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May 24, 2008

Threadless - the full story: Inc. Magazine Feature on Threadless

Inc-magazine Max Chafkin, a staff writer the US Entrepreneurship journal Inc. Magazine, has written a great report on Threadless  for the June 2008 issue of the magazine. It is available in a free online pre-press version now.

Max tells the entire story of Threadless, starting with the episode of a meeting at MIT where the Threadless guys gave one of their first public presentations. I had the privilege to be part of this meeting, and it is fun to read about it in paper (especially as I am at MIT in the moment, writing these lines from the same building where we had the initial meeting with Threadless).

Max did a great job in documenting the history and genesis of Threadless, but also reflecting on its future. Here are some quotes of Max' analysis of the case, but head to the website to read the entire article:

On Threadless' Size and Development
This rapid engagement propelled the company through four years of phenomenal growth, beginning around 2004. The user base grew tenfold, from 70,000 members at the end of 2004 to more than 700,000 today. Sales in 2006 hit $18 million -- with profits of roughly $6 million. In 2007, growth continued at more than 200 percent, with similar margins. Though Nickell refuses to disclose the exact revenue number -- perhaps because he now counts Insight Venture Partners, a New York venture capital firm, as a minority shareholder -- it seems fair to assume that Threadless sold more than $30 million in T-shirts last year.

Ask Nickell what he makes of his company's whirlwind success, and he will respond rather sheepishly. "I think of it as common sense," he says. "Why wouldn't you want to make the products that people want you to make?" Indeed, the idea that the users of products are often best equipped to innovate is something many entrepreneurs know intuitively.

And it is supported by a growing body of research. A study published last year in the Strategic Entrepreneurship Journal suggested that the vast majority of companies are founded by "user-entrepreneurs" -- people who went into business to improve a product they used. Meanwhile, studies by von Hippel and others show that in industries as diverse as scientific instruments and snowboard equipment, more than half the innovations generally come from users, not from research labs.

On user innovation and the resistance of traditional companies to adopt it
Some companies actually punish these people by cracking down on unauthorized innovations. Apple has famously "bricked" -- that is, electronically disabled -- iPhones that have been enhanced by their owners. Other companies pay lip service to user innovation but have trouble following through on the concept. "Companies are very good at creating platforms for external input, but they're very bad at using this input," says Frank Piller …

Threadless is an exception to this. "You could say that what Threadless does is trivial, but it's not," says Harvard's Lakhani. In fact, the very triviality of Threadless's product -- something as low tech and as commoditized as a T-shirt -- proves that vibrant online communities can drive all sorts of nontechnical businesses. This should be encouraging news to entrepreneurs. Customer communities have become exceedingly inexpensive to build and manage; blogging software and social network platforms, for example, are now available for free from a handful of start-ups. "We thought that open source could only work in software, and now it's being successfully applied to a product as mundane as a T-shirt," Lakhani says.

On Threadless' Corporate Culture and Work Style
[Today], the company is suspiciously companylike. The go-carts generally stay parked, the buck stays mute, and the Ping-Pong table serves as a gathering place for impromptu meetings. "When I started, we spent half the day playing," says Lance Curran, a bearded 29-year-old wearing a beanie, jeans, and a flannel shirt. "That doesn't happen anymore." This is not to say Curran doesn't like his job. On the contrary, he nearly glows when he talks about his rise from a temporary warehouse worker in 2005 to the warehouse manager in charge of a staff of 18 today. ...

Like Curran, most of Threadless's employees come with no obvious qualifications for their jobs. The oldest staff member is 33, and many are under 25. The employees do, however, arrive with a deep and abiding love of Threadless, having joined the community long before they entered the work force.

Joe Van Wetering, a 21-year-old illustrator who works in the production department, was a frequent visitor to Threadless's offices as a teenager before taking a job in the warehouse in 2006. Ross Zietz had won seven competitions while studying art at Louisiana State University before he took a job as the company's janitor in 2004. He has since been promoted to art director, charged with helping the winning designers get their entries ready for printing. In fact, 75 percent of the company's 50 employees were community members before they were hired.

On other product categories Threadless is exploring
Now, Nickell is set to let his club loose on other businesses. In addition to expanding to children's clothing and retail, Threadless will begin selling prints and posters online. And later this year, the company will add a range of products, including handbags, wallets, and dinnerware, under the brand Naked & Angry. Each item will be adorned with patterns submitted by users, with a new product launched each month. "I think Naked & Angry, if handled properly, has the potential to be way bigger than Threadless, because we have the flexibility to do everything," says Kalmikoff, who envisions moving into high-end clothing as well as housewares. Jeff Lieberman, managing director of Insight Venture Partners and a board member, is even more bullish. "To say it's just a T-shirt company is absurd," he says. "I look at it as a community company that happens to use T-shirts as a canvas."
 
And Max' final evaluation of Threadless' Business Model: A fundamental economic shift


The way Eric von Hippel sees it, Threadless has tapped into a fundamental economic shift, a movement away from passive consumerism. One day in the not-too-distant future, he says, citizen inventors using computer design programs and three-dimensional printers will exchange physical prototypes in much the same way Nickell and cohorts played Photoshop tennis.

Eventually, Threadless-like communities could form around industries as diverse as semiconductors, auto parts, and toys. "Threadless is one of the first firms to systematically mine a community for designs, but everything is moving in this direction," says von Hippel. He foresees research labs and product-design divisions at manufacturing companies being outstripped by an "innovation commons" made up of tinkerers, hackers, and other devout customers freely sharing their ideas. The companies that win will be the ones that listen.

This may or may not come to pass, but the lesson of Threadless is more basic. Its success demonstrates what happens when you allow your company to become what your customers want it to be, when you make something as basic and quaint as "trust" a core competency. Threadless succeeds by asking more than any modern retail company has ever asked of its customers -- to design the products, to serve as the sales force, to become the employees. Nickell has pioneered a new kind of innovation. It doesn't require huge research budgets or creative brilliance -- just a willingness to keep looking outward.

