<h2 style="text-align: center">INTERVIEW from Winners, the 1st Place in Professional Category - Hunt: Showdown 3D Apparel Creation Contest</h2><img src="https://storagefiles.clo-set.com/public/community/202501/303925096cd54ce58ec60e2f876bd3e6/images/a1d25a6feff641e58b990db198a2207b92dafd8388c24d6f808048eb5a3b8ab8.jpg" class="custom-image original-size" data-id="a1d25a6feff641e58b990db198a2207b" data-width="1699" data-height="956"><h1 style="text-align: center">By Andrzej Rać-1st Place in Professional Category</h1><hr><h1>Where did you get the inspiration of your hunter?</h1>The inspiration for me was the actual game. I've tried to find all of the hunters that were in the game.Luckily, I have the power of the internet at my disposal so it's super easy to do.This allowed me to break all characters into parts, compare them, look at what they have in common and what the differences are, and finally what I would like to see in game and it wasn't there.Then I have spent a considerable amount of time on Pinterest. I was browsing all sorts of clothing pictures from the time period and saved everything that caught my eye.I think at this point I've decided to do a huntress and not a hunter. I find that women's clothing is usually far more interesting and fun to recreate.After that I simply looked through everything I had and did a selection of what to throw away and finished with a few reference pictures to work with.I was trying to go for something that she could wear when going for example to the city.I imagined it would be a bit nicer and decorative but still suitable to work around the house everyday.Loose shirt detailed around the neck and high waist pants loose around thighs, held together by leather wraps around the shins.I've also added a leather loop to the belt and an axe for the times when You run out of ammo, and little red piece of cloth around the neck.Looking at my design now I can see that I really didn't go that far away from the in-game designs.I just mixed all the parts that I liked the most in different hunters.I took a long coat, cowboy like hat and shoulder holsters and put them on the clothing I've found on Pinterest.<h1>Could you explain in chronological order what process you went through for the garment creation of your winning work?</h1>First and the most important thing for me after gathering my reference pictures was to find good sewing patterns,because no matter how good Marvelous Designer is (and it's simply marvelous),to simulate good looking garments, You have to create them the proper way.Just like in real life where we have the best physical simulations, clothes won't look good if they were made the wrong way.For the shirt, pants and the coat I started with Pants and T-shirt garments from Marvelous Garment Library.Because there is no point to start from scratch.I then modified those patterns to achieve desired look and assigned different materials to all parts to get different colors and appropriate physical properties.For gloves I traced patterns from photo texture. I created a plane and assigned texture to its material and then edited the 2d texture to fill the plane.<img src="https://storagefiles.clo-set.com/public/community/202501/303925096cd54ce58ec60e2f876bd3e6/images/57d71b765309463397c977103bc8f58b%EC%8A%A4%ED%81%AC%EB%A6%B0%EC%83%B7%202024-01-21%20210046.png" class="custom-image original-size" data-id="57d71b765309463397c977103bc8f58b" data-width="932" data-height="712">From here you simply trace what you see on the texture with the "Internal Polygon/Line" tool under the "G" key.After you are done, you can select created edges, right click them and "CUT" out of the plane.I did that to all the parts and sew them together on my character. ﻿I think the hat and the cloth on the neck are the only things i did by hand and figured out how the patterns could look like without reference, because their shapes are simple enough to do that.I keep different garments on different layers so there is no problem with overlapping when I simulate them.For example, shirt is on layer 0 and pants on layer 1,Marvelous Designer automatically treats the shirt as tucked in because it is on the lower layer. It is very useful functionality.Most patterns had Particle Distance set to 15mm. This setting was a good balance between optimal mesh density and simulation results.I kept this until everything was in place and all parts of the garment had nice volume and shape.From here I added buttons and seam taping in places where usually clothes are being sewed together (sleeve connection to body, front and back part connection and outside borders).Seam taping reinforces those edges and makes the whole garment look more realistic. At least that's how I understand it's functionality.With everything in place it was time to pose my character.Until this moment, i worked with a simple mannequin shared by the Hunt Showdown team but it had no skeletal.So i could not use it anymore. I have imported the Female Hunter model into Blender, posed it and key framed everything, then exported the final mesh with its animation into FBX file.After switching avatars, you can go from Simulation to Animation tab. And, simply play your animation, and your avatar will change it's pose.<img src="https://storagefiles.clo-set.com/public/community/202501/303925096cd54ce58ec60e2f876bd3e6/images/9f0efe67bf02435b94a898ba8fe3e5db%EC%8A%A4%ED%81%AC%EB%A6%B0%EC%83%B7%202024-01-21%20210244.png" class="custom-image original-size" data-id="9f0efe67bf02435b94a898ba8fe3e5db" data-width="1127" data-height="612">The process of posing garments was pretty straight forward. Freezing everything except pants and animating them to a new pose,then freezing pants, going back to frame 0, unfreezing shirt and animating it to a new pose and so on.I did this until everything was in it's final place. This took some time but animating everything at once was waybeyond capabilities of my machine and I had to manage somehow.Now it was time to get my final meshes with proper density and best looking simulations.Like with animating, i worked with one piece at a time. I changed the particle distance to 5mm to get nice folds.I set Shrinkage weft and warp values to over 100% to "get more cloth" inside a single pattern without need to scale anything.I found this useful trick in one of the tutorials on YouTube.Then I changed mesh type from triangle to "Quad" and finally in simulation property I switched preset from Normal to "Complete (Nonlinear)" simulation type.It is much heavier to compute for your PC but gives better looking results.After all that you can simply export everything to OBJ files.Marvelous Designer can automatically add thickness to your garment and include all the buttons you create.For this kind of work it's extremely helpful because it saves time.From here I worked on my UV's in Blender and Textures in Substance Painter and that's it.<img src="https://storagefiles.clo-set.com/public/community/202501/303925096cd54ce58ec60e2f876bd3e6/images/6ac70455907045d588c91bc88a3d1ee35046926e376b4692bdc0ad4377d3a2a3.jpg" class="custom-image original-size" data-id="6ac70455907045d588c91bc88a3d1ee3" data-width="1682" data-height="1005"><h1>What was the most difficult part, and what part did you spend a lot of time on to complete this artwork?</h1>The Biggest headache was the posing of the coat and it was the most difficult part for me.Firstly because it lays on top of everything and in basic position it is strongly intersected with other parts that are already in final place.Secondly it's being pushed to the back by hands and it wasn't folding the way I wanted.For this I had to use the Pin tool. It helped me to move it and hold the coat in certain positions during simulation which allowed me to avoid errors while animating.I still had to move my pins to a new position every one or two frames but it did the work.There's probably a better way to do this, but I had no time to experiment with different solutions.Animating I think was the part that I spent most time on. Mostly because I never did it before.<h1>What are the strong points that Marvelous Designer has?</h1>One of the strongest points of Marvelous Designer is the fact that it can run even on slower machines.You can always change particle distance to higher values and speed things up this way.- Thanks to real fabric presets You will always achieve realistic effects.There is no guesswork if something looks off, You know that is Your fault and there's something wrong with the way You created Your patterns.- New manual retopology tool is also amazing.It's super easy to draw quads in 2D View. You instantly see how everything lays out in 3d and can create low res versions of garments for other softwares to reproject the high detail.I think those three are my absolute favorites but I am still learning this software so who knows what else I will find in the future.<img src="https://storagefiles.clo-set.com/public/community/202501/303925096cd54ce58ec60e2f876bd3e6/images/0ad263e3a23647fa9bb0c7fa6b1709832eb66075f3f84c4d81f0d1c777c3afaf.jpg" class="custom-image original-size" data-id="0ad263e3a23647fa9bb0c7fa6b170983" data-width="1693" data-height="953"><img src="https://storagefiles.clo-set.com/public/community/202501/303925096cd54ce58ec60e2f876bd3e6/images/c6320bfb105f412d92f9df05a8f38c25de95d94203354d20bc9530ad8042bcbe.jpg" class="custom-image original-size" data-id="c6320bfb105f412d92f9df05a8f38c25" data-width="1693" data-height="953">Link to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/andrzej_rac">Artstation</a>Link to<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/andrzej_rac_3d/"> Instagram</a>

