Spatial News™ #031
This week we're mostly about fashion (digital fashion, NFTs, virtual worlds, virtual try-on jewelry), plus, web vs. internet, Decentralized Society (DeSoc), AR, VR for cognitive training, & more!
Welcome to Spatial News™: Fashion Edition! It’s 90’s Hip Hop jeans-sized, extra baggy! “Fashion is not something that exists in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening.” ―Coco Chanel
Internet vs. Web: What's the Difference?
I was inspired to share this because of a back and forth between Clyde DeSouza and Rafael Brown in a LI post last week. Here’s a slice (and not in order).
DeSouza: “Web3, the way I see it is an upgrade of the www *𝘢𝘴 𝘢 𝘱𝘰𝘳𝘵𝘢𝘭, 𝘢 𝘨𝘢𝘵𝘦𝘸𝘢𝘺* to spatial comput....(the metaverse) after that you run whatever protocol *your* flavor of metaverse wants to run on.”
Brown: “I still have absolutely no idea why people think that the web has anything to do with spatial computing, XR, cloud, games, metaverse or I need the rest of the notions of future computing, because those people have obviously never sat down and used an XR device, played a game, or run a cloud simulation, since none of those things need the web. Spatial computing connected to web is like giving a fish a bicycle. Cloud with Web is like giving a fish a donkey.”
I’ve read enough of Rafael’s posts to know that he sees the confounding of the terms “internet” and “web” by the proponents of “web(anynum)” as leading to dishonest and/or ignorant claims. I’m not saying that Clyde did this, but I do see where Rafael is coming from.
So, just in case there is any confusion:
A global network of networks and computers.
The network infrastructure.
Information travels via network protocols.
Can access through a variety of ways.
A collection of information accessed through the internet.
Information travels primarily through HTTP.
Uses browsers to access documents and web pages.
Navigation to other pages occurs through hyperlinks.”
And here’s a picture for you visual learners.
<write clever segway here>
There are 138 Virtual Worlds
Here is a link to Metaversed’s “Metaverse Universe” charts. They have four main segments: Blockchain-based virtual worlds (both Ethereum and non-Ethereum), Blockchain-based virtual worlds in VR (both Ethereum and non-Ethereum), “Browser” virtual worlds (split between kids, tweens, & teens and older users), and (pictured below) virtual worlds in VR (both rooms and worlds).
While “the blockchain browser-based VW sector continues to exhibit the highest growth in terms of worlds in development” […], “total MAUs [monthly active users] currently only account for 0.9% of the total Metaverse population. 99.1% of users/players currently reside in off-chain web2 platforms”.
It should be noted that Fortnite, Roblox, and such are not web-based so they don’t belong in the “Browser” segment. For the same reason, neither should they be referred to as “web2”.
<refer back to Internet vs. Web discussion above in a diplomatic way>
(Shared by Desmond Hewitt)
Now that that’s sorted,
in SN #016 we shared a primer on digital fashion. This week we share Vice’s more sassy version to get you up-to-date if somehow you are still dragging your feet about virtual clothing, footwear, and accessories.
Fashion that is digital, n'est-ce pas?
“Digital fashion is still, often, experimental ground. But it’s worth paying attention to the results of those experiments. Not all of them will stick around. After all, much of the pleasure of clothes lies in their physicality, their ability to carry us through the real world. But the digital world isn’t going anywhere either. Better to have a killer outfit to guide you through it.”
Oh so sassy.
Question: Replicating physical properties of clothing, for example, is a serious challenge. What’s the digital fashion equivalent of the “pleasure of physicality”? Or what replaces it in the virtual world? (And, no, ‘flex’ can’t be considered a physical property.)
Ironing out the material challenge for the metaverse
Avihay Feld, CEO of Browzwear, “argues that it is not clear where the metaverse is going, but it is easy to imagine two possibilities. One is a metaverse that is a departure from reality, where virtual worlds defy the laws of physics. The other is a metaverse that imitates reality so users would have experiences that are analogous to those possible in the real world.
