Latest news with #Designers
Daily Telegraph
23-07-2025
- Lifestyle
- Daily Telegraph
Reality behind ‘insane' op shop trend
Don't miss out on the headlines from Designers. Followed categories will be added to My News. OPINION Every week, it seems like someone new has posted a TikTok or Reddit rant about a 'wildly overpriced' op shop item – an $80 jumper, a $50 platter, a $300 dress – and it instantly blows up. The general consensus is that charity shops are meant to be cheap, and this feels like a betrayal. Given the cost-of-living crunch, I get why people are fired up. But here's the thing. As someone who's been turning to op shops for as long as I can remember to help keep my insatiable shopping habit in check, I have to say, I don't actually see the issue. Not only is the outrage often misdirected, but the story behind the expensive price tags is often much more nuanced than TikTok wants it to be. And frankly, if we're going to talk about op shop prices in 2025, let's do it with some facts. Here's why I'm standing in defence of 'expensive' items in charity shops. I stand by high prices at op shops, here's why. Picture: 1. The issue has been massively overblown The idea that op shop prices are spiralling out of control is just a huge misrepresentation. There are currently 3000 op shops in Australia, selling 160 million household and clothing items per year at an average price of $5.81 per item. Yes, $5.81. This average includes clothes, toys, books, furniture and homewares … so, no, the average price has not gone up, and there are millions of very low-priced products available. In other words, the vast majority of items are genuinely affordable for everyday Aussies, and offer a decent cost-of-living relief. According to Charitable Reuse Australia, a national network of charitable reuse enterprises, shopping second-hand saves Australians $2 billion a year. Drilling down by state, where there are government-funded studies, shopping second-hand saves the NSW community a whopping $432 million in cost-of-living relief a year, with an average item price of $5.33 across 107 million items resold locally. In Tasmania, shopping second-hand saves the community $147 million in cost-of-living relief, with an average price of $4.91 across 13 million items resold locally. In South Australia, the savings range from $147 million to $432 million. The average price of an item is still extremely low. Picture: 2. Shopping second-hand is still the more sustainable option By aligning quality and prices with current retail trends, op shops discourage mindless consumerism and fast fashion. 'Charity Shops will assess and sell suitable items,' Omer Soker, CEO of Charitable Reuse Australia told 'Staff and volunteers will price them accordingly to what they feel is a fair price, and saleable to Australian consumers. 'Charity shops can't resell lower-quality items that aren't designed to last as they don't have the quality or durability for people to want them. A durable second-hand item in a charity shop will last much longer than a cheap new one of inferior quality, so it gets worn again and again, providing better value and sustainability over time.' According to the organisation's National Reuse Impact Report 2025, 190,000 tonnes of waste were diverted from landfill to reuse, and op shops saved 1.4 million tonnes of CO2 emissions per year. Charity shops assess each item to price it fairly. Picture: Jason Sammon 3. There is a market for higher-priced items, and it all goes to a good cause Of course, thrifting has become increasingly trendy over the years, thanks to the renewed movement towards sustainability and slow fashion, as well as the influence of social media platforms like Pinterest and TikTok. Because of this, some op shops in certain areas will sell items for $100 to $200, or even $300 or above for designer pieces. According to a spokesperson for St Vincent de Paul Society, Vinnies stores are 'stocked and priced according to location and demographic'. For example, city stores will stock differently from regional centres. 'There are also boutique-style vintage stores in the suburbs where they resonate with style-conscious consumers,' they added. And it's important to remember that these pricier items are still a huge bargain when you consider the value the item is worth. The other day, I was visiting one of my favourite local op shops, Op for Change in Manly, and I came across a $290 dress, which I initially baulked at. However, after a quick Google Reverse Search, I found that the Agua dress retailed for $1143, which was a 75 per cent markdown. Another dress from the brand Alexis was priced at $240, but retailed for $1288, an 80 per cent reduction. This is objectively good value, and although these sorts of items 'may not be within budget for every customer,' as the Vinnies spokesperson notes, they do cater to the large number of higher-income buyers who enjoy and value shopping second-hand. There is a huge market for quality, designer goods at op shops and the money goes to a good cause. Picture: Interestingly, when these media reports come out about expensive items, op shops say they actually sell them almost straight away because there are many buyers eager to snap up these bargains. 