Marangoni Talk｜跟風「即看即買」模式？你必須衡量的利弊！

　　技術對時裝產業的入侵和改變在近兩季的時裝周上愈演愈烈。當人們已經可以通過一鍵點擊隨時召來一輛車或是一份美食的時候，越來越多的時尚品牌意識到，他們下一代的消費者早就沒有耐心為了某款設計從秀場到商店而等上6個月的時間。大牌開始推行即看即買，跟風or NO?且聽馬蘭戈尼學院深圳校區教學總監Giusi Lara朱曦莨老師的分析。

　　Giusi Lara朱曦莨，20 years experiences as a Fashion Designer since graduation from Istituto Marangoni. Around 15 years teaching experiences in different schools, in subjects such as Fashion Drawings, Fashion Collection, Research and Design, Product Management, Fashion System, Trends.畢業於義大利馬蘭戈尼學院，在時裝設計領域擁有20年經驗。具備在馬蘭戈尼學院不同校區近15年的資深教學經驗，主要教學領域包含時裝繪畫與設計、系列開發、研究與發展、產品管理、時尚系統、時尚趨勢等。

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　　Fashion System is drastically changing, and its features are highlighting new facets of the fashion designer』s role within it. From the couturiers in the 50』s and 60』s to the Ready to Wear brand in the 80』s until now with mass market production, mass luxury and niche products, designers are swinging and embracing new dynamics with resourceful approaches. One of the hot topic in last few months, which has been overly discussed but not yet well defined, is the concept of 「see now-buy now」. 時尚在變遷，設計師的角色也在隨之發生演變。從50年代、60年代的高級定製，到80年代成衣興起，再到目前市場細分為大眾產品、大眾奢侈品以及小眾產品不同層次，設計師正面臨一個空前絢爛亦充滿挑戰的時代。在過去的幾個月中，一個備受全球時尚界矚目但尚未被準確定義的，就是「即看即買」的概念。

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　　The first Fashion Week was not entiled this name, while "Press Week" instead. Also buyers was not allowed to watch the shows, but only to the designers" exhibition rooms. 最初的時裝周並不叫Fashion Week，而是叫「Press Week」。當時時裝買家是不被允許觀看時裝秀的，他們只能到設計師的展示間去參觀。

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　　Fashion pipeline, distributed in two years, starts with color launch, for yarn dying, which leads to textile collection development, to sampling during fabrics exhibitions, to creation, ideation and development, prototyping and fashion show, and ends with production, quality control and distribution in retails on-line and off-line. 服裝的生產流程，跨度需要兩年，從最初的顏色發布、織染，到系列面料的研發，到面料展上的試樣，再到創造，創意和研發，設計雛形，時裝秀，最終來到生產、質量管理，並通過線上線下零售渠道，才得以最終呈現在消費者面前。

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　　The main significant difference occurs during the fashion shows: initially conceived as a showcase of prototypes, exclusive and elective in the very beginning, and then more and more socially distributed on media platforms, fashion show is now a real catwalk-shopping occasion. 最重要的變化來自於時裝秀：最初的時裝秀往往是高端、私密的沙龍聚會，所展示的產品也往往僅為設計雛形。到後來，由於媒體的介入，時裝秀的開放性和社會影響都得到提升，直到現在已經演變成為一場不折不扣的T台購物狂歡。

　　Fashion week calendar was scheduled for having buyer presentations the day after the shows, where samples were ordered in several variants of colors, fabrics and sizes. This process activated, immediately after, production, quality control and distribution. Time frame, 6 months. 各大時裝周的行程也往往被安排為，在走秀的第二天，就有針對買手的專場展示，以讓他們能夠選擇不同顏色、面料乃至尺寸大小的樣品。在這之後，才是更進一步的生產、品質管理、產品上市。整個周期也被縮短為在6個月。

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　　Few designers have already approached this new solution — other than have already decided — to blend into one fashion show, womenswear and menswear collections, show-cased together. This specific choice brought up some significant reflections.為應對「即看即買」所帶來的挑戰，圈內有一些設計師已經開始 — 而不只是停留在想法 — 將男女裝的時裝秀合二為一。這給業界帶來重大而深遠的影響。

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　　First point is seasonality: collection will be aligned to the season. This in general would make the purchasing process easier, as the customer are not anymore inclined to buy clothes in advance if the weather condition don』t inspire the act of purchasing. 首先是季節性，「即看即買」模式下所發布的產品都是當季、或者不嚴格區分季節性的產品。這會讓採購流程更加容易，因為顧客不用再像之前一樣提前半年進行反季購買。

　　Second point is B2B, consumer driven buy now: the process will be redirected to a different relation, the company B-business will be in direct contact with the C-customer, instead of the buyer on this last one』s behalf. 在消費者驅動的「即買」模式下，傳統B2B的業務模式亦發生變化。品牌的B端（面向企業買家的業務部門）得以跳過買手等中間環節，直接面向C端（消費者）。

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　　This situation will create a consumer-driven buy now mechanism, exposing different risks.這樣的局面會帶來一個消費者驅動的「即買」鏈條，但也有其風險和隱患。

