to produce customer offers at all. However, 36% say they would like to do so in the future.

But piecing together multichannel data isn’t the only thing retailers are stumped on. They also struggle with multichannel messaging. According to the report, only 37% of retail executives provide consistent marketing messages across all channels. Of the remaining 63%, 50% say they synchronize their messaging across some channels, but not all, and 13% say they treat each channel separately.

InfographicWeekly082313

Elyse Dupre is a reporter at Direct Marketing News and covers ever-evolving trends in the marketing world.James Jarnot is the Art Director at Direct Marketing News.

CLO3D Student Virtual Fashion Collection Projects

 

The student projects posted here represent an optional CLO3D project that was part of a 4 week CLO3D module that was part of an Adobe FashionCAD class. No garment pattern skills or pattern making prerequisites are required for this class. Some apparel design and product development students are mixed in with fashion merchandising, fashion/textile design technology.

CLO3D was used exclusively as a fashion product visualization tool to view the 2D fashion product line concepts they created earlier in the semester in a 3D environment.

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The specific challenge for this optional project was to develop CLO3D virtual representations [6] to match a previous 2D fashion product development class assignment that included concept,description, color, fabric, print pattern and line boards. They were to develop the garments , create CLO3D layouts illustrating different viewpoints and a CLO3D animation for each garment.

Examples of other  student virtual fashion collection projects:

Cara Walsemann: The Flow of Nature Collection

Ebenezer Baawuah: Earthlistic Collection

Previous CLO3D post: CLO3D Student Virtual Fashion Concept Visualization Project

note: If you are an educator and have a 2D/3D apparel/textile product development prototype project that either you or your student(s) created and would like to share with readers of this blog, please contact me at polvinem@buffalostate.edu

copyright © 2012 by Elaine Polvinen all rights reserved.

CLO3D Student Virtual Fashion Concept Visualization Project

The video above is an example of Introduction to CLO3D to a FashionCAD class that focuses on developing  intermediate Adobe skills for the Fashion Industry. Each semester we try to include one big final project that has the potential to incorporate some of the previous skills as well as introduce a 3D working environment to students. The students in this class are not exclusively apparel design students. Some apparel design and product development students are mixed in with fashion merchandising, fashion/textile design technology. No garment pattern skills or background are required for this class.

The video below has additional submissions.

Introducing CLO3D was an experiment conducted to determine how user-friendly and easy CLO3D would be in a general fashion Adobe design product development class as a fashion product visualization tool. The results were outstanding.  The videos posted are the result of the very first CLO3D class assignments. Each student watched the CLO3D  intro video tutorials and they were each assigned to develop 3 garments. They were to use fashion colors developed in class and if they used print patterns – they should be the ones developed earlier in class.

These first assignment videos illustrate partial results from the class.

Once the students familiarized themselves with the basic functions they began to really see the creative development possibilities and really began to enjoy working in CLO3D. This was a user-friendly application that they could use to quickly visualize their fashion product concept.

CLO3D was not used as a garment pattern making tool in this class – it was used exclusively as a fashion product visualization tool to view their 2D fashion concepts in a 3D environment. The time alloted for the CLO3D project was the last 4 weeks out of a 15 week semester.

The students were then challenged to an optional project to develop CLO3D virtual representations [6] to match a previous fashion product development class assignment that included concept,description, color, fabric, print pattern and line boards. Future posts will illustrate some of the student submissions.

note: If you are an educator and have a 2D/3D apparel/textile product development prototype project that either you or your student(s) created and would like to share with readers of this blog, please contact me at polvinem@buffalostate.edu

copyright © 2012 by Elaine Polvinen all rights reserved.

Digital Fabric Design: Creative & Technical Exploration

Using CLO3D to visualize engineered garments

This post summarizes a customized undergraduate student project that incorporated an exploration into and experimental development of vector based surface design graphics. The new methods explored by the student were non-repeat yardage & engineered garment design.

The aesthetic goal of this project is to capture the essence of Hawaii. Water life, flora, and volcanoes of Hawaii are incorporated into the surface designs. Research was conducted to integrate the surface theme with the traditional sarong garment styling as well as develop engineered garments inspired by the sarong.

Faith Scheffer Moeuhane-Fabric-Design-II

The challenge was to first conduct a variety of research then develop a Hawaiian theme that is integrated with current color and print trends. A new method of print design for the student involved four very large lengths of silk fabric (four sarongs)  that did not contain a repeat. Another challenge was to explore and develop custom engineered prints for garment pattern design and construction. Garment patterns were traditionally developed and digitized into the OptTtex application. From there they were exported and then imported into Adobe Illustrator where the surface graphics were added. CLO3D was used as a 3D visualization aid for viewing surface graphic design placement.

Vector based applications are perfect for creation of either large width/length pieces of yardage or for developing graphics for full-scale garment patterns because vector files are resolution free thus the file sizes are manageable as compared to raster files. Vector files can be easily exported as a raster of any quality.

