Fashion Psychology｜Why Is Digital Fashion A Good Idea, But People Rarely Buy It?
Increasing Generation Z’s Consumption of Virtual Garments Through Touch Simulation
▍Abstract
In recent years, virtual garments have emerged as a possible solution to address environmental concerns while meeting the demands of social media. However, despite their potential benefits, the adoption of virtual garments remains limited, indicating an attitude and behavior gap.
This essay argues that the absence of touch stimuli in virtual garments is a key factor contributing to this gap. By drawing upon the principles of mental simulation theory from a visual touch perspective, this study proposes two potential solutions (designing a visual setting and applying touchscreen devices) and suggests one target consumer (Gen Z autotelic NFT individuals) for retailers. Finally, this essay concludes with limitations for educators and future research.
▍Introduction
With its successful business model of providing a wide range of trendy goods at low prices, fast fashion has brought excessive consumption into the public eye (Jin & Shin, 2021). According to a report by lablaco (2020), the textiles industry relies primarily on non-renewable resources to produce 98 million tonnes of textiles annually. Among all the potential solutions to address overconsumption, digital fashion stands out as a new opportunity to shift towards a more sustainable and customer-focused business model (Silva & Bonetti, 2021).
DressX, a virtual clothing platform, focuses on creating digital garments with minimal carbon footprints, waste, and chemical elimination throughout production and usage (DressX, n.d.). Neuro Studios, a technology creative agency, has sold digital garments to showcase the potential benefits of a tech-driven supply chain in the fashion industry (Lieber, 2019). Business of Fashion highlights that virtual fashion allows consumers to stay on-trend while addressing sustainability concerns and gaining social currency (e.g., likes) on social media (Lieber, 2019). ‘I have tons of shoes that I wear once or twice and then move on from, and so this (virtual garment) is a better way to try new things and get the hype out without having to continually acquire stuff and destroy the planet,’ one virtual garment shopper said. According to WGSN (2019), Generation Z and Millennials are likely to embrace digital garments as a solution to environmental issues and the development of sustainable design systems.
Despite evidence suggesting that virtual garments could achieve sustainable practices, satisfy social media demands, and garner public interest and support, relatively few consumers have made the switch. This phenomenon demonstrates an attitude and behaviour gap between consumers and virtual garment consumption. Therefore, the aim of this essay is to investigate the gap and offer potential solutions by applying mental simulation theory from the perspective of visual touch stimuli.
▍Literature Review
- Digital Fashion
- Definition of Digital Fashion: ‘the virtual creation, production, and representation of one’s identity via computer-generated design’ (Baek et al., 2022, p. 8). Six themes are encompassed: virtual, printing, supply, body, consumer, and design
Under the digital fashion umbrella, this essay focuses on the relationship between virtual creation (i.e., virtual garments) and the consumer.
To better understand virtual garments, a model proposed by Hoekstra (2021) can provide a detailed explanation. According to Hoekstra (2021), virtual garments can be divided into two types: digital twins and digital fashion.
- Digital Twins: Digital twins are digitalised versions of physical clothing, that serve the purpose of physical photoshoots synthesised with AI photography or reducing consumer returns with an accurate virtual try-on (Hoekstra, 2021).
- Digital Fashion: digital fashion is produced primarily for expressing identity as opposed to being produced in reality, which would not be constrained by physical constraints. For instance, it would not be constrained by body types or sizes, could be made of unconventional materials (e.g., fire, water, or light), and could be dressed in a variety of digital identities.
Regarding body types, both types of virtual garments can utilise AR technologies to be worn on a real body or a digital body (i.e., an avatar) (Hoekstra, 2021).
To clearly define the boundaries of the essay within digital fashion, virtual garments worn by real bodies and displayed on social media platforms were identified.
- Need of Touch (NFT)
- Definition of Need of Touch (NFT): ‘a preference for the extraction and utilisation of information obtained through the haptic system’ (Peck and Childers, 2003, p. 431).
Following that, two motivational factors are ascribed: the instrumental NFT (e.g., problem-solvers) and the autotelic NFT (e.g., seekers for fun and enjoyment) (Peck & Childers, 2003).
- Instrumental NFT Individuals: Instrumental NFT individuals assess products based on products’ attributes, such as texture, hardness, or temperature, meaning they shop for functionality (Peck & Childers, 2003). Additionally, highly instrumental NFT consumers tend to examine a product by touching it and to be confident in their evaluation (Lee & Choi, 2021).
- Autotelic NFT Individuals: Autotelic individuals have a hedonic desire for touch, meaning their need for touch is solely for the purpose of seeking pleasure (Peck & Childers, 2003). Similarly, Atakan (2014) discovered that because individuals with a high autotelic NFT need to seek enjoyment through touch, they tend to develop attachments to the product they’ve created. Rathee and Rajain’s (2019) research also found that individuals with greater autotelic NFT exhibited more impulsive purchase behaviour than those with lower autotelic NFT.