ONCE A WIFE

Cut, Slash & Corset

Footwear Collection 2026.0

Gender & Age

Style

Genre & Mood

Objective

inZOI

VRChat

Garment

Male

Avatars

Collection A

<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/6LDRQ4OR73g" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><h2 style="text-align: center">How do you paint history into a futuristic language? In his solo project Paradise Lost, concept designer Eyelashes did just that. Powered by Marvelous Designer for seamless costume creation, his retro-sci-fi universe is both haunting and beautiful.</h2><h2 style="text-align: center">Let's dive in.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/76f6ae0e3a92486880008e8cfe4d8574%E8%B4%B5%E6%97%8F%E6%BC%94%E5%87%BA%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1%E5%B1%95%E7%A4%BA.png" alt="76f6ae0e3a92486880008e8cfe4d8574" class="custom-image original-size" data-id="76f6ae0e3a92486880008e8cfe4d8574" data-width="3339" data-height="1440"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/c7d0c3359a60488ca5452025ebd38e4emd%E5%88%B6%E4%BD%9C%E7%9A%84%E5%9C%BA%E6%99%AF%E5%B8%83%E6%96%99%E7%AA%97%E5%B8%98.png" alt="c7d0c3359a60488ca5452025ebd38e4e" class="custom-image original-size" data-id="c7d0c3359a60488ca5452025ebd38e4e" data-width="3339" data-height="1440"><h1>Welcome to the Marvelous Designer User Spotlight! Could you briefly introduce yourself and share the main focus of your current creative work?</h1>Hello everyone! I'm a freelance concept designer from China, and you can call me Eyelashes. My daily work mainly consists of freelance concept design outsourcing, and in my spare time, I create my own personal IPs. Currently, my personal work relies heavily on a 3D workflow, as I believe it better showcases my designs and ideas. I am mainly focusing on sci-fi world-building, and I hope to develop a highly distinct and complete personal style in the future.<h1>The world-building in Paradise Lost is incredibly fleshed out: retro-futurism, old nobility, a forbidden city beneath a manor, desire, and decay. Where did this concept initially begin?</h1>The ideation for this concept was quite interesting. The earliest inspiration came from watching films like Eyes Wide Shut, The Holy Mountain, and 2001: A Space Odyssey, which sparked my interest in retro sci-fi. The hidden desires behind the masks in Eyes Wide Shut, the frantic yet sacred ritualism in The Holy Mountain, and the silent sci-fi thriller vibes of 2001: A Space Odyssey—I felt certain tones from these films perfectly aligned with the theme I wanted to explore.So, I combined them with my own ideas to express this universe: In an alternate retro-futuristic world, the old nobility indulges in their final glory. Sin and desire are poured beneath the manor, constructing a forbidden city built solely for their own pleasure, codenamed "Paradise Lost." The world is suspended in the rift between the past and the future; the old nobility has long decayed, addicted to insatiable greed and hedonism.<img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/ae2efdb74116463aa7a2ee8d5fdc992ahongbin_scene3_optimized.png" alt="ae2efdb74116463aa7a2ee8d5fdc992a" class="custom-image original-size" data-id="ae2efdb74116463aa7a2ee8d5fdc992a" data-width="3339" data-height="2002"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/605b58b9ba634f639a497d0031913bc8%E7%BB%98%E7%94%BB%E8%8D%89%E5%9B%BE%20.png" alt="605b58b9ba634f639a497d0031913bc8" class="custom-image original-size" data-id="605b58b9ba634f639a497d0031913bc8" data-width="3218" data-height="1685"><h1>Your work captures both the opulence of the old nobility and the stark, cold aesthetic of futurism. How did you establish this visual language?</h1>I browsed through a massive amount of color archives of the French royal family—not just looking for patterns, but curious about how power narrates itself through color. The gold of Versailles is a monopoly on light, and royal blue is a metaphor woven into the fabric. My goal was to translate this historical grammar into a futuristic language.In addition to the blue feudal attire of the old nobility, I wanted to incorporate retro technology from the last century to express the future. Also, to facilitate the future expansion of this universe, I deliberately condensed the visual language into a replicable design formula: Old Nobility Royal Symbols × Retro Technology × Constructivism.<img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/d8555b953bec4ee0bcd30aa5ea5d8219%E5%A5%B3%E4%BB%86%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="d8555b953bec4ee0bcd30aa5ea5d8219" class="custom-image original-size" data-id="d8555b953bec4ee0bcd30aa5ea5d8219" data-width="2000" data-height="1862"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/581dbef7357e4b84bc21486751665773%E5%85%AC%E7%88%B5%E5%92%8C%E8%B4%B5%E6%97%8F%E4%B9%8B%E5%A5%B3%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="581dbef7357e4b84bc21486751665773" class="custom-image original-size" data-id="581dbef7357e4b84bc21486751665773" data-width="2560" data-height="1440"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/5d62fdd9ed644d9bb2b2ccdaa1749fe9%E9%93%81%E5%BA%8F%E4%B9%8B%E7%8E%8B%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="5d62fdd9ed644d9bb2b2ccdaa1749fe9" class="custom-image original-size" data-id="5d62fdd9ed644d9bb2b2ccdaa1749fe9" data-width="2560" data-height="3265"><h1>The costumes in this series convey a strong sense of identity, such as the old nobility, the duchess, and aristocratic descendants. What did you want to convey the most when designing their silhouettes, materials, and colors?</h1>When designing the silhouettes, my initial thought was to express the character's costume design using minimalist outlines. Aside from the original intention of making the characters more recognizable, this also served the theme of the world: making the design of the old nobility not just "old," but seamlessly blending it with the "newness" of modern high fashion and runway art. This conveys the idea of a world stuck between the past and the future, satirizing the false prosperity of the capitalist economy within this universe.For the materials of the old nobility, I chose the aristocratic texture of silk combined with delicate futuristic fabrics, accented with gold threads. Blue represents the exclusive color of royalty, yellow symbolizes sun worship, and silver highlights merge with aristocratic technology. In this futuristic setting, the old nobility no longer needs intricate crests to declare their identity; they only need to "reduce" themselves to colors and shapes. When the opulence of an entire era is compressed into a pure, flat surface, that simplicity itself becomes the heaviest oppression.<img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/85e050ea10f6460588b87b9ad25a937d%E8%A5%BF%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="85e050ea10f6460588b87b9ad25a937d" class="custom-image original-size" data-id="85e050ea10f6460588b87b9ad25a937d" data-width="3339" data-height="1440"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/ddb62c588f5a4b3ea5ae42ddb446f464%E8%B4%B5%E6%97%8F%E7%A6%81%E5%8D%AB%E5%86%9B%E4%BD%BF%E7%94%A8md%E7%BB%93%E5%90%88zb%E9%9B%95%E5%88%BB%E7%9A%84%E6%96%B9%E5%BC%8F%E8%AE%BE%E8%AE%A1.png" alt="ddb62c588f5a4b3ea5ae42ddb446f464" class="custom-image original-size" data-id="ddb62c588f5a4b3ea5ae42ddb446f464" data-width="2560" data-height="1440"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/82d735f3565d43099792f9da4c82a845%E8%B4%B5%E6%97%8F%E7%8E%8B%E5%90%8E%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="82d735f3565d43099792f9da4c82a845" class="custom-image original-size" data-id="82d735f3565d43099792f9da4c82a845" data-width="2560" data-height="1440"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/5d2391f0607448fb93426b1b5f935bc4%E8%A7%92%E8%89%B2%E5%B8%83%E6%96%99%E6%9D%90%E8%B4%A8.png" alt="5d2391f0607448fb93426b1b5f935bc4" class="custom-image original-size" data-id="5d2391f0607448fb93426b1b5f935bc4" data-width="3339" data-height="1440"><h1>You used Marvelous Designer for this project. What parts of the production was it mainly involved in? How did it help your design regarding garments, drapes, or fabric structures?