<h2 style="text-align: center">Iranian designer <a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/portfolio/403448/info">AI / Kimia</a> discusses her journey on creating her entry for the <a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/contest/mdcc2025vol3">Marvelous Designer Creator’s Contest 2025 Vol.3</a>, titled <a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/detail/7a79dd1cbfd54f7f84419883f7cd28f1">"Puppeteer: Tokyo Evolution,"</a> serving as a case study in blending cultural philosophy with technical precision and winning the Community Choice award. By applying the Japanese concept of Kintsugi—the art of finding beauty in repair—Kimia explores through tradition and imagination, strength, and rebirth within the creation of digital garment.</h2><img src="https://storagefiles.clo-set.com/public/marketplace/202510/7a79dd1cbfd54f7f84419883f7cd28f1/1/thumbnail/07-6-2.jpg?resize=1&amp;f=webp&amp;w=960&amp;h=1280&amp;fit=cover" alt="3D Creator's_Contest_AI_Fantasy_Avant_Garde Model" class="custom-image original-size"><a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/detail/7a79dd1cbfd54f7f84419883f7cd28f1">Puppeteer: Tokyo Evolution</a><hr><h1>Artist Introduction: please tell us about yourself.</h1>Hello world,My name is Kimia, and I am from Iran. I can’t say that I am fully a digital fashion designer yet—but I am a designer, and I am actively finding my path toward that point.My creative journey began in architecture, where I learned to think in terms of structure, balance, an. My creative journey began in architecture, a discipline that taught me how to think in terms of structure, balance, and spatial logic. Over time, I realized that alongside this structural approach, I am deeply drawn to storytelling, emotion, and meaning in design.Participating in the Marvelous Designer Creator’s Contest was both challenging and deeply rewarding. My main motivation for joining was to move beyond purely technical execution and focus on concept, symbolism, and personal expression. This contest gave me the freedom to experiment while still working within a professional framework.<a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/detail/7a79dd1cbfd54f7f84419883f7cd28f1"><img src="https://storagefiles.clo-set.com/public/community/202602/52b36810290548fca188cb73ffa60435/images/b0f4a51652b249b0a7aef141d3c8c9c3%E7%94%BB%E5%83%8F1.jpg" alt="b0f4a51652b249b0a7aef141d3c8c9c3" class="custom-image original-size" data-id="b0f4a51652b249b0a7aef141d3c8c9c3" data-width="1399" data-height="1399"></a>Through this experience, I learned that digital fashion can function as a powerful narrative medium rather than simply a visual outcome. I also learned to trust the design process, embrace imperfections, and allow the garment to evolve organically—mirroring my own growth as a designer.<img src="https://storagefiles.clo-set.com/public/community/202602/52b36810290548fca188cb73ffa60435/images/cb5b49af98634ef5bbe2ef5514caba06gandr-collage%20%2838%29.jpg" alt="cb5b49af98634ef5bbe2ef5514caba06" class="custom-image original-size" data-id="cb5b49af98634ef5bbe2ef5514caba06" data-width="1920" data-height="1080"><hr><h1>We’d like to hear more about the art direction in your Creator’s contest 2025 Vol.3. What was the visual style you were aiming for?</h1>In Puppeteer: Tokyo Evolution, my goal was to create a visual language that exists between eras, cultures, and emotional states. The core inspiration comes from Kintsugi, the Japanese philosophy of embracing fracture and repair as part of an object’s beauty and strength.&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202602/52b36810290548fca188cb73ffa60435/images/ea0100bafae5409d953f510cd1700cbfgandr-collage%20%2834%29.jpg" alt="ea0100bafae5409d953f510cd1700cbf" class="custom-image original-size" data-id="ea0100bafae5409d953f510cd1700cbf" data-width="1920" data-height="400">&nbsp;Visually, I wanted the garment to feel ceremonial yet rebellious. Traditional Japanese kimono elements were deconstructed and reinterpreted through an avant-garde lens, with subtle influences from Victorian silhouettes. Voluminous sleeves, a rigid sculptural collar, and layered fabrics create a tension between softness and control, while the lifted skirt symbolically suggests liberation.