Context:
- My earlier reports on Threadless are here and here.
- The full Inc. Magazin article

May 22, 2008

Spreadshirt Reveals New Crowdsourced Logo

Spreadshirt_NEW-LOGO Remember the Spreadshirt Crowdsourcing contest to get a new logo from its community, the Open Logo Project 1.6 (OLP) ? I was part of the judging panel, and it was a fun activity to do. "We wanted to take this to the community who use, create and live our product, rather than to an agency", Jana Eggers, Spreadshirt CEO, is quoted in a press release.

Spreadshirt_lovetabkimlarsen The results were in at the end of the year, and now finally the winning logo has been placed on the site and all CI materials. Kim Larsen’s ‘Love Tab’ was the winning design, chosen from 2,800 submissions (from 45 countries). Kim is a 23 year old graphic and interactive media designer from Sweden.

"I wanted to make personal branding visually simple and to embed a symbol everyone can relate to.", he says, "The heart resonates with the feeling of love you have for something you’ve created and the stitching with the hand-crafted nature of the product."

Context:
- My previous report about the contest.
- The official contest site
- Press release at Spreadshirt (and I do not know whether being a web 2.0 guru is a good thing or not today).

May 15, 2008

Update: Fashion Crowdsourcing Project Nvohk Set to Launch on June 5, 2008

Nvohk_badge_150x225Some weeks ago, I reported about nvohk (pronounced ‘invoke’), a company that puts our "collective customer commitment" model into action: Get 5000 members who pay 50$ each of funding, use the money to create an eco-friendly line of clothes, and then sell the clothes to a wider public and share the profits with the original members. Members, as part of their pre-payment, get the right to vote on new designs and co-manage some of nvohk's business decisions.

In a press release today, the company reported that since December 4, 2007, nvohk could recruit 2,800 members worldwide – enough that the company will officially activate membership and launch its brand on June 5, 2008.

I am curious to see how the project will develop and if it reaches its threshold of 5000 members. It seems a bit more difficult then the founders officially expected. In January they were talking about 20,000 people to be recruited. to start the project. Now they are down to 5000, and still 40% away from this target.

Perhaps the founders should just position nvohk in the "pimp my C.V." domain. For just 50$ investment, you honestly can say you run your own eco-business and are investing in the sustainability revolution ...

Context:
- Website: www.projectnvohk.com
- My previous posting about the company

November 09, 2007

IMB Forum: Open Innovation in the Textile Industries (Cologne, 21 Nov 2007)

The Cologne FairgroundIMB is one of the largest trade shows for the textile industry, a showcase not of the latest fashions in apparel but the latest in machinery and software for the industry. The IMB main event takes place in Cologne every three years. IMB Forum is a smaller sister event of IMB, filling the years in between with a focused exhibition and conference.

The fifth event of the series will be held on the Cologne Fair Ground on Wednesday, 21st November and Thursday, 22nd November 2007. This year's conference theme is "Information Technology for the Textile Processing and Apparel Industry", and I have the honor to provide the opening keynote for this event as part of a conference section dealing with open innovation in this sector.

I am speaking together with Ralf Reichwald, my colleague and co-author from TU Munich. Our topic on the morning of Nov 21 is "Open Innovation: Customers as active partners of companies in the textile industry." We will address latest trends and case studies on open innovation with a focus on the textile industries to provide an overall framework of interactive value creation.

Our talk is followed by Andreas Milles from Spreadshirt, who is presenting the leading implementation of open innovation and interactive value creation in Europe. Johann Füller from Hyve, Munich will present the work his company did with BMW to implement open innovation in this company

For the entire program, head to the IMB forum website, here is a PDF flyer for download.

Here is some more information from a IMB press release:

"IMB Forum, the international exhibition with an accompanying congress, which will take place at the Cologne exhibition center from November 21 to 22, 2007, has come to be one of the sector's top annual events. That's why many leading companies regard participation in the IMB Forum as an absolute must. Or, as Holger Klappstein, Managing Director Sales and Marketing of TXTe solutions GmbH in Halle, puts it: "The IMB Forum is one of the most important information platforms for the fashion, garment, footwear, and textile industries."

The success of the IMB Forum is based on the fact that the event perfectly supports direct dialogue between the sector's users and suppliers. This is also an important factor for Dominik Berger, Managing Director of RF-IT Solutions GmbH in Graz: "The IMB Forum offers us an ideal presentation platform for our goods and services in this area, while simultaneously offering us the opportunity to conduct intensive discussions with our customers."

Christiane Klaschik, Head of Marketing for ImPuls AG from Krefeld, is also well aware of this strength of the IMB Forum: "There's hardly any other trade fair where we can meet such a concentration of our target groups. Customer contact is also a very important issue for us."

Jacqueline Kellner, Head of Marketing at Lectra Deutschland GmbH, regards the IMB Forum as "one of the most professional events for presenting yourself to a high-caliber public."

"We believe in the event and clearly recognize the efforts on the part of Koelnmesse to achieve a breakthrough in terms of the degree of international participation, especially with regard to the visitors. The presence of the decision-makers, at least from the immediately neighboring countries, is a crucial step in the right direction," says Yvonne Heinen-Foudeh, Marketing and Communications Manager Europe of Gerber Technology GmbH in Munich."

The IMB Forum 2007 will take place from Wednesday, November 21 to Thursday, November 22, 2007. The exhibition will be open to visitors on the first day from 9:00 a.m. to 6:00 p.m. and on the second day from 9:00 a.m. to 5:00 p.m. Presentations will be held in the morning and afternoon on both days.

November 05, 2007

Udate: Crowdlogoing the New Spreadshirt Tagline: New Design Competition Launched -- and finalized

Some recent entries to the Spreadshirt OLP(Update of the original posting from Sept 2007 -- now with the project's final result at the end of this post!).

Hey, you designers of the world. Treat me nice: I am on the panel of the new Spreadshirt Open Logo competition :-). Coined the Open Logo Project (OLP) 1.6, this is the second time that the company has started a crowdsourcing contest for its new logo. Anyone can submit a draft logo for comment and evaluation by an expert panel, other designers and the Spreadshirt community. Each week during the contest, the top entries will win awards and a place in the overall grand final.