</h1>It was primarily used for the large-scale fabric simulations in my scenes and the characters' costume designs. Marvelous Designer allowed me to significantly increase my efficiency in the design phase.Because the software is intuitive and easy to use, it saved me a lot of production time. I didn't have to spend a massive amount of time and effort figuring out the software itself, which gave me the freedom to focus entirely on my designs.<img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/b74f6b59f18c45f68172f31e12f9b4d0md%E6%88%AA%E5%9B%BE%E5%A5%B3%E4%BB%86.png" alt="b74f6b59f18c45f68172f31e12f9b4d0" class="custom-image original-size" data-id="b74f6b59f18c45f68172f31e12f9b4d0" data-width="3699" data-height="2012"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/3a315b2612ba420aab85be4983ff9307md%E6%88%AA%E5%9B%BE%20%E8%B4%B5%E6%97%8F%E7%8E%8B%E5%90%8E.png" alt="3a315b2612ba420aab85be4983ff9307" class="custom-image original-size" data-id="3a315b2612ba420aab85be4983ff9307" data-width="3733" data-height="2038"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/2aea1d376eb843619515bf98658cd216md%E6%88%AA%E5%9B%BE%20%E8%B4%B5%E6%97%8F%E5%A5%B3%E5%84%BF.png" alt="2aea1d376eb843619515bf98658cd216" class="custom-image original-size" data-id="2aea1d376eb843619515bf98658cd216" data-width="3583" data-height="2016"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/e3afe5cecbbe448bac1993c4f6fa1df4md%E6%88%AA%E5%9B%BE%20%E6%97%A7%E5%85%AC%E7%88%B5.png" alt="e3afe5cecbbe448bac1993c4f6fa1df4" class="custom-image original-size" data-id="e3afe5cecbbe448bac1993c4f6fa1df4" data-width="3555" data-height="1944"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/58a33b61871444cdae22c0aef81a20e5md%E6%88%AA%E5%9B%BE%20%E5%85%94%E5%AD%90%E8%B4%A2%E9%98%80%E8%A5%BF%E8%A3%85.png" alt="58a33b61871444cdae22c0aef81a20e5" class="custom-image original-size" data-id="58a33b61871444cdae22c0aef81a20e5" data-width="3677" data-height="2028"><h1>You utilized Blender, ZBrush, Plasticity, and Marvelous Designer simultaneously. Could you share your overall production workflow for this series, from concept to final render?</h1>For my current workflow, after gathering references and materials, I sketch out some design drafts in Photoshop. Then, to implement and validate the design, I use Blender as my main platform for modeling and rendering. I model simple objects and character assets directly in Blender, while ZBrush handles complex creatures and character sculpting. Plasticity is mainly used for the hard-surface designs in my work, and Marvelous Designer takes care of the character costumes and fabrics.Sometimes, I import garments made in MD into ZBrush for further sculpting. Once the external assets are ready, I usually import them back into Blender for integration, adjustments, material application, and final rendering. If I have enough time, I usually render my personal artworks straight out of 3D without much post-processing.<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/d7_jPBtwwN8" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><h1>Looking back at the Paradise Lost project, what was the most challenging part?</h1>For me, this project had two main challenges at the time:<ol><li>Balancing work and rest. It’s very difficult to maintain a high intensity of creation during your downtime.</li><li>Combining elements like minimalism, geometric composition, and retro-futuristic technology to express my desired theme was quite tricky. If not done well, it could easily turn into a homogenized piece. Therefore, I had to spend a lot of time making choices and trade-offs.</li></ol><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/9d04c38bdcbd43299967ffed0d296b5chereyelashes-%20%281%29.jpg" alt="9d04c38bdcbd43299967ffed0d296b5c" class="custom-image original-size" data-id="9d04c38bdcbd43299967ffed0d296b5c" data-width="1920" data-height="1066"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/4f0990dafde64f7eb754210353c24753hereyelashes-.webp" alt="4f0990dafde64f7eb754210353c24753" class="custom-image original-size" data-id="4f0990dafde64f7eb754210353c24753" data-width="1920" data-height="1066"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/7d80bc79557447e9bac49460fdacb2e4hereyelashes-.jpg" alt="7d80bc79557447e9bac49460fdacb2e4" class="custom-image original-size" data-id="7d80bc79557447e9bac49460fdacb2e4" data-width="1920" data-height="1066"><h1>What advice do you have for artists looking to integrate Marvelous Designer into their concept design or character costume design pipelines?</h1>As for advice on integrating Marvelous Designer into concept design: I think MD is incredibly helpful in the design pipeline! However, you must carefully plan the proportion of time spent on design versus technical execution. You shouldn't treat yourself as a full-fledged 3D modeler and spend too much time studying professional pattern making. You must spend the majority of your time on the design itself—as long as it looks visually plausible and convincing to the audience, that’s enough.For character-focused designers, you can push your understanding of costume design a bit further; for example, if a character isn't suited for a loose-fitting silhouette, the garment design needs to be more tailored to them. If the character is just serving as a simple asset for an environment, the garment design should be kept minimal and the polygon count optimized, allowing MD to boost the overall efficiency of completing the artwork.<img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/dc3ce6a3750f4b5d9db78bd051b20226hereyelashes-916612f54c307f4d8c86cf80864ce377-ezgif.com-webp-to-png-converter.png" alt="dc3ce6a3750f4b5d9db78bd051b20226" class="custom-image original-size" data-id="dc3ce6a3750f4b5d9db78bd051b20226" data-width="1485" data-height="837"><hr><h2 style="text-align: center">Paradise Lost is not a project that relies on visual opulence alone. Its coldness, order, oppression, and desire are all compressed into color, shape, material, and the silhouettes of garments.</h2><h2 style="text-align: center">Marvelous Designer, in this context, is more than just a tool for “making clothes.” For Eyelashes, it becomes part of the concept design pipeline: helping ideas take shape faster, making fabrics feel more convincing, and allowing the artist to spend more time on the decisions and trade-offs that truly matter.</h2><hr><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/bgA32g">Arstation</a><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/shihonbin/">Instagram</a><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.xiaohongshu.com/user/profile/5fb7a7bf000000000101e3f8?xsec_token=ABxGsiB2biAUHDLvPHmjFmGAeH-LBYextJpB1V4x4sgAI=&amp;xsec_source=pc_search">RedNote</a><a target="_blank" rel="noopener noreferrer nofollow" href="https://space.bilibili.com/293838165">Bilibili</a>