&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202602/52b36810290548fca188cb73ffa60435/images/c12881d4d1244b35aedab75b4f709a22gandr-collage%20%2840%29.jpg" alt="c12881d4d1244b35aedab75b4f709a22" class="custom-image original-size" data-id="c12881d4d1244b35aedab75b4f709a22" data-width="1920" data-height="400">&nbsp;The parasol-like hat adorned with delicate chains conveys a sense of balance between fragility and strength. The puppeteer and bird motifs represent the relationship between guidance and freedom. The divided white and blue background symbolizes sky and flight, transforming the scene into a poetic moment of transition and rebirth. <img src="https://storagefiles.clo-set.com/public/community/202602/52b36810290548fca188cb73ffa60435/images/65c40142ac194afd85068e64d43a5d74gandr-collage%20%2835%29.jpg" alt="65c40142ac194afd85068e64d43a5d74" class="custom-image original-size" data-id="65c40142ac194afd85068e64d43a5d74" data-width="1920" data-height="400"><hr><h1>Would you be able to give us a quick overview of the different tools you use in your pipeline with a focus on Marvelous Designer? Have you encountered any challenges and how have you overcome them?</h1>Marvelous Designer played a central role in my workflow and served as the foundation of the entire project. I began by building the base silhouette and patterns directly in Marvelous Designer, with a strong focus on proportions, fabric behavior, weight, and layering.&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202602/52b36810290548fca188cb73ffa60435/images/4c7e81930b0e491dbc48e6a45b1c0327Screenshot%20%283%29%20-%20Copy%20-%20Copy.png" alt="4c7e81930b0e491dbc48e6a45b1c0327" class="custom-image original-size" data-id="4c7e81930b0e491dbc48e6a45b1c0327" data-width="1920" data-height="971"><img src="https://storagefiles.clo-set.com/public/community/202602/52b36810290548fca188cb73ffa60435/images/c25a61062213415686e74b0db2c3842agandr-collage%20%2842%29.jpg" alt="c25a61062213415686e74b0db2c3842a" class="custom-image original-size" data-id="c25a61062213415686e74b0db2c3842a" data-width="1920" data-height="400">The kimono structure, sleeves, and layered skirt were developed using traditional pattern logic, which I intentionally disrupted by adjusting tensions, shortening panels, and lifting sections of the garment to create a more expressive and unconventional form.&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202602/52b36810290548fca188cb73ffa60435/images/6ef1c41789f343e5b9444cca05b1ac5fgandr-collage%20%2843%29.jpg" alt="6ef1c41789f343e5b9444cca05b1ac5f" class="custom-image original-size" data-id="6ef1c41789f343e5b9444cca05b1ac5f" data-width="1920" data-height="960">One of the main challenges was maintaining visual clarity while working with highly layered and voluminous elements. I addressed this by breaking the process into clear stages, refining each component individually, and continuously evaluating balance and cohesion so the final garment felt dynamic rather than static.<img src="https://storagefiles.clo-set.com/public/community/202602/52b36810290548fca188cb73ffa60435/images/cd27b9ff46404a91a858f5c020677aecgandr-collage%20%2837%29.jpg" alt="cd27b9ff46404a91a858f5c020677aec" class="custom-image original-size" data-id="cd27b9ff46404a91a858f5c020677aec" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202602/52b36810290548fca188cb73ffa60435/images/f19997a5686b4b0790b5317e1efe5133gandr-collage%20%2839%29.jpg" alt="f19997a5686b4b0790b5317e1efe5133" class="custom-image original-size" data-id="f19997a5686b4b0790b5317e1efe5133" data-width="1920" data-height="1080"><hr><h1>Are there any tips and tricks with Marvelous Designer that you can share with the community?</h1>My main advice is to approach Marvelous Designer as a creative design space rather than only a simulation tool. Allow the fabric to guide you.&nbsp;Experiment with internal lines, tension, and early-stage imperfections—they often lead to the most interesting results. I also recommend reviewing the garment from multiple angles and considering movement early in the process, as these aspects often reveal possibilities that static views cannot.<hr><h1>See also</h1><a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/community/post/1017be531c4349089eacb477f95400c0">Creator's Contest 2025 Vol. 3 Fantasy Archives: Puppeteer (Tokyo Evolution)</a> Project and Steps by AI / Kimia

