<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

Construção de Bolsa

jholanvillamor

COLLECTION A

Collection A

This table seems like it could also be helpful for effects in CLO!⭐ <img src="https://storagefiles.clo-set.com/public/community/202412/c68a8a4b7dbc42c09e73dce241703fbf/images/cdb9b36cc1154de19641eb5abd51a61ePBR_04.jpg" class="custom-image medium-size" data-id="cdb9b36cc1154de19641eb5abd51a61e" data-width="640" data-height="640">Reallusion, PBR (Physically-Based Rendering), iClone 7 Manual. Retrieved from <a target="_blank" rel="noopener noreferrer nofollow" href="https://manual.reallusion.com/iClone_7/ENU/Content/iClone_7/Pro_7.4/15_PBR/PBR.htm">https://manual.reallusion.com/iClone_7/ENU/Content/iClone_7/Pro_7.4/15_PBR/PBR.htm</a>

The combinations of the Metallic and Roughness 

This outfit is compatible with the inZOI Mod. [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> --- Have thoughts or suggestions? Leave a comment below or DM us on IG @letsconnect3d ! We truly value your feedback and are always looking to improve. --- 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.

M Casual Hoodie Bermuda Set

Garment

Gender & Age

Style

Outfits

Pants

T-shirt

Genre & Mood

Daily Casual

Streetwear

inZOI

Recolor

F Peplum Tube Top Skirt Set

Polka Dot Bikini Set

F Red One-Shoulder Swimsuit

Anastasia ★ Libra

Leonora ★ Leo

F Pink Dress

M Layered Activewear Set

M Leather Vest Jeans Set

Objective

VRChat

<h2 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202605/42caea55740d4db4aff0920a708d4c0b/images/b73600ed9faf44f8a715dfc05f20a404cvl_2026_may_userspotlight.jpg" class="custom-image hidden-thumbnail" data-id="b73600ed9faf44f8a715dfc05f20a404" data-width="512" data-height="512">By day, Honolulu-based Collin (<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/collin3d/">@collin3D</a>) is a headwear design manager; by night, he crafts hyper-realistic 3D fashion in CLO. Obsessed with the tiny imperfections that bring digital garments to life, his virtual fits easily trick the eye. In this interview, Collin drops his texturing secrets and reveals why ditching Pinterest for real-world inspiration is his ultimate design cheat code.&nbsp; </h2><hr><img src="https://storagefiles.clo-set.com/public/community/202604/42caea55740d4db4aff0920a708d4c0b/images/beff152eb4934a0fa847a669ba9b4294image%20%2835%29%20%281%29.png" alt="beff152eb4934a0fa847a669ba9b4294" class="custom-image large-size" data-id="beff152eb4934a0fa847a669ba9b4294" data-width="2592" data-height="1728">Q. Can you introduce yourself and share a little about your background and current focus in 3D design?Hello, my name is Collin and I am a 3D designer based in Honolulu, Hawaii. I work full time as a design manager at a premium headwear company. In my free time, I dive into the 3D world creating personal 3D fashion designs as well as 3D modeling and animating for many other brands.Q. How did you start your journey in 3D fashion, and what made you choose CLO as your primary tool?My 3D fashion journey started when I was creating clothing cad designs in illustrator for a company I used to work for. Before learning CLO, I was constantly looking for ways to express my ideas and fashion designs. In addition to cad design I was doing simple sketches, modifying existing garments in photoshop, and even trying to sculpt the clothes in different 3D modeling programs. However, I wasn’t ever able to get anything to a point of what I was happy with nor envisioned. I almost started going crazy with all the things I wanted to create and not having a way to express it. I started to research other options and that’s when I quickly ran into CLO.<img src="https://storagefiles.clo-set.com/public/community/202604/42caea55740d4db4aff0920a708d4c0b/images/a44aa16988f24143bfa6d12d4344d003Screenshot%202026-03-12%20at%201.07.36%E2%80%AFPM.png" alt="a44aa16988f24143bfa6d12d4344d003" class="custom-image large-size" data-id="a44aa16988f24143bfa6d12d4344d003" data-width="2166" data-height="1642"><img src="https://storagefiles.clo-set.com/public/community/202604/42caea55740d4db4aff0920a708d4c0b/images/bfd696c0175c4fac91ad0d970f8992d4Screenshot%202026-03-12%20at%201.16.08%E2%80%AFPM.png" alt="bfd696c0175c4fac91ad0d970f8992d4" class="custom-image large-size" data-id="bfd696c0175c4fac91ad0d970f8992d4" data-width="2154" data-height="1640">After the steep learning curve, I was so excited to be able to create the designs that I have been keeping in my head for so long. I think one of the worst feelings as an artist is being overwhelmed with things you want to create and not having the proper medium to bring those creations to life. I am happy that CLO has been my medium thus far to showcase my art.Q. Looking at your posts from the past year, the realistic textures and fabric details stand out. What do you focus on most when