<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

Canvas

FV2 Active Sandal A green

KV1 Active Sandal A (7-20y)

MV2 Uglyshoe Black

Canvas2

[Lucy] Shoes Converse

MV2_Leather Boots Big Size

MV2 Replica Suede Outsole Round

2501848740

Gender & Age

Style

Genre & Mood

Objective

inZOI

VRChat

Garment

Rising Talent Contest

<img src="https://storagefiles.clo-set.com/public/community/202603/16c0faac87214a33ba6142c72e5c4ace/images/56542b3974314bf38e576516f46f9a7aScreenshot%202026-03-02%20at%201.56.59%E2%80%AFPM.png" class="custom-image hidden-thumbnail" data-id="56542b3974314bf38e576516f46f9a7a" data-width="1360" data-height="1296">We recently sat down with Usha (UJ Designs), one of CONNECT’s top-performing sellers, to discuss how she turned 3D asset creation into a stream of passive income. She discovered CLO and 3D back in 2017, then started uploading her assets to CONNECT around 2023. When she found CONNECT, Usha realized that she only had to make a good design once for it to be reused and generate continuous value. She could use the platform to profit off her existing designs as well as use it as a portfolio website and attract clients. Our team noticed <a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/portfolio/7188/collection/collections">UJ Designs</a>’ success on the platform and couldn’t help but wonder what the secret behind her “success formula” was.&nbsp;In simple terms, she describes her formula as a combination of:Volume + Consistency, Trending Designs, Patternmaking + Technical Knowledge, Reasonable Pricing <h1>Volume + Consistency</h1>When she just started selling on CONNECT, Usha used her flexible schedule to upload up to five designs per day. Over the 2 years of constantly uploading, she has built a personal marketplace with over 650 assets. At first glance, 650 might sound like a lot but it’s what allowed Usha to stay relevant to buyers and generate continuous sales. Her CONNECT profile is neatly organized in different clothing categories and styles, making it easy to search and browse.&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202603/16c0faac87214a33ba6142c72e5c4ace/images/60a755f5335540e48dbd1567c30c6256Screenshot%202026-02-05%20at%202.11.10%E2%80%AFPM.png" alt="60a755f5335540e48dbd1567c30c6256" class="custom-image original-size" data-id="60a755f5335540e48dbd1567c30c6256" data-width="3320" data-height="1760"><h1>Trending Designs</h1>Usha taught herself digital patternmaking by watching YouTube videos and refined her skills by replicating trending designs she liked while window shopping. She mainly focuses on classic, easily customizable silhouettes, making her designs extremely appealing to both freelance designers and emerging brands.&nbsp;Aspiring designers who'd like to learn how to use CLO now can take in-depth courses on <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.cloacademy.online/catalog">CLO Academy</a> or refer to many resources on <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/@CLO3D">CLO YouTube</a> channel to jumpstart their own journey.&nbsp; <h1><img src="https://storagefiles.clo-set.com/public/community/202603/16c0faac87214a33ba6142c72e5c4ace/images/5cf4e0f2b95248d3aab6d69a5eca97fcScreenshot%202026-02-11%20at%205.02.23%E2%80%AFPM.png" alt="5cf4e0f2b95248d3aab6d69a5eca97fc" class="custom-image original-size" data-id="5cf4e0f2b95248d3aab6d69a5eca97fc" data-width="3354" data-height="1910"> Patternmaking + Technical Knowledge</h1>Before getting into freelancing, Usha worked in corporate fashion. Given her background in manufacturing and experience creating tech packs, her asset files come with a lot of crucial information and instructions like precise stitching placements, making it easier for the manufacturer to produce the garment. Using CONNECT’s 3D viewer, buyers can check the pattern inside out to confirm its functionality without needing to download the file and open CLO. <img src="https://storagefiles.clo-set.com/public/community/202603/16c0faac87214a33ba6142c72e5c4ace/images/11b05179c92e43acaa68adc2a7278dcdconnect_gif.gif" alt="11b05179c92e43acaa68adc2a7278dcd" class="custom-image original-size" data-id="11b05179c92e43acaa68adc2a7278dcd" data-width="434" data-height="250"><h1>Reasonable Pricing</h1>All of the points above combined helped Usha differentiate herself from other sellers and set her pricing comfortably without overcharging but still taking into account the effort and time that goes into the creation of a single functional design.&nbsp;<h2 style="text-align: center">“I realized that there are a lot of young designers out there who probably also want to start but do not possess a 3D skillset yet or just need a base to start. That’s why I also didn’t price my assets too high. They can buy them and just edit to use it for their clients. Add the client’s logo. Add the color. And then they can charge any amount they want.”</h2><h2 style="text-align: center"></h2><h1>The key to Usha’s approach</h1>Usha encourages designers to focus on building something sustainable. For her, CONNECT wasn’t about overnight success. It was about consistently showing up, refining her catalog, and treating her profile like a growing storefront.She also leveraged <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/connect.by.usha/">Instagram</a> to drive traffic and saw firsthand how visibility impacts sales. When she stopped posting, sales dipped, a reminder that even passive income benefits from ongoing attention. Her takeaway: build steadily, stay visible, and give your work time to compound.Whether you’re looking for high-quality 3D assets or ready to launch your own digital storefront, CONNECT is the place to be. Follow in Usha’s footsteps and start your journey today!Check out these articles on how to start <a target="_blank" rel="noopener noreferrer nofollow" href="https://support-connect.clo-set.com/hc/en-us/categories/44704952577561-Creating-Item">creating</a> and <a target="_blank" rel="noopener noreferrer nofollow" href="https://support-connect.clo-set.com/hc/en-us/articles/45304331487769-Uploading-Items">uploading items</a> to CONNECT. Here’s a quick overview:&nbsp;&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202603/16c0faac87214a33ba6142c72e5c4ace/images/f41a8cab41c149b396bded9d1e4ed46aScreenshot%202026-02-09%20at%203.55.46%E2%80%AFPM.png" alt="f41a8cab41c149b396bded9d1e4ed46a" class="custom-image original-size" data-id="f41a8cab41c149b396bded9d1e4ed46a" data-width="3404" data-height="2038"><ol><li>Create an account on <a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/">https://connect.clo-set.com/</a> .</li><li>Click the “Upload” button in the top right.&nbsp;</li><li>Select “Store” from the marketplace type.&nbsp;</li><li>Upload your file and add the item title, description, tags, as well as supporting images.&nbsp;</li><li>Select the appropriate category.&nbsp;</li><li>Set your item price for basic and extended licenses.&nbsp;</li><li>Click “Upload”.&nbsp; </li></ol>Questions? Drop a comment below!