Concept Designer Eyelashes: Building the Retro-Sci-Fi World of "Paradise Lost"

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3D Model Off Shoulder Lace Bridal Dress

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<h2 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202605/62d7c6e20b5f439fade6598fd25b1036/images/ea57f6104ee9450fa27169dc4662a2famd_pic.png" class="custom-image hidden-thumbnail" data-id="ea57f6104ee9450fa27169dc4662a2fa" data-width="1150" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202606/62d7c6e20b5f439fade6598fd25b1036/images/86b1931c9b1d450a9dc8340b4a94c0eamd_pic2.png" alt="86b1931c9b1d450a9dc8340b4a94c0ea" class="custom-image original-size" data-id="86b1931c9b1d450a9dc8340b4a94c0ea" data-width="1920" data-height="1080"> 2025년 10월 방영을 시작한 애니메이션 &lt;완댄스&gt;는 스트릿 댄스라는 독특한 소재를 다룬 야심 찬 프로젝트입니다. 제작사인 사이클론 그래픽스(CYCLONE GRAPHICS)는 댄서의 격렬한 움직임과 스트릿 웨어 특유의 '헐렁하고' 다양한 의상 변화를 사실적으로 묘사하기 위해 마블러스 디자이너 도입이 "필연적"이었다고 말합니다.</h2>이들은 빠르고 정확한 물리 시뮬레이션을 통해 기존 방식으로는 불가능했던 '압도적인 디자인 수'와 '정확한 의상 움직임'을 구현했으며, 결과적으로 획기적인 제작 시간 단축을 이뤄냈습니다. 본 기사에서는 마블러스 디자이너에서 도출된 사실적인 주름 데이터를 '애니메이션 스타일'에 맞게 조정하기 위해 블렌더를 활용한 독자적인 조정법과, "움직이는 상태가 곧 의상의 완성형"이라는 철학을 바탕으로 완벽하고 역동적인 실루엣을 추구한 제작 방식을 조명하며 기술적 도전의 뒷이야기를 파헤칩니다.또한 디지털 패션 전문 기업인 주식회사 텐키(Tenju Co., Ltd.)와의 협업의 중요성, 그리고 마블러스 디자이너가 애니메이션 제작 전체의 미래 가능성을 어떻게 확장할지에 대해서도 다룹니다.<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/5bmRV7rhh-g?start=0" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/NJGTXWu5JBg?start=0" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/11H4HaS5qfI?start=0" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><hr>1.&nbsp;&nbsp; 스트릿 댄스와 마블러스 디자이너 [Q]: &lt;완댄스(Wandance)&gt;는 스트릿 댄스에 특화된 매우 독특한 애니메이션입니다. 이 프로젝트에서 마블러스 디자이너(MD)를 도입하게 된 이유는 무엇인가요?&nbsp;[A]: 마블러스 디자이너의 고속이면서도 정확한 물리 시뮬레이션은 기존 3DCG에서 구현하기 어려웠던 움직임의 중량감과 사실적인 주름 디테일을 제공해 주었습니다. 실제 사용 과정에서 다른 3DCG 소프트웨어의 물리 시뮬레이션과 비교했을 때, 사후 처리 및 수정 작업량이 현저히 줄어들었습니다.&lt;완댄스&gt; 제작에서 가장 큰 과제는 방대한 양의 댄스 애니메이션 작업과 병행하면서, 스트릿 패션의 리얼리티를 추구한 다채로운 의상 베리에이션을 준비하는 것이었습니다. 기존의 3DCG 제작 방식이었다면 의상마다 개별적으로 모델링을 하고 웨이트 페인팅(weight painting)이나 리깅(rigging) 같은 방대한 작업을 반복해야 했을 것입니다. 하지만 이번 프로젝트에서는 마블러스 디자이너의 3D 재봉 기능을 활용해 이 모든 의상을 제작했습니다.<img src="https://storagefiles.clo-set.com/public/community/202605/62d7c6e20b5f439fade6598fd25b1036/images/c1f60d1e1ac94da6b14ca9dfe5ec45fa1%E3%82%B9%E3%83%88%E3%83%AA%E3%83%BC%E3%83%88%E3%83%80%E3%83%B3%E3%82%B9%E3%81%A8MD%E3%81%AB%E3%81%A4%E3%81%84%E3%81%A61_clothes.jpg" alt="c1f60d1e1ac94da6b14ca9dfe5ec45fa" class="custom-image original-size" data-id="c1f60d1e1ac94da6b14ca9dfe5ec45fa" data-width="1998" data-height="2897">마블러스 디자이너를 통한 물리 시뮬레이션을 도입함으로써, 복잡한 수작업을 반복하지 않고도 댄서들의 격렬한 움직임에 연동되는 정확한 의상 거동을 구현할 수 있었습니다. 덕분에 기존 방식으로는 불가능했을 '압도적인 디자인 수'와 '사실적인 시뮬레이션' 사이의 균형을 맞출 수 있었다고 생각합니다.<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/cGz1WbI6lhg" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div>.또한, 3D 재봉 방식은 '의상을 입힌 후의 사이즈 조절'이 용이하여, 힙합 패션 특유의 헐렁한실루엣을 매끄럽게 미세 조정할 수 있었습니다. 댄스 시뮬레이션을 통해 움직이는 상태의 실루엣을 실시간으로 확인할 수 있다는 점은 제작 현장에서 큰 강점이었습니다.