creating complex materials like knits or denim?Thank you for the compliment. This is probably the most time consuming part of my work. I try so hard to make all of my renders look like real life pieces to a point where some people might even question if it is a real garment. Real garments in fact are what I focus on to try and achieve this look. I am literally staring at real life pieces looking at say the way nylon wrinkles on the seam, the way denim puckers on the cuffs, or even the little tiny pebbles or imperfections on leather jackets. When you compare a lot of 3D clothing renders and real life pieces, you can often spot the 3D render because of how “perfect” it is. The imperfections of human error and real life material is what I’m looking to capture. Little details like this I think help 3D renders look a little closer to reality.<img src="https://storagefiles.clo-set.com/public/community/202604/42caea55740d4db4aff0920a708d4c0b/images/3af43c46458c4590b4219edc4f95b7d4close%20%281%29.png" alt="3af43c46458c4590b4219edc4f95b7d4" class="custom-image large-size" data-id="3af43c46458c4590b4219edc4f95b7d4" data-width="1134" data-height="2015"><img src="https://storagefiles.clo-set.com/public/community/202604/42caea55740d4db4aff0920a708d4c0b/images/a2b3eae4beac460e9fe4f3c58e6aa8b0DiorBack2.png" alt="a2b3eae4beac460e9fe4f3c58e6aa8b0" class="custom-image large-size" data-id="a2b3eae4beac460e9fe4f3c58e6aa8b0" data-width="1127" data-height="1716">Q. Your work goes beyond showcasing garments; the mood and lighting create a distinct atmosphere. Do you have a specific philosophy or preferred setup when rendering your scenes?My render setups are simply “if I owned a clothing brand, how would I want to showcase it?” These real life photoshoot environments are the kind of imagery I want to create. It’s much easier to incorporate unique elements like statement couches or distinctive plants into a shoot in 3D than it is in real life. There are virtually no limitations. When it comes to the lighting, I personally try to add as little lights as possible. I want the main light source to come from different HDRIs so that the end result looks very natural and the clothing isn’t blown out by certain studio lights. Q. Out of all your projects, which one is your favorite or most memorable? Please tell us why.I think my favorite and most memorable project I did was honestly <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/reels/CrPhD9eu9M2/">my first ever clothing post</a> which was a concept I did for a brand and designer I looked up to for a long time. I created 100s of designs before this, but I was so excited that I finally created a product I felt happy showcasing. Looking back, it was just a simple logo puffer jacket, and since then my designs have become far more detailed and intricate. However, that outfit definitely started the journey and I still remember the feeling of posting my first 3D clothing design.<img src="https://storagefiles.clo-set.com/public/community/202604/42caea55740d4db4aff0920a708d4c0b/images/68cb777d639a4e21b01e30fc3aa52fcbFinalMain%20%281%29.png" alt="68cb777d639a4e21b01e30fc3aa52fcb" class="custom-image large-size" data-id="68cb777d639a4e21b01e30fc3aa52fcb" data-width="1512" data-height="2015">Q. Which CLO tools or features do you find most valuable in your design process?I think it would be disrespectful to CLO to choose only a couple tools or features that are my favorite lol. Just the fact that I have a digital sewing machine at my finger tips where I can create any clothing item that can be translated to a real life garment is what makes me love CLO.Q. Given the high quality of your work, it seems you use other software alongside CLO. Could you briefly describe your typical workflow combining different tools?I use CLO to create all my base clothing designs. I render everything in Blender. My texturing is all over the place haha. Hard to explain my entire process via words, but I use a heavy mix of photoshop and texture stacking with nodes in blender. I look forward to other ways of texturing in the future like substance painter and even more integrations that CLO introduces.Q. What do you struggle with the most in the creative process, and how do you deal with the feeling of being overwhelmed by wanting to create so many designs?That’s honestly the thing I struggle with the most. I have so many pictures, notes, mood boards, and random ideas saved on things I want to create. One of the hardest parts is just finding the time to actually bring all those ideas to life. The only way I’ve been able to somewhat deal with the feeling of being overwhelmed is by fully immersing myself in whatever design I’m currently working on. I try my best to focus only on ways to improve the piece in front of me instead of constantly thinking about the next idea.