How UJ Designs Monetized Her CLO Designs and Now Earns Passive Income on CONNECT 

COLLECTION A

<h2 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202604/fac0d5f2cf8f43b6be7bd006089fb249/images/846a753d29e3436188ef0965cd49d5a1Banner%20Nay%201.png" class="custom-image hidden-thumbnail" data-id="846a753d29e3436188ef0965cd49d5a1" data-width="1200" data-height="675">This year, our community celebrated creativity and cultural expression through the Carnival Design Contest. Designers were invited to capture the vibrant spirit of Carnival and bring their ideas to life using CLO. The contest received inspiring submissions that showcased not only technical skill but also the imagination and unique perspectives of creators from our community.</h2><h2 style="text-align: center">We spoke with the grand winner, Nay Dassi (<a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/portfolio/490999/collection/collections">WarpAtelie</a>), to learn more about his journey, the inspiration behind his winning design, and the creative process that turned his vision into a Carnival look full of personality.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202604/fac0d5f2cf8f43b6be7bd006089fb249/images/b145017d6629415b97d6ce7e76ccd7a1Nay.png" alt="b145017d6629415b97d6ce7e76ccd7a1" class="custom-image large-size" data-id="b145017d6629415b97d6ce7e76ccd7a1" data-width="1223" data-height="533"> Can you introduce yourself and share a bit about your journey as a designer? My name is Nayson Dassi, and I’ve been a fashion designer for almost 12 years. Today, I work with prints and digital fashion, serving brands across different niches. This May will mark one year since I started creating directly for the end consumer at Warp. All pieces are designed in 3D and sewn by me, turning Warp into a phygital atelier. With digital fashion, I can deliver truly original pieces with well-crafted finishes and techniques.What inspired your Carnival design? What story or energy did you want to capture? I’ve always experienced Carnival from a distance. I’m not into street parties or samba, but I’ve always found it magical and beautiful. I’m from Rio Grande do Sul, but I lived in Rio de Janeiro and experienced the city beyond its tourist side. That’s when I saw a Bate-Bola for the first time, and it amazed me. It stood out in the middle of a street parade passing my house, and I instantly fell in love.<img src="https://storagefiles.clo-set.com/public/community/202604/fac0d5f2cf8f43b6be7bd006089fb249/images/563e52360bea4ee4920e36b6d3207631IMG_8026.jpg" alt="563e52360bea4ee4920e36b6d3207631" class="custom-image large-size" data-id="563e52360bea4ee4920e36b6d3207631" data-width="718" data-height="957"><img src="https://storagefiles.clo-set.com/public/community/202604/fac0d5f2cf8f43b6be7bd006089fb249/images/4c58ce4da80648d3b45fe4449a86b56dMoodboard%20%281%29.png" alt="4c58ce4da80648d3b45fe4449a86b56d" class="custom-image large-size" data-id="4c58ce4da80648d3b45fe4449a86b56d" data-width="1800" data-height="2400"><hr>What was the first element you developed, and how did the design evolve? From the start, I knew I wanted to create a Bate-Bola costume. I sketched out rough ideas and immediately started modeling everything in CLO. I like to work by putting ideas into practice quickly. I visualize the concept in my head, then start thinking about patterns and structure. I work organically, experimenting and adjusting along the way until the piece feels right.Did you face any creative challenges during the process? How did you overcome them? At first, I considered a costume with lots of fringes, but the process and result didn’t work. That led me to focus more on prints and textures. When I hit a block in development, I move to another stage and return later to see if the problem really needs attention or if it works in context. I’m flexible—I don’t believe in perfect work; sometimes you have to let go of certain details.