The last contest (hosted 1.6 years ago) received over 1000 submissions from more than 600 designers mainly in Germany and France. This time, the entire world shall participate. The contest will run from the 27th August - 14th October. To take part in the contest - with submissions, comments, voting or just lurking - head to http://olp.spreadshirt.net.

Every branding textbook, however, will tell you not to change your logo every two (or even 1.6) years. But “…this is not a publicity stunt," said Jana Eggers, Spreadshirt’s new CEO. "We found a tagline that better represents what we do, and now is the right time to change our current logo to support it".

The new tagline, resulting from working with an international branding firm: "Your own label" shall reflect Spreadshirt's mission to be "the world's creative apparel platform". After deciding on the new tagline, the natural step for Spreadshirt was to turn to its community again for a logo that better supports the new tagline.

The cool thing: Adam Fletcher, who is coordinating the competition at Spreadshirt, even allowed me to pick my own prize. So: I will award a first price for the most innovative design, one, that really demonstrates uniqueness and out of the box thinking. And this price will be truly innovative and unique as well: You can win an entire mass customized outfit. More on the website!

But beyond the innovative prices, also the OLP idea competition itself has some nice features which make it a great example of open innovation and sets it ahead to other design contests on the web:

They have ten different awards and prizes for different categories which also honor not only WHAT, but HOW you design, awarding good competition citizenship. There are prices for community involvement, memorability, branding excellence, etc …

This also allows Spreadshirt to think of those that offer input but can't design (I would be a perfect candidate for this). Anyone who actively contributes to the OLP community by ratings, commenting, offering feedback, starting discussions etc can win one of every shirt that Spreadshirt’s “La Fraise” prints for the next year (should be around 100 shirts – so if you win, buy a new closet).

"We [want] to recognize out-of-the-box thinking, collaboration, community favorites and more," adds Adam Fletcher. "Even if you're not the winning designer, you can scoop a number of other prizes, or just waste a lot of your time, learn a lot from looking at the work of the other designers."

For real winning designers, they also provide more than cash, but help with the most valuable good for artists, recognition. Along with a MacBook pro and €3,000 cash, the winner will be featured with a photo and an interview in he “Computer Arts” magazine, an interview on “Computerlove” and a permanent “thank-you-page” at Spreadshirt.com

So, now get your creative fluids working … and submit a nice logo so that I have something to judge next week !!

------------

Labelhead - my personal winner of the OLPUPDATE: The project is over -- and it was an interesting experience for me to be on the panel of such an open innovation competition. Here some observations:

First: The winner: While Spreadshirt selected two first prices for their new logo (see the designs here) and is now working with the community on improving the designs. My personal short list looked a bit different, see it here.

Second: My winner: As written above, I could award my very special price for the most innovative design. My clear favorite was Labelhead, not just a logo but an entire logo configurator. Here is my long description why this is the most innovative (and in any case customizable) logo! (and this posting also gives you a rare view of my living room :-)

Third: Participants of an open innovation project get engaged and personal: The entire competition drew more than 2800 entires, generated millions of hits and views, a lot of postings and good press for Spreadshirt -- and did not cost really too much compared to the cost of getting a professional new logo (and PR campaign) from a regular agency (cost were about 10 K Euro for prices, Adam Fletcher's salary of running the contest, and some web site programming etc ..). The best insight into the enthusiasm and engagement of the participants can be found in the comments to the posts, just browse through some of the winning designs or see the comment on the selection of the winners (example).

For me, it was was interesting to read what people really thought about my selections (more comments here). I think I really do not look like a designer or pretend to know much about graphic design -- my task was to provide a business and customization perspective for the panel. But participants expected my real feedback on their designs ... learning_ pick panelists that really know what they are writing about.

Fourth: I learned a lot about customized toilets :) See comments in the middle of this stream.

July 21, 2007

Threadless in Numbers

A selection of recent submissions to ThreadlessRob Walker finally reports in his ‘Consumed’ column in the New York Times Magazine on Threadless, and finally I recognize (thanks to Exciting Commerce) this article that already was published on July 8. Rob’s column is one of my favorite pieces of journalism, but since I returned to Germany, I do not find the time to read it every week.

While in an e-mail conversation Rob told me about 1.5 years ago that he does not consider Threadless as a unique phenomenon, he – luckily – changed his mind and brings a nice analysis of the company and shares with us a number of interesting numbers on Threadless. So here is Threadless in numbers (all quotes from Rob's article)

2000: Year of founding Threadless.

125: Number of submissions received by Threadless each day.

“Millions”: Dollars earned by selling T-shirts” not by hiring star designers but by asking anybody to design them.

Hundreds of thousands: Number of user voting each day.

6: Number of new T-shirt offerings per week.

1,500: Typical size of a batch of each new design.

2,000: Dollars paid to winning designers.

“Almost everything”: Number of items that sell out.

1: Number of Threadless stores, the first opened in the Lakeview neighborhood of Chicago in July 2007.

2.6 or higher: Score of most winning designs (on the rating scale from 0 to 5).

2.0: Lowest rank of a winning design.

x*n/z: “The final decision about which T’s actually get made and sold has always involved a bit of nonpublic number crunching. For example, Threadless looks at how many 0s and 5s a design gets; designs that inspire passionate disagreement often get printed because they tend to sell”.

1: There is a surprising degree of consistency — maybe even similarity — in the designs. “It’s a barometer of what’s going on in art and design right now,” Threadless director Kalmikoff suggests.

17: Number of winning designs submitted by Glenn Jones, a New Zealand designer.

Context:
- Rob Walker’s NYT Magazine article on Threadless.
- My original report on Threadless (includes many more links with reports).

May 22, 2007

How mass customization really works -- Spreadshirt

SpreadshirtSpreadshirt has a nice video on their blog that shows how a custom product really is made. You would expect a lot of high tech machines .. but the secret are many many hands and human labor ... given this complexity and the German wage level, it is amazing that the custom t-shirts do not cost more (but perhaps workers are just paid in t-shirts).

