<h2 style="text-align: center">The Scent of Autumn – A warm and nostalgic tribute to fall! Inspired by the sweet fragrance of osmanthus blossoms, 3D artist Yao Chan transforms seasonal memories into whimsical, stylized art. Using Marvelous Designer, she crafts charming chibi-style outfits with delicate fabric details and dynamic draping, bringing her vision to life.</h2><hr><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/lxzfrx_wrkw?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><h1 style="text-align: center">Interview with <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/magicwand">Yao Chan</a> | <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/rlO8kO">The Scent of Autumn</a> | 3D Artist</h1><hr><h1>Please introduce yourself to the Marvelous Designer community.</h1>Hi everyone! I'm Yao Chan, a 3D artist and UX designer based in Shanghai. I hold both a bachelor's and a master's degree in Digital Media from the Central Academy of Fine Arts. Over the past decade, I've worked as a UX designer at leading companies like TCL Alcatel, Lenovo, Motorola, and SAIC-GM. Since 2019, I’ve been increasingly incorporating 3D elements into my UX design work for automobiles and digital devices, which led me to develop a strong passion for 3D art. Now, I focus on creating 3D artwork inspired by my personal experiences and interests—3D art has become my way of expressing myself to the world.<h1>Your work The Scent of Autumn is full of warmth and childlike charm. Could you share the inspiration behind this character design and the story behind it?</h1>For me, the scent of osmanthus is the defining fragrance of autumn—it’s a memory deeply rooted in my mind. I created this piece last fall when the city was filled with the sweet aroma of blooming osmanthus trees. Walking down the streets, I would unexpectedly catch whiffs of their fragrance, instantly bringing me a sense of happiness. For those who love osmanthus, its scent is powerful—it engages the senses and transports you to a special seasonal moment. <img src="https://storagefiles.clo-set.com/public/community/202503/e9171872b673477ea9d0207fd81b72fe/images/77c446ff3add45348225abd695e67868clay.jpg" class="custom-image original-size" data-id="77c446ff3add45348225abd695e67868" data-width="1600" data-height="1600">People often try to preserve this feeling by making osmanthus sugar, fragrance sachets, or perfumes. I wanted to do the same through my art, capturing and sharing the warmth of that moment, hoping to evoke a sense of nostalgia for autumn. In The Scent of Autumn, I illustrated myself wandering the streets with a bouquet of osmanthus in hand, fully immersed in the season’s charm. To convey such a simple yet heartwarming experience, I enjoy using stylized character and environment designs.<img src="https://storagefiles.clo-set.com/public/community/202503/e9171872b673477ea9d0207fd81b72fe/images/f0de79d96ed346a9a6fa06a15cb465cfcloseup2.jpg" class="custom-image original-size" data-id="f0de79d96ed346a9a6fa06a15cb465cf" data-width="1600" data-height="1600"><h1>How did you create the outfit for the little girl character in your artwork? What role did Marvelous Designer play in the process?</h1>This character is a chibi version of myself, so I wanted her outfit to reflect my real-life autumn memories as accurately as possible. I based her clothing on one of my own fall outfits—a linen shirt, a denim short jacket, and casual cotton pants, finished off with a plaid newsboy cap. Having a real-world reference was incredibly helpful when working in Marvelous Designer, as it allowed me to focus on both the overall look and the finer details.<img src="https://storagefiles.clo-set.com/public/community/202503/e9171872b673477ea9d0207fd81b72fe/images/9c9f4b8d9aff45ff8e1e18b65d70ee1acloseup1.jpg" class="custom-image original-size" data-id="9c9f4b8d9aff45ff8e1e18b65d70ee1a" data-width="1600" data-height="1600">I created the entire outfit using Marvelous Designer because I wanted the clothing to have a realistic fabric feel, and MD was the perfect tool for achieving that. To make sure the garments draped naturally in the final pose, I first created a transition animation in Blender, moving the character from an A-pose to the final stance. I then imported this animation into Marvelous Designer and used it as a virtual avatar, giving the fabric simulation room to settle properly. Compared to creating clothes directly in Blender, Marvelous Designer offers a more efficient workflow for designing patterns, achieving realistic fabric physics, and optimizing computational performance. Plus, since MD allows me to export 2D sewing patterns with UVs, the texturing process becomes much easier later on.<img src="https://storagefiles.clo-set.com/public/community/202503/e9171872b673477ea9d0207fd81b72fe/images/f348b11e830d467da6f11439fe00ed12MD%E6%88%AA%E5%9B%BE2.JPG" class="custom-image original-size" data-id="f348b11e830d467da6f11439fe00ed12" data-width="2560" data-height="1399"><img src="https://storagefiles.clo-set.com/public/community/202503/e9171872b673477ea9d0207fd81b72fe/images/2c994522ca53412ca6ce155fe7a77d1aMD%E6%88%AA%E5%9B%BE3.JPG" class="custom-image original-size" data-id="2c994522ca53412ca6ce155fe7a77d1a" data-width="2560" data-height="1399"><img src="https://storagefiles.clo-set.com/public/community/202503/e9171872b673477ea9d0207fd81b72fe/images/1043edad7e1546f8954a11a0e3ecc986MD%E6%88%AA%E5%9B%BE1.JPG" class="custom-image original-size" data-id="1043edad7e1546f8954a11a0e3ecc986" data-width="2560" data-height="1399"><h1>Did you encounter any challenges while using Marvelous Designer? How did you overcome them?