Conclusion
In order to draw a conclusion and look back on this journey, there are a few essential elements that I would be happy to point out. First and foremost, I was able to organise effective case studies that integrate theory and a useful practical approach because of the data that was gathered and the theory that was studied. Therefore, even though they were not fully covered here, they play a crucial role in the positive outcome. As a result, I hope that this summarising document might help interdisciplinary teams communicate more effectively and use the same language to achieve their shared objectives by shedding light on a variety of technical and branding approaches and skill sets that small teams may be lacking.
The future of merchandise is collaborative, based on a design driven approach to products that is built on the idea of interdisciplinarity and a holistic framework of design, followed by circular or sustainable production principles and a proper merchandising strategy. Often, these complex tasks are rarely possible for individuals to cover. Building transparent, ethical supply chains that involve stakeholders at every level ensures that sustainable practices are not just add-ons but foundational elements of merchandise production. Therefore, I would encourage you to reach out to experts on these topics to deliver value driven yet commercial products that generate income and social value. At the same time, connections with other agents (NGOs, marginalised groups, brands, artists, or designer and others) have proven to be valued by the audience as they build on the idea of limitation and unique, one-of-a-kind outcomes. Moderating the panel discussion on Flaam, where the collaboration of several partners towards the shared objective of developing a creative and sustainable merchandise ecosystem is, for me, the high point of the entire project.
T-shirt tuning, Flaam, and Pohoda are examples of how important a cohesive creative direction proved to be in ensuring coherence, message integrity, and alignment with the overarching ideals. Insightful data further supported this point. Customers also valued it for its aesthetic or design qualities. It paved the way for an evolution towards merchandise that seeks connection on a social and cultural level rather than just being physical.
Both collaborations and creative direction tend to build stronger narratives that have been used in fashion marketing but also have proven functions in merchandising production and distribution. All with sustainable and circular principles in mind. After experiencing several merchandise activities, I would encourage you to create collectibles. As it was proven very successful at the Flaam Festival, the 5th edition t-shirt with the names of visitors created a feeling of inclusivity and functioned as a token of visit, yet this collectible item exceeded the physical item or garment.
Implement systematic improvements and continuously seek ways to refine the lifecycle and production processes of merchandise through sustainability assessments and innovations. This strategy has been crucial to avoid greenwashing and bring transparency into the process. Seek out local producers, proper certifications, deadstock that can be processed, or designers that have developed ways to process the post-consumer waste. By developing community aspects around sustainable merchandise through workshops, discussions, and collaborative projects, we enhance consumer understanding and participation.
As this article has proven, the topic of merchandise is more complex than it might seem, but it is also a wonderful playground that rewards innovation and creativity.