<h2 style="text-align: center">INTERVIEW from Winners, 2nd Place in Amateur Category - Hunt: Showdown 3D Apparel Creation Contest.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202501/a5a198322a924793a7a827cddcd4f1fe/images/51e65cf892d04e6da515f64d8984d6c30ee512a5e8874bd6ac85b8c702f84ecd.jpg" class="custom-image original-size" data-id="51e65cf892d04e6da515f64d8984d6c3" data-width="1920" data-height="1625"><h1 style="text-align: center">By Ana Zlatkovic - 2nd Place in Amateur Category</h1><hr><h1>1. Where did you get the inspiration of your hunter?&nbsp;</h1>A few months prior to the contest, I had access to a book with beautiful illustrations of the Victorian era fashion depicting lavish dresses of this era. When the contest started, I remembered all those crinolines, corsets, folds and ruffles, and I knew I wanted Victorian elements in my design. With that in mind, I started my research mainly relying on online resources.&nbsp; <h1>2. Could you explain in chronological order what process you went through for the garment creation of your winning work?</h1>I first focused on general research of the Victorian era. My first goal was to learn as much as possible about life in the 19th century, not just the way people dressed, but also what their everyday activities were, how social structure affected their activities and how it defined fashion characteristics of that time. &nbsp;Then I compiled a collection of reference photos to help me organize and remember all the specific Victorian fashion details.<img src="https://storagefiles.clo-set.com/public/community/202501/a5a198322a924793a7a827cddcd4f1fe/images/6c01a50299a84f758236249ed3369fa250ff363b2c3c49e1a13e3467bdba9e0d.jpg" class="custom-image medium-size" data-id="6c01a50299a84f758236249ed3369fa2" data-width="1369" data-height="928">Victorian dresses had multiple layers and a lot of lacy, ruffled details, especially the dresses worn by the upper class members. That is why at this point I needed to decide what fashion elements my garments should include. &nbsp;The next step was to find a way to simplify and modernize the design to make it practical. I always kept in mind the fact that my outfit was meant for a hunter who should be able to move easily, to hunt efficiently. That is why I chose to leave out crinoline, long train and heavy draping. &nbsp;I printed out some of the reference photos and created a collage to help me see what kind of clothing pieces can be nicely combined. &nbsp;Then I started testing potential parts of my design in Marvelous Designer. I created a few variations of each garment (a blouse with more ruffles, a blouse with less ruffles, wider pants, narrow leg pants, a couple of collar options...) and I started dressing the mannequin and combining different variations of my garments. This is how I filtered garment variations that I liked the most.<img src="https://storagefiles.clo-set.com/public/community/202501/a5a198322a924793a7a827cddcd4f1fe/images/3314c63ff95e48119cf7fb728f90ffb68724ca312e844e8b84088ce356e279c5.jpg" class="custom-image medium-size" data-id="3314c63ff95e48119cf7fb728f90ffb6" data-width="1817" data-height="1776">My final design was the product of the elimination process followed by some additional detailing and polishing.&nbsp;<h1>3. What was the most difficult part, and what part did you spend a lot of time on to complete this artwork?</h1>Intricate and luxurious Victorian dresses are pretty and fascinating, but I thought that a clean and simple design was more suitable for a hunter. Deciding which fashion details specific to the Victorian era to exclude from my final design was the most difficult part of the process.In terms of actual creation of the design, the most difficult and the most time consuming part was to make certain stubborn parts of my garments to simulate properly.&nbsp;For example, the blouse I made had many small pleats, and all that fabric bunched up in contact with the corset, which made the simulation more difficult.&nbsp;It required patience and a lot of careful tweaking to get it right. Layering settings and particle distance adjustments definitely helped with that.<img src="https://storagefiles.clo-set.com/public/community/202501/a5a198322a924793a7a827cddcd4f1fe/images/8bb733ecec71412b9d248db23ceb4c139d42ae30c8c74112b40fc6ce12468f3d.png" class="custom-image medium-size" data-id="8bb733ecec71412b9d248db23ceb4c13" data-width="648" data-height="653">The corset train, which had two layers and a pleat along the center back line, also required a few attempts to simulate well.<img src="https://storagefiles.clo-set.com/public/community/202501/a5a198322a924793a7a827cddcd4f1fe/images/221c6d1b160d4001b5a6c530ce6e478381647f84e5b44cffbe3886715c0fca1f.png" class="custom-image medium-size" data-id="221c6d1b160d4001b5a6c530ce6e4783" data-width="616" data-height="576"><h1>4. What are the strong points that Marvelous Designer has?</h1>Marvelous Designer enables easy and fast design testing. Even when I am working with a pattern that is not completely accurate, fast simulation shows me right away whether I am on the right track, and I can quickly spot the parts of the design I want to improve or eliminate.Also, thanks to its numerous functionalities and settings it is possible to achieve a very detailed result without help from any other software.<img src="https://storagefiles.clo-set.com/public/community/202501/a5a198322a924793a7a827cddcd4f1fe/images/f554c7224d484c2da91ecc03f1f35da467827f09e3074b39bb35138cad3961f7.jpg" class="custom-image original-size" data-id="f554c7224d484c2da91ecc03f1f35da4" data-width="1920" data-height="1625">Thanks for the interview and your amazing work, Ana Zlatkovic!&nbsp;Link to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/vaida">Artstation</a>