Or, as the company's founder writes:

"When people visit one of Spreadshirts manufacturing sites, they are often surprised. they expected a big machine, somebody pressing a few buttons and a customized shirts to emerge. instead they find real manufacturing. real people taking real apparel from shelves (hard till impossible to replace with robots at a competitive price with nowadays tech), real people preparing the designs, real people pressing the shirts, real people doing quality control and packaging."

Here is the video about the reality behind one of the largest mass customization consumer sites (show this video to your local government funding agency, and they will provide you money as this shows the labor effects of a mass customizer in town)):


Link: sevenload.com

May 01, 2007

Recent Partnerships and Acquisitions Provide New Infrastructure For Launching Instant Mass Customization Offerings

It gets easier and easier to open an instant mass customization company. You have a great idea or design that you want to offer customized? But you do not want to mess up with manufacturing, fulfillment, or building a configurator? You are either a large existing brand, mass producer, or an individual consumer?

Never mind, a new bunch of mass customization enablers is helping you to set up instantly a mass customization value chain from design to delivery with a few clicks. Well, this is at least the promise of a number of mass customization enablers that can change the mass customization game.

A partnership by DemandMade with Exclusive Pro and the acquisition of Confego by Zazzle (see the previous two postings) have created integrated mass customization fulfillment systems in the US that can be utilized easily to open a MC or personalization business. Leipzig, Germany, based Spreadshirt offers a similar integrated value chain for the custom apparel business, with a smaller solution space, but an even easier interface to create your own mass customization business.

Years earlier, Germany based Human Solutions already have provided a similar integrated supply chain for custom garments including also custom fit and mass-bespoke tailoring. Their system, however, was based on more formal contracts and a traditional franchise system. It was not as easy to set up as your own customization web store at Spreadshirt or Zazzle.

I am curious to see how these ventures will play off and what kind of services will be enabled in the future. It never has been easier to open a mass customization business … what is happening here is the creation of a common infrastructure, think of a mass customization operation system that enables instant companies and user manufacturing in these domains.

So use these capabilities to create your custom world.

Context:

- Mass Customization Enablers I: Zazzle Acquires Confego to Move the Company beyond BtoC Customization Business
- Mass Customization Enablers II: DemandMade & Exclusive Pro Create Partnership to Deliver a Complete Custom Apparel Solution for Online Retailers
- User Manufacturing: The trend and developments

Mass Customization Enablers II: DemandMade & Exclusive Pro Create Partnership to Deliver a Complete Custom Apparel Solution for Online Retailers

Zazzle-Confego is not the only new partnership this spring. Also the second specialized mass customization enabler in the US, DemandMade , announced a new cooperation to provide a seaming less mass customization value chain by integrating product configuration with a domestic factory & fulfillment.

Hermitage, PA, based DemandMade provides technology and managed services for the complete mass customization value chain including consumer brands and retailers who wish to configure and offer personalized or mass customized products and factories who assemble made-to-order consumer products. The company was founded in 2005 by eBusiness veterans Scott Killian and Tim Brule, who pioneered eCommerce outsourcing when they launched FanBuzz in 1996 and the mass customization process CustomFan in 1999. One of the first online applications of mass customization, CustomFan was used to operate successful online merchandising programs for such brands as Coca-Cola, the National Hockey League, Peanuts, ESPN and the 2002 Olympic Games. The pair later sold FanBuzz to the television shopping network ShopNBC in 2002.

Last week, DemandMade has entered into a partnership with Rockford, IL, based Exclusive Pro, a provider of domestic apparel embellishment and fulfillment services specializing in retail programs using mass customization and personalization. Exclusive Pro's capabilities include full-service, single-piece tackle twill processes (twill, felt and leather), embroidery, heat transfer applications and private labeled fulfillment of single piece orders that are produced on-demand.

“We’ve combined a suite of Web-based tools specifically designed for apparel retailers with a domestic factory that is already using our platform to produce and fulfill single-piece orders,” said Scott Killian, DemandMade CEO, in a press announcement. “The result is a comprehensive solution for online retailers who want to launch a customized apparel or soft goods program.”
The combined offer uses an AJAX-based product configuration engine designed specifically for apparel items that online retailers can integrate with their existing online stores to offer personalized or custom apparel products. On the backend, the configurator is integrated with Exclusive Pro’s domestic production and fulfillment facility -- a complete solution that provides retailers with everything they need to launch a custom apparel program.
Terry Taylor, President of Exclusive Pro, says about his motivation to enter this partnership, “We have a long history of producing orders for single piece garments. However, the demand for our services has shifted dramatically in recent years to online retailers where the dynamic nature of these products can best be presented. This partnership with DemandMade effectively ensures continuity between the online experience and the production process.”

To see an example of the new product configurator, visit www.scenicstore.com/example

November 02, 2006

DNA Style Lab goes Beta: A new model for the custom t-shirt economy that also looks beyond the internet

If the number of new ventures started around one idea is an indicator for the strength of this trend, then custom t-shirts and related fashion items are the hottest area of mass customization in the moment. I lost track of all the recent announcements of new sites where users can co-design their t-shirts. Next to "established" forerunners like Spreadshirt, Cafepress, or Threadless numerous start-ups entered the customization world recently. Have a look on Adam Fletscher's t-shirt blog to get an overview in form of his great interviews with the founders of the players in this custom t-shirt economy.

DNA Style LabSo just let me introduce you to one of these upcoming sites: DNA Style Lab, the brainchild of Samantha McDermott, who got first experience with customized handbags in the late 1990s. Her idea is to combine elements of some of the existing systems of the custom t-shirt economy with new ideas.

The core idea is that the company commissions a number of artists from around the world. These artists are in varying stages of their careers, some are already more established, others are just getting known. Artists will contribute design elements which consumers than can place freely on different apparel products and accessories. Pricing of the products is modular: the more graphic elements an user selects, the more expensive the final product gets.

If artists allow, consumers can also change certain aspects of the supplied art. The company itself makes its profit from selling the core products (US $10-20 for American Apparel garments), artists get the full price users pay for the graphic elements they select (about $5).

