© Ottolinger
It’s 2026. Technology, digitalisation, and artificial intelligence are omnipresent. After a rather short period from niche obsession, over fun experimentation, to mainstream adoption, resulting in a growing business and investment bubble. Today, AI seems to be the base of every startup idea, and its professional application is THE competitive edge that sets a company apart in an age shaped by economic recession. Even in fashion, an industry that traditionally relies on human creativity and craftsmanship. While leading industry publications recommend different strategies on how to be on top of the race to digitalisation (BoF, 2025; Vogue Business, 2026; etc.) and large companies already adopt new technologies into daily operations (link case study example), small and medium-sized companies often struggle to keep up with their daily operations. Is the consequence that we will soon live in a world dominated by super-sized high-tech fashion conglomerates, while smaller labels briefly ignite before burning out in a fast-paced system they can’t keep up with? And what does that mean for creativity? For thinking differently and for innovation that is not grounded in the hunt for money, but solely in human expression?
Recent forecasts (WGSN, 2025; BoF, 2026) show that our society may not be ready for a fully technologised future. Every development is followed by a counter-movement. After years characterised by global hypes and trends (e.g. Barbie-core, brat summer, mob wives, etc.), people are now longing for human connections and authenticity (BoF, 2026). Yet authenticity cannot be reached by big companies alone. It needs to be grounded in meaningful connections and real communities. The past showed that well-done collaborations can benefit both the mainstream company that borrows the edginess and community of a small brand, while the small counterpart gains visibility and (sometimes) a financial uplift (see KHY x various brands, Carhartt WIP x Brain Dead, etc.). However, these high phases are often short-lived, and emerging brands struggle to keep momentum. And that is why these brands need long-term support to build healthy infrastructures to keep on thriving and simultaneously innovating the broader fashion industry.
Even though there is a movement of a new generation of creatives who combine fashion with technology and create 3D renderings, AI-generated designs, and build innovative tech start-ups, they exist in a different bubble than the creatives who still believe in a fashion system based on craftsmanship, texture, and physical touch. These worlds rarely intersect. T
And this observation motivated me to investigate how emerging fashion brands currently position themselves in relation to technology.
I conducted semi-structured interviews with seven German fashion brands (each with fewer than ten employees) about their attitude towards tech and AI, their current usage, how that changed their processes, what changes they expect and which challenges they face when implementing technology and innovation and identified three groups of designers.
1 The Sceptical Traditionalists
This group does not see too many changes to the role of the fashion designer compared to 25 years ago. They are realistic about the need for an entrepreneurial spirit and savviness when it comes to digital fluency in communication and sales. But when it comes to the core of their work, fashion design and production, they hold on to traditional techniques: “[...] I'm also sceptical, especially when it comes to creative processes: Manual development brings a different kind of sensitivity.” (Mario Keine, Founder MARKE).
This attitude is underlined by negative observations within their peer group: “We saw many brands around us going down [because of AI and digitalisation], and are happy that we stayed true to ourselves [craftsmanship]!” (a German brand, prefers anonymity).
2 The Inhibited Optimists
The second group is more optimistic and seeks opportunities in technology. At the same time, they are very aware that their time and resources are limited and hence, are hesitant towards experiments: “We are pro-tech, but anything that improves substance, quality and working time is exciting; pure gimmicks are not. [...] We use digital technology to relieve processes and minds.” (a German brand, prefers anonymity).
Speaking of resources: “We definitely see digitalisation as a competitive advantage, but we need external knowledge to be able to use it.” (Jacob Lang, Brand Manager SF1OG). This quote shows that a lack of expertise and the inability to get an overview in an ocean of possibilities often inhibit the actions that brands would be willing to take.
© SF1OG
3 The Euphoric Pioneers
While the first persona group often had negative experiences, the last, and smallest one, gets excited by technical innovation. loves to combine it with their craft and play with it:
“My big ‘aha’ moment came in 2020 during lockdown, when we managed to send two wedding dresses to the United States with the help of our customers' digital avatars and digital fittings, without conducting a single physical fitting beforehand. At that moment, I knew that this would be the future of fashion.” (Esther Perbandt, Designer & Artist).