<img src="https://storagefiles.clo-set.com/public/community/202604/fac0d5f2cf8f43b6be7bd006089fb249/images/e3c7f6ddb876444f858a805620627364Captura%20de%20tela%202026-03-20%20012444.png" alt="e3c7f6ddb876444f858a805620627364" class="custom-image large-size" data-id="e3c7f6ddb876444f858a805620627364" data-width="1919" data-height="1079"><img src="https://storagefiles.clo-set.com/public/community/202604/fac0d5f2cf8f43b6be7bd006089fb249/images/22c5dae7453d43df950b6c9952eda73fCaptura%20de%20tela%202026-03-20%20012522.png" alt="22c5dae7453d43df950b6c9952eda73f" class="custom-image large-size" data-id="22c5dae7453d43df950b6c9952eda73f" data-width="1919" data-height="1079">Was there a moment when CLO allowed you to do something that would have been impossible physically? The entire project. A Bate-Bola costume is structurally complex and can take months to create, often passed down generation to generation. Today, I can’t imagine creating without testing first in 3D. I only go physical if I’ve done something similar before. For new designs, CLO gives me confidence—I can test, experiment, and see how it works before making it physically.Carnival pieces are known for their detail, color, and volume. What was the biggest challenge translating this into CLO? I’ve built a solid foundation in CLO and always try to keep files light for smooth simulation. I rely on visual shortcuts to convey realism while keeping the file manageable. For this project, I used the “strengthen” function to give structure to almost the entire costume,Which CLO tools or features were most important for bringing your vision to life? The “strengthen” function was key for structure, along with interfacings and carefully marked topstitching for realism. These also allowed me to experiment with prints directly in CLO, sometimes even adjusting colors on the fly.<img src="https://storagefiles.clo-set.com/public/community/202604/fac0d5f2cf8f43b6be7bd006089fb249/images/bc4c5771da69433fae4685211c12bdbdCaptura%20de%20tela%202026-03-20%20012614.png" alt="bc4c5771da69433fae4685211c12bdbd" class="custom-image large-size" data-id="bc4c5771da69433fae4685211c12bdbd" data-width="1919" data-height="1079">Which part of the design are you most proud of technically, and why? Every detail excites me—the stripes, fixed fringes, and the weave that reveals the avatar underneath. One hand holds a ball, the other a themed umbrella. I designed every print, from elaborate motifs to polka dots and stripes. I loved being able to include all the ideas in my head, even transforming my atelier’s logo into a giant headpiece layered with another headpiece underneath. It was pure fun and creativity.<hr><img src="https://storagefiles.clo-set.com/public/community/202604/fac0d5f2cf8f43b6be7bd006089fb249/images/2082f6a547fa46beaae4774e63807bc2MACAC%C3%83O%20BASE%20-%20Copia%20-%20Copia_1.png" alt="2082f6a547fa46beaae4774e63807bc2" class="custom-image large-size" data-id="2082f6a547fa46beaae4774e63807bc2" data-width="1080" data-height="1350">What advice would you give designers hesitant to start with 3D or enter contests like this? You only learn by doing. CLO gave me the autonomy and confidence to model in ways I never had before. Today, I only take on projects for brands that embrace CLO or 3D. The market is moving fast—those who adapt thrive; those who don’t, fall behind. Just start, however you can. I began designing prints on my phone and gradually built my atelier with every opportunity the market gave me. It’s not easy, but it’s far more rewarding than just wishing.What’s next? Are there projects you’re excited about? I’m launching Warp’s winter collection with pieces modeled and rendered in CLO, using AI 3D avatars. The designs are wide, bold, and feature exclusive prints I created. This time, they have more visibility than last year, and I hope to produce even more. I’m thrilled to release these new pieces and sew the upcoming orders.