</h1>Since I don’t have a fashion design background, drafting 2D clothing patterns for my chibi-style character was a major challenge. The outfit was inspired by real clothing but didn’t follow traditional garment construction, and working with 2D layouts in MD felt quite different from thinking in 3D.<img src="https://storagefiles.clo-set.com/public/community/202503/e9171872b673477ea9d0207fd81b72fe/images/4c95fa6fce4d4fbfa6d70f9bb2175e4eMD%E6%88%AA%E5%9B%BE4.JPG" class="custom-image original-size" data-id="4c95fa6fce4d4fbfa6d70f9bb2175e4e" data-width="2560" data-height="1399">To solve this, I researched real clothing structures and found similar pattern references online. The real-time 3D preview in Marvelous Designer was incredibly useful—it helped me fine-tune the fit through continuous adjustments until I achieved a satisfying final result.<img src="https://storagefiles.clo-set.com/public/community/202503/e9171872b673477ea9d0207fd81b72fe/images/ccd003bdf05244789a5fd0b7afa61bb7Substance%E6%88%AA%E5%9B%BE5.JPG" class="custom-image original-size" data-id="ccd003bdf05244789a5fd0b7afa61bb7" data-width="2560" data-height="1400"><img src="https://storagefiles.clo-set.com/public/community/202503/e9171872b673477ea9d0207fd81b72fe/images/fb9af770ca924ed0827c95548e68f827Substance%E6%88%AA%E5%9B%BE6.JPG" class="custom-image original-size" data-id="fb9af770ca924ed0827c95548e68f827" data-width="2560" data-height="1400"><h1>Can you walk us through the tools you used for this project? How well did Marvelous Designer fit into your workflow?</h1>For this project, I used Blender for modeling both the character and the environment. I also created an animation in Blender to transition the character from an A-pose to the final pose. Then, I imported this animation into Marvelous Designer, where I designed and simulated the hat, shirt, jacket, and pants. Once the clothing was complete, I exported the models to Substance Painter for texturing. Finally, everything was brought back into Blender for final touch-ups and scene composition.<img src="https://storagefiles.clo-set.com/public/community/202503/e9171872b673477ea9d0207fd81b72fe/images/8b476c2ddb2d44b4b723d531cfe86b95wire.jpg" class="custom-image original-size" data-id="8b476c2ddb2d44b4b723d531cfe86b95" data-width="1600" data-height="1600"><img src="https://storagefiles.clo-set.com/public/community/202503/e9171872b673477ea9d0207fd81b72fe/images/6674900f7744455db88604e90b9ec5eb%E6%88%AA%E5%9B%BE9.JPG" class="custom-image original-size" data-id="6674900f7744455db88604e90b9ec5eb" data-width="2560" data-height="1400">Marvelous Designer integrated seamlessly into the workflow. As long as the right file formats were used for importing and exporting, the process was smooth and stable, making it an essential tool for building an efficient and repeatable pipeline.<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/lQtIcj3XLbk?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><h1>Do you have any tips for using Marvelous Designer, especially for creating stylized cartoon outfits?</h1>When making cartoon-style clothing—especially for chibi characters—proportions play a crucial role. While the garments are inspired by real-world designs, they need to be stylized to suit the exaggerated features of the character. The size of shirts, pants, and hats should be carefully adjusted to match the character’s proportions.Fabric wrinkles can add realism, but too many can make the outfit feel overly detailed and lose its cartoon charm. To control this, I tweak fabric physical properties and particle distance to ensure the folds match the intended style. Additionally, fabric textures should be enlarged compared to real-world clothing to highlight the details. Just like doll clothes have more pronounced and simplified textures, scaling up fabric patterns helps maintain a clean and stylized look.<img src="https://storagefiles.clo-set.com/public/community/202503/e9171872b673477ea9d0207fd81b72fe/images/c2d5162c423f4bcfb7c1682c48b67718Substance%E6%88%AA%E5%9B%BE8.JPG" class="custom-image original-size" data-id="c2d5162c423f4bcfb7c1682c48b67718" data-width="2560" data-height="1400"><img src="https://storagefiles.clo-set.com/public/community/202503/e9171872b673477ea9d0207fd81b72fe/images/495eaf0587ff43d09d05f42888c338eaSubstance%E6%88%AA%E5%9B%BE7.JPG" class="custom-image original-size" data-id="495eaf0587ff43d09d05f42888c338ea" data-width="2560" data-height="1400"><h1>What’s your overall experience with Marvelous Designer?&nbsp;</h1>I’ve had a great experience with Marvelous Designer. It allows me to create clothing much like in real-life fashion design—cutting, sewing, and adjusting 2D patterns while seeing instant results in 3D. The real-time simulation and animation capabilities make it easy to refine garments dynamically. The software is also user-friendly, with smooth performance and efficient computation, making it my preferred tool for garment creation.<img src="https://storagefiles.clo-set.com/public/community/202503/e9171872b673477ea9d0207fd81b72fe/images/19a0e6d916f3480e9745e4ebbb6c4008final1600.jpg" class="custom-image original-size" data-id="19a0e6d916f3480e9745e4ebbb6c4008" data-width="1600" data-height="1600"><hr><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/magicwand">Artstation</a><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.behance.net/yaochanyc">Behance</a><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.xiaohongshu.com/user/profile/54e6d7a44fac63791c29c643?xsec_token=ABlH0AWM9L9l144-pHUFXlyf3aFeEX4j4S916oAEd3328%3D&amp;xsec_source=pc_search">RedNote</a>Instagram: magicwandyc

