Women in the Metaverse – Paula Marie Kilgarriff

Currently serving as an international lecturer on Web3 fashion marketing, branding and retail innovation, Paula Marie Kilgarriff has become a formidable leader in the burgeoning space. Leveraging her expertise in luxury fashion, digital technology, business development, branding, digital retail and more, you can find her in all sorts of corners right now.

As part of our ongoing series, we recently sat down with Paula to discuss the future potential of various Web3 technologies, the role of fashion as an important metaverse entry point and why Web3 is truly benefiting from the power of female leadership traits.

Beginnings

With 20 years of experience working in e-commerce, Paula’s first venture involved lecturing on both e-commerce and fashion. She spent a decade in China, working with various different technologies (including VR, AR and QR codes) before moving into the e-payment sphere. This included serving as the founder and CEO of The Style Workshop, where she assisted with the development and training of various luxury brands and served as a keynote speaker at a long list of panel discussions.

Paula worked with several brands working on their technology — particularly in terms of how their marketing and sales strategies would serve the field of e-commerce. Citing China as pioneers of app technology and gaming, she also explains how it was “only natural that retail would become part of entertainment and gamification.”

Paula eventually returned to her home country of Ireland, noting this time as her official entry point into the Web3 space. Citing academia, computer science and fashion industries as the three main components of her background, she notes how Web3 protocols are “a kind of natural progression of her career and academic work”. 

“I like the vibes of Web3,” she says. “I think it’s very youth culture-orientated. It’s got a lot of diversity and inclusion and we’re challenging and revisiting existing narratives.”

She continued: “We’re, you know, looking for new models and monetisation and IP models for creatives, which is also linked back to the fashion industry. And I also like real-time supply chains that have DAO mechanisms for consensus-building on what types of collections are coming through — plus the co-creation opportunity for people who are not in fashion in terms of the art and design part, but who still have an opportunity to build new fashion products and services.”

Teaching future creatives and builders

Paula also works as a guest lecturer for Master’s programmes at both the London College of Fashion and Nottingham Trent University, offering unique instruction on how she believes Web3 will change fashion and which types of protocols are most conducive to improving the industry. At the moment, she breaks down how the metaverse is now serving as a distribution sales platform for brands who are trying to dip their foot into the Web3 space through 3D modelling.

“We say NFTs are actually a natural extension of the integrated marketing communications plan. So you don’t always have your marketing team. They don’t have your metaverse activation. So it’s natural — my gang would have to have an understanding of online technology and an in-store environment. So the seamless integration between the two — whether it’s an omniverse you’re shopping in, an app, or an IRL activation — is all integrated.”

How are the advents of Web3 being received by her youngest students? “They’re very curious,” she says. “And if I use a lot of Web3 mechanisms to explain the future of education, they’re really down. They love the idea of attention tokens or attendance tokens being paid to go to college — they like to think that they can use them to influence the curriculum and the delivery format of the exams.”

In fact, Paula’s first-year students seem to be the most eager of the bunch. “They’ve got the finance cards and whatnot. The Master’s [students] are coming back from work, so they’re more interested in the metaverse as our 3D distribution and sales platforms. And there’s a great opportunity for us to service our customers in real-time, so they’ll accept it from that point of view. But my first years will be more about NFTs and all that kind of crazy stuff — because they’re coming from a gaming background.”

We also bring up the plethora of scepticism that’s surrounded the growing space, particularly within academic circles. “You’re always going to have this kind of hype stuff initially, but at the end of the day, the technology is phenomenal and very disruptive.”

“What I’ve noticed about that generation — you know, people say their attention span is a little bit limited, but it’s not really — I just think they want to understand the applied part of it. And I understand that — because if you’re coming from centralised systems and older education systems, we do condition you in a certain way based on the culture or for some reason.”

She continues: “The great thing about Web3 is the fact that you can pick and choose their stakeholders, right? So you have real-time people in those areas and those disciplines telling you about history. And so it’s such a great opportunity to learn more intensively and more specifically if that makes sense.”

Making fashion more digitally accessible

In 2022, we’ve clearly seen a newfound combination of both physical and digital assets develop within the fashion world. Top brands have begun selling their pieces as NFTs, while others have increased their visibility within popular games and metaverse-based events. 

Paula recently helped with handling metaverse event sponsorships for the successful Metaverse Fashion Week, which was recently held within the popular metaverse platform Decentraland. Working alongside Admix, she assisted brands with selling billboards and 3D wearables at the virtual event and helped them distinguish which ones were able to provide pre-universal content. “I was basically trying to qualify, or validate who would be suitable to have — or whether we’d need to create premium diversity content or not.” 