<img src="https://storagefiles.clo-set.com/public/community/202604/42caea55740d4db4aff0920a708d4c0b/images/dd94481d00dd44a4998a83e75f7cc1ccIMG_7445%20%281%29.png" alt="dd94481d00dd44a4998a83e75f7cc1cc" class="custom-image medium-size" data-id="dd94481d00dd44a4998a83e75f7cc1cc" data-width="1061" data-height="2300"> I think a lot of people end up chasing the algorithm, posting as many designs as possible because they believe quantity is more important than quality. I know I probably should post more often too, but sometimes you’ll notice there’s a month gap between my projects. That’s because I treat every design as if it’s actually going to be produced. I keep making small adjustments all the way up until the day I post it.<img src="https://storagefiles.clo-set.com/public/community/202604/42caea55740d4db4aff0920a708d4c0b/images/9d7aa99ec85443d2a78d25edee1b6e2dimage%20%2833%29%20%281%29.png" alt="9d7aa99ec85443d2a78d25edee1b6e2d" class="custom-image large-size" data-id="9d7aa99ec85443d2a78d25edee1b6e2d" data-width="2276" data-height="1615"> Sometimes I’ll look back and realize that if I had posted a design any earlier, before those last minute changes, it would’ve been completely different. Those small tweaks, while not trying to overdo it, can make a huge difference.For any artist who feels overwhelmed, try to see it as a positive sign. It usually means you truly love to create. Use that energy as fuel and channel it into making as much as you can.Q. What advice would you give to students or beginners who are just starting their journey in 3D fashion?Design what you love. These programs can get overwhelming and complicated enough to make you want to quit. The only way to push through is by creating pieces and working in categories you’re genuinely passionate about. When I first started, it felt like my entire life revolved around improving my renders. I watched endless YouTube videos and spent hours researching just to fix one small glitch. I thought about my renders, before bed, on walks, in the shower, etc. If you’re not truly obsessed with it, this probably isn’t the space for you and you will eventually get burned out. I believe that 3D fashion is the future and if you are able to conceptualize your ideas in this way, you will stand out against the rest because you aren’t on real world timelines like factories, manual sewing, fitting errors / etc. Also, I think finding someone you can bounce your ideas off of is extremely helpful. I think as designers when we stare at a screen and one design for hours on end, sometimes we need a fresh set of eyes. In my posts you will often see me tag one of my best friends, who runs a page called wonder years studios. We are constantly hashing out new ideas with each other and it helps me tremendously to see something new that I might have missed.<img src="https://storagefiles.clo-set.com/public/community/202604/42caea55740d4db4aff0920a708d4c0b/images/8345592e8c7d45b7baac48532afd846fmoodboard%20%282%29%20%281%29.png" alt="8345592e8c7d45b7baac48532afd846f" class="custom-image large-size" data-id="8345592e8c7d45b7baac48532afd846f" data-width="2122" data-height="1886">The last piece of advice I’d give is to put the phone down. This industry is flooded with the same designs, slightly tweaked again and again. I’m not saying I’m not guilty of it too, but my strongest ideas usually come when I step away from social media and screens. Go outside. Pay attention to the world around you. Just going for walks can spark new ideas. For example, these pictures (added below) were from my walk today. The way the rain dried on the pavement looked like it could become a new texture for a jacket. The base shape of this palm tree felt like it could inspire a whole new silhouette. Just looking up in real life can really elevate your designs to something original instead of another Pinterest trendy sweatsuit that looks like everything else.Q. Is there a new style or project you’re excited to try next? What are your future plans?I wouldn’t say there’s one specific project I’m most excited to work on next. I have so many ideas that I’m eager to share as I continue to grow. Ultimately, I’d love to take my journey toward creating more real world pieces. It’s definitely an expensive process, but I’m passionate about turning my content into something that begins with a sketch, moves into the sewing process in CLO, includes the texture rendering, and then captures the behind the scenes production of the final product coming to life. I think this type of process would create in depth content that really highlights how capable these 3D programs are. Whether that happens through collaborations with other brands or by launching something of my own, I’m open to wherever the journey leads. More than anything, I’d love to see my virtual designs brought into the real world and worn in everyday life.

