Latest news with #Urbanic
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Fibre2Fashion
5 days ago
- Business
- Fibre2Fashion
Trend-First Commerce: Fashion's New Fast Track
Fashion, once rooted in carefully choreographed seasonal cycles and slow-burning creative processes, is now evolving at an unprecedented pace. The age-old traditions of spring/summer and autumn/winter are giving way to something more immediate, reactive, and fiercely attuned to the cultural moment. This seismic shift is embodied in a powerful new retail model: trend-first commerce. Trend-first commerce refers to the rapid creation and launch of fashion collections based on current trends and viral aesthetics—often at extremely affordable price points. The collections are not just inspired by the runway, but by a constantly updating scroll of online content—TikTok challenges, influencer outfits, meme culture, street style, and celebrity appearances. In this model, a trending outfit seen on a Monday can appear in a shoppable collection by Friday, priced to fly off virtual shelves before the next trend cycle begins. This model is rewriting fashion's rulebook. It is not simply about speed. It is about strategic, real-time responsiveness—where consumer interest drives design, and digital feedback loops replace traditional forecasting. In a world obsessed with relevance and visual identity, trend-first commerce is setting a new standard for how fashion engages with culture and commerce alike. The New Pulse of Fashion Creation Unlike traditional fashion production, which often takes six to twelve months from design to delivery, trend-first commerce thrives on turnaround times that can be as short as two weeks. Brands operating in this space do not wait for fashion editors or buyers to validate a trend. Instead, they respond to digital cues and social listening tools that analyse what is catching fire online. A red-carpet look, a viral dance video, or a popular filter can spark the next collection. This real-time responsiveness is made possible by advanced technology, agile supply chains, and close integration between design, production, and distribution teams. Brands like Shein, Cider, and Urbanic have become synonymous with this strategy. They operate with a level of precision and flexibility previously unseen in the industry. A single product might start as a test run of a few hundred pieces, and if analytics show high engagement or conversions, that design is immediately scaled up. If not, it is quietly phased out—often before it is even noticed. Design, once a highly intuitive and sometimes risky art, is now guided by massive volumes of data. Designers working within trend-first models study algorithm-generated dashboards and sales performance metrics as closely as sketches or mood boards. Success lies in merging the analytical with the aesthetic—an unusual but necessary balance in a model driven as much by numbers as by creativity. Affordable Style, Limitless Appeal The accessibility of trend-first commerce lies at the heart of its meteoric success—and its emotional resonance with a new generation of shoppers. In a landscape where self-expression is shaped by Instagram grids, TikTok reels, and ever-evolving online aesthetics, the ability to access and experiment with style at a low cost is nothing short of revolutionary. What once required luxury budgets or insider connections is now just a tap away for millions of digital consumers. Trend-first commerce speaks most directly to Gen Z and younger millennials—a demographic that grew up online, curating digital identities before real wardrobes. These consumers are bold, style-conscious, and unapologetically experimental, yet deeply budget-aware. They are far more likely to assemble four trendy outfits for ₹1000 than invest in a single, long-lasting staple worth ₹4000. For them, fashion is not a slow-building investment in timeless pieces, but a daily, dynamic tool for self-representation. Each look is curated not to last, but to reflect a specific feeling, a fleeting moment, or a passing aesthetic. This shift in fashion behaviour—from permanence to play—has been enabled almost entirely by affordability. In the world of trend-first commerce, the pressure to define personal style is replaced by the freedom to explore multiple identities. A single consumer might dress in minimalist neutrals on Monday, experiment with cottagecore whimsy on Wednesday, and channel Y2K metallics by the weekend—all without financial strain. There is no commitment to one aesthetic, no allegiance to a single fashion tribe. The wardrobe becomes a moodboard, the shopping cart a diary of expression. Beyond the individual, this affordability democratises fashion at a cultural level. It levels the playing field, allowing high-school students, college-goers, and young professionals from smaller cities or less privileged backgrounds to engage with trends as actively as urban influencers or celebrities. What was once aspirational has now become participatory. Fashion no longer belongs exclusively to the glossy editorials of high-end magazines or the exclusive racks of flagship stores—it thrives in mirror selfies, outfit videos, thrift hauls, and digital lookbooks. This inclusivity is not just economic, but emotional. For marginalised communities, including queer, plus-sized, and non-binary individuals, the ability to access varied and expressive styles has provided a powerful means of visibility and validation. Trend-first commerce has amplified the fashion dialogue beyond traditional gatekeepers, empowering more people to explore who they are and how they want to be seen—without price as a barrier. Of course, this accessibility is not without its complications. The affordability is often made possible by hyper-efficient supply chains and large-scale production, which raises valid concerns about environmental sustainability and labour ethics. Yet, from a purely consumer experience perspective, this model has cracked the code on desire: give people what they want, when they want it, at a price that invites curiosity rather than caution. In doing so, trend-first commerce has not only changed how people shop—it has redefined what fashion means. No longer a static display of wealth or status, fashion is now a living, evolving language spoken by many, shaped by mood, movement, and moment. And in this new vocabulary of style, affordability is the true enabler. The Business of Being First Behind the glamour of rapid collections lies a hyper-competitive, high-pressure commercial system. Brands are under constant pressure to stay relevant, to anticipate the next big trend before it even hits the mainstream. The margins of error are slim, and timing is everything. A trend spotted too late is a missed opportunity; one launched too early may confuse or alienate the customer. For fashion professionals—especially those in design, merchandising, and supply chain management—the demands of trend-first commerce are significant. Design teams must work in overlapping cycles, juggling multiple micro-collections at various stages of development. Merchandisers and planners must pivot quickly, reallocating budgets and resources based on weekly performance. The entire operation must function like a newsroom rather than a factory—reacting to global fashion moments with the agility of a digital media company. Yet for all its challenges, the model offers immense opportunities. For emerging designers and digital-first entrepreneurs, trend-first commerce removes many of the traditional barriers to entry. It provides a platform where agility, data fluency, and market intuition are as valued as heritage or luxury positioning. Controversy, Complexity, and Conscious Change With all its success, trend-first commerce has also become a subject of intense scrutiny. Environmentalists and ethical fashion advocates argue that this constant churn fuels overproduction, garment waste, and a throwaway culture. Inexpensive pricing often raises questions about the labour practices behind the scenes—how garments are produced so quickly and cheaply, and at what human cost. Sustainability remains one of the model's greatest tensions. Many trend-first brands have begun experimenting with recycled textiles, local sourcing hubs, and carbon-neutral shipping. Some are building in systems for product returns, upcycling, and fabric resale. But the core challenge remains: how to align a speed- and volume-driven system with slow, sustainable values.