Victoria

Collection A

Gender & Age

Style

Genre & Mood

Objective

Garment

<h2 style="text-align: center">Explore Diego Conte's creative journey behind The Witness for Love, Death &amp; Robots and the Oscar-winning short film The Windshield Wiper!</h2><hr><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube-nocookie.com/embed/IM9uSvMdPl8" frameborder="0" allowfullscreen="" width="640" height="480" 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 Diego Conte Peralta | CFX Artist</h1><hr><h1>Could you tell us a bit about yourself?</h1>Hi! My name is Diego Conte, and I'm a CFX artist and 3D generalist working from Madrid, Spain. Because of my interest in computer graphics, I always wanted to work on the entertainment industry, which I'm happy to have been doing for the last 8 years.&nbsp;<h1>Which projects would you like to showcase today?</h1>I would say the most relevant projects are to this day all the short films I worked on for the incredible Spanish director Alberto Mielgo, including “The Witness” for Love Death and Robots and “The Windshield Wiper” (Academy award winner for best animated short film). His vision is still inspiring me today to keep pushing the boundaries of what cloth simulations can achieve in animation, and the part they can play as storytelling devices.<img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/20c207c8a2eb41dfbdbcd9a2c45bbcd7WD.png" class="custom-image original-size" data-id="20c207c8a2eb41dfbdbcd9a2c45bbcd7" data-width="1944" data-height="1094"><img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/97792d014ee84ba5a2ab4bdd330c083fWD_BTS02.png" class="custom-image original-size" data-id="97792d014ee84ba5a2ab4bdd330c083f" data-width="1742" data-height="908"><img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/2c9fbab6e7314b259212808a880d0506WD_BTS01.png" class="custom-image original-size" data-id="2c9fbab6e7314b259212808a880d0506" data-width="1738" data-height="912"><h1>What led you to choose Marvelous Designer, and how did it support your artistic vision?</h1>I came upon Marvelous Designer back in 2018 through my mentor at the time, Ash Thorp, who was using it in all sorts of fun and experimental ways for Motion Graphics. I picked it up, and was hooked from the start by the interactive and real time nature of the software. There is nothing like it really, the way you are directly interacting with the garments makes you forget at times that you are in front of a computer. How it supports my artistic vision is actually very tied to this interactive and realistic nature of the software. The fact that you are manipulating cloth as a tailor would do in real life means there is an added layer of naturalism to the results that can not really be achieved in any other software. And the interactivity means that there are also lots of possibilities for artistic expression that are just not easily available in traditional simulation tools.<img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/c77c918657544ff99e21f9be2b00c498sup.png" class="custom-image original-size" data-id="c77c918657544ff99e21f9be2b00c498" data-width="1749" data-height="983"><h1>Can you briefly walk us through the different tools you incorporate in your workflow?</h1>It has evolved quite a bit through the years! The main two areas of Marvelous I'm most familiar with are the pattern-making tools and simulation. I kept things fairly simple on the pattern making front on the first projects, and even now I keep things to just a few tools: drawing, sewing, tacks, pins, and sometimes creative use of internal lines to fold or art direct the patterns better.<img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/18d38e08f0da448e84dd7aeb5df1405cWSW_03.png" class="custom-image original-size" data-id="18d38e08f0da448e84dd7aeb5df1405c" data-width="1575" data-height="884"><img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/10bdf156fe6c4c67b5e9ef38d86f78e8WSW_02.png" class="custom-image original-size" data-id="10bdf156fe6c4c67b5e9ef38d86f78e8" data-width="1753" data-height="984"><img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/b1dea4fd664446e78101abee204e8cafWTN_01.png" class="custom-image original-size" data-id="b1dea4fd664446e78101abee204e8caf" data-width="1749" data-height="876"><h1>What would you consider your most standout project where Marvelous Designer played a key role?