The Scent of Autumn

Cut, Slash & Corset

Footwear Collection 2026.0

<img src="https://storagefiles.clo-set.com/public/community/202606/72aaae299f0a41c6b102f152cadf78a1/images/366fb9bc4626458f90c96f15be45e2a7Header_EN%20%282%29.png" class="custom-image hidden-thumbnail" data-id="366fb9bc4626458f90c96f15be45e2a7" data-width="1240" data-height="652"><img src="https://storagefiles.clo-set.com/public/community/202606/72aaae299f0a41c6b102f152cadf78a1/images/53157150cf9a411784e7784baa7c8025Header_EN%20%281%29.png" class="custom-image hidden-thumbnail" data-id="53157150cf9a411784e7784baa7c8025" data-width="1240" data-height="540">Meet <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.linkedin.com/in/vaibhavnegi/">Vaibhav Negi</a>, a CGI industry veteran with 10+ years of experience and a member of Marvelous Designer. In this spotlight, Vaibhav shares how he brought a photoreal character inspired by India’s traditional ritual, Bhoota Kola, to life. Discover how he utilized Marvelous Designer for over 80% of the asset—from complex layered garments to a brilliant workaround for creating intricate flower garlands and straw skirts using lightweight, production-ready workflows.<hr> <img src="https://storagefiles.clo-set.com/public/community/202606/72aaae299f0a41c6b102f152cadf78a1/images/743e4fbec1164392aa187b0bf63763443%20%281%29.jpg" alt="743e4fbec1164392aa187b0bf6376344" class="custom-image original-size" data-id="743e4fbec1164392aa187b0bf6376344" data-width="1500" data-height="2000"><h1>Software Used</h1>Blender – lighting, texturing, Rendering Marvelous Designer – Cloth Simulation &amp; Animation<h1>Artist Introduction</h1>Hey, I’m Vaibhav. I feel like an imposter here because I’m part of Marvelous Designer’s internal design team. That said, long before I joined the company, I was already a strong believer in the software.I have over 10 years of experience in CGI, with more than six years of that spent using Marvelous Designer as a core part of my workflow. My background is in CGI advertising and automotive visualization, while my personal passion lies in creating animated short films and video games.Throughout my career, Marvelous Designer has consistently been one of the tools that has had the biggest impact on both the quality and speed of my work.<h1>Please introduce your project.</h1>The project I’ll be talking about today is a character inspired by Bhoota Kola, one of India’s many traditional ritual practices. The ritual also served as the central theme of the critically acclaimed Indian film Kantara.My goal was to create a photoreal digital replica of the performer that could be optimized for both film and game production. More than 80% of the asset was created using Marvelous Designer. <img src="https://storagefiles.clo-set.com/public/community/202606/72aaae299f0a41c6b102f152cadf78a1/images/a7395529dafb48e0b29e2e52b281d55cArtboard%201.jpg" alt="a7395529dafb48e0b29e2e52b281d55c" class="custom-image original-size" data-id="a7395529dafb48e0b29e2e52b281d55c" data-width="1498" data-height="1466"><img src="https://storagefiles.clo-set.com/public/community/202606/72aaae299f0a41c6b102f152cadf78a1/images/ab88e7776b2c4c86884460108bf9c3c9Screenshot%202026-05-28%20090507.png" alt="ab88e7776b2c4c86884460108bf9c3c9" class="custom-image original-size" data-id="ab88e7776b2c4c86884460108bf9c3c9" data-width="2559" data-height="1439">The project also gave me an opportunity to explore complex layered garments and traditional ornaments, including flower garlands, ceremonial necklaces, and the iconic straw skirt. Beyond recreating the visual appearance, I wanted to capture the richness and authenticity of the costume while maintaining production-ready efficiency.<h1>Tell us how Marvelous Designer creates value in this project.