Finding Beauty within Repair - AI / Kimia's work for MDCC Vol.3

FV2 Drop-Shoulder Half-Zip Sweatshirt

giangvn.tv

Gender & Age

Style

Genre & Mood

Objective

inZOI

VRChat

Garment

아카데믹 챌린지

Traditional Costumes 3D Restoration

Championship Thread

Create Your Persona: 3D Character & Digital Fashion

Cut, Slash & Corset

<img src="https://storagefiles.clo-set.com/public/community/202510/1b549d383608474f8da30c2e528e90f9/images/d3489ff92af94c129480a4fe9e9bad56ss25..pres18210-2%20%281%29.png" class="custom-image hidden-thumbnail" data-id="d3489ff92af94c129480a4fe9e9bad56" data-width="1850" data-height="2297"><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/c0-qOFW6r7w?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><h3>Welcome back, Lane! It's great to have you again. Last time, we discussed a single, iconic piece that made it to the Met. Now, you're here to talk about a full collection for your own brand, <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.vanestudios.com/">Vane Studios</a>. To start, could you introduce the core identity of Vane Studios and the story you wanted to tell with this new Summer Collection?</h3>At its core Vane Studios is a brand steeped in americana, focused on inventive craftsmanship, and anchored by telling a story of multifaceted professionals in today's global world.&nbsp; Drawing inspiration from the past and reinterpreting those references for a modern and even futuristic take, we’ve coined the term “evolving heritage” - our US identity and history is important to us but we also believe in the open mindedness to allow new experiences to adjust our ways of thinking - that often results in us gaining inspiration from from sources outside the US and often leads us to aim for connections between our western experience and those from the rest of the world.&nbsp;This Summer Collection was really an exploration of the mundane. I started with the classic ‘beater’ tank as inspiration for our cut-and-sew knits, and paired that with summer traditions like BBQs, afternoons in the park, and time spent with loved ones. From there, we wanted to reimagine some classic codes of dressing into hybrid, multifunctional pieces—like combining a tailored jacket with a camp shirt, or adjusting a women’s suit jacket to have an A-line hem sweep. It’s about taking what feels ordinary and reshaping it into something quietly inventive.<img src="https://storagefiles.clo-set.com/public/community/202510/1b549d383608474f8da30c2e528e90f9/images/459b40a1251c4bd9b8286a24232862f8vane%20ss25.%20a%20vane%20summer4%20%281%29.png" alt="459b40a1251c4bd9b8286a24232862f8" class="custom-image large-size" data-id="459b40a1251c4bd9b8286a24232862f8" data-width="3009" data-height="1947">What specific stories or character archetypes inspired this Summer Collection? How did you translate those abstract concepts into tangible design elements like silhouettes, fabrics, and color palettes?Our mantra at Vane is distinguished clothing for the multi-faceted professional. For one of the men’s looks, I imagined an accountant who moonlights as a drummer. The professionalism comes through in the matching pants and jacket fabric—like any good suit should—but the drummer side brings in movement. Instead of a fitted top or straight-leg trousers, you get these larger, billowing silhouettes that nod to the zoot suit.The fabric choices were practical for summer, while the color palette was an intentional inversion of my last collection, which leaned very dark navy. This time I wanted lightness, but I kept a cobalt blue running through the pieces as an ode to jazz, blues, and African American music history. From James Baldwin’s Sonny’s Blues to Jaymes Samuel’s blue dancer in The Harder They Fall, that crisp royal blue has always symbolized vintage Black American music to me, particularly Jazz.Right now, I’m in my jazz era as a designer. <img src="https://storagefiles.clo-set.com/public/community/202510/1b549d383608474f8da30c2e528e90f9/images/7064e38179a640bab969c059a3f2a0advane%20ss25.%20a%20vane%20summer%20process%20page%20%281%29.png" alt="7064e38179a640bab969c059a3f2a0ad" class="custom-image large-size" data-id="7064e38179a640bab969c059a3f2a0ad" data-width="5100" data-height="3300"><h3>Designing a full collection is a different challenge than creating a single accessory. Could you walk us through your creative workflow in CLO for this project? How did you manage the process from the initial mood board to the final, cohesive set of garments?