“You see, the great thing about 3D modelling and the metaverse moment is that it’s a piece of cake to make products right — particularly for coming from e-commerce platforms. But when you’re getting into like, virtual experiences and you know, the intangible nature of immersive experiences — that’s much more complex and difficult to communicate through technology.”

Paula is vocal about where improvements could have been made to the first inaugural fashion week in the metaverse (such as pointing out the pitfalls of ‘digitally twinning’ products in both the physical and digital worlds), she also stresses that it was a “great first step” for Decentraland. “I thought the brands were very, very brave, actually — and curious. I think they basically wanted to figure out: ‘Okay, let’s dip our toes into the waters.’ It was a great kind of opportunity for brands to just get familiar and comfortable with the space in terms of what we know which ad makes will have hyper-personalisation and real-time and 3D wearables.”

The future scope of metaverse fashion

From Metaverse Fashion Week to record-setting fashion NFTs, there’s no questioning that we’ve seen the idea of digital assets effectively enter mainstream consciousness within the last year. But will this concept bring more people into Web3? 

“In terms of adoption? Absolutely,” says Paula. “I think people should have the choice in the future where they’ll want to have a physical or digital item, so I definitely think so.” Moreover, she explains how she believes that digital items are “the key to a smart contract that we own if it’s a luxury good, in addition to being a key to co-create.”

To enhance the digital fashion world, we also discussed further possibilities that we may see down the road. “The metaverse is going to be a great opportunity for everybody — but particularly customers and what kind of products and services are made. And I think if you have this ‘IRL’ online activation, you have to mirror the physical and you have to merge them together. It has to be seamless. Whether they’re in a metaverse or in a store, it has to be the same.”

In regards to how we can best mirror the ideal customer experience inside a metaverse platform, Paula discusses the idea of creating a digital alternative signal into a metaverse — or building capabilities for users to redeem points within the metaverse that could also be redeemable in physical stores. “That’s what the brands want to hear,” Paula asserts. “They’re not interested in all this part — they want it all integrated inside the customer supply chain.”

The upsides of female leadership 

Given her position as a female who teaches leadership to young learners, Paula isn’t afraid to underline the upsides of female leadership traits and how she believes they are beneficial to the space. “We’re pro-life, or pro-community. It’s our job to nurture, lead and discipline men. Because female leadership traits are pro-life and they’re pro-progression.”

“With centralised systems, we’re born into cultural and social norms that no longer serve us,” she proclaims. “The thing about Web3 is that it’s not coming from a historical narrative. It’s brand new, where everybody’s invited. Everybody has a right. Black, white, green, yellow, pink. It hasn’t been defined yet. And that’s what’s beautiful about it.” 

“What do I want to say to women?” she poses. “Rock on. Do what you want. Say what you want. I do think women have this — they’re strong and without them, you can’t build strong communities.”

Achieving balance in a future metaverse

What does an ideal future metaverse look like to Paula? “I think there should be a healthy balance of centralised and decentralised metaverses,” she says. Also highlighting the value of receiving information from non-centralised sources, she mentions how “history is written by the victors, and sometimes those narratives are inaccurate.”

“With these decentralised organisations, we get first-hand knowledge about what’s going on the ground — and then they get the opportunity to tell us. It’s not coming from this privileged, centralised monarchy that no longer serves the community. So that’s what I’m most excited about [with Web3] — it gives us the chance to build correctly by the people, for the people.”

However, we also stress the importance of staying on the business curve. “We don’t [just] want to be happy about it — we also want to make money from it, we want to be clever. I just want to be a bit more clever about what information we put out there, what kind of businesses we create. That’s why women are so important. If you’re replicating certain types of technologies, it’d better be replicating human conditions. But be damn sure that there’s children, women, everybody’s representative — because you’ve got this piece of technology that’s replicating something that hasn’t been created in its true form.”

Ultimately, will Web3 technology become more ubiquitous one day? “I don’t even think we’ll talk about NFTs in the future,” Paula says plainly. “I think they’re just gonna come with the deal.”

To learn more about what Paula’s working on next, follow her on her Twitter and Instagram pages for more updates.

The Top 5 Things We Enjoyed About Metaverse Fashion Week

Within the last week, news has been abuzz with spectators’ accounts about Decentraland’s inaugural Metaverse Fashion Week. In fact, it’s safe to say that no other digital fashion event has ever received so much industry attention, making it one for the books.