He believes that a true-to-life representation of both the visual and physical properties [such as bend, stretch/elongation, shear/diagonal stretch, weight and thickness] will be essential in this second case. Having realistic things inside the virtual world will make it more immersive and compelling, but it will also enable the metaverse to support a variety of use cases.”
Those two metaverse possibilities will mostly coexist and intertwine weaving into each other and into our physical world. We’re already seeing that in digital fashion today.
Digital and physical identities will intertwine in virtual fashion design
“‘We are not set to be this one person, you can have multiple different personas,’ The Fabricant’s [Kerry] Murphy said. ‘That’s really the power of the metaverse and the Web3 space. It brings us the tools to be able to express ourselves in much more unique ways. Hopefully, experiences in the metaverse will also come into our physical lives, where we may be brave enough to express ourselves in new ways that we wouldn’t normally have done.’”
(Shared by Lennard Minderhoud)
The Metaverse Runway fashion show
And now a word from Kadine James of The Immersive KIND who’s Metaverse Runway last Friday brought together digital fashion designers for a one of a kind Crypto Fashion showcase and lead to a 1,000 guests trying to enter the show.
“The Immersive KIND Village, hosted on Spatial, is an incredible piece of industrial architecture. I am so excited to be partnering with the superb MaisonDAO and Fumigene team and the outstand Jessica James and Jessica Avarello to bring the Immersive KIND Metaverse Runway to life and to create a space that can be accessed virtually, the opportunity to work together with the finest artists and creators in digital fashion is a dream come true. Our space will be reimaged for this extraordinary meta runway show where together we will explore the future of architecture, digital art and crypto fashion. We are thrilled to be partnering with the iconic Ready Player Me team who are pioneers. I will also continue to collect and support the next generation of artists. The Immersive KIND, MaisonDAO and Fumigene on Spatial will be an iconic moment for pop culture and will allow our visitors to interact as we would in the physical world. I am extremely inspired by the endless possibilities that this presents to connect to future audiences at scale all over the globe."
Follow the link to watch a recording of the event.
Gamifying Fashion (Part 2 & Part 3)
It isn’t always easy finding something worth reading and writing about on the Web. The Web reminds me of Garbage Compactor 3263827 -full of recyclable waste forged in the fires of Mt. Google and infested with hidden dianoga. Much is written by pre-programmed droids (or humans mimicking droids). Kelly Vero, though, is verified. So while we shared “Gamifying Fashion” (part 1) back in SN #008 and recommended that you follow the series, what if you missed it? If you did, you messed up. Kelly knows her stuff, and she doesn’t disappoint. Case in point:
“To recap the various stages of getting your fashion/luxury brand into the digital landscape, this is your last chance to check that you’re doing everything that your audience requires you to.
Use 3D tools right away, the moment that you have a brand meeting or discussion about how your next season, collection, or line will look. Look around the boardroom to make sure there’s someone in there who has 3D experience before you even put digital ink onto canvas. Oh, and remember that the workflow process is very important to the success of what you create so make sure that your PC is as organised as your design room.
Create an experience for your audience which is as close to the physical experience they know and love from your fashion/luxury brand. It’s vitally important that you don’t veer too far away from the core pillars of your luxury house.
Ensure the digital objects and items that you create fit the medium well. In the games industry, especially, our players are our biggest critics. If we make a false move, we lose them to our competitor. That’s not good for our business and it’s definitely terrible for yours.
Find meaning in your luxury items and tell that story well. Don’t build your world around the luxury item, instead, place your luxury item in the world and trust your community to get excited about it. Use case plus value equals utility.
Understand the psychology of whoever encounters your luxury item. Don’t call us gamers or purchasers, we are superfans so treat us as you would your physical consumers.
You don’t need to spend ten years trying to get this right, all the right answers are here! You just need to make your items quality-driven, discoverable, sought after and attainable in the digital space.”
This is where the microphone NFTs drop (which is, of course, protected against scammers by Kelly’s NFT standard).
What Kelly wrote doesn’t just apply to lux items either.
Before there is some monolithic, all-encompassing “Metaverse”, brands of all stripes will need to create, update, and cache their 3D assets as well as learn how to apply them to various user segments and media by, for instance, experimenting with games, immersive websites, virtual worlds, and new forms of storytelling.