Sounds very much like Stagr or Innertee ... sites which do not leave the entire co-design process in the hands of the consumer but propose to split the process: Experts provide the input and variety by basic designs, individual consumers get the freedom to combine these elements, providing them the experience but not the pain of a co-design process.

But what makes Ms. McDermott's venture really special is her plan to stay not just in the online world, but to move also to brick & mortar stores where customers can actually leave the store with an item they designed. I think this is what it requires to grow and scale the idea of aesthetically customized fashion products. In the end, the major value of a custom t-shirt or similar product is not additional ergonomic value due to better fit or function, but the hedonistic value of experiencing the co-design process itself and the rewarding feeling of the final product.

Mass customization pioneer Nike also discovered that just offering custom shoes online is not enough and thus opened its NIKEID Lab in New York's Elizabeth Street, and Puma even started offline with its great Mongolian BBQ. And one of the largest mass customizers – and a real role model for me – Build-a-Bear, has founded its fantastic growth story entirely on offline customization, selling in the end more the process of customizing a toy than the custom product itself.

DNA Style Lab Artist Presentation Given the joy of shopping for fashion products for many consumers, a business model based on providing co-design in an offline environment could become a large success. There are some local players in this area (like Neighborhoodies in New York or George&Frank in Munich), but not really scalable and thought-though system that could replicate Build-a-Bear's success in the toy industry for the fashion industry.

For a start, however, DMA Style Lab is still an online business only. Its present toolkit is obviously very beta and demands a few minutes to learn, but then is easy to operate. The company told me that this will be improved very soon, including the order taking process. But you get already a good idea about the basic elements of the concept: The main focus today is on the artists who provide the work. This is a great combination of the co-design trend with its countertrend: strong orientation at external peers and idols.

DNA Style Lab configuratorThey will be adding a "Soundlab" function soon -- discover independent artists (bands) so that you can listen to their music while designing you new t-shirts. As with all of these sites, functionalities to support the community of users and artists are crucial for success. Here, the usual tools like customer pages, upload of user photos, sharing of designs, forums, etc. will be implemented.

I am curious to see how these ideas will come into place and which segment of the market DNA Style Lab will be able to capture. The traditional market for custom graphic t-shirts (fashionable late teens and young tweens) has been occupied by the existing labels (many of them working in the traditional way without any customization). But Samantha McDermott and DNA Style Lab may be able to create a new market of custom customers, older and perhaps more sophisticated, also more interested in art than in music.

Context information:
Here are some links to recent news around the custom t-shirt economy:

- Innertee (see my previous post) went beta last month
- STAGR plans to allow the customization of top brands (Great three-part interview on HipHipUK)
- And (if you speak German) a collection of recent posts on Exciting Commerce on Custom T-Shirts and related products,

September 24, 2006

Printing T-Shirts and Money – Inside Story in the Chicago Tribune on Threadless

Threadless in the Chicago TribuneThe Magazine of the Chicago Tribune, one of the large US quality newspapers, recently featured a LARGE (7 page) cover story on Threadless and their user-design t-shirt business. I talked extensively with Steve Johnson, the article's author, some weeks ago about the business idea behind Threadless. He did a great job in documenting the past, present, and future of Threadless. Read the entire story here.

Here are some interesting quotes from this article:

The Art-Gallery Model.

"They [Threadless] have this innate understanding that what they are really selling isn't a T-shirt so much as the tale of how it came to be, a narrative that involves an artist, a community and a company that sets itself among, rather than above, that community.

"I always compare it to an art gallery," says Nickell, who's 26 and holds the title of president because, in addition to programming the site … and doing designs of his own, he deals with the lawyers and accountants and landlords. "You have people who come in and look at the art, people who made the art, people who are buying the art."

User manufacturing. In the article, Jim Coudal, a Chicago based consultant, summarizes the Threadless model with the great phrase "If they come, we will build it." And indeed, that is some of the quintessence of the Threadshirt business model -- and of other businesses which focus on providing manufacturing capabilities to users:

Threadless is "not building something and selling it to an audience. They're building an audience and selling them what they say they want. .. The Internet has also helped Threadless find and take advantage of the world's "distributed creativity." Just as there are great writers who now have an outlet via blogging, there are great designers who have an outlet via things like the Threadless competition."

Interactive value creation. Steve Johnson then quoted me very neatly, summarizing why Threadless is a perfect example of "interactive value creation":

Distributed creativity "is a very difficult thing to get. In a normal company, you identify the coolest artist and commission him or hire him. What they do is they broadcast their problem: Who makes me the best T-shirt? From an economic point of view, you don't have to know who is the best person. You let them self select. Of course, it only worked because, in their case, they have a lot of desperate artists out there. You have a lot of unemployed graphic design graduates. And they somehow exploited this, but to mutual benefit."

Fashion as Pop-Songs. Patric King, a prominent Chicago designer, compares in the article the Threadless model with a pop song:

"What [Threadless is] doing is just sort of building the wearable equivalent of the pop song," King says. "They throw it up and see what climbs up the Top 40. I've run across a couple of other companies trying to do the same thing, but the work's just not as good. For some reason they just get prettier stuff. Their community has just sort of trained themselves that that's their standard."

A new support industry. Share of labor is the oldest economic principle. And it also helps at Threadless. The article reports about Cody Petruk, a graphic designer for a Canadian software company who owns "about 60" Threadless tees and has seen three of the 13 designs he's submitted get printed. But Petruk also runs a web-site, threadies.org, which supports user designers to participate and win in the Threadless contests. A consultancy for t-shirt designer (McKinsey and BCG, listen!).

The limits of the Threadless model.

"But there are also questions about how much growth a community can endure before it stops feeling like a community. Right now the site is a free-flowing and very entertaining mix of design submissions, which registered users grade on a scale of one to five, blog postings about the designs, links back to other projects and, of course, the store. In a recent week, Nickell says, they had almost 10 million page views from just 500,000 unique visitors.