<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/PIE93aniDKk" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div>지금 되돌아보면, &lt;완댄스&gt;와 같은 프로젝트에서 MD를 채택한 것은 단순한 선택이 아니라 '필연'이었다고 확신합니다.<hr>2. 리얼리즘과 애니메이션적 표현의 균형[Q]: 마블러스 디자이너는 실사적인 물리 법칙에 기반한 의상 표현으로 잘 알려져 있습니다만, 애니메이션에서는 원하는 표현을 얻기 위해 어느 정도 '조정된' 룩이 필요하다고 생각합니다. 이 두 가지 사이에서 어떻게 균형을 잡으셨나요? (예를 들어, 시뮬레이션 결과가 너무 지저분해 보이지 않도록 주름을 단순화하거나, 애니메이션 스타일의 룩에 맞춰 패턴에 특별한 조정을 가하셨나요?)[A]: &lt;완댄스&gt;의 모션캡쳐 컨셉은 '댄서가 그리는 애니메이션'입니다. 저희는 댄스의 역동성뿐만 아니라, 의상의 주름 하나하나가 댄서의 움직임에서 태어난 표현이어야 한다고 믿었습니다.마블러스 디자이너는 매우 유연하고 사실적인 원단의 굽힘을 재현하지만, 그 상태 그대로는 애니메이션 스타일의 룩에 담기에는 정보량이 너무 많습니다. 따라서 의도적으로 '주름의 수를 줄이고 정리하는' 조정이 필요했습니다. 이 룩 조정의 핵심은 이번 프로젝트의 메인 툴인 블렌더였습니다. 마블러스 디자이너에서 생성된 사실적인 주름 정보를 직접 사용하는 대신, 블렌더의 지오메트리 노드(Geometry Nodes)를 활용했습니다. 원본 노멀(Normal) 정보에 블러(Blur)를 적용하여 이를 속성(Attribute)으로 저장한 뒤, 쉐이더 에디터(Shader Editor) 측에서 이를 불러와 제어했습니다. 이를 통해 마블러스 디자이너에서 비롯된 사실적인 거동을 활용하면서도, 전통적인 2D 작화 애니메이션과 완벽하게 어우러지는 '애니메이션 스타일의 룩'으로 치환할 수 있었습니다.<img src="https://storagefiles.clo-set.com/public/community/202605/62d7c6e20b5f439fade6598fd25b1036/images/7d22e96893b04c93a4087516269b543f2%E3%83%AA%E3%82%A2%E3%83%AA%E3%82%B9%E3%83%86%E3%82%A3%E3%83%83%E3%82%AF%E3%81%95%E3%81%A8%E3%82%A2%E3%83%8B%E3%83%A1%E7%9A%84%E8%A1%A8%E7%8F%BE%E3%81%AE%E3%83%90%E3%83%A9%E3%83%B3%E3%82%B91_%E3%81%97%E3%82%8F%E6%B3%95%E7%B7%9A%E3%82%B9%E3%83%A0%E3%83%BC%E3%82%B9.png" alt="7d22e96893b04c93a4087516269b543f" class="custom-image original-size" data-id="7d22e96893b04c93a4087516269b543f" data-width="3508" data-height="2480">&lt;완댄스&gt;의 마블러스 디자이너 워크플로우에서 또 다른 특징은 모든 조정이 '댄스 중의 움직임'을 기준으로 이루어졌다는 점입니다. 일반적인 의상 제작에서는 서 있는 자세(T포즈나 A포즈)에서의 외형을 우선시하는 경향이 있지만, 저희는 의도적으로 그것을 피했습니다. 옷의 처짐과 밑단 길이, 볼륨감에 이르기까지 모든 조정을 철저히 '춤을 추고 있을 때 어떻게 보이는가'에 집중했습니다.목표는 격렬한 댄스 스텝과 큰 동작 중에서 가장 멋지고 아름다운 실루엣을 끌어내는 것이었습니다. "움직이는 상태가 곧 의상의 완성형"이라는 철학은 댄스를 주제로 한 이번 프로젝트에서 어쩌면 필연적인 접근 방식이었죠. 단순히 시뮬레이션 결과를 그대로 받아들이기보다, 댄스의 역동성을 극대화하기 위해 움직임을 확인하며 끊임없이 완벽한 실루엣을 추구했습니다.<hr> 3. 격렬한 움직임(댄스) 제어[Q]: 캐릭터들이 고속 회전이나 점프가 포함된 격렬한 댄스를 선보이는데, 후드나 레이어드 룩처럼 시뮬레이션 난이도가 높은 의상을 입고 있습니다. 이러한 극한의 움직임을 다룰 때 가장 큰 어려움은 무엇이었나요?[A]: 다행히 특별한 주의가 필요한 의상이 아주 많지는 않았지만, 가장 핵심적인 과제는 "캐릭터 디자인에서 너무 벗어나지 않게 하는 것"이었습니다. 구체적으로 예를 들면, 댄스 중에 후드가 머리를 덮을 수는 있지만 그대로 머리에 씌워진 채로 있어서는 안 되며, 셔츠 밑단이 잠시 뒤집힐 수는 있어도 계속 뒤집힌 상태로 멈춰 있어서는 안 됩니다. 격렬한 움직임 이후에 (비록 물리적으로는 정확할지라도) 의상의 형태가 크게 무너지는 것을 방지하기 위해, 핀(pins)과 택(tacks) 기능을 적극적으로 활용했습니다. <img src="https://storagefiles.clo-set.com/public/community/202605/62d7c6e20b5f439fade6598fd25b1036/images/49f340b3b0fc4375b59fe47fb5d5b9b93%E6%BF%80%E3%81%97%E3%81%84%E5%8B%95%E3%81%8D%28%E3%83%80%E3%83%B3%E3%82%B9%E3%81%AE%E5%88%B6%E5%BE%A1%291_%E9%83%A8%E6%B4%BB%E7%B4%B9%E4%BB%8B%E3%83%80%E3%83%B3%E3%82%B9%E3%83%91%E3%83%BC%E3%82%AB%E3%83%BC%E3%81%AE%E3%83%95%E3%83%BC%E3%83%89.jpg" alt="49f340b3b0fc4375b59fe47fb5d5b9b9" class="custom-image original-size" data-id="49f340b3b0fc4375b59fe47fb5d5b9b9" data-width="3508" data-height="2480"><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/BkFMZfp8RLk" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div>[추가 질문][Q]: 스트릿 댄스에서 옷의 흔들림은 댄서의 개성이 연장된 것이라고도 할 수 있습니다. 