</h1>Character creation is a highly complex process. Sculpting every element by hand requires significant time, technical skill, and a deep understanding of form design. Realistic garments add another layer of complexity, and once the assets are created, they still need to be retopologized and UV-mapped before they become practical for film or game production.For me, Marvelous Designer replaces much of the highly skilled craftsmanship involved in creating dimensional forms with the more structured and intuitive principles of garment design. That shift alone dramatically accelerates the process.<img src="https://storagefiles.clo-set.com/public/community/202606/72aaae299f0a41c6b102f152cadf78a1/images/dddd4953699b4e42a4a602bf6b942e9fArtboard%202.jpg" alt="dddd4953699b4e42a4a602bf6b942e9f" class="custom-image original-size" data-id="dddd4953699b4e42a4a602bf6b942e9f" data-width="1857" data-height="839">This project involved a large number of layered garments, and Marvelous Designer handled them exceptionally well. It remains the most natural and lifelike way I know of creating digital clothing.The integrated retopology and UV workflow saved a tremendous amount of time and allowed me to add levels of detail that would have been difficult to achieve otherwise.I also wanted to experiment with creating traditional flower garlands inside Marvelous Designer. The solution I arrived at was surprisingly simple but extremely effective. I created a tileable 3D pattern and used it as a button asset without enabling button simulation. This produced a visually rich garland that remained lightweight and efficient.The straw skirt followed a similar philosophy. While it appears highly detailed, it was built from a single simulated strand setup that was duplicated and arranged repeatedly. The result was a complex-looking asset created through a very efficient workflow.<h1>Are there any other unique projects you worked on using Marvelous Designer that you would like to showcase to our community?</h1><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/3IYeUIfTwEs?si=yk9M6jO1SaG4_sCg" 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>Over the last few years, I’ve created several animated short films that relied heavily on Marvelous Designer, and I’m particularly proud of two projects.The first,<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/watch?v=3IYeUIfTwEs"> A House of My Own</a>, is a personal tribute to one of my former rented apartments, the first place that truly felt like home.The second is an adaptation of a story by one of my favorite writers, Ruskin Bond. Called <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/watch?v=j14YXtGmwbw">In the dark</a>, The film was well received at several film events and earned multiple screenings, which was incredibly rewarding as an independent creator. <div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/j14YXtGmwbw?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>Both projects reinforced how valuable Marvelous Designer can be, not only for character work but also for storytelling.<h1>What is your favorite feature or tool to use in Marvelous Designer?</h1>The Retopology and UV Mapping tools are an easy choice for me.They make the transition from high-resolution assets to production-ready meshes incredibly intuitive. Being able to handle retopology and UVs directly within the same workflow saves time, reduces friction, and makes transferring detail from high-poly meshes much more efficient.<h1>For other users considering Marvelous Designer, do you have any advice or experience to share?</h1>Two tips completely changed the way I work:Think in layers. Approach your garments the same way you would approach a traditional painting. Focus on the large forms first, then gradually build detail. As sections are completed, freeze them and continue refining the next layer. This keeps simulations stable and the workflow manageable.Use cloth simulation, even if it’s subtle. If you’re creating animated films, adding even a simple cloth simulation can bring a surprising amount of life and realism to a character. As a bonus, natural cloth movement can often help mask small imperfections in animation.