But already, some longtime site users grumble that as the group has grown, the designs have moved away from their artsy roots and become too cutesy, too clever or too pop. The all-time best-selling Threadless shirt certainly isn't cute. Called "Flowers in the Attic," it depicts a svelte young woman shooting herself in the head, causing birds to fly out. The company has sold 30,000 already, compared to a typical first printing of 1,200 shirts, and is printing another 10,000 for the holiday sales rush."

And the article finishes with a job offer: The Threadless founders are currently considering to hire a COO to run the daily business of the company. Condition: a suit and no t-shirts.

After the article has been published, the Threadless users commented quite enthusiastically. One comment, posted by Radioactivejosh a few hours after the article was published, provides a great perspective why users love Threadless:

"The article hit it right on point; we don't just buy the shirts for the design, but for the story, the meaning, the explanation and the excitement of new prints. It all plays a factor. If I didn't read the explanation of Poet-Trees and I just saw it in Target, it would mean nothing to me. ...

I LOVE when i see people with Threadless tees, because i feel like I know them. They understand the shirts, they visited the site and browsed and saw something they liked. They weren't just trying to be trendy and went into Urban Outfitters ad bought a tee shirt they saw. Threadless tees have a lot more going into them than just buying them."



More information:

- The entire Chicago Tribune article in full text.
- The article with all pictures as an user scan.
- Discussion about the article at Threadless with more customer voices.
- My report on Threadless in this blog
- How Look-Zippy developed the Threadless model further

PS: If you want to know EVERYTHING about the upcoming T-Shirt-Economy: Adam Fletcher, who wrote his master thesis about Threadless and is now working for Spreadshirt, maintains a great blog about t-shirts, with plenty of references to mass customization and user co-design: www.hiphipuk.co.uk

July 30, 2006

Consumer Created Branding: Rob Walker on Minibrand Entrepreneurs, The T-Shirt Economy and Why This Is an Alternative to Mass Customization

NYT Magazin July30, 2006The NYT Magazine (July 30, 2006 issue) has an interesting cover story on ("The Brand Underground"). It provides a great insight study in the world of consumer created branding, the minibrand entrepreneurs. In great detail, NYT columnists Rob Walker draws the picture of leading-edge consumers who turn their lifestyle into business.

Trendwatching.com called these consumers minipreneurs. Their scope of activity is broad, "Some design furniture and housewares or leverage do-it-yourself-craft skills into businesses or simply convert their consumer taste into blog-enabled trend-spotting careers." Walker writes. "Some make toys, paint sneakers or open gallery like boutiques that specialize in the offerings of product-artists." All of them produce products which are a perfect illustration of the Long Tail.

Most of them also serve the need for uniqueness for the people buying them. You don't purchase (often for a large amount of money) a product from a small sub-brand because you want to look like every teenager in Urban-Outfitter clothing. This makes these minibrand entrepreneurs an interesting alternative model to mass customization: Instead of co-designing an own product, a consumer may turn to one of the minibrands to feel individual. Interestingly, the categories where minibrand entrepreneurs are most active, t-shirts and sneakers, are also two of the largest categories of mass customization in the consumer good field.

Rob Walker's main theme in the article is how corporate or anti-corporate these consumer-generated brands are. On the one hand, their founders see their brands as a "cool" way to earn a decent living. But still:

"Many of them clearly see what they are doing as not only noncorporate but also somehow anticorporate: making statements against the materialistic mainstream — but doing it with different forms of materialism. In other words, they see products and brands as viable forms of creative expression."

To look into this paradox and generate a better understanding of the minipreneurs, Walker focuses on the t-shirt economy. He quotes three trends or enabling factors that helped small t-shirt labels, which pop up in an enormous variety, to become one of the largest categories of consumer-generated brands:

"One thing that has changed since the days when they [the first sub-culture t-shirt labels of the 1980s] scrambled to make a living is that Japanese consumers have embraced certain small New York brands as something culturally significant and worth a price premium. Nigo, a Japanese designer, built a fanatical following for his A Bathing Ape brand partly because he collaborated with so many graffiti writers and others who had an aura of authenticity that impressed young, hip Japanese consumers.

The second change is technology, which has allowed production to become more accessible. (It is easier than you think for a two-person brand to work with factories overseas, using computer files and the occasional package.) The technology of the Internet has also acted as an amplifier. … There are blogs like Hypebeast and Slam X Hype dedicated to this practice, reporting dozens of new products or design collaborations from the brand underground every day.

There is a third factor: manufactured commodities have in fact become accepted as quasi art objects, and there is no more stark example than the sneaker. Hunting for unusual sneakers and modifying them with markers or different laces has been cool for decades, a phenomenon defined in Harlem and the Bronx."

While other minipreneurs may not build on the willingness-to-pay of Japanese teenagers, the two other factors are main enablers of many co-creation products as well. After reviewing the story of several user-created t-shirt labels (an world that sometimes even Walker as an expert admints not to understand totally), Walker comes to his conclusion -- and provides a great insight into the motivation of consumers to become active producers:

"If the dance between subculture and mainstream has always been more compromised than it appears and if every iteration of the bohemian idea is steadily more entrepreneurial than the last, then maybe a product-based counterculture is inevitable. Maybe subcultures are always about turning lifestyles into business — or the very similar goal of never having to grow up.

And I have to admit, the more time I spent with the minibrand entrepreneurs, the more I had to concede that what they have been up to is more complicated than simply imitating the culture they claim to be rebelling against. They believe what they are doing has meaning beyond simple commercial success. For them, there is something fully legitimate about taking the traditional sense of branding and reversing it: instead of dreaming up ideas to attach to products, they are starting with ideas and then dreaming up the products to express them."

Rob Walker's blogSite note: Rob Walker has a regular column in the NY Times Magazine, where he often writes about a other great minipreneur, mass customization and customer co-creation businesses. He also has a great new blog site that should be worthwhile reading for you. This blog regularly links to his latest column, follows up on issues and ideas raised there, and "wants to advance the conversation about matters relating to what we buy and who we are": http://www.murketing.com/journal.