캐릭터마다 다른 댄스 스타일을 반영하기 위해 옷감의 물리적 특성(무게, 마찰, 두께 등)을 개별적으로 조정하셨나요? (예: 공격적인 댄서에게는 더 무거운 원단을 설정하고, 유려한 움직임을 가진 댄서에게는 더 가벼운 원단을 설정하는 등)[A]: 저희는 캐릭터 디자인에 부합하는 원단 선택(저지, 스웨트셔츠, 데님 등)을 최우선으로 고려했으며, 움직임의 조절은 주로 패턴을 통해 진행했습니다. 클로스 시뮬레이션의 다양하고 복잡한 파라미터를 일일이 조정하는 것은 시간이 너무 많이 소요되는 경우가 많았기 때문에, 프리셋의 도움을 크게 받았습니다.<hr>4. 주식회사 텐키(Tenju Co., Ltd.)와의 협업[Q]: 이번 프로젝트에서는 디지털 패션 전문 기업인 주식회사 텐키와 협업하여 의상 패턴을 제작했다고 들었습니다. 이러한 파트너십이 마블러스 디자이너 제작 공정을 어떻게 발전시켰나요? 또한, 기존의 CG 에셋 교환 방식과 비교했을 때 스튜디오 간에 '마블러스 디자이너 프로젝트 파일'을 공유함으로써 얻은 독특한 발견이나 워크플로상의 이점은 무엇이었나요?[A]: 사실 마블러스 디자이너를 워크플로에 도입하면서 마주한 가장 큰 장벽은 '재봉(패턴)'이라는 개념 그 자체였습니다. 이전까지는 옷을 전부 모델링 방식으로만 만들어왔기 때문에, 실제 의복 제작이나 패턴에 관한 지식이 필요할 것이라고는 상상도 못 했습니다.<img src="https://storagefiles.clo-set.com/public/community/202605/62d7c6e20b5f439fade6598fd25b1036/images/8413b5cfdbf24bafae27b76be35a7ca44%E6%A0%AA%E5%BC%8F%E4%BC%9A%E7%A4%BE%E5%85%B8%E6%A8%B9%E3%81%A8%E3%81%AE%E9%80%A3%E6%90%BA1_%E6%B9%BE%E7%94%B0%E5%88%B6%E6%9C%8D%E3%82%AB%E3%83%BC%E3%83%87%E3%82%A3%E3%82%AC%E3%83%B3_%E6%9C%80%E7%B5%82%E3%83%91%E3%82%BF%E3%83%BC%E3%83%B3.jpg" alt="8413b5cfdbf24bafae27b76be35a7ca4" class="custom-image original-size" data-id="8413b5cfdbf24bafae27b76be35a7ca4" data-width="2564" data-height="1318"> <img src="https://storagefiles.clo-set.com/public/community/202605/62d7c6e20b5f439fade6598fd25b1036/images/a7b99975138f4e74abf1af03b61b7f464%E6%A0%AA%E5%BC%8F%E4%BC%9A%E7%A4%BE%E5%85%B8%E6%A8%B9%E3%81%A8%E3%81%AE%E9%80%A3%E6%90%BA2_%E3%82%AB%E3%83%9C%E3%81%AE%E7%B7%B4%E7%BF%92%E7%9D%80_%E6%9C%80%E7%B5%82%E3%83%91%E3%82%BF%E3%83%BC%E3%83%B3.jpg" alt="a7b99975138f4e74abf1af03b61b7f46" class="custom-image original-size" data-id="a7b99975138f4e74abf1af03b61b7f46" data-width="2564" data-height="1318">저희의 마블러스 디자이너 의상 패턴에 대해서라면 텐키(Tenju) 사를 빼놓고는 이야기할 수 없습니다. 결국 저희는 옷이 말 그대로 어떻게 만들어지는지부터 배워야 하는 단계에서 시작했으니까요. 텐키 사는 애니메이션의 의상 디자인을 바탕으로 저희를 위해 방대한 양의 의상 패턴을 제작해 주었습니다.<hr>5. 애니메이션 표현의 확장과 전망[Q]: 이 워크플로의 성공을 미루어 볼 때, 마블러스 디자이너와 같은 툴이 향후 애니메이션 제작을 어떻게 변화시킬 것이라고 보십니까? (액션 중심의 작품이나 패션에 집중한 애니메이션을 만들고자 하는 창작자들에게 새로운 가능성을 열어줄 것이라고 보시나요?)[A]: 이번 워크플로 경험을 통해, 마블러스 디자이너와 같은 툴이 패션 중심의 작품뿐만 아니라 애니메이션 제작 전반의 가능성을 크게 확장할 것이라 확신하게 되었습니다.특히 사실적인 군중 씬, 대규모 전투, 그리고 격렬한 격투 묘사 등에 있어 제작 부하를 획기적으로 줄이면서도 표현의 질을 높이는 매우 효과적인 수단이 될 것입니다. '툴을 통해 효율화할 수 있는 영역'을 극대화할 수 있다면, 연출이나 작화와 같이 '정말로 에너지를 쏟아야 할(칼로리를 소비해야 할) 공정'에 리소스를 집중할 수 있습니다.또한, 마블러스 디자이너 를 사용하며 놀랐던 점은 고도의 물리 시뮬레이션을 수행함에도 불구하고 조작감이 믿을 수 없을 정도로 가볍고 경쾌했다는 점입니다. 이러한 직관적인 조작감은 끊임없이 시행착오를 거치는 창작자의 상상력을 방해하지 않으며, 결과적으로 표현의 퀄리티를 끌어올리는 원동력이 된다고 느낍니다.<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/TZc7DKeVeHk" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/qdd867UPIn8" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div>[추가 질문][Q]: 이번 경험을 바탕으로, 기존 방식과 비교했을 때 '애니메이션 제작에 마블러스 디자이너를 사용하는 가장 큰 장점'은 무엇이라고 생각하시나요?[A]: &lt;완댄스(Wandance)&gt;와 같은 프로젝트에서 그 방대한 양의 댄스 장면과 엄청난 의상 베리에이션을 동시에 소화하는 것은 마블러스 디자이너 없이는 완전히 불가능했을 것입니다. 제작 현장에 미친 영향은 그만큼 엄청났습니다.기존 방식과의 결정적인 차이이자 가장 큰 장점은 "액션이나 패션의 디테일을 타협하지 않고, 순수하게 '보여주고 싶은 비전'에 도전할 수 있다는 점"이라고 생각합니다.이전에는 기술적 제약이나 제작 시간의 한계로 인해 포기해야 했던 표현들을 이제는 마블러스 디자이너를 통해 세상에 내놓을 수 있게 되었습니다. 창작자들이 "진정으로 보여주고 싶은 장면"에 대해 타협하지 않고 밀고 나갈 수 있는 환경을 제공하는 것—그것이야말로 이 툴을 도입한 진정한 가치라고 믿습니다.