<write tasteful plug that Spatial8 is great at guiding brands through this process and then connecting them to the best companies to execute the solutions to their business needs>
Brands like Gucci are game.
Gucci Garden Experience on Roblox / Guccio, Gucci & Roblox
Hype Research has put together a summary of
Gucci’s Journey to Web3 and the Metaverse
which includes the auctioning of their first NFT, a 4-minute film based on their Aria collection, and launching SUPERGUCCI (in collaboration with Superplastic).
According to Hype, “Gucci is emerging as one of the most disruptive traditional brands in Web3. Next moves could include wearable NFTs in the metaverse, a digital shop, and a DeFi platform for designers.”
Sign up to download the full report. (Shared by Micael Barilaro at Gucci)
Here’s another example.
Virtual try-on jewellery: 7 brands doing it right now
“For jewellery retailers, investing in virtual try on jewellery augmented reality (AR) technology to improve the online buying experience may no longer be optional. Although customers still prefer to shop for jewellery in-store, online jewellery sales are rising. Particularly for fine jewellery, online sales are predicted to go from making up just 13% of the total global market in 2021 to anywhere between 18 and 21% by 2025.”
(Shared by David Ripert)
Plus, you have companies like
Tag Heuer watches to display NFTs
(Shared by Christopher Els)
Of course, then there are the new school brands that are creating digital-only accessories like jewelry (JEVELS | Virtual Jewelry for the Metaverse), watches (Meta Watches), and so forth, using a mixture of emerging tech like AR, AI, and NFTs to reach their niche.
The Uniqueness of Augmented Reality
A new study by IPG Magna and Snap Inc. explores AR's place in brand marketing. Some takeaways:
“Ads featuring AR provide utility and help brands build deeper connections with consumers. Marketers should leverage this to differentiate their brand when it matters most.
AR ads play a unique role in each phase of the purchase journey — marketers shouldn’t view AR as an add-on, but rather an always-on tool to build and amplify brand messaging.
While AR can shape how consumers feel about brands, marketers should use different AR formats to achieve their desired outcomes.
AR should be strategically positioned in campaign sequencing as part of consumer’s exposure to the brand on the platform.”
Vogue sees AR’s utility for fashion.
Snap & Vogue Launch AR Fashion Exhibit
An image from the exhibit.
And while we’re on AR,
last week I wrote about Jurassic World, dinosaurs and human factors in XR. The same day I released that newsletter I read Heather Elizabeth Dodds, Ph.D.’s new (then) article “Dr. Ellie Sattler, Jurassic Park, and Narrative Plot. Or It Wasn't About Dinosaurs”. She brings it all home like a meteor strike.
“XR is dangerous,”
Dr. Heather Dodds writes, “I’d rather have a low, slow, plodding walk into an XR for education experience than every bell and whistle thrown at them the first day. The line “spared no expense” gives me chills.
XR is dangerous and if we aren’t careful, we will damage learners along the way. Jurassic Park should not have been built or opened. Dr. Alan Grant refused to give his endorsement. That was the lesson of the movie.
I'm proud that I don't endorse some forms of XR (Dr. Alan Grant)
I'm proud that I throw water on some XR ideas (Dr. Ian Malcolm)
I'm proud that I tackle problems that no one else can survive. (Dr. Ellie Sattler)
But the parallel lesson of JP was “Build for story. Because the dinosaurs are not real.”
When I encourage XR design, I build for narrative plot.
I build for emotions,
because those are real.”
<add the whistling sound of something falling from the sky>
More Summer Reading:
Decentralized Society: Finding Web3’s Soul
by Vitalik Buterin and colleagues (This where all the Soulbound Tokens [SBTs] hubbub originated.)
Enhance VR: A Multisensory Approach to Cognitive Training and Monitoring
by Victòria Brugada-Ramentol and colleagues. Shared by Todd Maddox, Ph.D.
Thank you for reading the fashion edition, Spatialistas! You are spatial!
Joh of Spatial8, fashionably late to the party, which by Puerto Rican standards means by about an hour (or two) to the utter dismay of his Finnish hosts
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