Headwear Manager by Day, 3D Architect by Night: Inside @collin3D’s Hyper-Realistic World

아카데믹 챌린지

Dress

The Handbag Edit

<h2 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202603/9eed4735f3614787bc3f6a4dfe667bf0/images/9341ad26a0ae4d3789b2ae1b7677d806cvl_2026_march_user_spotlight_v1.png" class="custom-image hidden-thumbnail" data-id="9341ad26a0ae4d3789b2ae1b7677d806" data-width="512" data-height="512"><img src="https://storagefiles.clo-set.com/public/community/202603/9eed4735f3614787bc3f6a4dfe667bf0/images/7f96b980ee4e469991ec0fdd6882a587cvl_2026_march_user_spotlight_v3_1.png" class="custom-image hidden-thumbnail" data-id="7f96b980ee4e469991ec0fdd6882a587" data-width="512" data-height="512">Meet <a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/portfolio/274957/collection/collections">Wilhelm Grehl</a>, the 3D designer who skips the sketchbook entirely to engineer fashion directly in CLO. In this User Spotlight, he reveals his unique workflow of treating digital fabric like "engineering material" to achieve his signature technical aesthetic. Discover how he turns a blank 3D window into production-ready streetwear without drawing a single line.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202603/9eed4735f3614787bc3f6a4dfe667bf0/images/c4bbfbd6df75408dbed283b7398f45a32.jpg" alt="c4bbfbd6df75408dbed283b7398f45a3" class="custom-image large-size" data-id="c4bbfbd6df75408dbed283b7398f45a3" data-width="3000" data-height="4000">Can you please introduce yourself and tell us a bit about your background and current work as a designer?I’m Wilhelm Grehl, a 3D fashion designer from Germany working mainly with CLO. I create 3D oversized streetwear designs for brands and I help them develop their ideas in 3D, bridging digital fashion designs with real industry workflows — making 3D not just a visual tool, but a full production system.How did you get started in 3D fashion, and what role does CLO currently play in your creative workflow?After studying fashion design I didn’t want to become a traditional fashion designer and I was also not good with drawing so I was looking for a way to make designs in a different way. I also wanted to travel the world and when I discovered CLO it was the right fit for me. In the beginning I created more experimental and artsy designs and renders but found my way into the freelance world and creating designs that are ready to be produced by brands.CLO is everything in my creative workflow, I start with an idea in my head and jump right into CLO to create it. No sketching or mood board.<img src="https://storagefiles.clo-set.com/public/community/202603/9eed4735f3614787bc3f6a4dfe667bf0/images/3b632028836b4de38bc0216cd25f24e6Final_pants_closeup%20%281%29.png" alt="3b632028836b4de38bc0216cd25f24e6" class="custom-image large-size" data-id="3b632028836b4de38bc0216cd25f24e6" data-width="1950" data-height="2600">For beginners who face "blank canvas syndrome," do you have a favorite starting method?I always start with a block that comes closest to the garment I want to create and then go from there. I never start from scratch. Over the years I built a library of garments which I can use for my daily work.Your recent work shows a shift from heavy hardware to a more 'articulated' aesthetic where the pattern itself defines the silhouette. When you begin a project, do you prioritize the 2D pattern's structural logic or the 3D drape's visual impact to achieve this technical look?I always create the base first, which means the overall shape has to look good, and then I put in the actual design with all the details like cuts, piping, stitching etc. <img src="https://storagefiles.clo-set.com/public/community/202603/9eed4735f3614787bc3f6a4dfe667bf0/images/33f4708ccc984dde83c29a810174996eAnarchy_amsterdam_windbreaker_front_new.png" alt="33f4708ccc984dde83c29a810174996e" class="custom-image large-size" data-id="33f4708ccc984dde83c29a810174996e" data-width="2300" data-height="3000"><img src="https://storagefiles.clo-set.com/public/community/202603/9eed4735f3614787bc3f6a4dfe667bf0/images/b7e5aadbaff34e22897c5c8324b733e6Anarchy_amsterdam_windbreaker_inside.png" alt="b7e5aadbaff34e22897c5c8324b733e6" class="custom-image large-size" data-id="b7e5aadbaff34e22897c5c8324b733e6" data-width="2300" data-height="3000"> Technical wear often draws inspiration from non-fashion elements like architecture