- Gen Z Consumer
Gen Z (born between 1995 and 2010) is defined as an environmentally conscious and technologically sophisticated generation that views technology as an extension of themselves to express their identity (Francis & Hoefel, 2018; Singh & Dangmei, 2016; Shin & Poile, 2019). That is, Gen Z’s strong reliance on technology and the digital world distinguishes them from previous generations (Singh & Dangmei, 2016). In the same vein, a survey by The New Consumer (2021) found that Generation Z feels most like themselves online as opposed to offline.
Therefore, it is clear that the target demographic for virtual garments is Generation Z, who are accustomed to constructing their digital identities on social media. Additionally, their strong sense of responsibility and environmental awareness aligns with the environmentally friendly concept of virtual garments.
▍Discussion
- Lack of Touch in Virtual Garment Consumption
Interpersonal touch has been shown to influence fashion consumers’ attitudes and behaviors in sensory marketing. Research done by McCabe and Nowlis (2003) shows that products with material characteristics (e.g., clothing or carpeting) are more inclined to consumers to pick up, touch, and choose them in a store than in a remote location (McCabe & Nowlis, 2003). Another survey done by Retail Dive Consumer found that 56% of the 1248 consumers visited brick-and-mortar stores before purchasing the same products online, which emphasises the significance of the ‘need of touch’ in shopping scenarios (Skrovan, 2017). In a similar vein, Peck and Shu (2009) state that physically touching an object can create a sense of psychological ownership, and in turn, drive the purchasing decision.
Based on these findings, this essay highlights the importance of haptic sensory in fashion consumption, arguing that consumers can use their sense of touch to add supplementary information to their purchase decisions. In the context of virtual garments consumption, however, there is a lack of ‘touch’ that cannot be provided by nature. Therefore, this essay argues that the absence of a significant stimulus in the consumption of virtual garments, namely the sense of touch, makes it difficult for Gen Z to form purchase intentions despite the positive environmental impact of virtual garments.
In short, due to the lack of touch, there is a behaviour and attitude gap in virtual garments consumption. The next question will be how to motivate Gen Z’s purchase intention without the sense of touch in an online environment.
- Stimuli for Mental Simulations: Virtual Touch via ‘Touch-screen Device’
Since the sense of touch in virtual garment consumption has not yet been investigated, this essay employs the findings of online shopping as indirect evidence. Due to the fact that both online shopping and virtual garment shopping take place in non-touchable environments, requiring consumers to rely on information such as pictures or video clips to create a mental representation of the product in mind. This representation is known as mental simulation (Lee & Choi, 2022).
Mental simulation refers to the act of imagining and creating hypothetical realities (Markman et al., 2015), which can be triggered by the object itself or directly touching object representations (Shen et al., 2016). This finding suggests that consumers who view product images online can perceive the texture of the product by imagining themselves touching it, consequently, leading to behavioural intentions.
For example, if a person has previously worn a leather jacket and experienced its weight, texture, and odour, seeing a picture of a leather jacket while shopping with virtual garments may trigger mental imagery to recreate the coat’s perceptual experience. Based on these findings, this essay argues that images play a crucial role in stimulating the imagination of ‘touching’ clothing, potentially minimising the gap in the virtual garment shopping environment.
Given the importance of ‘images’ and ‘visual touch’ in virtual garment consumption has been established, interface devices should be included as one of the factors to bridge the gap between consumers and garments.
Studies (Brasel & Gips, 2014, 2015; Chung et al., 2018) demonstrate that consumers engage more with product images when using touchscreen devices with their fingers, compared to traditional non-touch devices that require a tool such as a mouse for interaction. According to Brasel and Gips (2015), touchscreens generate a stronger sense of psychological ownership, leading to increased exploration of alternatives and anticipated satisfaction with product choices in online shopping. Similarly, Chung et al. (2018) found that using a touch-screen device enhances consumer involvement, evokes positive emotions, and boosts purchase intentions to make hedonistic and impulsive choices. Their findings also highlight that low-involvement shoppers are more intensely engaged than high-involvement shoppers in touchscreen conditions because they tend to shop for leisure and exhibit greater purchase intentions.
Overall, it can be argued that images have a significant impact on stimulating the imagination of tactile experiences with clothing. Additionally, touchscreens act as affective cues that help bridge the gap in virtual garment consumption. Therefore, designing a visual setting and applying touchscreen devices are suggested in this essay.
- Potential Solutions and Outcomes
To address the lack of touch in virtual garment consumption and effectively target consumers, this essay proposes two possible solutions (designing a visual setting and applying touchscreen devices) and one target consumer (Gen Z autotelic NFT individuals).