From Rio's Streets to the Grand Prize: How Nay Dassi Brought Carnival to Life in CLO

SALE_Top

Creator's Contest 2025 Vol. 3 FANTASY ARCHIVES

HAZZYS FOOTBALL CLUB

Timeless Fairway

Collection A

<img src="https://storagefiles.clo-set.com/public/community/202606/5c7365abf2c3415e908f8e5eea45fddc/images/6129dccdd4c4412ba78e8aebc7e4313aScreenshot%202026-06-11%20at%2014.54.28.png" class="custom-image hidden-thumbnail" data-id="6129dccdd4c4412ba78e8aebc7e4313a" data-width="1252" data-height="1120">This role centres around soft woven products focusing primarily on dresses, skirts and jersey. You will also work with reactive, in-season design of highly targeted pieces with a quicker, end-to-end development flow. Projects will be cross-category but with a particularly strong focus on flou. What you will do:<ul><li>Design predominantly into the soft woven and jersey category, responding to real-time needs identified for the upcoming season. Working to a brief provided by the Head of Design</li><li>Capture and articulate missed tendencies or emerging opportunities to enrich the collection.</li><li>Collaborate closely with dedicated factory partners.</li><li>Create designs with a faster-than-usual turnaround-from initial sketch through to toile, proto and final development. • Work on long lead time jersey fancy and soft wovens products allowing for in depth stand-work, draping and pre-development fittings</li><li>Partner closely with the factory team, who will be based in London during the launch and development phases.</li><li>Lead fittings planned in a concise window from our central London atelier.</li><li>Lead research and trend analysis to maintain strong customer insight, monitor market changes, and ensure designs meet evolving expectations.</li><li>Ensure high standards of quality, design integrity, and technical expertise in textiles and colours, while developing trends and supporting seasonal campaigns.</li><li>Work closely with cross-functional teams to maintain critical paths, improve processes, and deliver efficient workflows that support assortment and brand growth.</li></ul> Qualifications What we're looking for:<ul><li>Strong, proven experience as a senior womenswear designer in contemporary, premium, or luxury brands. Softs background essential</li></ul> Strong aesthetic aligned with COS<ul><li>Modern, brand relevant, effortless womenswear</li><li>Silhouette driven designs and innovative construction</li><li>In depth understanding for fabric behaviour, drape and technical nuance within soft wovens</li><li>A refined eye for thoughtful detail and elevated simplicity</li></ul> Technical &amp; creative capabilities<ul><li>Confident hand sketching</li><li>Strong understanding of pattern cutting and garment construction</li><li>Experience using 3D design tools is a plus</li></ul> Collaborative ways of working<ul><li>Ability to work to precise briefs and fast-paced timelines</li><li>Comfortable responding to feedback and revising quickly</li><li>Experience partnering with product development teams or factories</li><li>Strong experience of leading and driving fittings</li><li>Strong organisation and self-management skills</li></ul> Please kindly note that in order for us to consider your application, you will need to include a portfolio or examples of your work most suited to the COS design aesthetic. Additional Information This is a full time permanent role based at our Head Office in London.<a target="_blank" rel="noopener noreferrer nofollow" href="https://jobs.smartrecruiters.com/HMGroup/744000130562306-senior-designer-womenswear-softs-?trid=58ee38bb-07a7-4f7b-a731-ef6461db0b97">https://jobs.smartrecruiters.com/HMGroup/744000130562306-senior-designer-womenswear-softs-?trid=58ee38bb-07a7-4f7b-a731-ef6461db0b97</a>