'Op shop buyers are happy to pay a high price for a preloved item that would have cost them in the thousands, especially when they know the proceeds go towards social good,' Mr Soker explains. 'Most importantly, selling items at fair prices to buyers that want them has a social impact in helping those in need, and op shops raise $1 billion every year and generate a net profit of $180 million for social welfare programs across the country.' The Vinnies spokesperson explains: 'Your purchase could be used to help people experiencing homelessness, women escaping domestic and family violence, or families who are struggling to put food on the table. 'Every purchase should be considered a donation.' This $45 top retails usually for around $200. Picture: On the other side, donors also want to see charity shops receive a fair price for their high-quality or designer items, and will stop donating these items if they are sold too cheaply. 'For example, someone who has generously donated a designer handbag would expect that we would price that bag at a higher value in order to raise more funds for charity,' the Vinnies spokesperson pointed out. Mr Soker says charity shops have noticed that when donors return to see how much their preloved designer items are selling for, they are often disappointed to see that the prices charged are lower than they would have expected. Donors expect their items to be priced according to their value. Picture: Facebook 4. Initiatives are in place to help lower-income shoppers While these higher priced items still make up a small minority of items for sale, and most items are considered affordable – those who are doing it tough can always access initiatives at op shops to help them shop. 'There are often people who turn to our shops who are facing financial constraints or disadvantage,' the spokesperson said. 'We will provide people in need with vouchers to go into our shops and have dignity to shop like any other customer. For anyone who requires further assistance, the St Vincent de Paul Society has Vinnies Support Centres (VSC) across Australia.' This Kathmandu puffer jacket in a Vinnies in Sydney was $50 but retails for $200-$300. Picture: Supplied 5. Who really benefits from complaining about high prices? While there might be a lot of outrage online about op-shop prices these days, it's important to think about who might actually be behind these sorts of posts. There's a trend for 'resellers' to go around to different op shops and buy in bulk at low prices, to then resell with higher prices on platforms like Depop, Facebook Marketplace, car boot sales and clothing markets. Resellers represent a large proportion of op shop buyers, so it makes sense that they have a commercial interest in driving down prices at op shops for their own personal gain. It's also worth noting that not many people complain about the high prices on resell platforms, even though a lot of their stock is originally bought from an op shop. If thrift shoppers were to see something for $300 on Depop (which is not uncommon), they might automatically assume it's a high-value item. Whereas if the same thing was seen at an op shop, that same person might take a video for TikTok, labelling it a 'rip off' – despite it being the exact same thing. Who actually benefits from videos like these? Picture: TikTok Often resellers will attempt to drive down op shop prices for their own financial gain. Picture: TikTok 6. Running a op shop comes at a cost There is a misconception that running op shops is free or low-cost, because items are donated. But like any organisation, op shops also have budgets from an organisational perspective that link back to planning, resourcing, priorities and sustainability. They are also privy to the commercial realities of running a brick-and-mortar store, which means leases, utilities, sorting facilities, and recycling costs. So, before we rush to call out that hundred-dollar dress, let's try and think about who is really losing when we expect charity shops to sell everything, even designer items, for next to nothing. Continue the conversation. Follow me on Instagram @el_katelaris Originally published as Reality behind 'insane' op shop trend
Yahoo
22-07-2025
- Business
- Yahoo
Designing packaging for complex 3D printed parts
Additive manufacturing, commonly known as 3D printing, is transforming the way products are designed, produced, and distributed. As this technology advances, the need for specialised packaging tailored to 3D printed goods has grown significantly. Unlike traditional products, items produced through additive manufacturing often have unique shapes, delicate features, or are made from unconventional materials. This creates new challenges and opportunities in the packaging industry, prompting innovation to protect and preserve these products throughout their supply chain. Understanding the unique packaging needs of 3d printed goods 3D printed products can vary widely—from prototypes and medical devices to customised consumer goods and aerospace components. Each type has distinct packaging requirements. The complexity of shapes and materials used means standard packaging solutions may not offer sufficient protection. For