3D Fashion Deep Dive 03 - Industry Voices
Time to hear from 3D Fashion Design Pros About the State of the Industry
We’re back with Deep Dive #3 in the 3D Fashion series.
We kicked things off with the Start Here guide….a broad intro to what’s happening in the world of 3D fashion, who it’s for, and why now’s the moment. Then we went historical with Deep Dive 1, unpacking the major tech shifts in the fashion industry and how we got from pencil sketches to CLO3D sims.
Last week, Deep Dive 2 walked through the software stack: from Illustrator and Browzwear to Substance and VNTANA. Basically, the digital toolbox that 3D fashion designers use every day.
Now it’s time to zoom in on the actual humans behind those tools.
For this deep dive, I reached out to a handful of working 3D fashion pros within the incredible 3D Artist Community. These individuals are in the trenches doing this work every day and I asked them to share how they actually use these tools on the job. No hypotheticals. No aspirational fluff. Just real answers from real designers doing the real work.
Below, you’ll find their responses, organized by person. We cover what they get handed at the start of a project, what software they use, what their deliverables look like, and what advice they’d give to anyone entering the field. At the end, I’ll wrap with a few takeaways and themes that stood out across the board.
Let’s get into it.
Here is the link to the questionaire and a selection of answers below.
Cristina Souto Caviglia
Team Lead 3D Design, Hugo Boss
Cristina says she’s often given “a bit of everything” at the start: sketches, CAD files, photos, even physical prototypes.
“A bit of everything, sometimes hand sketches, CAD files, pictures, physical protos...”
She mainly uses CLO3D, Adobe Substance 3D, and Unreal. In her team’s workflow:
“With CLO3D we do the models themselves, with Substance the textures and with Unreal all the content creation.”
The output can vary:
“Again it depends, sometimes simple rendered images, concept/story telling videos, interactive garment experiences...”
Cristina also had a tip about skills. She notes that fashion recruiters often seek generalists who combine creativity with technical know-how:
“Your skills dont need to be too specific – in most cases, recruiters are looking for generalists in fashion, someone with the technical knowledge than [sic] can do a bit of everything.”
On misconceptions, Cristina observes that 3D designers often feel caught between two worlds:
“I believe that its a bit like being in a limbo – fashion people dont understand all the work behind CGI, and on the other hand the CGI creators dont get all the intricacies behind fashion processes/creation.”
Her advice for newcomers echoes a common theme: show genuine interest in fashion. The market may be less crowded than other 3D fields, but knowledge of the industry is critical:
“Learn about fashion... if you dont show interest & knowledge for the industry you want to enter, somebody who does will get the job.”
Lenora Brooks
Founder, BLKFLAMINGO Studio
Lenora describes starting most projects from either physical samples or sketches.
“Most clients provide either physical samples or flat sketches for me to digitize. Others come to BLKFLAMINGOstudio at the ideation stage and share mood boards or concept references to guide the 3D development process.” She builds each garment in CLO3D (by drafting new patterns or modifying a base model) and fits it on a custom avatar. Once the fit is finalized, she exports the UV maps and recreates the fabric digitally. As Lenora explains:
“I then use Substance Sampler to recreate the physical fabric as a digital material or source a comparable material reference.”
After texturing, Lenora brings the model back into her preferred rendering environment. She notes that the final deliverable depends on the client’s needs. In some cases it’s static images, but she loves going further with animation:
“For clients looking to get something more immersive, my favorite deliverable is a full animation of the garment on the custom avatar, brought to life in Unreal Engine for a cinematic, dynamic showcase.”
Lenora also pointed out a common misconception about 3D fashion work. People often think it’s trivial or “for fun,” asking if she just “dress[es] Barbie dolls.” In reality, as she puts it:
“It’s usually not until I explain how 3D design supports sustainability, eliminates waste, and provides instant visual gratification that they begin to somewhat understand—sometimes just enough to pretend they get it.”
Stephy Fung
Digital Fashion Artist, Educator, and Content Creator
Stephy’s workflow typically starts with moodboards and briefs from her clients. These early references guide the direction of the garment, tone, and animation style. From there, she leans on a suite of creative tools:
“Clo3D, Adobe Suite, Daz3D, Cinema4D.”
Stephy’s focus is on high-end visualization—bringing digital garments to life in both still and motion work. The output is usually stylized imagery or animated content:
“Animation MP4 and still images of different angles.”