or industrial design. When translating these inspirations into CLO, how do you handle the 'materiality'? For instance, how do you simulate the tension and stiffness of technical fabrics to match your vision?For materiality, I spend a lot of time dialing in fabric properties instead of relying on defaults. I adjust stiffness, stretch, thickness, and pressure to simulate tension and structure — especially for technical or industrial-inspired pieces. I treat fabrics almost like engineering materials, not just textures.Is there one specific setting in the Property Editor (e.g., Shear, Bending, or Thickness) that you think is the "secret ingredient" for that stiff, technical look?That stiff, technical look comes from a combination — keep the stretch and shear values low and the bending values high. A proper thickness supports that.<img src="https://storagefiles.clo-set.com/public/community/202603/9eed4735f3614787bc3f6a4dfe667bf0/images/2a8811a28d7043a78b33087c558d19ebScreenshot%20Hoodie_35.3_pattern.png" alt="2a8811a28d7043a78b33087c558d19eb" class="custom-image large-size" data-id="2a8811a28d7043a78b33087c558d19eb" data-width="2560" data-height="1440">To achieve the 'refined realism' seen in your latest portfolio—such as clean bonding lines and complex layer stacks—which specific CLO tools or 'hidden' workflows (e.g., modular configurations, custom trims) have become most indispensable for your quality control?For refined realism, the key tools for me are layer cloning, precise seam control, custom trims, and very organized pattern setups. I also rely heavily on modular workflows — building pieces in clean systems so I can control complexity without breaking realism. Clean bonding lines and stacking only work if everything underneath is technically solid.<hr>You are actively selling your assets on CONNECT. Creating a product for others to use must be different from creating personal art. What is your top priority when creating assets for sale?When I create assets for others, usability comes first. I create a lot of base shapes so they can be used in CLO projects. The asset has to be easy to modify and immediately usable — not just look good in a render.<img src="https://storagefiles.clo-set.com/public/community/202603/9eed4735f3614787bc3f6a4dfe667bf0/images/2c0a142734884c6ab57ca19fbb31b75fimage.png" alt="2c0a142734884c6ab57ca19fbb31b75f" class="custom-image large-size" data-id="2c0a142734884c6ab57ca19fbb31b75f" data-width="1530" data-height="298"> How does it feel to see your assets being used in other creators' works? Do you have any memorable moments related to this?I know that people are using my assets, even if I don’t see the final results. That is completely fine, because my goal is to provide a starting point for creators to build their own designs.You mentioned the "location-independent" lifestyle. What is the one reality check or challenge of this lifestyle that aspiring freelancers should know?For me there wasn't a big challenge, of course it's good if you have a steady income so you don't get into any trouble and you have to tell yourself that it's not a vacation, even though you might live next to a beautiful beach.And you have to stay consistent. When you’re moving between countries, routines break easily — work hours shift, internet quality varies, energy levels change, and it’s on you to still deliver at a professional level no matter where you are.The upside is real freedom. But the trade-off is that you have to build systems, habits, and financial buffers first.It still was the best decision for me and a dream come true. I can travel the world and work my dream job every day.<img src="https://storagefiles.clo-set.com/public/community/202603/9eed4735f3614787bc3f6a4dfe667bf0/images/56577592cad04dce8df4c6eeaf58f640IMG_20260224_115518_178.jpg" alt="56577592cad04dce8df4c6eeaf58f640" class="custom-image large-size" data-id="56577592cad04dce8df4c6eeaf58f640" data-width="1199" data-height="1600"> What are your future goals as a designer and a seller? Are there any new collections or projects you are currently working on?The current project I’m working on is a program to help 3D fashion designers build freelance income like me so they can work with their dream clients and be location independent. Besides that I’m always designing new pieces and working on client projects. That's my daily work.