example, brittle materials like certain resins or ceramics need cushioning to avoid damage, while intricate geometries may require custom-fit supports. Packaging for additive manufacturing must also consider the potential for sensitive surface finishes, which can be scratched or degraded by conventional packing materials. Moreover, some 3D printed items are produced in small batches or even as one-offs, making cost-effective packaging solutions vital for economic viability. The ability to protect the product during transit, storage, and handling while maintaining a compact footprint is essential for the sustainable growth of this sector. Materials and design innovations in packaging for additive manufacturing To meet these challenges, packaging designers are exploring a range of innovative materials and designs tailored to the unique properties of 3D printed goods. Foam inserts made from biodegradable or recyclable materials can be custom-cut to cradle delicate parts, ensuring stability and shock absorption. Flexible packaging solutions, such as air-filled cushions or moulded pulp, also provide effective protection without adding significant weight. Another key trend is the use of modular packaging components that can be easily adapted to different product sizes and shapes. This flexibility reduces waste and lowers costs, aligning with broader sustainability goals. Some companies are even utilising 3D printing itself to create bespoke packaging inserts, perfectly contoured to the product, which can be produced on-demand and reused or recycled. Sustainability remains a major focus, with many manufacturers seeking packaging that is both protective and eco-friendly. This involves selecting materials with a lower environmental impact and designing for minimal waste, ensuring that packaging complements the innovative nature of additive manufacturing rather than detracting from it. Challenges and future directions in additive manufacturing packaging While the packaging industry is adapting to the needs of 3D printed goods, several challenges persist. One significant issue is the lack of standardisation in additive manufacturing processes and materials, which makes it difficult to create universal packaging solutions. This variability requires packaging to be highly customisable, sometimes resulting in higher production costs. Temperature sensitivity is another concern. Some 3D printed materials can be affected by heat or humidity, necessitating climate-controlled packaging or special barrier materials to maintain product integrity. For medical or aerospace components, strict regulatory requirements also influence packaging design, demanding traceability, sterilisation compatibility, and tamper evidence. Looking ahead, advances in smart packaging technologies may play an important role in supporting additive manufacturing. Embedded sensors could monitor environmental conditions during transit, alerting users to any risks of damage or contamination. Interactive packaging might also provide product information or authenticity verification, enhancing the value chain. As 3D printing technology continues to evolve, packaging solutions will need to keep pace, combining protection, adaptability, and sustainability. Collaboration between additive manufacturing experts and packaging engineers will be key to developing innovative, cost-effective solutions that ensure products reach customers in optimal condition. "Designing packaging for complex 3D printed parts" was originally created and published by Packaging Gateway, a GlobalData owned brand. The information on this site has been included in good faith for general informational purposes only. It is not intended to amount to advice on which you should rely, and we give no representation, warranty or guarantee, whether express or implied as to its accuracy or completeness. You must obtain professional or specialist advice before taking, or refraining from, any action on the basis of the content on our site.
Forbes
10-07-2025
- Business
- Forbes
From UX To AX: The Future Of Agentic Experiences In The Age Of AI
Antara Dave is a Product Designer at Microsoft. As artificial intelligence (AI) becomes increasingly embedded in everyday products, the way we define and design experiences is undergoing a profound shift. We are moving from traditional user experience (UX) where users interact with static interfaces and perform explicit actions to agentic experience (AX), where intelligent systems act on behalf of users, sometimes even anticipating needs before they're articulated. This evolution raises essential questions: How do we design experiences when users aren't always the ones taking action? What does it mean to build trust in systems that learn, adapt and make decisions autonomously? And how can designers shape this future responsibly? Welcome to the era of agentic UX where design is not just about usability, but about co-agency, delegation and intent alignment between humans and intelligent systems. Understanding The Shift: From UX To AX UX traditionally focuses on making tasks easier and more intuitive for people, whether it's checking out on an e-commerce site, navigating a dashboard or editing a photo. The experience is user-driven: