Project Overview: Decentralizing High Fashion

  •  Collections are scheduled to drop every four months.

To understand the problem we're solving please read these articles.

https://www.instagram.com

https://www.instagram.com

https://www.instagram.com

https://www.latimes.com

https://www.cnn.com

https://www.businessoffashion.com

This solution is a holistic initiative to rectify the prevailing imbalance with artisans in creative projects, ensuring they are compensated in accordance with the significance of their contributions and proportionate to the project's sales. While our immediate focus within this project is on the fashion sector, it's crucial to highlight that this solution is universally applicable across all creative industries, such as the Condé Nast walkout, the Hollywood Writers Strike, Marvel VFX Unionization, and broader issues like centralized high fashion and brand benefits for both external consumers and internal creators. 

Rebalancing the scales for creative professionals, ensuring fair compensation aligned with their contributions and proportional to project sales.

I'm launching the Decentralizing High Fashion Campaign to showcase the solution: Creative Equity and Recognition. This initiative pays tribute to influential historical designers, with each collection dedicated to honoring their legacy. The inaugural collection is a tribute to Virgil Abloh. A portion of the proceeds from each collection—$2.6 million—is allocated to support aspiring designers.

I'm not proposing a replacement of the global currency or limiting experiences solely to the digital realm. This project involves tangible, physical products, with real USD currency. The issue we are addressing pertains to restructuring the campaign and altering the delivery of products to consumers. Additionally, we aim to redefine how consumers interact with brands and marketing campaigns, resulting in brand benefits for both internal creators and external supporters.

Digital Revolution: Uniting Visionaries

In the contemporary individualistic environment, sustainable collaborative efforts seem challenging, suggesting a design flaw.

In the fashion realm, collaboration is key. For example, Ye may join forces with Virgil, Ona Stanescu, Demna, and others, underscoring the significance of a creative team with a unified vision.

Their revolution based on their zeitgeist involved graffiti, streetwear, and essentials; our zeitgeist centers around Web3, Decentralization, and 3D Design.

The pivotal distinction lies in the ability to represent value digitally.

Expression Valuation and Equitable Distribution: Overcoming Challenges

In our journey of successfully harmonizing creative mediums, we confronted two significant challenges:

Expression Valuation: The prevailing issue was the undervaluation of individual expression. It appeared that information held no inherent worth, and time, a crucial component, lacked value. Until now, the significance of expression remained elusive.

Equitable Distribution: Another hurdle was harmonizing creative mediums while ensuring that each party involved received adequate compensation proportionate to the scale of their contributions and relative to the project's sales.

Solution: In response, we've designed an unprecedented solution: through seamless integration with WEB3, we allow individuals to gain ownership of their creative experiences, presenting us with the opportunity to market each moment of expression. We are at the forefront of a transition that recognizes and more importantly, rewards the intrinsic value of a creative journey.

I'm not suggesting that we replace the global currency or only confine experiences to the digital realm. This project is very much a real physical product with real USD Physical money. The problem we are addressing is changing the structure of the campaign and the delivery of products to consumers, as well as how consumers are interacting with brands and marketing campaigns, gaining brand benefits for both the internal creators and the external buyers. 

Below is just a brief definition of the landscape in WEB3.

WEB3 and AI: Shaping the Future of Digital Ownership

Forbes Talks: Alex Tapscott, an entrepreneur, investor, and author on Forbes Talks What Is Web3 And How Can It Change The World?

WEB1 - Consume (Information)

WEB2 - Consume and Contribute (Share Pictures, Information, Community Interaction)

WEB3 - Consume, Contribute, Own (Information, Community Interaction, Ownership of Digital information)

"If I can copy money like I can copy information, then the money becomes worthless." - Alex Tapscott

"Until blockchain came about, we actually had no way of representing value digitally." - Alex Tapscott

"We're now shifting to a new paradigm where internet users are becoming internet owners."

"What blockchains do is create a decentralized, trust-less platform for moving and storing value online."

"A token defines a digital asset. Tokens serve as containers for value and are essentially programmable empty vessels that can represent various entities such as money, stocks and bonds, art, collectibles, votes, and aspects of your identity."

WEB3 is the Convergence of Three Technologies Across Three Layers:

  1. AI: Logic and Reasoning

  2. Blockchain: Commercial and Transactional

  3. Physical: AR/VR Headsets (Apple Vision, Meta), Code Infrastructure

Artificial Intelligence (AI) methodically scans a database for human-provided information. If we consider this information as a token, each time it is utilized by AI, the original creator receives fair compensation. As a result, any jobs displaced by AI have the potential to be replaced by AI itself.