Time of India
11-07-2025
- Business
- Time of India
ETBWS 2025: From Urbanic to Savana: Rahul Dayama's playbook for D2C Growth
Addressing the spotlight session at the ETBrandEquity's Brand World Summit 2025 , Rahul Dayama , founding partner at Urbanic , shared invaluable, impromptu insights into building and scaling D2C brands in today's dynamic digital landscape. With Urbanic and the newer Savana under his belt, Dayama's expertise comes from navigating the intricate relationship between brands, platforms and consumers. The shifting sands of social media control Dayama opened with a fundamental question: Who truly controls social media – influencers, platforms, or consumers? His initial instinct as a brand founder leaned towards platforms, given the advertising spend. However, a deeper reflection revealed a more nuanced reality. "There is no control with anyone," he concluded, emphasising the symbiotic relationship where platforms rely entirely on consumers and content creators, and brands, in turn, depend on platforms to reach those consumers. This intricate dance necessitates a thorough understanding of a platform's "product psychology" to build an effective strategy. Dayama offered a practical example: he invests more on YouTube because its search-based nature allows content to remain relevant for a year, unlike Instagram's fleeting 48-hour window. Instagram, for him, is more of a "discovery-led platform than conversion," influencing his spending and engagement tactics. Strategic tech investment The second crucial pillar for D2C success, according to Dayama, is technology – but with a caveat. Many companies, when adopting tech, attempt to solve every problem at once. Dayama advocates for a focused approach. At Urbanic, a strict policy dictates: "If the GMB [Gross Merchandise Value] is not affecting at least by five per cent by the particular thing, then we will not invest anything on tech till then." He highlighted the significant role of influencer marketing for Urbanic, with over 35,000 influencers across both brands and millions of pieces of content generated (more than four million for Urbanic and more than a million for Savana). This experience underscores the importance of prioritising tech investments to tackle the most impactful problems first. "My biggest takeaway from that is prioritising tech and then building on it," he summarised. The first step Dayama frequently fields questions about the initial steps of launching a brand. His advice is deceptively simple but profoundly effective: "First, just figure out your niche or the channel, where your audience is." He stressed that understanding your audience goes beyond demographics; it's about observing their behavior. He recounted a personal epiphany while his tech team was meticulously defining Urbanic's target audience based on age and city. That same night, he observed a party promoter creating a guest list filled with women who "pull the crowd" and noted that Urbanic's party collection perfectly suited them. This led to a guerrilla marketing tactic: distributing free clothes to these influential club-goers. This provided immediate access to content and a highly receptive "100 per cent conversion rate" audience that might have been missed by conventional ad targeting. "I think the first step is to figure out who your audience is, understand them, find the first channel and then you can go aggressive on it," he advised. Building community for amplified growth Once the initial channel is mastered, the focus shifts to building a community. Dayama pointed to Savana's growth as a testament to this. While Urbanic garnered two million mentions in six years, Savana achieved a million mentions in a much shorter span, largely by leveraging Urbanic's established community infrastructure. He cited a campaign for Savana where they utilised a community of at least 1,000 known-performing influencers. This allowed them to execute a "one to one impact" campaign that propelled the brand above Facebook and Instagram in just three days, completing the entire initiative within a week. Their preparedness, including robust customer service (CST) for consumer feedback, further amplified the success. In conclusion, Dayama's framework for D2C success boils down to: using social media wisely by understanding platform psychology, prioritising tech investments for maximum impact and starting by identifying your niche and truly understanding your audience's behavior to build a strong community.
New Indian Express
21-05-2025
- Entertainment
- New Indian Express
Never Enough: Bengalureans on maximalist fashion
Maximalism has been noted as a central part of Indian culture beyond a mere modern fad. Jai reveals her initiation into the aesthetic, saying, 'I have been a big fan of classical dances, where you can see the dancers wearing heavy jewellery. So I used to be interested in mixing and matching of the metals to wear. I believe that maximalism originally came from Indian culture, where one can see ancient idols being adorned with gold. And I feel like people are just taking inspiration out of it to make it into a trend right now.' Rooted in experimentation, maximalist enthusiasts urge towards a need for individualism and advocate for small businesses. Divya Jalan, founder of Not Just Bijoux, a city-based handmade jewellery brand, expresses, 'A big part of maximalist artistry is the effort that goes into making those pieces. I'm spending a lot of time and effort to create something that has a huge statement to it. Because maximalism is becoming an aesthetic now, you can just go to stores like Urbanic and buy items that can match your maximalist look.' Adding onto experimentation, Kirolikar says, 'Fabric, colours, and prints matter. You can just wear a crop top, layered with a thin cotton white shirt, and go on with a lot of accessories.'