</h1>I think "The Witness" is still the most iconic project I've worked on. The patterns for all garments had been created by Paloma Alperi by the time I arrived at the project, and so my task was to see if we could get something better from Marvelous Designer than the results they were getting simulating in Maya. The tests were very successful, so much so that, after I designed a custom workflow to implement Marvelous with the rest of the tools in the pipeline, we ended up simulating all garments for the show with Marvelous only, and I was lucky to supervise the cloth simulation team. I believe at the time it was the biggest production using Marvelous for all CFX shots, and its is probably still in the top of that list.<img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/6b2a4f56478f4ac89d6a9a619d46529aWTN_BTS01.png" class="custom-image original-size" data-id="6b2a4f56478f4ac89d6a9a619d46529a" data-width="1753" data-height="982"><img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/3425c7f4db2f4003a5c774cc98defd05Thumbnail_02.png" class="custom-image original-size" data-id="3425c7f4db2f4003a5c774cc98defd05" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/251711ecb93a4177816205c7bb3b232eWTN_03.png" class="custom-image original-size" data-id="251711ecb93a4177816205c7bb3b232e" data-width="1746" data-height="870"><img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/c37b9dce44ab4b15ab86e4683eaff808WTN_02.png" class="custom-image original-size" data-id="c37b9dce44ab4b15ab86e4683eaff808" data-width="1750" data-height="871"><h1>Are there any upcoming projects where you plan to use Marvelous Designer?</h1>Of course! I will always advocate for integrating Marvelous Designer in any pipeline, big or small. Big projects require automation, but even when using other tools for simulation I believe the quality will always be higher when simulating a Marvelous designer garment compared to a traditional poly-modeling one. And for small projects, if it's possible to simulate in Marvelous designer, I'll always push for that first, as it is the most direct way to move forward<img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/b4eb9b3dacd64e8f813066bd429715e5WSW_04.png" class="custom-image original-size" data-id="b4eb9b3dacd64e8f813066bd429715e5" data-width="1154" data-height="648"><img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/6ea2e7c265284b5e9331ba261ba0c401WSW_BTS01.png" class="custom-image original-size" data-id="6ea2e7c265284b5e9331ba261ba0c401" data-width="2550" data-height="1344"><h1>What advice would you offer to other artists utilizing Marvelous Designer for CFX work?</h1>I have three important pieces of advice.For artists starting out, thorough research is crucial. Even if you feel well-prepared with reference materials (patterns, drawings, photographs), consider pushing your research further by reading pattern and fashion books, and any other material you can get your hands on.For those familiar with the software, continue learning and thinking creatively. Marvelous offers numerous techniques and tools, so explore how they can work together. For example, you can use tacks, and you can use pins, but you would be amazed at what can be done when combining the two.And finally, for professionals, while traditional studio pipelines seem to be set in stone (for good reason), it's important to reconsider how Marvelous could fit into your workflow. Don't be afraid to challenge established methods; this software operates on different paradigms that can lead to innovative solutions. And the overall pipeline will be better for it.<h1>How would you sum up your overall experience with Marvelous Designer?</h1>There is always a thought that its repeated whenever I show anybody a behind the scenes of how Marvelous works, usually along the lines of "well, that looks like fun". And indeed, it is a lot of fun. And turns out you can be quite productive and get really good results when you have fun (or maybe because you are having fun!), which is why I keep going back to this software I love so much.<h1>by&nbsp;Diego Conte Peralta <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.behance.net/gallery/207444785/Marvelous-Designer-Reel">Behance</a></h1>