Wearing the Apple Vision Pros, for example, brings the evolving world within them to vivid life.

  • AI analyzes the environment, delivering information about each item, 

  • while blockchain ensures a secure global network for seamless purchases. 

  • The immersive experience is possible through 3D design, encompassing nearly everything within your visual perception.

This is our application of WEB3 for this campaign.

ZAZADesignNYC Campaign: Decentralizing High Fashion

Tensions run high—wars, climate change, Gun Violence—echoes of past mistakes persist. We share a moral, or perhaps a social, obligation to express our opinions. Yet, in a landscape inundated with quotes and images, grasping expression remains elusive.

"If you can own an experience it’s so much closer to you because ideas are within us they exist in the Ether aka the 5th dimension where time is an object."

Maria Antonieta, the final Queen of France prior to the French Revolution, employed intricate dresses as a means of conveying political messages. Haute couture, spanning from the 1950s to the present, has been notably unprofitable. However, with Bernard Arnault's acquisition of Dior in 1984, haute couture now functions as an advertisement.

In 2024, with the "Decentralizing High Fashion Campaign," we find ourselves transitioning from WEB2 High Fashion to WEB3 High Fashion, shifting from mere advertising to ad ownership.

Immersive, interactive, and rewarding, our campaigns naturally recognize and value the contributions of both internal creators and external day-one supporters. This inclusive approach ensures that everyone around the globe has the opportunity to engage with luxury brands and enjoy the associated benefits.

How our advertisements generate revenue autonomously.

Each of our ads serves as a ticket or token, and they are distributed evenly among all creatives involved in crafting the collection.

  •  We are developing technology to assign digital value to information across all platforms. This ensures that when AI accesses such information, creators receive fair compensation, paving the way for AI to replace jobs displaced by its own advancement.

“Data is more valuable than gold”- Elon Musk

The value of anything is subjective, and dependent on perspective. High Fashion validates its prices through anticipation and build-up, and we employ a similar approach. However, each element of our build-up is interactive with both a digital and physical counterpart, not just accessible on a global market through a worldwide museum but, more importantly, owned and sold by the creators. Bridging the gap between creators and their audiences.

Primary marketing strategy for this campaign

Each contributor, beyond their world-class talent, plays a strategic role.

1.) Series of Interviews/Research Process

In Step Number 1, we embark on a research journey to curate the collection.

This deep analysis is a prerequisite until we fully grasp the collection's expression.

We aim to authentically elevate collections to a position of genuine respect within the fashion industry. This involves delving into the true history, beyond surface-level understanding, and paying homage to the individuals contributing to that heritage. 

Condensing comprehensive information into an accessible format is crucial.

This learning process is shared on social media, allowing the community to learn and engage. A visual representation of this step is crafted as a Ticket/Token by designers.

2.) Short Film

We craft a series of short films centered around the theme of each collection. Each short film contributes to a larger cinematic narrative.

Each character featured in the short film is sold as a Ticket/Token, inclusive of all the physical clothing items the character wears. 3-9 characters are auctioned off per collection.

Furthermore, these characters make recurring appearances in various collections. 

Examples
  1. A24 could seamlessly integrate its auctions into the film experience through Apple Vision. By utilizing Apple Vision and an open-sea browser extension to scan a hidden QR code embedded in the movie, the notification of purchasable items during the film is triggered. Every available item comprises a digital collectible and the authentic physical product featured in the film. Both are available for purchase on a global platform through a worldwide museum, using a universal currency. The format is universally compatible, making them transferable seamlessly across various platforms, from social media to video games. This signifies ownership and also allows for verified resale. Additionally, it offers the original creators the opportunity to gain ownership and recognition for the items they personally crafted and chose to include in the movie auction.

  2. In the Marvel universe, possessing creations by Stan Lee would equate to owning a character within a specific universe. Whenever this character appears in a new movie, short film, or cartoon, you acquire certain accessories the character is associated with, transforming them into both digital and physical collectibles. This ownership is prominently featured on a global platform, ensuring that any observer recognizes your ownership and has the opportunity to place bids. The enduring value goes beyond the fan base's desire for the original collectible of their favorite character; it also involves gradually accumulating associated items at no extra cost. Envision a scenario where these characters don high-fashion clothing crafted by your favorite designers. Consider larger possibilities, such as Tony Stark and his Audi.

3.) Tickets/Token

Viewing the Ads/Tickets/Tokens through our campaign involves the community obtaining unique creations crafted by the designers working on various pieces of the collection.

There is a limited number of tickets/tokens per campaign.

