In this issue, we dive into the world of fashion and digital identity, exploring new ways to create and experience it. We will also look at a GenAI tool to create highly detailed and customizable digital fabric with a simple text prompt.
What is digital fashion, and why do you think it has a place in the world we live in?
Suza Vos: For me, digital fashion IS fashion. We have a big online presence, and we spend many hours in the digital world. We experiment with different profiles and aliases. In games, we can immerse ourselves in different characters. I can’t see fashion apart from this. Digital fashion is influenced by culture, and vice versa. It can also play a big role in sustainability because fashion is the second most polluting industry in the world. With digital fashion, we can express ourselves limitlessly without wasting anything.
How did you get into digital fashion in the first place?
Suza Vos: Well, I come from a very physical background. I studied tailoring and then went to art school for fashion design. In my second year, I saw a documentary called „The True Cost,“ which completely changed my perspective on fashion. I started experimenting with sustainable ways of creating fashion, like growing materials from kombucha and dyeing fabrics with plants, but it felt limited. In my last year, I discovered the software Clo 3D. I was amazed because it combined the technical aspect of pattern drafting with the visual aspect, allowing me to create anything without wasting materials.
What was „The True Cost“ about, and how did it influence your approach to fashion?
Suza Vos: „The True Cost“ is a documentary that shows the harsh realities of the fashion industry. Before watching it, I heard people say the industry was bad, but I didn’t fully understand. The documentary visually shows the impact, like how overstock is dumped in rivers where people bathe. It causes severe health issues and environmental damage. Seeing this made me realize I didn’t want to be part of the problem. I began experimenting with sustainable materials, but eventually, I turned to digital fashion to avoid these issues altogether.
How do you combine your personal creative vision with maintaining a brand’s identity when working with big brands?
Suza Vos: It depends on the project. Sometimes there’s a lot of creative space, and sometimes there’s none. The key is listening to what the brand wants to communicate and finding the best way to execute that. Even if there are limitations, I see them as creative challenges to push the boundaries within those constraints. For example, working with brands like Rag & Bone, we had to educate them on the possibilities of 3D. It’s about finding a balance between their vision and what’s possible with digital fashion.
Can you share some examples of your projects and how you stretched the creative boundaries?
Suza Vos: Sure. One project was with Rag & Bone, where they wanted an avatar to walk up stairs and interact with them. We had to explain why it was better to film it traditionally due to the complexities of 3D motion. Another project I loved was with Teresa Monzo and Jeff Staple, creating artworks for an NFT drop. Everyone involved understood the possibilities of 3D, which allowed for a lot of creative freedom. It’s about educating clients on what’s possible and then pushing the creative limits within those possibilities.
How do you pick your projects now, and how do you navigate the opportunities in front of you?
Suza Vos: It’s a lot of acquisition and networking. I’m at a point where I can’t fully decide who to work with, but I focus on creating work that attracts like-minded people. I’m passionate about using digital fashion for sustainability, helping brands digitize their workflows, and localizing production. While I love working with game companies for their creative freedom, my commercial focus is on sustainability. But if a game company approached me now, I’d be totally down. It’s about balancing commercial work with creative passion projects.
How can digitalization contribute to sustainability in the fashion industry?
Suza Vos: One practical application is the design process. Currently, a 2D sketch is sent to a factory, which creates a physical prototype. This prototype is then shipped back and forth for adjustments, which is time-consuming and wasteful. With computer softwares, these changes can be made digitally, reducing the need for physical samples. My hope is that in the future, products will only be made when purchased, which would require a cultural shift towards customization and patience. Technology can play a significant role in this shift, making the fashion industry more sustainable.
Have you experimented with XR tools for designing or reviewing your work?
Suza Vos: Yes, I’ve tried various XR tools. I’ve used Gravity Sketch for VR modeling, creating shapes around a virtual body. I’ve also experimented with AR filters and made a Digital Collection for an exposition where visitors could wear the clothes via AR. Last summer, I participated in a fashion show called Future Front Row, which used a seven-meter screen to project a holographic fashion show. Seeing my digital designs come to life in a physical space was incredible, and it opened my eyes to the potential of XR in fashion.
What advice would you give to a digital artist starting their own practice?
Suza Vos: Don’t be afraid to take risks. Working for a company provides certain guarantees, but being independent requires learning new skills, like business acquisition and administration. Stay humble and keep giving—help others by connecting them with opportunities. This builds a network that can bring opportunities back to you. Also, attend physical events and give talks to expand your reach. It can be scary at first, but it’s essential for growth.
Product Spotlight: AI-Generated fabrics with VMOD
Fabricator AI allows to create digital fabric from a simple text prompt. Users can take full control of the creative process or run a quick generation. The fabric generated is completely seamless and also contains PBR maps compatible with any 3D modeling tool (even the industry standard for digital fashion design CLO 3D… that are even investors in the company.
Quelle:
https://xraispotlight.substack.com/p/digital-fashion-from-digital-identities?r=2umm8d