July 24, 2006

Collective Customer Commitment and Crowdsourcing: How Look-Zippy is bringing the Threadless model to the next level

A recent report in Business Week about our SMR paper on Threadless and Muji's strategy to use early customer commitment to reduce the new product development risk brought us some good feedback and comments on the concept (see the updated original post ). [And of course we are just proud that after The New York Times and Der Spiegel another major publication refers to our work :-)]

Threadless uses crowdsourcing in three ways: (1) To generate new designs, (2) to evaluate submitted designs, and (3) to sell its products via an affiliate marketing system and social network.

SpreadfraiseBut the market is already progressing faster. As you may already have read in other blogs, Spreadshirt, the German T-Shirt Customizer working like Zazzle or Cafepress, just announced a take-over of LaFraise, the French Threadless clone. This will provide Spreadshirt the ability to integrate its users even further in the design process and to supplement its highly flexible, but expensive on-demand printing concept with the business model of screening demand before (mass) production. I am curious to see which innovative business models will be resulting from this merger.

Another company however has already brought the Threadless concept to the next level: Look-Zippy, a Sénergues, France, based t-shirt seller (thanks to Jochen Krisch for the link).

Remember that the key aspect of Threadless' model is the aggregation of commitment of its customers. Threadless does not face the conventional risk of a fashion company whether new design variants will become a hit or miss. This risk is reduced tremendously by the participation of its customer community in the assortment planning process.

The evaluation of new designs by its customers helps Threadless to pick exactly those new designs which find the highest appeal in its community. On top, customers express their informal commitment to purchase a design variant in case it would be selected and printed by ticking a small box. While this works very well, some uncertainty remains for Threadless: Exactly how many t-shirts they shall print, and in which size dispersion. This decision can be only based on forecasting and rule-of-thumb guessing.

Even if t-shirts are a product with high margins and low inventory-cost, the "special sales" periods at Threadless indicate that there are some overstocks of t-shirts which do not sell as well as the customer evaluation predicted, or where Threadless' management ordered too many of the wrong sizes.

LookzippyThis is where Look-Zippy has perfectioned the Threadless business model. At the beginning of the process, these French entrepreneurs crowdsource everything like Threadless: An open design competition captures the distributed creativity of creative users, and the selection of the best designs builds on the evaluation capability of the entire community.

But then the process differs: Instead of scheduling the winning designs immediately for production, Look-Zippy starts selling first by taking binding orders. Selected new designs are listed for exactly two weeks on the web site (a ticker prominently shows the remaining time – Woot.com pioneered this strategy online). Customers can place an order only during this period, once the time is up, no more orders are possible -- and only then production starts.

The result: The shirts are produced in exactly the right volume and size dispersion. This binding commitment of customers allows Look-Zippy to mass produce only the products that really fit their customers' needs – a marketer's dream. This model is much closer to the original model of collective customer commitment which was developed by Elephant Design and Muji in Japan at the end of the 1990s (more info on Muji): The risk of new product development and planning is outsourced to the customers.

The disadvantage for customers of this model however is a slightly longer waiting time/ But this may be counterbalanced by the "limited edition" feeling of the shirts. Also prices should remain low on the long run, as an successful product has not to cover the wrong forecasting of other variants.

Combining the creative talents of the crowd (open innovation), the commitment of a community for a new product (collective customer commitment method), and the limited edition approach of consumer markteters seems like a winning strategy for other industries as well. I am curious to see in which other consumer good industries this model will catch up first. Please leave a comment or e-mail me if you have any candidates or examples!

June 01, 2006

Threadless.com – when mass customization meets user innovation meets online communities (Updated)

(Update of the original post from August 2005) Threadless.com is a young Chicago-based fashion company that follows an innovative business model mixing customization with new ways of customer interaction to create high variety products without risks. Started in 2000 by Jake Nickell and Jacob DeHart, Threadless.com focuses on a hot fashion item, t-shirts with colorful custom graphics. All products sold by Threadless.com are created by some if its users and inspected and approved by user consensus of the entire community before any larger investment is made in a new product. Customers evaluate potential new designs before the production process starts. Top-rated submissions are transferred into final products and produced in limited editions (their creators get $2000 as reward, and their name is printed on the particular t-shirt’s label).

Threadless Since its launch, over 400 winning designs have been chosen for print from more than 40,000 submissions. The company builds on a large pool of talent and ideas to get new designs (much larger than it could pay if the design process would have been internalized), enabling it to identify new trends early and transfer those into a product design. The Threadless community is thriving with over 300,000 users signed up to score designs (in 2005, an average of 1,500 new users were signing up per week).

Compare this idea to traditional customization: Instead of investing in highly flexible manufacturing systems and dealing with individual custom designs, the company focuses its energy to draw creative designers to submit new designs, and to facilitate the evaluation and voting process by its customer community. The often costly elicitation process of a mass customization system is substituted by the pre-order taking and a voting mechanism of a large number of customers.

Instead of customizing individual products, Threadless.com has a system of “custom mass production”, building on the early involvement of some (expert) customers in the development process of new product designs and the refinement of their ideas by a larger customer groups (this idea has been described already in 1998 by G. Elofson and W. Robinson in a paper for Comm. of the ACM, but has never took off in practice).

Motivated by its success in the young fashion market, the founders of the company have recently extended their categories to formal wear like ties or polo shirts (http://NakedandAngry.com) or music (http://15MegsofFame.com). It will be interesting to see how sustainable this business idea is. In the moment, it is highly successful and a very interesting alternative to conventional mass customization.

More information:

In a recent paper with Susumu Ogawa, we looked into more detail on the Threadless model. The paper has been published in MIT Sloan Management Review, Issue Winter (January) 2006, pp. 65-71. Abstract & Download here.

In a second paper, Petra Schubert, Michael Koch, Kathrin Moeslein and I comment on the possibilities how communities can support customer co-design: Journal of Computer-Mediated Communication, Vol. 10 (2005) 4 (August).
[http://jcmc.indiana.edu/vol10/issue4/piller.html]

Recent good posts on Threadless with more information can be found here:
Business 2.0,
Exciting Commerce,
Crowdsouring,
Innovation Lab DK,
a good interview with jacke Nickell
and of course at Threadless themselves.