패턴 기반 모델링과 클로스 시뮬레이션을 통한 풍부한 댄스 표현의 실현: <완댄스(Wandance)> 속 사이클론 그래픽스의 마블러스 디자이너 활용 사례

아카데믹 챌린지

Traditional Costumes 3D Restoration

Championship Thread

Create Your Persona: 3D Character & Digital Fashion

<h2 style="text-align: center">Climate anxiety is hard to talk about, so this creative trio decided to dress it up. By merging London’s iconic trench coat with emergency survival gear, "The Drench Coat" captures attention through high fashion before delivering a sharp statement about London's flood risk. Read how a copywriter, an art director, and a 3D designer subverted the luxury aesthetic to create a hauntingly functional piece of speculative activism.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202605/9b5c0c1bad054fc998e2f0ebad39b525/images/ae05eb5be06c4faaba85bf443909ad1eMid-Flood%20Landscape.png" alt="ae05eb5be06c4faaba85bf443909ad1e" class="custom-image large-size" data-id="ae05eb5be06c4faaba85bf443909ad1e" data-width="1536" data-height="1024"><h1>Part 1: The Concept &amp; Collaboration</h1>Q1. (To the Team) Let’s start with the origin story. "The Drench Coat" is a brilliant yet alarming concept. How did a fashion designer, an art director, and a copywriter come together to tackle London’s flood risk?The insight around rising water levels was something <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/hjplumridge/">Henry</a> &amp; <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/chelseasheadspace.art/">Chelsea</a> had been discussing for a while. We wanted to create something that brought a future crisis to the forefront and made it feel tangible.Then Henry texted Chelsea early one morning with an idea for a "Trench Coat Life Jacket", a cheeky way to draw attention to something very real. The phrase itself captured everything. Chelsea and I were immediately drawn to the idea of combining two wearable items into something entirely new, and the trench coat felt like the perfect vessel given its rich history in London. You can't go anywhere in this city without seeing one.We both agreed that having a real fashion designer develop a bespoke look felt more authentic. Henry and I are advertising creatives so designing clothes isn't really our expertise, and it would have been an injustice to the idea to pretend otherwise. So I reached out to a London freelance group chat with a short synopsis of the project to see if anyone would be interested. Someone connected me with <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/shoppetitesage/">Hadjer</a>, who is well-versed in garment design through CLO. I put together a brief, the three of us jumped on a call, and it all went from there.Q2. (To Henry - Copywriter) The messaging is incredibly sharp: "High Fashion for High Waters." Why use the language of fashion to communicate climate anxiety to Londoners?The language of fashion is something these areas of London understand. The areas of London we are trying to talk to and divert their attention to the climate crisis. So it works as a sort of a ‘trojan horse’, in that respect. It intrigues first, makes these people feel spoken to, then communicates what we really want them to know.&nbsp; Q3. (To Chelsea - Art Director) Visually, the piece balances the classic British trench coat with emergency survival gear. What was the art direction process like to ensure it didn't look like a costume, but rather a hauntingly realistic piece of equipment?When putting together the brief for Hadjer, I built references for the “world” we’re in vs the “world” we’re avoiding. Staying away from hyper futurism &amp; science fiction, which are places our minds easily wander to when discussing a “future” themed design. I made sure to gather as many references for trench coats and life vests as possible. It was important to understand what makes a trench coat a trench coat — and what makes a life jacket a life jacket. While we were creating something entirely new, it only works if there's enough resonance with where each element comes from. Otherwise the story gets lost.In our first call with Hadjer, she quickly put together an initial sketch that was a beautiful, well-crafted combination of both garments. But it was missing the statement. We didn't want this to be a project about beauty or aesthetics, we wanted to lean into the irony of climate change, and for that it needed to feel functional, almost unsettlingly practical.After we outlined the tone and direction, Hadjer went back to the drawing board and came back with something that nailed it. Once we landed in the right direction, the momentum carried us forward.<img src="https://storagefiles.clo-set.com/public/community/202605/9b5c0c1bad054fc998e2f0ebad39b525/images/872a5ab62c184c7dba9ad9fb762cae63upper%20body%20shot%20portrait.png" alt="872a5ab62c184c7dba9ad9fb762cae63" class="custom-image large-size" data-id="872a5ab62c184c7dba9ad9fb762cae63" data-width="1080" data-height="1920"><h1 style="text-align: left">Part 2: The Craft &amp; CLO Workflow</h1>Q4. (To Hadjer - Fashion Designer) Let's talk about building this in CLO. The tailoring looks immaculate—glen plaid paneling, double-breasted hardware. What was the most challenging part of constructing the base trench coat digitally?The base started from scratch. I drafted the patterns directly in CLO, referencing a trench coat block I’ve developed in real life, so I approached it as actual tailoring rather than building visually around an avatar.The most challenging part was maintaining structure while introducing complexity. A trench coat already has multiple layers, overlap, and hardware, but here I was also integrating pressurized volumes and additional trims. That creates instability very quickly in CLO if everything isn’t built correctly at the pattern level.I constructed the double-breasted front with a real overlap and handled fit adjustments directly in 2D, the same way I would in physical pattern making. That gave me control over proportion and balance instead of relying on surface-level tweaks.The main technical challenge was keeping the garment stable during simulation and animation. With multiple fabric layers, different pressure values for the inflated sections, and custom trims, the system can easily break or behave unpredictably. A lot of the work went into refining pattern relationships, managing how pieces interact, and making sure the garment holds its shape under those conditions.Where I think I had an advantage was speed. Because I’m comfortable with pattern construction and CLO’s core tools, I’m not spending time troubleshooting basic issues. That lets me move quickly through iterations and focus most of my time on pushing the design and resolving the garment at a higher level rather than just getting it to work.<img src="https://storagefiles.clo-set.com/public/community/202605/9b5c0c1bad054fc998e2f0ebad39b525/images/3fa739b6b64842e1971c182d9298c634Screenshot%202026-05-07%20085544.png" alt="3fa739b6b64842e1971c182d9298c634" class="custom-image large-size" data-id="3fa739b6b64842e1971c182d9298c634" data-width="3831" data-height="2073">Q5. (To Hadjer - Fashion Designer) Integrating the survival elements—the oral inflation valve, the whistle, the webbing straps—must have been complex. Did you use any specific CLO tools or workflows to integrate these hard-surface objects with the soft fabrics?That part was definitely the most technical because I was combining soft fabric simulation with hard trims and inflated volumes, which don’t naturally behave well together in CLO.For the inflatable sections, I applied pressure to cloned pattern layers with opposing values to create the realistic expansion. Then I controlled the timing in the Animation Editor so the garment transitions cleanly between flat and inflated states.For the hard surface elements, I used a mixed workflow depending on what made the most sense. The whistle was built in Blender and brought into CLO as a trim, and the tube was done quickly in Nomad Sculpt to keep things efficient. The red pull detail, on the other hand, I built directly in CLO. I also used CLO’s buckle library where it worked, instead of overcomplicating it.The straps are fully constructed as pattern pieces with a strap material, so they behave correctly in simulation. For attaching everything, I used a combination of sewing, arrangement points, bonding, and glued trims, basically following real garment logic rather than just placing things visually.The main challenge wasn’t building the elements, it was keeping everything stable. With multiple layers, pressure values, and trims, it’s easy for the simulation to start jittering or breaking. So I worked very incrementally, simulating after each addition and resolving any collision or instability before moving forward.The only part that’s more visually driven is the inflation mechanism itself. Everything else is built to behave as accurately as possible within CLO.