Our tickets/Tokens for this campaign specifically are limited to the number of seats we have for the Annual IRL Haute Couture fashion show.

Tokens/Tickets are distributed equitably among all designers, both within the initiative and externally, as part of a decentralized campaign.

Each ticket/token has both a digital and physical counterpart.

Illustration as part of this campaign: Designers can strategically designate the initial design sketch as a Token, allowing purchasers a unique insight into the creative process and granting them access to the final product. Similarly, photographers have the option to share a featured picture from the lookbook as a token, providing a glimpse into their artistic journey and offering consumers access to the entire lookbook. These initiatives are integral parts of our advertising and marketing campaign, bridging the gap between creators and their audiences.

These are just two of several potential examples, showcasing the freedom for creatives to share their creative process and assign a perpetual value to it within this campaign.

4.) Annual IRL Haute Couture Fashion Show

By engaging with time, breaking down boundaries, and merging realms, each collection contributes to a broader narrative. It's a convergence of culture, art, and commerce—a nexus.

The annual Haute Couture Fashion Show serves a dual purpose. Showcasing the Haute Couture collection as well as the premiere of a film strategically presented as part of a comprehensive, interactive, marketing campaign.

After the show, there's an opportunity for live bids on Haute Couture pieces.

Decentralizing High Fashion Specifics

We aim to authentically elevate collections to a position of genuine respect within the fashion industry. This involves delving into the true history, beyond surface-level understanding, and paying homage to the individuals contributing to that heritage.

The theme of each collection serves as a tribute to a designer who has profoundly inspired us.

  • different creators
  • Tribute to different stories
  • A series

TIMELINE:

Month 1: March - Project Initiation and Conceptualization

  • March 1-15: Filming of interviews to define the collection theme and identity. This phase involves gathering insights and inspirations to guide the overall direction of the collection.
  • March 15: Coding of the website begins, laying the digital foundation for the project's online presence.
  • March 15-31: The 3D/2D designers start working on the logo and visual representation, translating the collection's identity into visual elements.
  • March 15: Fashion designers commence the physical creation of the collection, which includes 9 pieces with 12 variations & 6 sizes, setting the stage for the tangible aspect of the project.

Month 2: April - Design Approval and Production

  • By April 15: Deadline for the approval of both physical and digital designs, ensuring that all visual aspects meet the project's standards and vision.
  • April 1-15: Following design approval, production on an animated short film featuring two sellable characters (Tickets/Tokens) adorned in the collection begins, merging storytelling with fashion.
  • April 15 - June 30: Start of photography/videography of the physical creation process, documenting the journey from concept to final product through real short films.

Month 3: May - Marketing and Engagement

  • May 1 - May 31: Launch of the marketing campaign, aimed at creating buzz and anticipation for the collection.
  • May 1: Coding of 200 tickets/tokens granting exclusive access to the annual fashion show along with physical and digital counterparts, integrating the collection's sales strategy with its marketing efforts.
  • May 1 - May 31: Designers, photographers, and fashion designers share their contributions and creative processes on social media, leveraging these insights as part of the sellable tickets/tokens, enhancing the campaign's reach and engagement.
  • May 15 - May 31: Release of the first part of the short film to the public, offering a sneak peek into the collection's narrative and aesthetic.
  • May 15 - May 31: Auction of two characters (Tickets/Tokens) from the animated short, adorned in the collection, tapping into the collectible and exclusive aspects of the project.

Month 4: June - Finalization and Launch

  • By June 20: Completion of the 9 pieces, each with 12 variations & 6 sizes, marking the end of the physical creation phase.
  • June 22: Official launch of the website, serving as the digital storefront and information hub for the collection.
  • June 27: Distribution of any remaining tickets/tokens to decentralized designers for a promotional campaign, expanding the project's reach and inclusivity.
  • June 30: Release of the look-book, featuring official pictures of each piece as Ticket/Token, showcasing the collection's designs and versatility.
  • June 30: Physical collection launch, unveiling the tangible fruits of the project's creative and manufacturing efforts.
  • June 30: Release of the second part of the short film, introducing a new character and further expanding the collection's narrative dimension.
  • June 30: Final character auction, offering a last opportunity for exclusive ownership within the project's universe.

      END OF TIMELINE

      Release

      Collective:

      • Physical creation of 9 pieces with 12 variations & 6 sizes

      ZAZA Releases:

      • 3 Characters Featured in Short Film as Tickets/Tokens

      Designers Release:

      • 200 Tickets/Tokens

      All:

      • Step 2 Psychological Process Interview
      • Animated Short Film

      END

      View The Team Here