</h3>To be honest, the mood board actually came together after the collection was built—it was more of a way to contextualize everything once I started thinking about presentation. The process itself started with iterating on some of my previous styles. The first piece I developed was the K-top, which uses a back/sleeve yoke I had patterned in an earlier collection. I’ve been experimenting with reintroducing that yoke across different garments.<img src="https://storagefiles.clo-set.com/public/community/202510/1b549d383608474f8da30c2e528e90f9/images/2e3764298c7c4a2ca92fa2261e621724vane%20K-top.png" alt="2e3764298c7c4a2ca92fa2261e621724" class="custom-image large-size" data-id="2e3764298c7c4a2ca92fa2261e621724" data-width="5100" data-height="3300">The real spark came from a photo from my girlfriend at the time wearing one of our crewnecks tied at the waist. I wanted to deconstruct that crewneck into a more femme top. So I jumped into CLO, draped the crewneck onto a female avatar, and started cutting and experimenting with pattern manipulations until I found a solution I loved.From there, it was about expanding the rest of the wardrobe to match.&nbsp;The woven styles came from silhouettes I had already developed, but I re-cut them in new fabrics, adjusted their lengths and construction, and added new trims to give them a new life. That combination of reworking existing elements and experimenting digitally in CLO is what helped the collection come together as a cohesive whole. <img src="https://storagefiles.clo-set.com/public/community/202510/1b549d383608474f8da30c2e528e90f9/images/e92605d951b94b26bea8be99cbc8c086H%26S%20summer%20jacket.png" alt="e92605d951b94b26bea8be99cbc8c086" class="custom-image original-size" data-id="e92605d951b94b26bea8be99cbc8c086" data-width="932" data-height="860"><h3>Summer collections often feature lighter, more fluid fabrics like linen or silk. How did you utilize CLO's fabric properties and simulation tools to perfect the drape, movement, and feel of these specific materials? Were there any particular settings or techniques that were key to achieving a realistic summer look?</h3>This was actually my first time using the VMOD Library to scan the physical fabrics I had chosen and bring them into CLO. I know CLO also has its own digitizing technology now, which I think is hugely important for the development of CLO’s use within the industry, so that is really great!Having them digitally recreated made a huge difference. As I toggled between high-res and low-res rendering, I started noticing small kinks in my patterns that I might have missed otherwise. On the men’s KJ trousers, for example, there was a curve at the inseam—coupled with the inseam dart—that created an awkward point around the knee. When I cut that style in a heavier fabric before, it never showed up—but in the lighter linen it was really obvious. The high-res drape in CLO let me catch and fix that issue before we cut the final garments.Another big advantage was that VMOD provides digitized fabrics with substance texture files. That was key for me, because I wanted to use 3D renders for our website instead of doing a traditional studio e-comm shoot. The depth and realism in those textures really brought the digital garments to life on screen, and made them feel much closer to how they look in person.<img src="https://storagefiles.clo-set.com/public/community/202510/1b549d383608474f8da30c2e528e90f9/images/7282e61fcb2e48e1aa11a79540fa63c8vane%20studios%20a%20making%20of%203.PNG" alt="7282e61fcb2e48e1aa11a79540fa63c8" class="custom-image large-size" data-id="7282e61fcb2e48e1aa11a79540fa63c8" data-width="2096" data-height="1179">Did this collection push you to use any CLO features you hadn't relied on as heavily before? For instance, did tools like the Modular Configurator, Print Layout mode, or specific avatar functionalities play a bigger role in designing a multi-piece collection?I’ve always used the avatar editor in CLO to test different sizing, but this collection really pushed me to lean into it more. One of the key pieces, the K-top, has an open side seam that drapes down from the shoulder. It lays across a woman’s chest, but it’s not necessarily anchored in place. CLO’s ability to adjust the female avatar’s cup size was a new tool for me, and it came in really handy here.Being able to see how the top would fall across different cup sizes influenced a few subtle decisions in the cut of the garment. It also gave me more confidence when talking to friends or customers about how the piece might perform on their body type. For me, that’s where CLO is becoming really valuable—not just for development, but for fit communication and customer service as I continue to grow the brand.Is the Vane