The role she plays blends fashion with storytelling and tech. As she puts it:
“Most people don’t understand how fashion, tech, and 3D merge together.”
That overlap is also where the challenge lies. Staying current with tools, platforms, and the ever-changing AI landscape is an ongoing hustle:
“Trying to keep up with new programs, new features, and understanding how to use AI in my workflow.”
But that fluidity is also what draws her to this space. Her favorite part?
“Being able to create whatever piece of clothing I dream of.”
For 3D artists entering fashion, Stephy emphasizes respecting the fashion pipeline:
“Learn the technical skills needed within fashion and also learn their pipeline. The fashion creation part is equally as hard as learning 3D.”
Her perspective expands the definition of what a 3D fashion designer can be—visual storyteller, educator, technologist—and shows how this work exists just as much in motion as it does in form.
Angela Holm
Senior 3D Technical Designer
Angela Holm works on the performance side of fashion, where apparel needs to stretch, breathe, and move with the body. As the first in-house 3D Technical Designer at her company, she has helped guide teams through the transition into modern digital workflows while raising the quality and realism of 3D presentations.
Typical Workflow:
“My workflow begins when the design team hands off their concept sketch. From there, I build the garment in VStitcher using the library of blocks and pattern foundations I’ve developed over time. Starting from these blocks keeps the process fast, accurate, and consistent.”
Angela begins most styles from her internally developed block library rather than drafting from scratch. This approach enables efficient iteration and preserves construction accuracy across categories.
Software Stack:
“VStitcher is my main production environment. For presentation work, I refine visuals with Photoshop and AI-supported tools, and I use Blender and ZBrush to create custom decorative hardware when needed.”
Her workflow blends garment simulation with sculpted hardware and polished post-production. This mix of Browzwear, Blender, ZBrush, and visual tools allows her to create highly realistic digital twins.
Deliverables and Goals:
“My focus is creating highly realistic digital twins for our presentations so teams can see the design clearly and make early decisions with confidence. The closer the digital sample feels to the final product, the more effective it is.”
Angela’s renders support internal alignment and high-level presentations by providing clear, true-to-design visuals early in the process.
Growth and Evolution:
“Being the first in-house 3D Technical Designer meant helping teams adjust to new workflows. As expectations shifted toward realism and refinement, I expanded into Blender, ZBrush, and advanced rendering approaches. I also trained our pattern makers in Browzwear so 3D could integrate more smoothly across teams.”
Angela has supported the company’s growing 3D adoption by refining the pipeline and teaching others how to incorporate 3D into their own processes.
Advice to Newcomers:
“Be patient with teams who are new to 3D. Structure and communication matter just as much as technical skill. When the workflow feels clear and supportive, the collaboration becomes much stronger.”
Her approach underscores the human side of 3D adoption, showing that successful integration depends on clear communication, realistic expectations, and thoughtful workflow design.
Jezebel Ortiz
Senior Technical Designer
Jezebel also begins with sketches and fabric information. She says:
“Design Sketch with swatch of fabric if possible and fabric content.”
Her daily tools include Browzwear VStitcher and Illustrator. She uses these for pattern and fit work:
“Pattern development and fit corrections, including digital renders for fit approval.”
In other words, she fixes drape and fit issues in 3D, then produces visuals for stakeholders. At the end of a project Jezebel typically provides:
“flat images for designers and buyers, as well tech packs.”
Jezebel noted some frustration in the industry. She observes that although 3D tools have been around for decades, many professionals still resist them:
“I would also add that it’s disappointing that 3D tools have existed in the fashion industry since the 90s, yet real interest has only grown in the last decade. What continues to slow progress is the number of industry professionals who resist adopting new technology.”
She warns this resistance can leave 3D skills underutilized, even as innovators push for change. In sum, Jezebel’s experience is of pushing 3D forward within traditional teams: educating colleagues and gradually changing mindsets.
Afsha Iragorri
Founder, 3D Fashion Solutions
Afsha usually receives either a full tech pack or just minimal references, depending on the client. She explains that a complete package (with sketch, bill of materials, pattern, etc.) speeds up 3D work, but when calendars are tight:
“Having those materials makes the creation process faster, but sometimes with tight calendars the clients do not have enough time to put the materials together or request a digital sewing pattern from their factories abroad. In that case, if the style is in the initial design phase, I may be provided with only an inspiration sample or a basic sketch.”
