Brief
Navinder Nangla is a British-Indian street artist from Northampton whose misspelt slogans — fassion is my pashion, fashion weak — have become emblems of fashion week’s arrival across London, Paris and Milan. The misspelling isn’t a gimmick; it comes out of his dyslexia, which he treats as a way of thinking rather than a thing to correct. He was moving from walls to product for the first time: a debut capsule and an END. Exclusive tee. A garment collector’s audience, about to become a customer base he had no way of seeing.
What We Built
Two phases. — The showroom. A working demo in Nangla’s sample showroom at Paris Fashion Week with Feels Agency — buyers tapping garments and seeing what a connected collection does before a single unit shipped — Retail. 100 limited-edition tees, exclusive to END. Soho, each carrying a tag — A tap opened a raffle entry in the browser. Name, email, Instagram handle, consent — Prizes ran from a tee to a full collection bundle to a custom 1/1 pair of Converse — Phone-based deduplication, GDPR consent timestamps, and structured as a free-draw under the Gambling Act
Outcome
We learned what the tag does and, more usefully, what it doesn’t. 81% of all entries arrived on a single day — 20 February, the live window painting at END.’s Soho flagship. Nangla spray-painting the storefront while people watched. After that, entries trickled at roughly two a day, then stopped entirely. The garment sat in the shop the whole time. The tag worked the whole time. What ran out was the reason to look. A connected product converts attention that already exists — it doesn’t generate it. Which means the tag is only half a system; the other half is a calendar.
100 garments. 75 verified entrants. Zero duplicates. — 49.3% opted into marketing — a usable list from a first drop — 75 unique Instagram handles captured, every one a real person — Fraud assessment came back clean: zero anomalies across phone, email and handle checks — A predominantly UK audience, engaging between 2pm and 6pm