No Sketchbooks Needed: How Wilhelm Grehl Engineers Fashion in CLO

HANA

Hello, I'm new to Marvelous Designer and have followed many tutorials but I'm having an issue that I cannot seem to find a solution to - so I am here asking for help. Note: I am using Unreal Engine 5.6, Metahuman 5.6, CLO/MD LiveSync, MD Version 2025.1.107 I was able to get my Metahuman into Marvelous Designer, add a garment from the library, and fit the garment to my Metahuman in MD. When I "Update"/Sync MD in UE the garment Z position is off and thus does not align with may MH skeleton - See Pics. In the pic with the long black skirt, I had to reposition everything in the +Z direction and lengthen the skirt to meet the floor. As you can see in the pic the bottom of the garment is at the floor but everything else areas to be moved upward - about the amount I had to lengthen the skirt? In the pick with the white dress with its skeleton, I did not alter this garment in MD, I simply used the simulation to fit it to my MH avatar. You can see the garment is incorrectly positioned int e Z direction. What could I be doing wrong? Thanks for any help you can provide. Update: Last image in UE is the Black Skirt and top unedited but repositioned to fit my MH avatar. Update 2: As I investigate this, I have noticed a 4" discrepancy in the heights between my Metahuman and the imported Avatar in MD. My metahuman is 68" tall and the Avatar is 72" tall. Not sure if this is the problem as the garment appears to be off greater than this 4" discrepancy - it's closer to 6". <img src="https://storagefiles.clo-set.com/public/community/202509/8def7553a9e1486cb7e271485f0c216e/images/a01a0e3320dd4ba395a062a8a7c93c14Screenshot%202025-09-02%20093250.png" alt="a01a0e3320dd4ba395a062a8a7c93c14" class="custom-image original-size" data-id="a01a0e3320dd4ba395a062a8a7c93c14" data-width="2599" data-height="1405"><img src="https://storagefiles.clo-set.com/public/community/202509/8def7553a9e1486cb7e271485f0c216e/images/d32c7642abb142e29e64ec175cd3e8b9Screenshot%202025-09-02%20093741.png" alt="d32c7642abb142e29e64ec175cd3e8b9" class="custom-image original-size" data-id="d32c7642abb142e29e64ec175cd3e8b9" data-width="1100" data-height="1275"><img src="https://storagefiles.clo-set.com/public/community/202509/8def7553a9e1486cb7e271485f0c216e/images/4c31aad76bbf441595ec858c13e5b73dScreenshot%202025-09-02%20110315.png" alt="4c31aad76bbf441595ec858c13e5b73d" class="custom-image original-size" data-id="4c31aad76bbf441595ec858c13e5b73d" data-width="785" data-height="1142">

Solved: Clo/MD LineSync and Z Position in Unreal

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

CLO Official

CLO Official