Her daily software lineup includes Browzwear VStitcher, Blender, and the Adobe suite. She uses them in sequence:
“With Browzwear VStitcher I will create the garment and in Blender I will render it in a scene. Much of my post production work is done with Photoshop and Premiere Pro.”
For deliverables, Afsha’s clients get the native 3D file plus image/video outputs:
“For 3D garments I will provide the client with the Browzwear file and for renders they receive PNG/MP4 files.”
Afsha also highlights a common misconception: because software makes clothing visual, outsiders sometimes think it’s “done with a click of a button.” As she warns:
“Most people think that my job is done with a click of a button without needing the background knowledge of garment design/construction or extensive 3D skills. Even now that we have implemented AI into our workflow, nothing is automated. The entire process requires the expertise and the touch of an experienced designer.”
For those transitioning into fashion, Afsha’s advice is to also study physical garment construction. She recommends patternmaking courses so 3D designers speak the same language as traditional fashion teams:
“In addition to training in the software commonly used in the fashion industry, I strongly recommend taking some in-person fashion design courses, especially those that cover the fundamentals of patternmaking. This helps prevent knowledge gaps when collaborating with fashion teams.”
Key Takeaways
Diverse Inputs: Most professionals start with similar materials (sketches, tech packs, fabric info). More complete resources (with CADs or DXF patterns) speed things up, but in fast projects designers often get minimal input (sometimes just a sample or inspiration sketch). Adaptability is key.
Common Software: CLO3D and Browzwear VStitcher are frequently cited for pattern-making and simulation (Cristina, Lenora, Afsha, Jezebel). Texturing is often done in Substance 3D/Painter, and many use Blender or Unreal for final visuals. Illustrator and Photoshop remain part of the toolkit for flats and post-production. Stephy also likes to use Cinema4D and Daz3D.
Workflow: A typical pipeline is to draft a 3D pattern, fit it on an avatar, apply realistic fabrics, and render. Lenora, for example, drafts or tweaks a pattern in CLO3D then collaborates on custom avatars for fit. Angela and Jezebel similarly emphasize pattern development and fit corrections in 3D.
by Afsha Iragorri Deliverables: Outputs vary by client. Some projects end with high-res still images or tech-pack visuals, while others deliver the 3D file itself or even animated demos. Lenora mentions animations in Unreal as a “cinematic, dynamic showcase”. Others produce flat renders for buyers (Jezebel) or mixed media presentations (Cristina). Stephy is delivering assets for marketing so she is delivering stylized animations or social-ready visuals.
Challenges & Misconceptions: Educating collaborators is often a struggle. Lenora and Afsha note that outsiders may think 3D fashion is like “dressing Barbie dolls” or a one-click task. Jezebel reports frustration that many in the industry still resist 3D tools. Cristina describes 3D designers feeling “in limbo” between fashion and CGI worlds and Stephy talks about the misunderstanding of the full scope of skills needed to produce apparel content in 3D. Technical challenges also arise from using many programs; Lenora warns that updates can break workflows and planners should pad schedules.
Advice for Newcomers: A common thread is to also learn real-world fashion fundamentals. Afsha and Cristina suggest studying garment construction and patternmaking, so 3D work aligns with traditional fashion teams. Angela advises finding what aspect of 3D+fashion you love and honing that passion. Overall, the message is to be a versatile “generalist” with both creative and technical skills.
These insights show that 3D fashion work requires a blend of traditional fashion know-how and digital skills. While tools like CLO3D, Browzwear, Substance, and rendering engines are now widespread, professionals must also educate others about the value of 3D design. Across interviews, the experts stress continued learning (often self-taught) and staying curious about both fashion and technology.
Sources: Interviews with 3D fashion professionals (questionnaire responses, Nov 2025). Each quote is cited from the original survey responses.
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Hello! Michael Tanzillo here. I am the Head of Technical Artists with the Substance 3D team at Adobe. Previously, I was a Senior Artist on animated films at Blue Sky Studios/Disney with credits including three Ice Age movies, two Rios, Peanuts, Ferdinand, Spies in Disguise, and Epic.
In addition to his work as an artist, I am the Co-Author of the book Lighting for Animation: The Visual Art of Storytelling and the Co-Founder of The Academy of Animated Art, an online school that has helped hundreds of artists around the world begin careers in Animation, Visual Effects, and Digital Imaging. I also created The 3D Artist Community on Skool and this newsletter.
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