The 3D revolution is taking the world by storm and changing the way we interact with our environment, including in the fashion sector. The Fashiontex team spoke to Flavia Bon, who runs CLO 3D workshops in the Fashiontex ateliers, about the freedom that 3D programs now offer designers.

What advantages do 3D tools offer compared to traditional methods of fashion design and how do they change the design process?

CLO is one of the leading software providers when it comes to the use of 3D technology, especially in fashion. When I talk about Clo3D, I am generally referring to 3D pattern development software and include programs such as Browzwear, Style3D and others. Compared to traditional design methods, the direct translation from 2D to 3D stands out. A pattern is immediately sewn together digitally, the shape is visible, as is the behavior of the fabric. This interactive development of cut and shape allows designers to experiment more without having to rely on pattern makers and physical prototypes. Ideas can be visualized realistically and quickly – both statically and in motion, details can be assessed very early in the process and completely without material wear. For me, it is also important that this form of work significantly improves communication in the collaboration between designers and production partners. In contrast to flat sketches, the 3D design largely corresponds to reality, which minimizes the scope for interpretation.

How do programs like these make the design process easier?

Designs, cuts, fabrics, colors, shapes, structures and patterns can be combined in endless variations. Patterns and materials can be tried out directly with the help of 3D avatars and adapted according to requirements. The possible uses of this software not only simplify the design process, but also save time and costs in production. 3D technology therefore represents an important step towards a more sustainable and efficient way of designing and producing fashion. This opens up new marketing strategies – models can be sold on a virtual basis. Designers, pattern makers and developers can now communicate simultaneously on a piece of clothing.

Real-time designs – what’s behind them?

Materials and accessories are often already offered by manufacturers with price lists as 3D scans and integrated directly into the designs. Many companies in the fashion industry are already working with CLO 3D or similar software. Clothing can be produced for the industry, for private purposes, but also for virtual reality. As I often hear from participants in my workshops, I can confirm that it is really fun to simulate and test designs directly on the model in real time. Our motivation is increased because the result can already be experienced. The program also offers various options for the presentation: poses, animations or photo shoots. The software is highly compatible. Textiles can be virtually staged in Blender or Unreal Engine, for example.

What are the current challenges?

The design process is considerably shortened as you no longer have to wait for prototypes for the fitting, which often come from distant production countries. Improved communication through realistic visualizations also reduces misunderstandings, which often lead to detours and additional work. At the same time, a new craft is being created. Our ideas, our knowledge and our skills are brought to life by new digital means, which still requires a lot of time – especially if the design also has to work in the physical world later on. This new digital craft needs support, time and space. 3D design is based entirely on craft knowledge, which is why it is important to promote exchange and mutual learning between physical and digital makers.

Can this make fashion production more sustainable and resource-efficient?

3D simulations are the key to reducing material consumption at a very early stage. This reduces the need to create physical prototypes. Material wear and tear can be calculated directly, and designs can be developed precisely. Designers and companies become more aware of the consequences of decisions, which are often reflected in material consumption, labor costs or the inclusivity of different body sizes. It is important to me that the creative process and the craft are not lost in all of this.

What developments can we expect in this area over the next few years?

The digital transformation in the fashion industry is unavoidable in terms of sustainability. However, adapting existing work processes is a major challenge. In particular, the development of new methods requires time, which is often lacking in the fast-paced fashion industry. Financial and time investments are required to test new technologies and acquire the necessary knowledge. The fashion industry also needs to open up and work with external experts from the technology and digital sectors, who often bring different ways of thinking with them. So far, the interview has mainly focused on the industrial side. However, consumer behavior is also influenced by digital fashion, which brings with it numerous challenges. There is a need for concrete examples of how digital fashion can be consumed with the help of new technologies. One leading example is the personalization of products. This enables a return to tailor-made clothing and the adaptation of production to a made-to-order system.

Why should young designers of tomorrow learn how to use software programs such as CLO 3D during their studies?

The demand for virtual products for the emerging metaverse is constantly increasing, as is the use and further development of 3D software. In the fashion industry, the introduction of 3D programs such as CLO 3D is ushering in a new era of design and product development. Thanks to this professional software, designers and creatives are now able to develop their designs in limitless variety and present them realistically in a timely manner. The traditional method of two-dimensional design is being replaced.

At FashionTEX, fashion students are familiarized with the latest design technology in various training modules. How important is the integration of such practical units into the curricula of fashion universities?

New technologies have entered the fashion world to offer consumers a more personalized service tailored to their needs. Nowadays, thanks to the numerous images they can see on the internet, both in 2D and 3D, customers can get an accurate picture of the garment they are going to buy in store or online. Major brands are increasingly taking advantage of these possibilities and are looking for designers who are able to use this type of tool in their work practice. Thanks to this program, students have the opportunity to specialize in the CLO Virtual Fashion program, one of the most sought-after in the industry.

What was your path from analog design to digital?

During my studies, I already had a focus on the technical implementation of design. I wanted to enrich and advance craftsmanship through digital means. First it was the fashion industry, then I moved into other areas such as material development, particularly in the leather sector, as well as accessories and product design. Environmental aspects and a fascination with digital tools eventually led me to digital fashion. At that time, resources were still limited and CLO 3D was the leading software. The decision to focus on digital fashion gradually crystallized through my experience in the production of fashion – combined with a growing interest in blockchain technology / Web3, which opened up a new world for digital objects.