As the metaverse and NFTs are continuously becoming a regular part of our everyday vocabulary, we’re likely to see more events become digitised and show a capacity to bring both industry leaders and global communities together. Both industry leaders and the general public have now seen greater evidence of a bridging gap between digital and physical commerce.

We’ve put together a quick recap on the top 5 things we enjoyed about the very first Metaverse Fashion Week. We’ll also touch on how these highlights are setting a precursor for future events in fashion, gaming and the metaverse as a whole.

The lineup

At least 70 brands were present at this year’s Metaverse Fashion Week, with names both big and small on the list. Larger brands were able to reach larger and more diverse audiences, while smaller brands were able to see increased exposure through the digital event.

Names including Dolce and Gabbana, Tommy Hilfiger, Philipp Plein, Forever 21, Hugo, Selfridges and Estée Lauder all used Decentraland’s reserved land plot to sell both physical and digital products and wearables. Other, lesser-known brands such as Auroboros and Etro also made significant headlines.

Has this changed the game of fashion? Absolutely. As brands continue to pay attention to technological shifts, it appears that many more are and will continue to invest in the metaverse. Not only did MVFW offer selling opportunities for brands — attendees were also able to access further brand exposure through virtual afterparties, interviews, runway shows and performances inside Decentraland.

In all, the expansiveness of the event allowed for multiple experiences and an excellent opportunity for revenue generation. In fact, according to one survey conducted by Virtue Worldwide, 94% of global respondents reported foreseeing digital fashion becoming mainstream and one in three respondents say they already own a digital fashion item.

New ways to release clothing

Brands were able to explore new ways to sell their inventory and engage with consumers at Metaverse Fashion Week, allowing the concepts of both physical and digital wearables to converge. Through Boson Protocol’s technology, brands weren’t just able to advertise their physical pieces to consumers — they were also able to sell them as tokenised NFTs. This meant that singular assets purchased at the event combined both NFT wearables for Decentraland avatars and physical products that could be redeemed at actual storefronts.

According to Gigi Graziosi Casimiro, head of Metaverse Fashion Week: “MVFW is important because it connects many parts of a bigger engine in the fashion industry. This event allows brands to explore new possibilities for their creation and communication with customers. We are essentially building a stronger fashion community in Decentraland that allows people to express art beyond physical limitations.”

Photo by © David Esser – Shutterstock.com

In all, Metaverse Fashion Week has set an important precedent for the future of fashion consumption. As avatars and digital personas become more integrated into our everyday online activity, so will the items that fill their inventory. The concept that NFTs can come packed with underlying utilities is also likely to change our understanding of purchasing, giving both physical and digital items an experience component as well. 

Justin Banon, co-founder of Boson Protocol, has noted the importance of allowing digital and physical elements to be represented by NFTs. “What we are seeing is physical and digital items becoming ‘digiphysical’ — digital tied to physical,” he says. He refers to this new approach as “physical and digital experimental commerce.”

Easy access portal

Attendees of Metaverse Fashion Week had two option to enter the event — either using their Ethereum wallets, or as a guest. Luckily, both options were quite simple and streamlined. Unlike other metaverse-based events, the majority of attendees reported being able to enter Metaverse Fashion Week with ease.

As scepticism and cynicism still surround the concepts of blockchain technology and the metaverse — especially within the gaming community — an easy access portal was likely very crucial to MVFW’s success. And as far as we can tell, Decentraland nailed it. Given that these are early days, we’re of the opinion that not requiring every attendee to use a wallet or be crypto-savvy just yet was probably the right approach.

Overall ease of access

As the saying goes, the best things in life come for free. Unlike our vision of typical fashion weeks (which are usually only attended by the industry’s most elite figures), Metaverse Fashion Week was free for anyone across the world to access. That meant that no tickets, guest lists or money were required to attend. Also, given that it wasn’t held in a fixed, physical location, the event was also able to run around the clock — meaning that attendees from every time zone were able to jump in on the action and that the event was able to host a global community.

Not only did this approach increase the overall headcount — it was also notable in that it made fashion (namely higher-end fashion brands) more accessible to a wider user base. 

Sam Hamilton, creative director at the Decentraland Foundation, spoke about the accessibility and global scale of the event: “The Chinese community is building stuff and the Japanese community, too. What you said about not being the same as traditional fashion weeks, we are building a brand new world here and we have the chance to make things better if we can. So it’s important to follow some things that happen in the traditional world, but also push the boundaries.”