[Job] COS - Senior Designer: Womenswear (London, UK)

现在还有公司在3D试身方面有涉猎么，可以一起交流<img src="https://storagefiles.clo-set.com/public/community/202511/23bf1b1011e349c2aec5f99edef63c00/images/6281507daadd4524a64b38eae2dc94c9%E5%B1%8F%E5%B9%95%E6%88%AA%E5%9B%BE%202025-11-01%20214025.png" alt="6281507daadd4524a64b38eae2dc94c9" class="custom-image original-size" data-id="6281507daadd4524a64b38eae2dc94c9" data-width="2559" data-height="1535"><img src="https://storagefiles.clo-set.com/public/community/202511/23bf1b1011e349c2aec5f99edef63c00/images/9aa9830032ea4ef3bb9085f2db622b10%E5%B1%8F%E5%B9%95%E6%88%AA%E5%9B%BE%202025-11-01%20213942.png" alt="9aa9830032ea4ef3bb9085f2db622b10" class="custom-image original-size" data-id="9aa9830032ea4ef3bb9085f2db622b10" data-width="2559" data-height="1537">

男装外套试身

Freelancer

Others

F Futuristic Sci-Fi Dress

M Panelled Street Tracksuit Set

Helena ★ Pisces

M Casual Hoodie Bermuda Set

F Ribbon Cami Jeans Set

Western Vintage Set

Dotted Top Jeans Set

F Turtleneck Trousers Set

This outfit was created by <a href="https://connect.clo-set.com/portfolio/130523/collection/collections" target="_blank">[RAION]</a> and is compatible with the inZOI Mod. The original work can be found at: <a href="https://connect.clo-set.com/detail/82d6cce37b2e40ea9a71883c2aa93387" target="_blank">[Link]</a> **Limited-Time Offer: This asset is only available during the contest period. [File Contents] Mod Package File [How to use] Download and extract the files. Then, copy the extracted folder to the following directory: Documents\inZOI\Mods For a detailed guide, please refer to the link below. <a href="https://shaded-guilty-011.notion.site/inZOI-User-Guide-for-the-Mods-Package-23e4bf91ad5580ba8778da88ea12a3c1" target="_blank">https:&#x2F;&#x2F;shaded-guilty-011.notion.site&#x2F;inZOI-User-Guide-for-the-Mods-Package-23e4bf91ad5580ba8778da88ea12a3c1</a> --- Use of Gamewear Items is permitted solely for your personal gameplay within inZOI. Any form of distribution or redistribution of Gamewear Items, whether for commercial or non-commercial purposes and whether paid or unpaid, on any platform other than inZOI is strictly prohibited.

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

CLO Official

CLO Official