The wide scale  (42″ by 72″) fabric non-repeat design was easily created by the student in Adobe Illustrator. The silk fabric yardage was printed at Inkdrop Printing. Garment patterns for this project were  created using the traditional methods of flat patternmaking and then patterns are digitized into the computer. The full-scale garment patterns were then imported into Adobe Illustrator and surface designs were created directly onto the garments patterns. 3D visualization helps with design development. Fabric was digitally printed with the digitally embellished surface patterns at Spoonflower. The two garments are then constructed.

The resulting Moe’uhane, (which means “dream” in Hawaiian) collection consists of four sarong yardages and two Hawaiian-inspired garments. They were recently presented publicly at the BSCRUNWAY 5.0 annual fashion event sponsored by the Fashion and Textile Technology Program at Buffalo State College, USA.

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Link to Faith Scheffer student designer interview

note: If you are an educator and have a 2D/3D apparel/textile product development prototype project that either you or your student(s) created and would like to share with readers of this blog, please contact me at polvinem@buffalostate.edu

copyright © 2012 by Elaine Polvinen all rights reserved.

Behind the Scenes of Flamingo PAU with KadesMode

Videographer: Alexandersvisions.com
Designer: Elaine Polvinen
Photographer: Bruce Fox
http://www.kadesmode.com/

2D/3D Fashion Product Development Prototype Flamingo Pua VII

- Summary

Flamingo Pua Collection

The Flamingo Pua project involved the design, development and creation of prototypes of a collection of 6 garments from initial concept to virtual to real garment prototypes.

The use of 2D and 3D applications throughout enables very quick response design development. This project took approximately 3 weeks from start to finish. Applications used were Adobe Photoshop and Illustrator, OptiTex, and CLO 3D.

Photoshop was used to develop the initial concept board, Illustrator was used to develop print pattern repeats and create the garment basic silhouettes, silhouettes with print patterns and all full size garment pattern surface design and graphics.

OptiTex is a very easy to use multi-dimensional application. For this project it was used for garment pattern development, initial 3D garment testing before and after graphics were applied, and export of garment patterns to Illustrator.

CLO3D was used to develop Animations for the virtual fashion show and the four-way layouts.

The four-way static posed layouts could also easily be generated in the OptiTex application.

Other product development steps you would need to complete if you were ever planning on some sort of limited production would be to create a specification pack [spec pack or tech pack] that included all detailed  garment measurements for each size you are planning to order the garment in and every single other material [fashion fabric/lining, interfacing], notion and embellishment needed to reconstruct the garment. Last but not least by any means would be to put together a costing sheet that includes all costs associated with producing the item. I will put together a follow-up post in near future.

Hope you enjoyed the series.

note: If you are an educator and have a 2D/3D apparel/textile product development prototype project that either you or your student(s) created and would like to share with readers of this blog, please contact me at polvinem@buffalostate.edu

Previous posts:

2D/3D Fashion Product Development Prototype Flamingo Pua VI: – Runway

2D/3D Fashion Product Development Prototype Flamingo Pua V: – digital fabric printing of engineered garment pattern prototypes.

2D/3D Fashion Product Development Prototype Flamingo Pua IV: CLO3D virtual fashion show

2D/3D Fashion Product Development Prototype Flamingo Pua III: garment pattern development in OptiTex, garment sketch development, engineered garment pattern surface design development, OptiTex 3D simulation test.

2D/3D Fashion Product Development Prototype Flamingo Pua II: color palette, print pattern and garment sketch development.

2D/3D Fashion Product Development Prototype Flamingo Pua I: inspiration, initial research for concept & silhouette development

copyright © 2012 by Elaine Polvinen all rights reserved.

2D/3D Fashion Product Development Prototype Flamingo Pua VI

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A very special thank you to Kristina, Kadejah and Ashley.

BSCRUNWAY 5.0 was held at Pierce Arrow Building on Saturday April 21st at 3 and 8pm. Here is a link to the BSCRUNWAY FACEBOOK page and the BSCRUNWAY blog.

 

The Flamingo Pua collection was in Runway 5.0. Video of the entire show will soon be on the Buffalo State YouTube site and a video clip of just the Flamingo Pua collection will be posted here when it is ready.

  • Nate Benson Photo links for Runway 5.0 here.
  • Eric Winton Photography Runway 5.0 link here.
  • Buffalo.com photo links for Runway 5.0 here.

Next Post: 2D/3D Fashion Product Development Prototype Flamingo Pua VII: Summary

note: If you are an educator and have a 2D/3D apparel/textile product development prototype project that either you or your student(s) created and would like to share with readers of this blog, please contact me at polvinem@buffalostate.edu

Previous posts:

2D/3D Fashion Product Development Prototype Flamingo Pua V: – digital fabric printing of engineered garment pattern prototypes.

2D/3D Fashion Product Development Prototype Flamingo Pua IV: CLO3D virtual fashion show

2D/3D Fashion Product Development Prototype Flamingo Pua III: garment pattern development in OptiTex, garment sketch development, engineered garment pattern surface design development, OptiTex 3D simulation test.

2D/3D Fashion Product Development Prototype Flamingo Pua II: color palette, print pattern and garment sketch development.

2D/3D Fashion Product Development Prototype Flamingo Pua I: inspiration, initial research for concept & silhouette development

copyright © 2012 by Elaine Polvinen all rights reserved.

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