Ottolinger, as another example, used CGI to bring their AW21 show to life during a time when everyone had to stay in.
© Esther Perbandt
Between these groups, the attitude toward technology is mixed and that’s also reflected in usage. Nearly every brand - even the Sceptical Traditionalists - covers basic digital infrastructure tools to keep their business alive in 2026: newsletter tools, online shop, ERP systems, a website, and social media (with huge differences in the quality of their posts).
Some brands - usually the Inhibited Optimists - are already open for accelerating processes. They use large language models for copywriting, templates and SEO optimisation. Digital pattern creation is part of their normal workflow and some start thinking about using AI image generation for product pictures. All with the pragmatic goal of saving money and time.
Only some pioneers are open for Level 3. They have precise and coherent communication between the showroom, wholesale, and community building, due to a sharp strategy that is prompted in their AI tool and automatically adapted to match the different outputs. On top of pattern creation, they work with 3D renderings selectively due to cost restraints (often in capsule partnerships with digital agencies).
Across all levels, most designers see a lot of potential in technology and AI for small fashion labels. Many interviewees mentioned the perks of enhanced marketing campaigns, reduced samples and sped-up iterations in product creation, virtual showroom models for international buyer appointments, and cost-effective online imagery - all with the help of AI.
However, one tension remained constant: while AI enhances efficiency, it can simultaneously constrain creative freedom: Developing new digital patterns is a huge investment for small companies, and instead of coming up with a completely new one for the next collection, they stick with small alterations to keep costs as low as possible in an already tense financial situation. Furthermore, the time and resources that are needed to stay informed about the technology that is out there, to decide in which direction the (limited) budget will be invested, and to set up the new tools, often eat away hours that could also be used for creative work.
And this limited time could turn the biggest fear (for most designers) into reality: “the danger of being generic,” One brand concluded, “digital tools must not contradict [our] attitude - our clients want emotions”. At the same time, customers are used to a certain industry standard that requires constant product and UX optimisation. Most of the designers feel they can’t have both with their resources and what’s currently offered. It is always an either-or decision…
There’s a lot of potential in technology, digitalisation and AI for small fashion labels and I am certain that brands need to constantly work on digitalising their company in order to stay competitive. However, they constantly fight against information overflow, a lack of time, and hence overburdening, which results in scepticism.
In order to keep emerging creatives with new ideas, solutions, and questions for the status quo alive, there needs to be better support offers for them. We need tailored mentoring programmes that help with coordination in this overloaded environment and support the implementation of new solutions!
We all know that starting something is hard. I got you covered and developed some action points - for the small and the big ones.
If you are a “big one”:
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Learn to understand small fashion brands.
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Communicate as they do - don’t be hyper-technical, explain the input and outcome transparently, and what the brands sign up for.
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Create cost structures that they can handle - think about their cash flow management.
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Show how it’s done - through collaborations, at Fashion Weeks, etc.
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Go to them - meet them where they gather and do not wait for them to come to you.
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Mentor them - it’s not enough to provide software and training videos. Go to their business, learn how they operate and about their pain points, and come up with a tailored approach.
My dear “small ones”:
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Understand that it’s still a business - nobody will do it for you, but you.
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Don’t be scared. People before you were also able to run their business and navigate it through an uncertain future.
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Know your goals and your current pain points and focus on solutions that tackle them.
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Take your time, but be consistent. One project after the other. But there should always be something cooking!
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Have fun and enjoy the progress.
It’s all about balance. And it’s about positive change.
Let’s make digitalisation more human again in order to create new structures that enable real connections, craftsmanship, creativity and innovation.
Status Quo: Emerging Fashion & Technology
19 April 2026
Words by Stefan Brunner
Cover by Ottolinger