Possible Solutions:
- Designing a visual setting: From the interaction perspective, virtual garment retailers could display fabric information using close-ups and detailed images that showcase the texture and pattern from different angles, stimulating consumers to mentally ‘touch’ the images. Based on the findings of Chung et al., (2018), this essay hypothesises that detailed visuals may enhance the mental simulation of touch and lead to positive attitudes towards virtual garments.
- Applying touchscreen devices: Additionally, retailers could implement touch-optimized interfaces or create a mobile-optimized interface in their online stores. This is due to the findings of Lee and Choi (2020) that touch-screen devices can enhance the touch effect of mental simulation. From a marketing standpoint, retailers can use advertising or design entertaining engaging interactions to encourage consumers to use touchscreen devices to view their products.
The target consumer:
- Gen Z autotelic NFT individuals: To target specific consumers, virtual garment retailers should focus on Gen Z autotelic NFT individuals. This group aligns well with the nature of virtual garments, as autotelic NFT individuals are driven by hedonic desires rather than utilitarian purposes (Peck & Childers, 2003). Additionally, since autotelic NFT consumers tend to form attachments to the products they create (Atakan, 2014), virtual garment retailers could provide them with an opportunity to design their own virtual garments, which may result in increased purchase intention or impulsive purchase behaviour.
Potential Outcomes:
Based on the findings of previous research, numerous positive outcomes may be anticipated. Firstly, shoppers may exhibit greater engagement in their shopping experience as well as positive emotions. Secondly, consumers may be drawn to hedonistic decisions and impulsive purchases, which virtual garment consumption especially needs, since its existence is not for utilitarian purposes. Thirdly, the use of touchscreens can entice low-involvement shoppers, who are normally unlikely to engage in virtual shopping (Chung et al., 2018). Overall, these effects will potentially lead to a rise in virtual garment consumption.
▍Limitations
This essay can be seen as a humble contribution to retailers and the environment, however, there are some limitations of this essay.
Firstly, since the virtual garment domain has not been explored yet, most of the paper can only be seen as indirect evidence. Therefore, future studies should be based on the hypothesis that this study was built to do a further investigation.
Second, the focus of this study is limited to a single sense (touch), which may not cover all the possible causes for the low consumption of virtual garments and corresponding solutions. Consequently, future studies could explore different sensory stimuli (e.g., visual) to make a holistic understanding of virtual garment consumption.
▍Conclusion
Although studies have demonstrated that virtual garments can address environmental concerns while satisfying social media demands, few individuals wear them, indicating an attitude and behaviour gap. This essay argues that this is due to the absence of touch stimuli in virtual garments.
By applying mental simulation theory from the visual touch perspective, this essay suggests retailers with two potential solutions (design a visual setting and apply touchscreen devices) and one target consumer, namely, Gen Z autotelic NFT individuals. By embracing these strategies, retailers can encourage wider adoption of virtual garments, effectively addressing environmental concerns while meeting the demands of social media.
Overall, this study investigates virtual garment consumption from a novel perspective — visual touch stimuli — which could be seen as a starting point that benefits both researchers and retailers in developing more comprehensive ideas about virtual garment consumption.
▍References
lablaco. (2020). Circular Fashion Report 2020 — Year Zero. In CFS (pp. 1–42). Circular Fashion System. https://docsend.com/view/63avn4jc3ztb952w
Atakan, S. S. (2014). Consumer response to product construction: the role of haptic stimulation. International Journal of Consumer Studies, 38(6), 586–592. https://doi.org/10.1111/ijcs.12121
Baek, E., Haines, S., Fares, O. H., Huang, Z., Hong, Y., & Lee, S. H. M. (2022). Defining digital fashion: Reshaping the field via a systematic review. Computers in Human Behavior, 137, 107407. https://doi.org/10.1016/j.chb.2022.107407
Brasel, S. A., & Gips, J. (2014). Tablets, touchscreens, and touchpads: How varying touch interfaces trigger psychological ownership and endowment. Journal of Consumer Psychology, 24(2), 226–233. https://doi.org/10.1016/j.jcps.2013.10.003
