Indeed, as stylist, consultant, and FabriX fashion curator, Declan Chan adds, “FabriX is more focused on digital fashion as an experience. People have wrapped their heads around the idea of AI, and today, things that are virtual are more woven into the fabric of daily life. Also, when choosing the designers, we usually pick those that we can see have synergy between their work and digital fashion.” Game skins (essentially garments players can buy to customise their avatars in online gaming) are a prime example of this integration into the every day, and for their part, FabriX has collaborated with DressX to facilitate designer pieces on Roblox, an online gaming platform where prices are substantially lower than those garnered in the brief era of NFTs.
Perhaps the most straightforward vehicle for Wong’s work, however, is the AR kiosk she debuted in Paris in 2023. Inspired by Tokyo’s Purikura photo booths, the kiosk acts almost as a fitting room: an AR-enabled mirror and photo booth hybrid for buyers to virtually try on garments straight from the catwalk. “We consolidated comments from fashion buyers and friends in the industry, who said that having the AR through iPhones or iPads just wasn’t translating because it was so small,” Wong says. “The kiosk was easy and tangible for people to interact with immediately and has helped the conversation move, changing the perception of how people see digital fashion. I wanted to do this two years ago, but people didn’t get it then. It’s really simple, but I need new collection designs prior to presentations, and designers find that hard. It takes a lot of people’s work and understanding.”
“Traditional fashion crowds don’t really connect with tech, but we’re trying to close that gap and make the conversation seamless,” she continues. Positioned in close proximity to the real thing during showcases, the kiosk underscores the need for cooperation between the disciplines. “Some designers initially don’t believe their work will translate, that it will lose a sense of craftsmanship,” Chan says, reflecting on the platform’s early obstacles and the further significance of the kiosk. “We were amazed when we saw the rendering,” Robert adds. “It’s been a total discovery for us, and we’re excited to see how people engage with the pieces. The possibilities feel quite endless!” For Bourreau and Dutta, who already have digital solutions in place for sales and stock management, FabriX provides a further bridge between established craft and design’s future. “We’re creative and super curious,” they say. “We’re always happy to take part in new experiments so that a wider audience can discover our work.”
While there are still limitations, namely the reliance on devices and 2D screens, and the high price point of AR kits – as well as the aforementioned timelines – Wong feels confident the next two years will see these digital practices becoming commonplace. “It’s going to be a useful tool for consumers trying on things without hassle, without judgment. And once Meta, Google, everyone, come to a common consensus, 3D models can be used on all platforms as a plugin, so it’s inevitable every designer will use tech and build 3D models for their clothes.”