Company
Timeline
Role
Idea
This series started in 2021, when digital fashion was still a small, strange corner of the design world rather than the industry it's becoming. I spent the days building digital garments full-time and the nights deep in tutorials and documentaries, finding my way into the virtual fashion community from the ground up. What pulled me in was exactly what most digital clothing got wrong: it looked digital. My background is sculpture and product design, so I wanted the opposite — clean, detailed textures, fabric that behaves like fabric, and a loopable walk cycle that actually shows how a garment moves rather than just how it looks standing still. It was an attempt to bring real craft to a medium that didn't have much of it yet.
Philosophy
Digital fashion sits in a strange and beautiful place: it carries all the detail and tactility of real cloth, with none of the physical limits. Dissrup, the platform that featured the work, described it best — that the pieces combine the tactility of fine fabric detailing with the de-materialisation of cloth, occupying the impossible space between the hyperrealistic and the physically implausible. That tension is the entire point. These are garments that could never be sewn — fabrics that drape in ways gravity wouldn't allow, weights and finishes that don't exist — but built with enough material truth that the eye perceives them as real.
Exploration · NFTs on Dissrup
The series was released as a collection of digital fashion NFTs on Dissrup, a curated platform for form and fabric in digital space. Being featured there mattered: it placed the work in a considered, gallery-like context rather than the noise of an open marketplace — closer to how a fashion house releases a collection than how the metaverse usually sells clothing.
Exploration · Raincoat & Sportswear
Early pieces in the series — a raincoat and sportswear studies — focused on the things that betray a digital garment fastest: how a technical fabric catches light, how a seam sits, how a coat falls when it isn't on a body. Getting these right was the proof of concept for everything that followed.
Exploration · The Garments in Motion
Across the series — the "Run Boy" puffy jacket, the knitted pattern studies, "Classy and Sweaty" — the focus was always movement. A digital garment shown standing still is just a render; shown on a loopable walk cycle, it becomes clothing. The puffer's volume shifting as it walks, knit stretching and relaxing, the weight of a fabric reading in how it swings — that's where the craft lives, and it's the part the standard digital-fashion presentation usually skipped.
Collaborations
A lot of the series happened with other people. Bag collaborations with Obby&Jappari and Studio Toussaint, with Toonfellaz, and with bktr.io; a cycle collaboration with Amélie Graef. Each one brought a different graphic world or object into the project and pushed the garments somewhere I wouldn't have taken them alone. Digital fashion was a community from the start, and these pieces are the proof of it.
Exploration · SALTY HEADS
Every SALTY HEAD is inspired by a deep passion for digital fashion, anime, trading cards, and a wide variety of other subcultures.
The first SALTY HEADS deploy classic cuts and prototypical branding to introduce the foundations of the SALTY HEADS universe.
Craft & Tools
The workflow blends garment-specific tools with a full 3D pipeline: the clothing is constructed in Marvelous Designer and Clo3D — the same simulation software real fashion houses use — then brought into Cinema 4D and Redshift, where I rework the materials, lighting and detail to bring the pieces to life as images and animations. Textures built in Substance, surfaces tuned until they read as nylon, knit, leather and technical weave rather than shaders. It's the same obsession with materiality that runs through all my work, applied to fabric instead of metal.
The Process
The process section shows the unglamorous middle — patterns, simulation, iteration, the steps between a flat idea and a finished piece. The sound across the series is my own, built to give the garments a world to exist in rather than leaving them silent. The whole thing was, and still is, a personal R&D project: a place to figure out what digital clothing could be when it's treated as craft rather than content.
Credits
Collaborations with — Obby&Jappari, Studio Toussaint, Toonfellaz, bktr.io, Amélie Graef
With thanks to Yippiehey, Vitaly Grossmann, Vincent Schwenk.