Recreating the Richness of Traditional Indian Costume with Marvelous Designer

Poses

VS Basic Bag Block

<img src="https://storagefiles.clo-set.com/public/community/202505/b79a9391ee6846b99054207002025c6f/images/5b9b2a97bf4146a880eedfe6e3a8b84eprevie3.png" alt="5b9b2a97bf4146a880eedfe6e3a8b84e" class="custom-image original-size" data-id="5b9b2a97bf4146a880eedfe6e3a8b84e" data-width="900" data-height="1200">Did you know you can model your own earrings and accessories in Clo3D? Would you be interested if I share video tutorials on how to create these kinds of designs?I’m a 3D clothing designer specializing in realistic garments for games and animations using Marvelous Designer and Clo3D. I’d love to collaborate with Companies to create high-quality clothing assets tailored to your projects.Thanks for taking the time to check it out.I’d love it if you follow my page on Closet Connect — thanks for your support!<a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/portfolio/286106/collection/collections">https://connect.clo-set.com/portfolio/286106/collection/collections</a>For more portfolio samples and my full resume, please visit the website below:<a target="_blank" rel="noopener noreferrer nofollow" href="http://www.cv.zeinabdahgani.com">www.cv.zeinabdahgani.com</a>instagram: <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/zeinab_dahgani/">https://www.instagram.com/zeinab_dahgani/</a>My Email : Best3dmodeling@gmail.com

Earring in Clo3d

New Collection

Freelancer

Hello everyone, I've been using Clo for my personal projects to turn virtual patterns into real ones.However, I was noticing that often the fabrics on Clo3d tend to be stretched when using seams. I will explain better: in real life if you try to seam a non-stretch fabric if it fits the body it just will, if not you will feel it too tight on you.What Clo3D does on the 3D interface is stretching the pattern on the avatar to make it fit the avatar even when it would not fit... in that case I wont be sure if my pattern works for real or the simulation is stretching it like it was a stretch fabric to fit the avatar...Also I was drawing a very wide collar for a long dress and I noticed how the ''weight'' of the fabric was dragging the collar down to the shoulders making it even more wide than the pattern. In that case the 3D simulation doesnt seem very reliable if the simulation fabric acts like a stretch one.How can I overcome this? What do you suggest?Thank you very much!