Is it possible that taking elitism out of fashion events will change how brands are able and willing to monetise? It’s certainly worth keeping an eye on.

Gaming references

Okay, sure — we had a bit of a penchant for the Mario-themed house we spotted while browsing the event. While it might have been a small easter egg, we’re hoping it’s a precursor that future events of a similar nature will come packed with more incentive structures and a more gamified approach.

Metaverse Fashion Week has been a formidable trailblazer for the fashion industry — but as things still stand, it’s still the gaming industry that is leading the way into the metaverse. Even Big Tech platforms are touting gaming as the leader in our shift towards Web3. Following their acquisition of game publisher Activision Blizzard, Microsoft CEO Satya Nadella has been quoted in a recent statement: “Gaming is the most dynamic and exciting category in entertainment across all platforms today and will play a key role in the development of metaverse platforms.”

With measurable real estate, an Ethereum-based cryptocurrency and spaces for multiplayer gaming, Decentraland has already solidified its efforts to make the metaverse platform a space for gamers in Web3. To further develop its approach to gameplay, the platform has also invested in a company called Decentral Games — where players can play to earn and even gain access to custom wearables. Will we see a similar concept be replicated in the next big digital event? Let’s wait and see.

Check out our walkthrough

If you didn’t get the chance, be sure to check out our video walkthrough of Metaverse Fashion week! Here, we covered more highlights and our favourite parts.

‘Two years ago it was impossible’: how tech turns dance into a multisensory fantasy

From the Barbican in London to shopping centres around the country, audiences can become part of sophisticated new XR dance spectaculars – diving into Lewis Carroll’s imagination or an extravagant ballroom

I’m in an abandoned-looking house, where a woman appears like a dancing apparition. Then I’m going down a rabbit hole into a tea party in a bright yellow field. I’m conducting avatars moving to Stravinsky’s Rite of Spring; taking part in a dance class where the teacher is a hologram; arriving at a grand Parisian party dressed in Chanel.

These are my recent forays into the world of extended reality (XR) in dance. It is technology that we are told is leading us towards a new metaverse, but in practice can often seem more like watching bad graphics in very uncomfortable headgear and wondering what the point is. Nevertheless, a number of choreographers are exploring what XR could bring to dance, whether in virtual reality (VR), where you are completely immersed in a different world via a large headset; or augmented reality (AR), where you wear glasses that add images into the space around you.

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Is there room in the metaverse for indie fashion labels? Australian designers hope so

As high-end fashion conglomerates rush to invest in virtual reality fashion, small players are making moves too

In the designer Denni Francisco’s new film, models wearing clothes from her label Ngali wander through a virtual landscape. Using this digital medium, it was possible to take her collection on location, despite being in lockdown and unable to travel.

This was particularly important for Francisco, a Wiradjuri woman, as the landscape used in the film is based on Taungurung Country, in central Victoria, where Francisco was born, and her daughter now lives. She says when she’s designing, connection to Country is at the forefront of her mind. “We’re often talking about how what we do belongs to Country, how it’s connected to Country and how it has a rightful place in Country,” she says.

The VR film will premiere not at a fashion event, but at Melbourne International Games Week. Francisco is one of seven apparel and accessories designers included in a digital fashion incubator project, an initiative of Creative Victoria, that saw independent Victorian designers collaborate with Melbourne-based AR/VR studio Ignition Immersive. Some projects, like Francisco’s, are artistic while others are more pragmatic, allowing would-be customers to virtually try accessories at home using AR filters.

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Digital fashion designers sought for UK’s first degree in virtual couture

Environmental concerns and tech boom have conjured ‘perfect storm’ for master’s course in fashion and gaming, says professor

The seemingly sci-fi world of digital couture – in which social media users can buy virtual clothing to be worn online, while gamers can dress avatars in flamboyant “skins” – is increasingly being hailed as the next big thing in the industry.

Now, virtual clothes designers can take a master’s degree course on the subject, the first of its kind in the UK, at the University for the Creative Arts in Farnham.

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Digital fashion designers sought for UK’s first degree in virtual couture

Environmental concerns and tech boom have conjured ‘perfect storm’ for master’s course in fashion and gaming, says professor

The seemingly sci-fi world of digital couture – in which social media users can buy virtual clothing to be worn online, while gamers can dress avatars in flamboyant “skins” – is increasingly being hailed as the next big thing in the industry.