the person makes the decisions, and the system responds. AX, by contrast, introduces autonomous or semi-autonomous agents: AI systems that act with a degree of independence. These agents may recommend, decide or take actions without direct user input. Think of AI assistants that schedule meetings, financial bots that optimize your portfolio or medical imaging tools that pre-diagnose scans. In AX, the experience is shaped by how people interact with systems, how systems act for people and how humans understand, trust and influence those actions. Key Pillars Of Agentic Experience Design To design for agentic experiences, UX must expand to include new capabilities, mindsets and frameworks. Here are five key pillars to consider: Agents must accurately infer what users want, even when it's ambiguous or evolving. This requires designing for transparent intent modeling, where users can see, adjust and confirm what the system thinks they want. Example: Instead of just auto-sending an email draft, an AI assistant might explain, 'Based on your past emails, I drafted this message. Do you want to tweak the tone?' Even as systems become more capable, users need dynamic levels of control from full automation to manual override. Designers must create interaction models that allow people to delegate tasks, supervise actions or take over when needed. Example: A generative design tool might let architects sketch a rough idea and then have the system generate alternatives, while also allowing edits to the generated designs. With AI-driven agents, the 'why' behind an action matters as much as the action itself. AX demands interfaces that surface clear rationales, confidence scores and even model uncertainty in human terms. Example: A healthcare AI should explain not just the diagnosis but also the evidence, limitations and possible false positives. As AI enters sensitive, high-stakes domains, it must be attuned not just to logic but to emotional cues, social context and ethical boundaries. Designing emotionally intelligent AX means embedding empathy into interactions. Example: An AI therapist should respond differently to a crisis message than to a casual conversation. Tone, timing and escalation matter deeply. Agentic systems learn from users, and users adapt to agents. The experience isn't static; it evolves over time. Designers must think of onboarding, scaffolding and progressive trust-building, much like human relationships. Example: Early interactions with a language model might be cautious and transparent; over time, as it earns trust, more autonomy can be granted. Practical Applications Of AX In Design Productivity Tools: Solutions can now proactively suggest summaries, rewrite content or automate workflows. Designers must ensure these suggestions feel helpful, not intrusive. Healthcare: Agentic systems assist in diagnostics, triage and even robotic surgery. UX teams must balance precision with humanity, building trust among both patients and practitioners. E-Commerce: AI curators now personalize product discovery by learning user preferences over time. Designers must surface why recommendations are made, and offer controls to refine them. Education: Adaptive tutors like Khanmigo are reshaping learning. AX allows for personalized pacing and support, but must be sensitive to learners' emotions, frustrations and self-confidence. Shifting Designer Mindsets In this new paradigm, designers need to: • Move from user flows to agentic flows. Map how agents make decisions, when they should pause for confirmation and how users can shape behavior. • Design invisible UX. Sometimes the best experience is no interface at all. AX may act silently in the background. So how do we notify, confirm or undo gracefully? • Understand data + models. Designers must collaborate deeply with data scientists to understand how models learn, fail and behave in the wild. • Redefine usability. In AX, success isn't just task completion—it's about user trust, mental models and satisfaction with delegation. Risks And Responsibilities Agentic experiences come with high stakes: • Bias Amplification: If agents learn from biased data, their decisions may reinforce harmful patterns. • Loss Of Agency: Too much automation can erode user control, leading to passive or disengaged behavior. • Privacy + Consent: AX relies heavily on user data. Clear, respectful consent flows are essential. Designers must advocate for responsible AI, baking in safeguards, transparency and inclusive design from the start. Conclusion: The Future Is Collaborative The future of design isn't just about making tools easier to use. It's about redefining collaboration between humans and machines. The most successful agentic experiences won't be the most autonomous but the most attuned to human needs, context and values. UX is evolving into AX, not replacing the human in the loop, but enhancing the loop itself. As designers, we are no longer just shaping interfaces; we are shaping relationships with intelligent systems. That's a responsibility and an opportunity, and we must embrace it with both curiosity and care. Forbes Technology Council is an invitation-only community for world-class CIOs, CTOs and technology executives. Do I qualify?