Pattern stretching on simulation

These pieces represents one of my early experiments in CLO3D, created while learning digital garment construction .<img src="https://storagefiles.clo-set.com/public/community/202601/9f00aefb8c814df58f2b72590b1692c5/images/fc664c8b3a2a42c893c33175c8a5ef58party%20Dress_Custom_View_1.png" alt="fc664c8b3a2a42c893c33175c8a5ef58" class="custom-image original-size" data-id="fc664c8b3a2a42c893c33175c8a5ef58" data-width="1080" data-height="1920"><img src="https://storagefiles.clo-set.com/public/community/202601/9f00aefb8c814df58f2b72590b1692c5/images/25210834bdb9450ba5cfad7a0b8fbbb1party%20Dress_Custom_View_2.png" alt="25210834bdb9450ba5cfad7a0b8fbbb1" class="custom-image original-size" data-id="25210834bdb9450ba5cfad7a0b8fbbb1" data-width="1080" data-height="1920"><img src="https://storagefiles.clo-set.com/public/community/202601/9f00aefb8c814df58f2b72590b1692c5/images/d0103bd3e30c42768e725ca900f95297Archerella%20fure.png" alt="d0103bd3e30c42768e725ca900f95297" class="custom-image original-size" data-id="d0103bd3e30c42768e725ca900f95297" data-width="1080" data-height="1920"><img src="https://storagefiles.clo-set.com/public/community/202601/9f00aefb8c814df58f2b72590b1692c5/images/a1849f8d1dd147258367a24881fb7b1cArcherella%20fure_Custom_View_4.png" alt="a1849f8d1dd147258367a24881fb7b1c" class="custom-image original-size" data-id="a1849f8d1dd147258367a24881fb7b1c" data-width="1080" data-height="1920"><img src="https://storagefiles.clo-set.com/public/community/202601/9f00aefb8c814df58f2b72590b1692c5/images/600d876f7d114a7289825ec3c7c8ae11Archerella%20fure_Custom_View_2.png" alt="600d876f7d114a7289825ec3c7c8ae11" class="custom-image original-size" data-id="600d876f7d114a7289825ec3c7c8ae11" data-width="1080" data-height="1920">

First Experiments in CLO3D

<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

CONNECT Challenge : #Glamshot

shravanisalunkhe2425

<div data-youtube-video=""><iframe width="640" height="480" allowfullscreen="true" autoplay="false" disablekbcontrols="false" enableiframeapi="false" endtime="0" ivloadpolicy="0" loop="false" modestbranding="false" origin="" playlist="" src="https://www.youtube-nocookie.com/embed/WZVmJpiFnh8?feature=shared" start="0"></iframe></div>Watch the highlights from our 2024 CLO User Summit in Munich! 🥨A big thanks to our incredible CLO Enterprise clients, partners, and speakers who traveled from all over Europe to share their experiences and insights at our fifth User Summit in Munich. Thanks to your support, we successfully brought the 3D community in Europe even closer together! Sign up for our newsletter to get the latest news on CLO features, events, and more → <a target="_blank" rel="noopener noreferrer nofollow" href="http://eepurl.com/hLgyyz">http://eepurl.com/hLgyyz</a><img src="https://storagefiles.clo-set.com/public/community/202412/d1197d23796a4ba3b330c1f8a8f128d7/images/e0af96cee059464889a77fedae8369e7image14.webp" class="custom-image hidden-thumbnail" data-id="e0af96cee059464889a77fedae8369e7" data-width="1600" data-height="900">

CLO User Summit 2024: Munich 🥨

<img src="https://storagefiles.clo-set.com/public/community/202510/f16869c1b54c4ed697f2721cddfe1340/images/f82054a2087243cc93bd03345fcf8b28default_thumbnail.jpg" class="custom-image hidden-thumbnail" data-id="f82054a2087243cc93bd03345fcf8b28" data-width="540" data-height="540">We are delighted to announce that our new Enterprise Trade-In Policy has come into effect as of today, May 27, 2024.&nbsp;The change of contents was made in order to offer the best opportunity of exploring our new features within the latest version of Marvelous Designer, by converting perpetual license to annual subscription.The new contents are as follows:<ul><li>Price: free of charge</li><li>Entitled Versions: ALL perpetual versions from Marvelous Designer 4 to 12</li><li>Converted Effect: Each perpetual license will be given 1 year of the Enterprise subscription license</li><li>Service Timeline: until 12/31/2025</li></ul>We hope this change provides you more flexibility to enjoy Marvelous Designer, and for any further questions or inquiries, please contact at <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:sales@marvelousdesigner.com">sales@marvelousdesigner.com</a> or your regional manager.(*contact point of regional manager can be found at <a target="_blank" rel="noopener noreferrer nofollow" href="https://marvelousdesigner.com/teamconsole">License Account Admin page</a>)

The Scent of Autumn

Marvelous Designer Official

Marvelous Designer Official