Case Studies
As the study comes to a conclusion, I have undertaken a number of activities that have expanded overall understanding of merchandise, allowed me to identify its difficulties, and assisted in developing practical answers through experiments. While describing the case studies, I will be following the structure above while.
Flaam Festival 2021
First, and the main subject of this inquiry, which also happens to be a project I have spent the last six years working on, is the FLAAM festival. Since 2014, FLAAM has been an island of positive deviation, a boutique two-day (mostly) music festival with a limited exclusive capacity of 1000 attendees. With sustainability as a core value and the organiser's dedication to exploring festivals as a medium, I carried out my first merchandise experiments. What began as traditional mass customisation or label production in the early years has evolved into the use of post-consumer waste on a smaller, then larger scale.
It was almost impossible to categorise the products based on size and gender because of their uniqueness. The whole process required the time of the staff, even with the low production cost of work hours. The producers lacked experience in handling diverse textile blends and patterns within a single batch, thereby elevating the likelihood of quality defects. The product's size and gender category caused customer confusion, which might lead to a 30% surplus of unsold stock. It has proven to be crucial, when it comes to using post-consumer waste, to sort the second-hand product several times and be specific about the sizing (exact cm) to assist people in selecting the appropriate item. In order to address the mentioned issues and develop universally applicable strategies, I have followed the process guidelines outlined below in the coming years.
Own own limitotat to use only post-consumer waste and no new materials in 2021, in accordance with a reuse circular strategy, presented a challenge for the merchandise's strategy and setup.
I have developed a prototype of a supply chain that covers forecasted sales of branded products. Collaboration with Textile House, one of the EU’s largest textile sorting facilities employing more than 2000 people, was critical to success. After months of negotiations, we reached an agreement on terms that were beneficial and should also involve long-term collaboration on a variety of other projects.
Setting up the sorting system allowed us to deliver standardised items (in terms of category) in the required quantity. There were two top-selling items: white and black short-sleeve t-shirts. In total, there were approximately 200–250 items, which aligned with the estimated customer conversion rate of 20%. The sales achieved a sell-through rate of 70%, which is higher than average compared to other venues. We have used both screen printing and embroidery techniques to customise the garments. However, despite the added cost, we were still able to sell the items for a fair 15 euros each with a 2.0–3.0 markup. There were several problems identified that could have been avoided when considering the textile waste and the product's refreshed life cycle.
After gaining some understanding from the initial attempt, the Pohoda festival presented an ideal opportunity to develop the process, move the focus upstream in the supply chain (up to the sourcing facility), and establish guidelines to improve the quality of the sorted products. The repurposed garments were part of a capsule collection called "Nemoderny Chalan" as a tribute to Miro Zbirka, which existed alongside the main collection. Compared to the previous production, there were various garments with specific aesthetics pre-selected for the customisation. The creative brief included vintage clothes (windbreakers, sweaters and shirts ) selected and customised by the designer. We were aiming to mainly select the garments that were not suitable for further recycling, like synthetic windbreakers with linings, as it was an outcome of the previous research. The whole collaboration ran smoothly. We worked with the same textile sorting facility, which benefited both parties. I contributed my expertise in setting up the production and sorting 1,000 garments according to festival categories. The previous manufacturing structure from Flaam was altered per product category and followed the same rules.
Some product categories were sold out on the first day, priced at 35 euros for an item. Overall, it was considered to be a successful collaboration with the minor retail challenges that were solved, and items were able to substitute a purchase of some new garments by the visitors.
The following year, when it felt like everything should go according to the planned process, the sorting facility cancelled the collaboration, and we had to figure out another way to produce merchandise out of pre-consumer textile waste. Luckily, we were able to develop a collaboration with merchyou, sustainable textile, printing, and embroidery facility that had some deadstock that we were able to easily utilise. However, there are some specifications for deadstock items. The main ones are sizing (which is never complete), colours (hard-to-sell shades) and cuts (out-of-season cuts). Therefore, we had to find a way to customise and deliver 300 products with an increased conversion rate, higher price points and consistent collections. Due to the time constraint imposed by the higher minimum order quantity (MOQ), we were limited to utilising only one production technique, which was printing. However w have managed to solve these challenges and collection was completely sold out. Although the deadstock circular narrative was present, visitors understood it and with the help of merchyou, our entire process was documented on social media.
Flaam also introduced a limited collection featuring special fabrics with printed photographs, transformed into contemporary dresses and accessories. Additionally, free tattoos were offered as an new product category. Flaam refined its approach by establishing detailed sorting guidelines and leveraging photo inventory systems to enhance manufacturing operations and address size variability.
These items not only boosted a higher conversion rate and price point but also formed a cohesive collection, all achieved under the pressure of tight deadlines and limited to a singular production technique of printing.
In order to explore some more options, we launched a screen printing workshop during the festival, where people were able to customise their garments in real time in collaboration with Gangsta Punk, a print brand focusing on upcycling. Another workshop was focused on the colour dye and customisation of the unsold garments from the previous years.
The Collaborative Merchandise Upcycling Workshop: T-Shirt Tunning at Pohoda 2023 was a unique and sustainable concept that aimed to repurpose deadstock garments from previous years to foster environmental awareness and creativity among festival attendees.