MARVELOUS DESIGNER IN CFX

test

<h1>Dear Designers,</h1><h1>We’re thrilled to announce the third Creator's Contest of <a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/contest/mdcc2025vol3">FANTASY ARCHIVES</a></h1>Created with our Japanese Marvelous Designer community in mind, we warmly invite talented designers from around the world to participate. Volume 3 is an exclusive contest for Marvelous Designer, so entries created with CLO or Jinny are not eligible. Participants are free to use any rendering tool of their choice.<h1>[Theme for Round 3 : FANTASY ARCHIVES]</h1>Create works inspired by the unique blend of tradition and future in Tokyo's cityscape, breaking existing concepts while maintaining practicality.📆Submission Deadline: Wednesday, Oct 7th🔍Check the contest page for details✅Only projects using Marvelous Designer can participate in Vol.3.✅This time, please use the hashtag #mdcc2025vol3✅Check below for detailed application instructions 🔽🔽<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/JEy4WPC-ewU" 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><a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/contest/mdcc2025vol3">Click here </a>to check the details!</h1>We look forward to receiving your wonderful submissions!<img src="https://storagefiles.clo-set.com/public/community/202508/f16d21d45b9b48e487c11a1df9b8c20c/images/3b5815ab12d047138ce0edf1bdd1965ePopupBg%2020250702.png" class="custom-image hidden-thumbnail" data-id="3b5815ab12d047138ce0edf1bdd1965e" data-width="1400" data-height="800"><img src="https://storagefiles.clo-set.com/public/community/202508/f16d21d45b9b48e487c11a1df9b8c20c/images/6f9105e9adc74244a9df7e577b893a09PopupBg%2020250702%20M375.png" class="custom-image hidden-thumbnail" data-id="6f9105e9adc74244a9df7e577b893a09" data-width="712" data-height="800">

Creator’s Contest 2025 vol.3 : FANTASY ARCHIVES

Hi CLO Team,Since the CLO 2024 version, I’ve noticed that after every update, some of my favorite fabrics, topstitches, and normal maps disappear. Even the list of fabric physical properties becomes smaller. This just happened again after the latest update.Interestingly, this only happens on my MacBook — on my iMac (2017) I still have all the old fabrics and assets, including V1 and basic fabrics. My friend updated too and also lost her V1 and basic fabrics. This suggests the files might still exist, but CLO isn’t reading from the same library location after updates.I really enjoy seeing the library grow, but it’s a bit frustrating to lose the older items we rely on. It would be wonderful if future updates could keep all previous assets while adding new ones — or at least give users an option to retain older libraries.Issue Summary:<ul><li>Missing fabrics, topstitches, and normal maps after every update since CLO 2024.</li><li>Fabric physical properties list is reduced.</li><li>Problem occurs on MacBook, but iMac 2017 retains all assets.</li><li>Friend updating also lost all V1 and basic fabrics.</li><li>Suggests files exist but library path or update process prevents CLO from reading them.</li><li>Request: Keep all previous assets intact while adding new ones in future updates.</li></ul>Thanks so much for your hard work and for creating such a great tool — I truly appreciate the effort you put into supporting designers!Best regards,Vida

Repeated Missing Fabrics & Assets After Updates (Mac Issue)

<img src="https://storagefiles.clo-set.com/public/community/202505/3562f261b0f240bc805c3dbb6c5acd85/images/b88b6bd64257455f95afe199699eb861Tokyo%20Hippie.jpg" alt="b88b6bd64257455f95afe199699eb861" class="custom-image original-size" data-id="b88b6bd64257455f95afe199699eb861" data-width="2552" data-height="3580"><img src="https://storagefiles.clo-set.com/public/community/202505/3562f261b0f240bc805c3dbb6c5acd85/images/76c524632c2a466cbd5fbdcffe39f989renderback.png" alt="76c524632c2a466cbd5fbdcffe39f989" class="custom-image original-size" data-id="76c524632c2a466cbd5fbdcffe39f989" data-width="2552" data-height="3580"><img src="https://storagefiles.clo-set.com/public/community/202505/3562f261b0f240bc805c3dbb6c5acd85/images/6ddc0b439ac748a1aa5a16c02b5dd23aleftside_Colorway%20A.png" alt="6ddc0b439ac748a1aa5a16c02b5dd23a" class="custom-image original-size" data-id="6ddc0b439ac748a1aa5a16c02b5dd23a" data-width="2480" data-height="3507"><img src="https://storagefiles.clo-set.com/public/community/202505/3562f261b0f240bc805c3dbb6c5acd85/images/0f50e26a41ca482e8da1d9fb300ad42crighteside_Colorway%20A.png" alt="0f50e26a41ca482e8da1d9fb300ad42c" class="custom-image original-size" data-id="0f50e26a41ca482e8da1d9fb300ad42c" data-width="2480" data-height="3507"><img src="https://storagefiles.clo-set.com/public/community/202505/3562f261b0f240bc805c3dbb6c5acd85/images/43d53c321be34f4f9da367bef09be191up_Colorway%20A.png" alt="43d53c321be34f4f9da367bef09be191" class="custom-image original-size" data-id="43d53c321be34f4f9da367bef09be191" data-width="2480" data-height="3507"><img src="https://storagefiles.clo-set.com/public/community/202505/3562f261b0f240bc805c3dbb6c5acd85/images/30d6889d55c14ec5b2d7280067a80c98shoes_Colorway%20A.png" alt="30d6889d55c14ec5b2d7280067a80c98" class="custom-image original-size" data-id="30d6889d55c14ec5b2d7280067a80c98" data-width="2480" data-height="3507">東京ヒッピースタイルリーバイス3ｒｄモデルを原型としたキャンバスジャケット、同素材のスカートはフリンジアレンジ。日の出国らしい、ひまわりのテキスタイル、フェザーのペンダントトップは羽ばたくという意味で、自由なマインドを表現した。大き目シルバーメタルのティアドロップはドロップアウトローな印象に。バンダナのフラワーバッチでピースを表現。社会への不満から生まれたカルチャーはファッションに昇華しやすいことから、ニューヒッピーで未来の反抗期を表現した。