Studios Summer Collection intended to be a purely digital showcase, a direct blueprint for physical production, or a hybrid of both? What is your strategy for how this collection will meet its audience?This Summer Collection is really a hybrid of both digital and physical—like most of the developments I do in CLO. We’ve actually sampled and produced the pieces made-to-order here in New York City, and we’ve already shot a campaign with photos and video. We actually just presented the physical collection to close friends of the studio.For me, CLO is always a direct blueprint for physical production, but I’m also excited to push further into purely digital showcases. That’s something I definitely see myself exploring more in the next drop. <img src="https://storagefiles.clo-set.com/public/community/202510/1b549d383608474f8da30c2e528e90f9/images/efeb82210f7948128b05bd8ffb7e8b3bvane%20studios%20a%20making%20of%209.PNG" alt="efeb82210f7948128b05bd8ffb7e8b3b" class="custom-image large-size" data-id="efeb82210f7948128b05bd8ffb7e8b3b" data-width="2096" data-height="1179"><h3>What steps did you take within CLO to ensure that these digital garments are not just beautiful renders, but are also practical and production-ready patterns?</h3>In CLO, I really focused on making sure the patterns were production-ready. That meant marking all my sewing notches, double-checking that seam lines matched exactly, and ensuring each style had the proper balance. Those details are what make a pattern ready to run smoothly on a sewing machine.Of course, the process is never just digital—it’s always a dialogue between CLO samples and physical prototypes. For example, the linen silhouettes in this collection are styles I’ve been refining over a couple of years through multiple iterations, both digital and physical. That back-and-forth is what gives me confidence that the garments aren’t just beautiful renders, but patterns that truly work in production.<img src="https://storagefiles.clo-set.com/public/community/202510/1b549d383608474f8da30c2e528e90f9/images/9f477434f6c643509e35b93581127813H%26S..summer..jacket..solo_0-web1620x1080U100.jpg" alt="9f477434f6c643509e35b93581127813" class="custom-image large-size" data-id="9f477434f6c643509e35b93581127813" data-width="1080" data-height="1620"><h3>What was the biggest new challenge you faced when creating this collection? Perhaps it was maintaining a consistent vision across multiple pieces, or a technical hurdle you had to overcome. How did you solve it?</h3>The biggest challenge in this collection was the H&amp;S summer jacket. It’s a pretty complex construction, and not very traditional. Originally, I patterned the full-length lapel as a fold line with a large dart running down the center front. It worked fine in CLO, and I was even able to sew a first iteration myself, but when I sent the new linen version to my factory partner, they really struggled to sew it symmetrically. Even after trying different fusible, they told me the pattern just wasn’t very operator-friendly on the machine.So I took a step back and reworked the design, breaking the lapel into cut lines and seam lines at the collar and center front. That adjustment simplified the construction significantly—and as a bonus, it actually made the fitting process smoother too.<h3>Finally, for the many designers using CLO to build their own brands, what is one key piece of advice you’d give them about moving from single portfolio pieces to designing and presenting a full, cohesive collection?</h3>My biggest piece of advice is: don’t try to reinvent the wheel with every collection. One of the best lessons I’ve received is that new collections should be about 80% continuation from your last one, with 20% newness. When you’re working on single portfolio pieces, think about building them from base patterns that you can use in multiple ways. Save those clean base patterns before you add all the bells and whistles. Over time, you’ll build up a repository of patterns that fit your aesthetic and your model well—and as a one-person design team, that’s what allows you to iterate and bring new ideas to life quickly.That’s exactly how I approached this Summer Collection. It was an exploration of the mundane, starting with the classic ‘beater’ tank and summer traditions like BBQs and time in the park. From there, I consolidated those familiar codes of dressing into hybrid, multifunctional pieces like combining a tailored jacket with a camp shirt, or merging a women’s suit jacket with an A-line skirt sweep. It’s about using what you already know, then pushing it just far enough to feel new.