The workshop invited participants to customise previously owned festival merchandise or purchase merchandise from previous years that was customised according to a series of developed patterns. Attendees learned about techniques and turned the items into distinctive fashion pieces under the guidance of skilled upcyclers and designers. Techniques included sewing and heat transfer printing, allowing for a wide range of creative expressions.
This collaborative space not only served as a practical session on upcycling but also fostered a community spirit as participants shared ideas, skills, and stories, creating a vibrant atmosphere of collective creativity. The workshop emphasised the importance of reusing and repurposing materials to reduce waste and promote a more sustainable lifestyle, aligning with the festival's broader environmental goals.
The Upcycling Workshop at Pohoda 2023 reflected the festival's values of innovation, sustainability, and inclusivity, offering a hands-on experience that empowered attendees to make a positive impact through creativity and collaboration. It highlighted the potential of upcycling to transform the way we think about and engage with fashion and consumer goods, making it a memorable and impactful addition to the festival's lineup.
At the same time, an initiative to use the previous year's banners happened in the same area. Pre-made bags constructed from the previous year's banners were sold in combination with an interactive workshop where attendees might register and produce their own products. Both activities combined created an alternative to Pohoda's standard merchandise offering.
In 2023, Flaam again embarked on a journey to revolutionise the concept of merchandise in Slovakia through a sustainable lens, focusing on upcycling and the creative repurposing of deadstock materials. A 10-year-old child who created all of the illustrations and logos served as the representation of the ten-year anniversary, which served as the creative direction for all results. The designs were then applied to all assets to create coherent visual communication.
The festival kicked off with a series of initiatives, including workshops, discussions and collaborations. Thanks to proper planning and partnership with merchyou, deadstock merchandise was ready six months before the festival, and designers were able to properly develop all product categories. Following the product pyramid framework, there were several more premium items combined with a basic t-shirt and smaller things like stick-on nails or zinc. To offer a token of visit, a limited production of 50 risographic pieces was printed.
When it came to collaborations, Flaam Festival was able to bring together fashion, art, design, and culture into its 2023 festival story, resulting in a dynamic mix of events that went beyond traditional merchandise. Circ, a magazine that attempts to spark fresh conversations and discourse by giving readers blank pages to express themselves, collaborated with Flaam to develop an interactive DIY issue. This unique zine, inspired by the festival's creative direction, offered a fun twist on traditional 'kids' DIY content that everyone could enjoy. Collaboration with Kunterakt (an upcycling platform) resulted in a mesh apparel collection. This one-of-a-kind collection, inspired by the festival's visual language, represents the limited and exclusive level of Flaam's product pyramid, fusing fashion with the festival's overall appearance. Another major cooperation was with Eyerim, an eyewear producer. The partnership not only resulted in a line of customised sunglasses, but it also provided financial support to the festival, demonstrating a form of commercial collaboration that benefited both sides.
T-shirt tuning workshops were established as a creative platform, expanding the festival's participatory features. This concept, which was previously conceived and tested at the Pohoda festival, proved to be very scalable and adaptable to Flaam's unique visual identity. By giving visitors a chance to customise and re-design deadstock garments with prints and fabrics, it helped to create a strong bond between the festival's unique design and the festival as a brand.
The idea of upcycling and sustainability was further promoted through a workshop in which participants transformed fabric scraps provided by a local producer, Cotton Garment and re-manufactured them into toys. This programme gave attendees a practical chance to interact with sustainability concepts while also showcasing the festival's dedication to environmental care. Similarly, the upcycling of deadstock eyewear allowed festivalgoers to personalise and breathe new life into production deadstock.
The design market, as a part of the festival's daytime programming, grew into a hive of activities that were not only fun but also provided participants with a new set of skills. From fashion upcycling to toy creation, each activity was carefully chosen to enhance the festival experience while creating a feeling of community and belonging. These collaborations and events not only helped with Flaam's brand awareness but also demonstrated a pioneering position in combining sustainability, creativity, and culture into a unified and powerful festival experience.
A final activity that perfectly captured the spirit of this study was an hour-long public panel discussion with around 50 attendees as part of the festival programme that brought together key stakeholders in Slovakia's festival merchandise production. This discussion was initiated with the intention of coming up with circular solutions that will not only help the current situation but also open the door for a sustainable future of festival merchandising. Among the panellists were Jozef Sklenka, a graphic designer from Pohoda Festival; Jakub Masar, a designer and creator of T-shirt tunning workshops; Jakub Vazan, a supplier of cotton garments produced in Slovakia; Bianka Sipecova, a production manager with years of experience in fashion houses; and representatives from MERCHYOU, merchandise distribution and printing facilities.
Panellists were discussing topics such as scalability, production limitations, expanding product offerings, profitability and margins, and forecasting merchandise product future trends. We came to the conclusion that interactive merchandise can encourage a closer relationship with sustainable practices and communities and might engage customers to examine the obstacles that stand in the way of sustainable development.