March 31, 2006

Innertee: Mashing Up Open Innovation, Distributed Creativity, and Mass Customization

InnerteeI have written here before about Cafepress, Spreadshirt or Zazzle -- companies that mix peer production, micro-branding, mass customization and viral marketing. Add to this another hot trend of Web 2.0: Remixing. A new web site called Innertee is mixing all these ideas to create something pretty cool: t-shirts remixed. Not yet launched, but open on a beta site and with plenty of information in the founder's blog, Innertee is a site that combines open innovation and mass customization.

It has its own design language: (1) An "element" is defined as any original artwork submitted for sharing. (2) A "design" is any combination or "mix" of elements.

On the element level we have open innovation, something that Threadless.com has perfected in the world of T-Shirts. It allows everyone ("artists") to submit artworks, thus using the talent distributed in an entire design space.

On a second level, however, also users ("mixers") not feeling like a great artist can participate. By mixing elements into an own design, they create a custom product that is then produced on-demand by Innertee. Mixers also can sell their creations to others. In both cases, the originator (artist) of the elements used in teh design gets a provision – and earns respect and attention in the community.

The Innertee WebsiteMiles and Jamie, the founders, have been working on the idea of Innertee for the past three years and it’s been an interesting journey. "We stared a business called Scribe Graphics as a traditional screen printing (anti-technology) business in 2003 as a means to be able to hang around in our garage and drink beer without the fear of reprisal from our families and lurkers in the neighborhood", Miles says. Eventually, the screen printing business morphed into a design concept / brand called Red Army Surplus Co. Now, they want to bring it on a next level with Innertee.

I regard Innertee a promising business idea as it both acknowledges that there is great design talent out there, much more than a traditional firm could incorporate behind its walls, but that at the same time most customers are no designers and are not willing to fully customize an aesthetic design. It will be interesting to see how artists develop a new design language suitable for mixing and matching. Not the artist will be most successful who submits the most unique design, but the one who submits the most "mashable" design, i.e. a design that can be used by many "mixers" as a platform or starting point for a new mix.

More information? The founders publish an interesting blog with plenty of information on their project.

And Patty Seybold has a great posting on remixing and "mash up" in general on her blog.

October 15, 2005

An overview of recent customization offerings in footwear and apparel (Updated)

Footwear and apparel are the most common products being customized today. I get many e-mails asking about some major examples in these areas. Thus, here a short collection of some more recent examples. This is not a comprehensive list !! If you know an important example missing here, just e-mail me and I will be glad to include it in the list. Or just add a comment below (this list has been updated on Oct 27).

The following list was initiated by the web blog 'World of Custom, An Overview of Current Custom Consumer Offerings', as compiled by Jason Davis/Merge Design.


FOOTWEAR -- SPORTSHOES
(more detailed descriptions here)

Adidas Mi (http://www.adidas.com): Six shoes (running, soccer, tennis, indoor, basketball) with three areas of customization; fit (length and width of each foot), performance (outsole and midsole options and seasonal upper materials) and design (choosing from over 100 color combinations and embroidered lettering). All of which has to be done in person at select Adidas store locations.

Reebok Custom (http://www.rbkcustom.com): NEW! One of the best configurators with many features. But even if this is a perfect example of how a configurator should look alike, I am afraid that RBK will just be seen as a late follower, copying what everyone else in their industry does as well. There are no innovative customization features from the perspective of the consumer.

Converse (http://www.converse.com/converseone/): Three shoes (Chuck Taylors high and low and Jack Purcells) with the One Star coming soon. Custom color and embroidered lettering online using the Nike iD engine.

Nike iD (http://www.nikeid.com/): Fifty-one shoes (thirty-one for men, seventeen for women and three for kids) six bags, five watches and three golf balls. Custom color and lettering on Nike’s third generation site.

Puma Mongolian BBQ (http://www.puma.com/mongolianbbq/): Single style served up at hands on kiosks open for limited times at select Puma locations. Very tactile with a DIY flavor. There is also an on-line version replicating the in-store experiment.

Vans (http://shop.vans.com): Two shoes. Custom color and patterns online with a solid and well thought out interface for color selection.

Timberland (http://www.timberland.com/customboots/): new website, now with state of the art configurator, many color options for men and women (more extensive review here).

JG Customs (http://booktown.com/jgcustoms/): hand painted, real actual personalization, small batch sizes, DIY approach.

O’Neill: (http://www.oneill-action.com/designyoursneaker.php) open innovation experiment, co-creation of new styles and design competition, but no custom manufacturing

FootJoy Golf Shoes (http://www.myjoys.com/): Popular golf shoe. Custom color and individual length and widths for both right and left shoes.


FOOTWEAR -- DRESS SHOES

Selve (http://www.selve.net): Munich based custom footwear company for women's shoes. Latest design and custom fit (based on foot scan). Stores in Munich and London. Manufacturing in Italy.

Steve Madden (http://www.SteveMadden.com):Newly-launched “Design Your Own” collection on SteveMadden.com offers options resulting in a total of 4,221 combinations. Consumers can make their choices among product features such as heel height, pattern, material, finishing and color. Special as formal women's dress shoes -- no sneakers!

Leftfoot (http://www.leftfootcompany.com): Leading European provider of custom footwear for men. Stores all over Europe, production in Finland. Custom fit and design.

Otabo (http://www.otabo.com): Upcoming US brand and manufacturer for mass customized men's shoes. Growing number of stores, manufactured in the US (Florida).



APPAREL

Adidas Team (http://www.adidas.com): new Japanese offering, create your own team outfit, nice and easy configurator

Land’s End (http://landsend.com): Nine apparel pieces (Jeans, Chinos, Shits and a Jacket for men and women). Color and custom sizing all offered up on the Archetype engine.

Target, JC Penny, Tommy Hilfiger: Similar offerings to Lands’ End (mostly jeans and pants with a shirt or two). All u