<img src="https://storagefiles.clo-set.com/public/community/202605/9b5c0c1bad054fc998e2f0ebad39b525/images/ce8b442862ef4c4b92b768a0817d55a6Inflate_Animation_1x1.gif" alt="ce8b442862ef4c4b92b768a0817d55a6" class="custom-image original-size" data-id="ce8b442862ef4c4b92b768a0817d55a6" data-width="480" data-height="480">Q6. (To the Team) The texturing and rendering are what make this piece so believable. How did you approach the fabric properties and lighting to achieve that photorealistic finish?Since this is a more technical question, we’re letting Hadjer take the lead on this one.[From Hadjer] – For me, realism really starts at the fabric level. If the material doesn’t behave correctly during simulation, no amount of rendering will fix it, so that’s always where I focus first.I used a mix of sources depending on the need. Some fabrics came from Adobe Substance assets, others from Sunwell files on CONNECT, and in a few cases I built them directly in CLO using CLOFAB to generate my own maps. That was especially important for the flotation material. I needed a very specific texture, but I didn’t want it to read as plastic, so I spent time adjusting both the maps and the physical properties until it felt believable.For the glen plaid, I worked from a full texture file and then refined the scale and placement so it sits correctly on the garment. It’s a small detail, but if the scale is off, the whole piece starts to feel digital.In terms of simulation, I’m constantly adjusting fabric properties as I build. Things like weight, stiffness, and thickness make a big difference in how the garment reads. Even early on, I’ll reduce particle distance on smaller or more detailed pieces so they drape properly, rather than waiting until the final render. Then at the end, I push the render quality as high as my system allows to clean everything up.The design itself is fairly controlled, so I wasn’t relying on random folds. When I needed them, I used multiple internal lines to guide how the fabric breaks, so the folds develop gradually and feel intentional. If I want something sharper, like a pleat, then I’ll use a single internal line instead. That level of control makes a big difference in how clean the garment reads. Lighting is what actually makes the texture visible. You can have the best maps and fabric setup, but if the lighting is flat, everything reads as one surface. I built a custom lighting setup by positioning lights manually and controlling their intensity, size, and direction specifically to catch highlights and shadows across the material. That’s what brings out depth, surface variation, and makes the fabric feel real instead of digital.I tested HDRIs and more dramatic setups as well, but we chose a cleaner configuration that still allows the texture to read clearly without overpowering the garment.In the end, it really comes down to the relationship between fabric behavior and lighting. Texture is there, but lighting is what reveals it.<img src="https://storagefiles.clo-set.com/public/community/202606/9b5c0c1bad054fc998e2f0ebad39b525/images/233a273bd07d48c7a187677a80517e55render%20anim%201_319.png" alt="233a273bd07d48c7a187677a80517e55" class="custom-image large-size" data-id="233a273bd07d48c7a187677a80517e55" data-width="1920" data-height="1080"><h1>Part 3: Impact &amp; The Future</h1>Q7. (To the Team) As a digital-only garment (for now), you bypass the physical waste of traditional fashion. Do you think 3D design is the most effective tool for "conceptual fashion" and activism today?We do think 3D design is one of the most effective tools for conceptual fashion right now, especially when the goal is to communicate an idea quickly and clearly. It allows you to combine design, prototyping, and storytelling in one process, without the time and material waste you’d normally have in physical development.For something like this project, it’s really about awareness. You can take a concept that would be difficult or expensive to produce physically and still present it at a level where people take it seriously. That speed and clarity make it very effective for activism and speculative design.At the same time, it doesn’t replace everything. You still don’t have the physical experience of the garment, how it feels on the skin, how materials interact in reality. That part is still essential, especially when you move toward production.[From Hadjer] – In my case, I use CLO as a real design tool. From a technical standpoint, I’m building garments the same way I would physically, through pattern making, fit, and material behavior. But creatively, it also gives me the freedom to test ideas that would be difficult to execute in real life.One thing I think is often misunderstood is the difference between digital fashion and digital prototyping. A lot of people see 3D garments as purely visual or tied to gaming, but in reality, it’s a technical process. You’re working with fabric physics, construction, and fit. When it’s done properly, you’re essentially creating a digital version of a real garment that could go straight into production.And just because it’s faster doesn’t mean it’s easier. The speed comes from knowing what you’re doing. Otherwise, you still run into the same problems you would in physical design, just in a different environment.Q8. (To the Team) You are planning a physical version for London Fashion Week. How has designing this first in CLO prepared you for the physical production phase?Designing it in CLO first gave us a clear understanding of the garment before anything physical exists. Being able to show a version of a CLO design that's public facing has also helped us gain interest in “flood fashion” in general before moving to next steps. We aren’t guessing proportions or construction, we’ve already built and tested them at the pattern level.Because we drafted everything from scratch, we already know how each piece comes together, how the volume is distributed, and how the garment sits on the body. That removes a lot of the trial and error you would normally have in early sampling.[From Hadjer] – It also helped identify where the complexity actually is. The base trench is fully resolved, so the focus going into production would be on engineering the functional elements, especially the inflatable sections and hardware, rather than redesigning the garment itself.At the same time, it makes the limitations clear. CLO gives you a very good representation of behavior, but you still don’t have the physical feel of materials. So the next step would be translating those fabric choices into real-world equivalents and testing how they interact.Overall, it speeds up the process and makes it more controlled. You go into production with decisions already made instead of figuring them out as you go.<img src="https://storagefiles.clo-set.com/public/community/202605/9b5c0c1bad054fc998e2f0ebad39b525/images/ba0717fe157f49c8aeb557b4b39774a0render%20anim%201_423.png" alt="ba0717fe157f49c8aeb557b4b39774a0" class="custom-image large-size" data-id="ba0717fe157f49c8aeb557b4b39774a0" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202605/9b5c0c1bad054fc998e2f0ebad39b525/images/6de937b8cdab40c9afca11d697333944ring%20shot%20landscape%20.png" alt="6de937b8cdab40c9afca11d697333944" class="custom-image large-size" data-id="6de937b8cdab40c9afca11d697333944" data-width="1920" data-height="1080">Q9. (To the Team) Many of our readers are individual freelancers or students who want to create meaningful work. What advice would you give to creatives who want to use 3D design for social or environmental causes?Build around one single idea with as much craft as you can. The concept gets people interested but the execution is what makes them take it seriously. Start with a clear point of view. The tool doesn’t make the work meaningful, the idea does. If the message isn’t strong, no level of rendering or technical skill will carry it.[From Hadjer] – Use 3D to test and push ideas that would be difficult to explore physically. The advantage is speed and flexibility, so take advantage of that. Iterate quickly, try different directions, and refine until the concept feels resolved, not just visually appealing.At the same time, treat it like real design. Build your garments properly, understand pattern making, and learn how fabrics behave. That’s what makes the work convincing. If it only looks good from one angle, it won’t hold up.Also, don’t limit yourself to what feels “realistic” at first. Some of the most interesting work comes from testing ideas that wouldn’t normally be produced. You can always bring it back to reality later if needed.And finally, be intentional with how you present it. Lighting, pose, and context matter just as much as the garment. If you’re trying to communicate something, everything in the image should support that message.

Trojan Horse Fashion: Harnessing the Language of Luxury for Climate Activism

ONCE A WIFE

Marvelous Designer Official

Marvelous Designer Official