Now, virtual clothes designers can take a master’s on the subject, the first of its kind in the UK, at the University for the Creative Arts in Farnham.

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Fashion meets Fortnite: 3D clothes and digital catwalks

The pandemic is forcing the industry to get creative online and look to precedents set by gaming

Virtual clothing and cyberspace catwalk shows may sound like the stuff of a William Gibson novel. But with physical fashion weeks on hold, and many designers unable to produce their next collections owing to the Covid-19 crisis, the niche world of digital fashion has been catapulted to the mainstream.

“Anyone who wants to put on a catwalk show in June will have to go digital,” says Kerry Murphy, founder of “digital fashion house” The Fabricant, which he says has seen a spike in interest since lockdown began. One of The Fabricant’s clients, Tommy Hilfiger, is among brands already testing avatars, holograms and augmented-reality formats internally, the company’s CEO, Daniel Grieder, told fashion trade title WWD.

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Try On Nail Polish In New AR App

Augmented reality (AR) has been used for many applications within the fashion and beauty sector to date. Now though, those looking to see how their nails might look in a different colour there is an AR app to make this much easier. Wanna Nails, developed by Wannaby, leverages AR technology to help find that ideal nail polish even easier.

Wanna Nails

The app works by superimposing the select colour onto the users nails and doing so within AR space. Users need only place their hand within an outline in the apps view to then start applying a range of different nail polish to their own nails. Beyond the standard array of colours the app also includes a number of brands such as ORLY, CND Vinylux and essie. Thanks to the power of AR technology users will not only see the nail polish applied to their own nails but also be able to see how it reacts in the light once dried.

Designed with easy of use in mind, the app includes direct links to each of the available nail polishes on Amazon, allowing a user to jump stright from the app to the purchase page in next to no time. This is also where the developer is earn a some amount of income as these links are affiliated. Further more, Wanna Nails has social networking in mind with a camera icon at the top of the screen allowing users to snap a pick of their new nails and sharing to Instagram built directly into it.

Wanna Nails

This is not the first time AR has been used to allow users to try on fashion and beauty products, with apps like FaceCake letting users try on a range of Jewelry. The push to use AR as a means to offer consumers a more personal shopping expereince is a growing trend and one that will likely see the retail sector focusing on more than any other.

Wanna Nails is available to download for free right now for iOS and Android devices. For more on AR in fashion and beauty in the future, keep reading VRFocus to stay up to date.

Levi’s Created A Smart Jacket In Collaboration With Google

Levi’s smart jacket that’s encapsulated with Google’s Jacquard technology has the goal to provide practical purpose to wearables. Together they make up to take the innovation of the product and widen its potential in the market. The partnership envisions that the future for wearable technology in the fashion industry is going to be more about smart clothing.

Google said that Jacquard can make it to blend touch and gesture interactions into any textile that uses standard and industrial approaches. Even clothes and furniture can easily be transformed into interactive surfaces.

A trucker jacket was established as the starter consumer product of the partnership between Levi’s and Google and was set to be out in the market by September 2017.

Ivan Poupyrev, Jacquard’s leader for Google’s ATAP group and Paul Dillinger, Levi’s head for global product innovation, kicked off the roadshow to promote their $350 machine washable jacket at the 2017 Southwest Interactive festival in Austin, Texas.

The user is allowed to take control of a phone through a patch of fabric on the left sleeve cuff. A dongle, coded as “Jacquard Tag” is attached into the sleeve to provide connections between the phone and the sleeve.

The user can receive signals such as phone call and can control other tasks without looking at the phone through the help of the Interactive Haptic Motor and LED lights. Set of engagements of input and output is at its great function and possibly be making the product more famous to consumers.

Why establish stuff like Jacquard?

Ivan Poupyrev. Consumers wanted something wearable. Even though the smart jacket is not so fashionable, the users can still have varieties of shapes, colors and patterns to choose from. Through this, technologies and aesthetics will get its connection clearer.

He thought that authenticity should be the top priority in order for technology to take a spot in apparels. Authenticity is more significant for the look and feel of the product to make it achieve its purpose beyond fashion. Creative process is what it should possess than deceiving colours and fabrics. That is how consumers look at apparels.

They realized that a wearable could possibly be a part of an apparel without feeling strange.

Paul Dillinger. Google made this product diligently so that it could still function into the present chain of supplies which they refer to as an apparel supply chain.

The manufacturers see the potential of making everything in life do important tasks ever than what it usually does before. They were into the idea of acquainting people to experience and engage into something that is satisfactory.

 

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