From a Single Piece to a Full Collection: Lane's Journey with Vane Studios

<h1>Discover the Seamless Integration: Marvelous Designer Meets NVIDIA&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.nvidia.com/en-us/omniverse/">Omniverse Connector&nbsp;</a>with Cutting-Edge USD Integration </h1><h1>Upcoming Release 12.1 in 2023 May, NVIDIA Omniverse Connector integrates seamlessly with Marvelous Designer through USD.</h1><img src="https://storagefiles.clo-set.com/public/community/202510/53a0fe368a13471f8c87a5d7756f4c9a/images/e46a8356855b4b1296d7805cc83d0a05dff6bed74f3b4d09afe07bb004a8fc48.webp" alt="e46a8356855b4b1296d7805cc83d0a05" class="custom-image original-size" data-id="e46a8356855b4b1296d7805cc83d0a05" data-width="1050" data-height="600"> USD (Universal Scene Description) is an open and extensible framework and ecosystem for describing, composing, simulating and collaborating within 3D worlds, originally developed by Pixar Animation Studios.&nbsp;The studio's pipeline considers USD its "core" because it enables better collaboration than ever by allowing the interchange of common 3D data while creating digital content using various 3D software packages. Marvelous Designer now supports USD and a beta NVIDIA Omniverse Connector through USD. NVIDIA Omniverse is a scalable, multi-GPU, real-time reference development platform for building and operating 3D tools and applications based on <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.nvidia.com/en-us/omniverse/usd/">USD</a> and <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.nvidia.com/en-us/design-visualization/technologies/rtx/">NVIDIA RTX™ technology</a>. This integration allows Marvelous Designer to join the mainstream data ecosystem of graphic software, facilitating better collaboration and teamwork among different digital content creation software packages.The Omniverse Connector support enables live, networked co-working environments, allowing USD files from our software to be connected and viewed by all connected team members.This new integration enhances collaboration and cohesion, making it easier for teams working across different offices and time zones to work together seamlessly.The integration with Omniverse eliminates the need to search through emails and chat messages or navigate cumbersome subversion systems to stay updated. It allows for live collaboration in the same workspace, making it feel like everyone is standing over the same table.&nbsp; Our upcoming integration with the NVIDIA Omniverse Connector in beta will introduce these features to the Marvelous Designer community.&nbsp; (The Marvelous Designer NVIDIA Omniverse Connector won't support animation export in the beta version, and is only compatible with the Windows operating system.) <ul><li>Export avatar and garment data into .usd file format.</li><li>New Layer editor window, to create a path and organize sublayers packed to the USD file.&nbsp;</li></ul> Moreover, given that this marks our initial beta launch featuring the NVIDIA Omniverse Connector, we aim to further enhance the user-friendliness of our product by implementing additional features related to USD and the Omniverse Connector. We deeply value the ongoing support and patience of our users, which is greatly appreciated by our entire team.from Marvelous Designer Team

Discover the Seamless Integration with NVIDIA Omniverse Connector

Collection A

Hi, guys.First, I am new to everything, not only to Jinny. I'm a noob when it comes to graphic designer or anything related to. I only know a few things about the extensions and a few things in photoshop.I have a problem that I've tried my best to solve..The texture won't show up on my cloth. <img src="https://storagefiles.clo-set.com/public/community/202511/3921e58cf06842da8d6b12db81d8c06b/images/840740b7213445439b206089a77441e6Screenshot_5.png" alt="840740b7213445439b206089a77441e6" class="custom-image original-size" data-id="840740b7213445439b206089a77441e6" data-width="1905" data-height="1038"><img src="https://storagefiles.clo-set.com/public/community/202511/3921e58cf06842da8d6b12db81d8c06b/images/0904a129d86b4f5f87312214e27779b7Screenshot_6.png" alt="0904a129d86b4f5f87312214e27779b7" class="custom-image original-size" data-id="0904a129d86b4f5f87312214e27779b7" data-width="1919" data-height="1037">

Teddy pattern won't show up? 

CLO 2025.1.126 snapshots cannot be exported，Has anyone encountered this kind of problem，Is it my personal issue or a product bug<img src="https://storagefiles.clo-set.com/public/community/202508/d5da6c4d9b7746839a00a31abb2b13b3/images/bc6f8f370c9e48249ed65fec18a954b0%E5%B1%8F%E5%B9%95%E6%88%AA%E5%9B%BE%202025-08-22%20150215.png" alt="bc6f8f370c9e48249ed65fec18a954b0" class="custom-image original-size" data-id="bc6f8f370c9e48249ed65fec18a954b0" data-width="794" data-height="757">

CLO 2025.1.126 snapshots cannot be exported

Creator's Contest 2025 Vol. 3 FANTASY ARCHIVES

Finding Beauty within Repair - AI / Kimia's work for MDCC Vol.3

Marvelous Designer Official

Marvelous Designer Official