Asharq Al-Awsat
09-07-2025
- Business
- Asharq Al-Awsat
Saudi Fashion Commission, SAIP Launch Intellectual Property Protection Guide
The Fashion Commission launched the Intellectual Property and Designers' Rights Protection Guide for the fashion industry, in collaboration with the Saudi Authority for Intellectual Property (SAIP). The initiative builds on the commission's role in empowering the fashion sector, supporting its community, and fostering a developmental environment that addresses all stages of the product value chain. The guide aims to serve as a reference for designers to benefit from intellectual-property laws by protecting and registering their innovative designs, thereby enabling them to obtain legal protection. It also seeks to promote a culture of creativity and encourage designers to develop new creations while safeguarding their rights against replication or intellectual theft. The Fashion Commission offers the protection guide to cover four key areas within the fashion industry: patents, which include new inventions and technological advancements in fabric and garment production; industrial designs, which pertain to aesthetic elements and decorative patterns that give fashion items their unique appearance; copyright, which covers artistic and creative outputs such as illustrations, patterns, and designs; and trademarks, which include logos and symbols that distinguish a product in the marketplace. The Fashion Commission said designers and brand owners can access the Intellectual Property and Designers' Rights Protection Guide through the commission's official website. Moreover, SAIP receives public rights complaints via its website from rights holders or their representatives regarding violations of works protected under the Copyright Protection Law and the Trademarks Law.
Forbes
01-07-2025
- Entertainment
- Forbes
Marc Jacobs' Couture-Worthy Collection Bolsters Contemporary Offerings
NEW YORK, NEW YORK - JUNE 30: Models seen backstage during the Marc Jacobs 2026 Runway Show at New ... More York Public Library on June 30, 2025 in New York City. (Photo byfor Marc Jacobs ) For his latest designer collection—which for all intents and purposes could be called Haute Couture as surely it involves had crafting—Marc Jacobs leaned into the less is more idea, stressing quality over quantity to perfection, For this runway outing entitled "Beauty", the designer showed exactly 19 looks at New York's Public Library Monday night. In show notes, the Jacobs defined beauty as "a quality or combination of qualities that gives pleasure to the mind or senses, and it is often associated with properties such as harmony of form or color, proportion, and authenticity." Adding to the definition could be "something that is a sight to behold." Indeed, this latest collection is precisely that. It also demonstrates the vocabulary Jacobs is developing in his latest design era that features outsize silhouettes, extreme structure, and doll and cartoon-esque elements imagined as high fashion. It also fuels the bevy of highly successful merch, especially in handbags, that falls into the attainable category, which is driving the Marc Jacobs business model. NEW YORK, NEW YORK - JUNE 30: Model Alex Consani walks the runway during the Marc Jacobs 2026 Runway ... More Show at New York Public Library on June 30, 2025 in New York City. (Photo byfor Marc Jacobs ) Set to Nick Cave and Warren Ellis's "Song for Jesse," which itself had a childlike, mystical mood to it, models walked slowly down the library corridor in shoes that could double as stilts—the required slow pace for the footwear allowed for careful viewing of the clothes. Jacobs is furthering certain design elements, such as projected square hip seams or bustled skirts and balloon-like shapes, and explores them in different ways. Notably, Jacobs recalled the bow, a familiar design motif. They were enlarged and placed on the bums of skirts and dresses, adding in some cases the idea of the modern bustle, such as in the yellow lace dress, which felt very 'Gilded Age 2.0'—or as headdresses. Floral and lace prints, often in transparent fabrics, revealed boning and hoop skirt structures, and mutton sleeves added to the feminine innocence that prevailed. A modern vixen idea emerged in the pencil skirts with exaggerated padded flounces. Oversized pants anchored some opening looks, either cargo-influenced or a transformed white jean style that was paired with a layered bra-corset-camisole combo and dripping in chains and beaded necklaces that draped around the back and arms as well. A padded cream sweater ensemble, constructed from multiple stuffed sweaters, also pushed an idea into new design territory. NEW YORK, NEW YORK - JUNE 30: A model walks the runway during the Marc Jacobs 2026 Runway Show at ... More New York Public Library on June 30, 2025 in New York City. (Photo byfor Marc Jacobs ) The clothes gave the sense that Jacobs and his team must have had a ball coming up with these creations. It feels like the tone that sets the bevy of merchandise available for sale on the brand's website, even though Jacobs doesn't turn his collection debut into a media circus driven more by marketing than design. The tight edit of 19 leaves you wanting more; perhaps that is by design. While many may dream of owning one of these runway styles, or even the pared-back designer merchandise exclusively at Bergdorf Goodman, the attainable luxury goods with the contemporary price points ensure most can still get a Marc Jacobs fix. To wit, many attendees were brandishing the new Cristina Satchel bag style that retails for an easy $350.