This broad group of experts, each bringing their own distinct perspectives and ideas to the table, engaged in a fruitful debate that highlighted the necessity of collaboration and creative thinking in dealing with environmental and logistical challenges. A number of initiatives planned for 2024 were conceived as a result of the fruitful discussion. A dedication to sustainability and circularity can be seen in these projects, which aim to transform the production and consumption of festival merchandise.
The partnership with the Academy of Fine Arts in Bratislava was a multifaceted project that encompassed the launch of a design store in Hviezdoslavovo namestie, or the main square, as well as an exploration of sustainable merchandise, which combined the domains of environmental responsibility, education, and art. The framework of the project was developed through close cooperation between the designer, architect and merchandiser. My role was to create a collection that was inclusive of all members of the academic community while still being responsibly made, stylish and capable of communicating with students. The collection consisted of products including locally produced notebooks, pencils, t-shirts, sweatshirts, and hats and was both up-to date and environmentally responsible. The use of materials certified by the Global Organic Textile Standard (GOTS) was essential to this partnership since it guaranteed that all products fulfilled the strictest requirements for organic and sustainable production. In the future, this offline area is intended to function as a collaboration and presentation platform with sustainability principles in mind. Industry benchmarks for margins, size ranges, and materials were reached while planning the commercial potential in accordance with the strictest merchandising requirements. Since this was the university's first product collection, there was not enough room to incorporate other circular practices; however, more participatory and collaborative events will be possible in the future.
This cooperation redefined university merchandise by using the academy's community's abilities and creativity and combining them with a commitment to environmental standards. It demonstrated the possibilities of fusing art with sustainability, serving as a template for other initiatives hoping to improve the environment through imaginative and value driven design.
While creating this merchandise collection, another case study from the University of Tomas Bata was analysed. As this was not part of the process, I have interviewed Dr. . Mgr. Art. Mária Štraneková, ArtD, to get more insights regarding the project that was not properly launched at the end. There were several barriers and problems that were pinpointed. The project started as an interdisciplinary collaboration between marketing and design students with the goal of creating university merchandise. Similar to the VSVU project, the university needed a representative product to boost brand awareness and the feeling of belonging to the institution. However, the project did not go well, and there are several clashes that I have identified. Lack of a unified creative direction caused friction in the product range that did not communicate a unified universe. Which resulted in the photoshooting by another department that was fully representing the range. Another major pain point was merchandising. When looking at the competitive potential, the price point did not meet the demand, the materials used according to the concept did not meet the quality standards, and in the concept phase, production and the whole supply chain were not taken into account. However, there were some items that were successful, like printed scarves. Therefore, this case study has proven that there is always something to build on, but the unified creative direction (similar to the fashion industry ) and production processes (scalability) play an important role and can not be overviewed.
Next festival
The next festival's merchandise strategy focused on the repurposing of deadstock items (t-shirts, bags) from the previous year within the time limitation of two weeks and incorporating more items made from post-consumer waste. This dual approach aimed not only to reduce waste and promote circular economy principles but also to push the boundaries of creative merchandise production.
Repurposing deadstock, or unsold items from previous collections, presents an opportunity to creatively reimagine and give new life to existing materials, minimising waste and reducing the demand for new resources while at the same time decreasing the environment needed for production. Items that were the result of a wrong sizing strategy or design that was not performing well or had the wrong fit By transforming these items into new merchandise, the initiative seeks to challenge and redefine traditional perceptions of value and sustainability at festival events while adding a new narrative to pre-consumer waste.
Including items made from post-consumer waste further underscores this commitment. It involves taking materials that have reached the end of their initial lifecycle and transforming them into new, valuable products. This not only diverts waste from landfills but also serves as tangible brand communication that makes the deadstock items more diverse.
Berlin Manson
For the Berlin Manson synth-punk duo's show in Zrkadlový háj, a distinctive and high-impact merchandise strategy was implemented, aligning with their avant-garde aesthetic and ethos of DYI and Punk. Using Berlina Manson's claim as a design, the initiative focused on producing 30 unique items, blending knitwear fabrics and hoodies to craft one-of-a-kind merchandise. The pop-up sale during their concerts was not just a physical object representing the band's identity but also an experiment in equitable commerce.
What set this experiment apart was the unconventional pricing strategy: there were no fixed prices. Instead, in an effort to incorporate equity into the transaction, people were invited to negotiate and offer what they could afford. This approach was grounded in the belief that access to band merchandise should be inclusive, allowing fans to pay what was within their means without compromising the value of the merchandise itself.
The outcomes of the pricing strategy were enlightening. Contrary to expectations, almost every purchaser opted to pay the full price of 20 euros for each item. This result not only reflected the fans' appreciation of the band and their merchandise but also their willingness to support the artists beyond just attending concerts. The success of this model provided Berlin Manson with a budget, laying the groundwork for a larger production plan for 2024.
This merchandise experiment underscored the potential of integrating creativity, equity, and fan engagement into merchandising strategies. It demonstrated that fans are eager to support the bands they love in more meaningful ways, especially when presented with an opportunity that aligns with the band's ethos and their own values. The success of this approach hints at a promising approach for artists to explore sustainable and equitable merchandising models in the future.