Tokyo Hippie

<h2 style="text-align: center">"Marvelous Designer has enormous potential. I like the different types of fabrics and their different animation! it makes our creations really realistic."</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202501/2effd6bc63a14256a0477d2740845d77/images/ea56062081334b62b62fff28e7744babdress1.png" class="custom-image medium-size" data-id="ea56062081334b62b62fff28e7744bab" data-width="1080" data-height="1920"><h1 style="text-align: center">Interview with <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/LeV1ZK">Manon Devaux</a> | Middle Age Dress | 3D Generalist</h1><hr><h1>Artist Introduction</h1>My name is Manon Devaux, I am a 3D generalist specializing in clothing. Graduated from the MJM graphic design in Nantes (France). I work today with an Italian advertising company where I model, texture and animate clothes. While learning 3D I fell in love with dress modelling, especially historical. It probably comes from my passion for history and sewing.<h1>Can you give us a quick overview of the different tools used in your pipeline?</h1>For this project, I wanted to make a beautiful dress, worthy of a throne room. with embroidery and above all lots of ribbons to make it as realistic as possible.&nbsp;Like all historical clothing, I started with the petticoat and the chemise. They are important so I added details in several places.&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202501/2effd6bc63a14256a0477d2740845d77/images/f6a671886f3042db838dc355198f0acbdress2.png" class="custom-image original-size" data-id="f6a671886f3042db838dc355198f0acb" data-width="1222" data-height="817">I started with a simple pattern (like Mérida in Brave) but added a lot of details: ribbon, gilding, belt, rope, pleated blouse, lace petticoat, etc... The most complicated thing was to play with the layers to that the different linings overlap correctly, especially with the skirt pulled up in one place with a pin.&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202501/2effd6bc63a14256a0477d2740845d77/images/ae8cd15065b041eab705f859f9a642c3dress3.png" class="custom-image original-size" data-id="ae8cd15065b041eab705f859f9a642c3" data-width="1215" data-height="820">I love long sleeves! It was an obligation for me to do so. But the length of the fabrics and especially the linings was difficult to set up. I had to play with layers and fabrics.&nbsp;I used the standard software avatar. I knew it would only be a "support" for the dress, so I didn't take the time to deal with it. I edited and animated it with Mixamo and Cinema 4D.It was a great challenge with all those ribbons and carnations! especially the direction of the ribbon (one below one above). I had to play with the fabric, its rigidity and its length (which adapts to the morphology of the character) but I'm happy with the result!&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202501/2effd6bc63a14256a0477d2740845d77/images/422f6bfce9fb4bb5985de5ea0516bcc3dress4.png" class="custom-image original-size" data-id="422f6bfce9fb4bb5985de5ea0516bcc3" data-width="1163" data-height="769">Above all, in this kind of dress, you must never forget the shirring. They are very important, especially with a slightly transparent fabric like voile. It is the detail that makes the dress more realistic.<h1>How can you describe your overall experience of the use of the Marvelous Designer?</h1>I use this software every day for my work, as well as my personal use and I am very proud of it! Marvelous Designer has enormous potential. I'm sure there are still tools that I don't know about, despite my extensive research online. I like the different types of fabrics and their different animation! it makes our creations really realistic.<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/LeV1ZK">Artstation</a>

Victoria

Marvelous Designer Official

Marvelous Designer Official