Brasel, S. A., & Gips, J. (2015). Interface Psychology: Touchscreens Change Attribute Importance, Decision Criteria, and Behavior in Online Choice. Cyberpsychology, Behavior and Social Networking, 18(9), 534–538. https://doi.org/10.1089/cyber.2014.0546
Chung, S., Kramer, T., & Wong, E. M. (2018). Do touch interface users feel more engaged? The impact of input device type on online shoppers’ engagement, affect, and purchase decisions. Psychology & Marketing, 35(11), 795–806. https://doi.org/10.1002/mar.21135
DressX. (n.d.). Digital Fashion Sustainability Report 2021. In DRESSX (pp. 1–27). DressX. Retrieved April 25, 2023, from https://docsend.com/view/weyzfyzxqvyapgzn
Francis, T., & Hoefel, F. (2018, November 12). “True Gen”: Generation Z and Its Implications for Companies. McKinsey & Company. https://www.mckinsey.com/industries/consumer- packaged-goods/our-insights/true-gen-generation-z-and-its-implications-for-companies
Hoekstra, C. (2021). Digital fashion for sustainable change: A strategy for digital fashion at Tommy Hilfiger [Master thesis]. https://repository.tudelft.nl/islandora/object/uuid:d268a227-5be0-4969-bf6d- b2edd5fef0c8
Huang, M., Bridge, H., Kemp, M. J., & Parker, A. J. (2011). Human Cortical Activity Evoked by the Assignment of Authenticity when Viewing Works of Art. Frontiers in Human Neuroscience, 5. https://doi.org/10.3389/fnhum.2011.00134
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(1). https://doi.org/10.1186/s40691-021-00259-4
Lee, H. K., & Choi, D. (2021). Touch Effect of Mental Simulation in Online Fashion Shopping- The Role of Instrumental and Autotelic Needs for Touch-. Journal of the Korean Society of Clothing and Textiles, 45(2), 376–389. https://doi.org/10.5850/jksct.2021.45.2.376
Lee, H. K., & Choi, D. (2022). Can I touch the clothes on the screen? The mental simulation for touch in online fashion shopping. Journal of Fashion Marketing and Management: An International Journal, 1–18. https://doi.org/10.1108/jfmm-09-2021-0238
Lieber, C. (2019, July 8). Would You Buy a Virtual Pair of Nikes? The Business of Fashion. https://www.businessoffashion.com/articles/technology/virtual-fashion-digital-products/
Markman, K. D., William Martin , K., & Suhr, J. A. (2015). Handbook of imagination and mental simulation. Psychology Press.
McCabe, D. B., & Nowlis, S. M. (2003). The Effect of Examining Actual Products or Product Descriptions on Consumer Preference. Journal of Consumer Psychology, 13(4), 431– 439. https://doi.org/10.1207/s15327663jcp1304_10
Peck, J., & Childers, T. L. (2003). Individual Differences in Haptic Information Processing: The “Need for Touch” Scale. Journal of Consumer Research, 30(3), 430–442. https://doi.org/10.1086/378619
Peck, J., & Shu, S. B. (2009). The Effect of Mere Touch on Perceived Ownership. Journal of Consumer Research, 36(3), 434–447. https://doi.org/10.1086/598614
Rathee, R., & Rajain, P. (2019). Online shopping environments and consumer’s Need for Touch. Journal of Advances in Management Research, 16(5), 814–826. https://doi.org/10.1108/jamr-12-2018-0116
Shen, H., Zhang, M., & Krishna, A. (2016). Computer Interfaces and the “Direct-Touch” Effect: Can iPads Increase the Choice of Hedonic Food?. Journal of Marketing Research, 53(5), 745–758. https://doi.org/10.1509/jmr.14.0563
Shin, J., & Poile, M. (2019, May 2). Gen Z: Living in the Third Platform . WGSN; Worth Global Style Network. https://www-wgsn-com.arts.idm.oclc.org/insight/article/83522
Silva, E. S., & Bonetti, F. (2021). Digital humans in fashion: Will consumers interact? Journal of Retailing and Consumer Services, 60, 102430. https://doi.org/10.1016/j.jretconser.2020.102430
Singh, A. P., & Dangmei, J. (2016). Understanding the generation Z: the future workforce. South-Asian Journal of Multidisciplinary Studies, 3(3), 1–5. https://www.researchgate.net/profile/Jianguanglung- Dangmei/publication/305280948_UNDERSTANDING_THE_GENERATION_Z_THE_FU
TURE_WORKFORCE/links/5786a11008aef321de2c6f21/UNDERSTANDING-THE- GENERATION-Z-THE-FUTURE-WORKFORCE.pdf
Skrovan, S. (2017, April 26). Why many shoppers go to stores before buying online. Retail Dive. https://www.retaildive.com/news/why-many-shoppers-go-to-stores-before-buying- online/441112/
The New Consumer. (2021). Consumer Trends 2022 . In The New Consumer (pp. 1–79). The New Consumer. https://newconsumer.com/wp-content/uploads/2021/12/Consumer- Trends-2022.pdf
WGSN. (2019, September 6). Digital Fashion: A Post-Product World . WGSN; Worth Global Style Network. https://www-wgsn-com.arts.idm.oclc.org/insight/article/83958