　　First of all creativity will be affected. Designer will be forced to ideate and develop their ideas in time frame very reductive; they will be always asked to display their creation in advance. Customer have a slower process of metamorphosis and need to be guided. Often collection at first launch are shocking, while just a bit later they are the most wanted ones. 首當其衝的是，「即看即買」會打破設計師的創意設計模式，從而影響他們的創造性。設計師不得不在非常短的時間周期內進行創意和開發，並提前展示其作品。顧客則相對擁有了更長的反應周期，並需要更多地被引導。這是由於系列產品在展示的時候往往並不盡如人意，但這並不影響它們隨後（通過適度的改進）成為市場暢銷款。

　　And here a quote can help in better understanding what is going on: 「If we would have asked people what they wanted, they would have said faster horses」 HENRY FORD, founder of Ford Motor Company.就像福特汽車公司的創始人亨利·福特先生所說的那樣，「如果當年我去問顧客他們需要什麼，他們肯定會告訴我：一匹更快的馬（而不是一輛汽車）。」這恰如其分地描述了當前時尚行業的情況。

　　Third point is about speedy fast fashion copycats: showcasing collections is already an incredible risk, to protect creative ideas, innovation and uniqueness, especially since the digital can release pictures immediately. Many companies in the mass production can access them digitally and start the process o copying and reproducing them very quickly. If collections will be sold to customer instead of buyers in a private showroom after the show, the risk of speeding copycats will be even higher. 即看即買更可能加速時尚行業的抄襲與「山寨」行為：對於需要保護想法、創意與獨特性的設計師來說，展示完整的系列設計已是具備巨大風險的事項，何況互聯網的傳播更會大大加速現場圖片的傳播。許多原本定位大眾市場的企業能夠通過互聯網獲取最新款的產品設計，並在極短的時間內進行仿製。如果秀場是面向消費者而非買手，風險還會更高。

　　Forth point is pre-buy now, or see-now buy now and wear later: this way is intermediate, since the customer can order clothes just after fashion show, but these will be delivered just six months after, as per usual, then worn later. This will require for each brand to have a huge stock of clothes, ready to be sold, which is easier for big brands, where collections have already continuative lines, basic and tran-seasonal, but for small emerging ones, this would represent a real risk, and an investment of capital, which often start-up brand cannot afford. 第四，提前購買，或者即看即買（穿著滯後）的模式也具備雙面性。儘管大家得以在時裝秀後馬上下單，但產品的實際交付則仍然有可能如傳統模式一樣，是在6個月之後。這迫使品牌產生極高的現貨庫存，對於內部運作體系成熟的大品牌來說相對容易，但對於小型、初創品牌來說，情況就並不那麼美妙了。大規模的庫存意味著大規模的資金占用，這些往往是初創品牌難以承受的。

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　　Although these aspect must be perceived as negative, we should also consider about a perpetual evolution, which is, in fashion, integrally linked with its own essence. Seasonality could be a plus, restrictions on buyers hegemony can create a new balance, customers are more educated and dialogue can lead to new solutions. 儘管上述方面的負面影響是不可否認的，但我們仍要考慮到時尚不斷進化的規律，即消極方面作為時尚整體的一部分，是與時尚的本質密不可分的。季節性劃分是好處之一，對於買手的絕對掌控權的有所限制，得到了新的平衡局面，更多地培養顧客並與之進行對話能夠引領我們找到新的解決方法。

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　　Last but not least, I would love to underline what one of the most acclaimed and sensational fashion designer is doing right now. Subverting the order and dictatorship of a fashion calendar over a design ideation driven process. This designer is Demna Gvasalia, owns a new style language and has opened a brand new dialogue, on how creatives can face challenges and be part of this perpetual evolution without loosing integrity and profit. 最後，我想分享目前最受讚譽與爭議的設計師之一所正在開展的工作。他名叫Demna Gvasalia，以打破常規，建構時尚新秩序而聞名。他建立起了一套新的時尚語言，並以與傳統完全不同的運作模式，在「即看即買」的潮流，以及充滿挑戰的市場環境中仍然保持創造性，並保證品牌的完整性以及盈利指標。

　　馬蘭戈尼學院於1935年成立於義大利米蘭，歷經82年的發展，已經成為一所公認的著名歐式美學文化實驗室，在位於米蘭、佛羅倫薩、巴黎、倫敦、上海、深圳不同校區的課堂中，來自106個國家的四代專業人士在此發現並展示了自己的才能，也將馬蘭戈尼的悠久傳統與精髓發揚光大。

　　馬蘭戈尼深圳培訓中心（全稱深圳市馬蘭戈尼時尚與設計培訓中心），是馬蘭戈尼學院在歐洲以外設立的第二家培訓中心，是中國華南地區首家也是唯一一家世界級時裝與設計培訓中心。開設時裝設計、時尚營銷、時尚產業企業定製培訓等方面的培訓課程，為深圳這一服裝、時尚產業發達的城市和華南地區帶來世界一流的國際化的時尚教育和學習機會。

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