INDUSTRY:
INDUSTRY:
FASHION & APPAREL
FASHION & APPAREL
ENGAGEMENT:
ENGAGEMENT:
VIVID FRAMES
VIVID FRAMES
YEAR:
YEAR:
2025
2025
SOFTWARE:
SOFTWARE:
BLENDER, MARVELOUS DESIGNER
BLENDER, MARVELOUS DESIGNER
ROLE:
ROLE:
3D MODELLING, SIMULATION, VISUALIZATION
3D MODELLING, SIMULATION, VISUALIZATION
ESTHER
STITCHES
ESTHER
STITCHES
ESTHER
STITCHES
ESTHER
STITCHES
A 3D marketing visualization created for Esther Stitches, transforming a physical bridal gown into a fully digital product presentation. The project involved reconstructing the client's garment, simulating its construction and movement, and developing a visual sequence around the finished design
A 3D marketing visualization created for Esther Stitches, transforming a physical bridal gown into a fully digital product presentation. The project involved reconstructing the client's garment, simulating its construction and movement, and developing a visual sequence around the finished design
A 3D marketing visualization created for Esther Stitches, transforming a physical bridal gown into a fully digital product presentation. The project involved reconstructing the client's garment, simulating its construction and movement, and developing a visual sequence around the finished design
A 3D marketing visualization created for Esther Stitches, transforming a physical bridal gown into a fully digital product presentation. The project involved reconstructing the client's garment, simulating its construction and movement, and developing a visual sequence around the finished design
A MetaHuman character was brought into the workflow to provide a realistic digital body for the gown simulation. The character was used in Marvelous Designer to fit and simulate the inner bodice, lace overlay, and train around the body while walking.
The simulated garments were then brought into Blender, where the MetaHuman and clothing were combined for the final visualization and rendering. This allowed the character's movement, garment behaviour, and overall presentation to remain consistent from simulation through to the final marketing animation.
A MetaHuman character was brought into the workflow to provide a realistic digital body for the gown simulation. The character was used in Marvelous Designer to fit and simulate the inner bodice, lace overlay, and train around the body while walking.
The simulated garments were then brought into Blender, where the MetaHuman and clothing were combined for the final visualization and rendering. This allowed the character's movement, garment behaviour, and overall presentation to remain consistent from simulation through to the final marketing animation.
A MetaHuman character was brought into the workflow to provide a realistic digital body for the gown simulation. The character was used in Marvelous Designer to fit and simulate the inner bodice, lace overlay, and train around the body while walking.
The simulated garments were then brought into Blender, where the MetaHuman and clothing were combined for the final visualization and rendering. This allowed the character's movement, garment behaviour, and overall presentation to remain consistent from simulation through to the final marketing animation.
A MetaHuman character was brought into the workflow to provide a realistic digital body for the gown simulation. The character was used in Marvelous Designer to fit and simulate the inner bodice, lace overlay, and train around the body while walking.
The simulated garments were then brought into Blender, where the MetaHuman and clothing were combined for the final visualization and rendering. This allowed the character's movement, garment behaviour, and overall presentation to remain consistent from simulation through to the final marketing animation.
The different garment components were brought together progressively, creating a visual transition from individual pieces of fabric to the completed bridal gown.
The different garment components were brought together progressively, creating a visual transition from individual pieces of fabric to the completed bridal gown.
The different garment components were brought together progressively, creating a visual transition from individual pieces of fabric to the completed bridal gown.
The different garment components were brought together progressively, creating a visual transition from individual pieces of fabric to the completed bridal gown.
Blender Geometry Nodes were used to create procedural cloth reveal effects within the animation. This provided greater control over how the garment elements appeared and allowed the reveals to be integrated into the movement of the scene.
Blender Geometry Nodes were used to create procedural cloth reveal effects within the animation. This provided greater control over how the garment elements appeared and allowed the reveals to be integrated into the movement of the scene.
Blender Geometry Nodes were used to create procedural cloth reveal effects within the animation. This provided greater control over how the garment elements appeared and allowed the reveals to be integrated into the movement of the scene.
Blender Geometry Nodes were used to create procedural cloth reveal effects within the animation. This provided greater control over how the garment elements appeared and allowed the reveals to be integrated into the movement of the scene.
A sewing machine was modelled in Blender and incorporated into the animation as part of the garment-production sequence. This helped connect the digital visualization to the physical process behind the creation of the gown
A sewing machine was modelled in Blender and incorporated into the animation as part of the garment-production sequence. This helped connect the digital visualization to the physical process behind the creation of the gown
A sewing machine was modelled in Blender and incorporated into the animation as part of the garment-production sequence. This helped connect the digital visualization to the physical process behind the creation of the gown
A sewing machine was modelled in Blender and incorporated into the animation as part of the garment-production sequence. This helped connect the digital visualization to the physical process behind the creation of the gown
The animation also visualizes the sewing process, using the individual cloth components to create the impression of the garment being assembled. This added a narrative element to the advertisement rather than simply presenting the completed product
The animation also visualizes the sewing process, using the individual cloth components to create the impression of the garment being assembled. This added a narrative element to the advertisement rather than simply presenting the completed product
The animation also visualizes the sewing process, using the individual cloth components to create the impression of the garment being assembled. This added a narrative element to the advertisement rather than simply presenting the completed product
The animation also visualizes the sewing process, using the individual cloth components to create the impression of the garment being assembled. This added a narrative element to the advertisement rather than simply presenting the completed product
The garment pieces were constructed and simulated in Marvelous Designer, allowing the fabric to form naturally around the character. The software was also used to simulate the movement of the gown during the walking sequence
The garment pieces were constructed and simulated in Marvelous Designer, allowing the fabric to form naturally around the character. The software was also used to simulate the movement of the gown during the walking sequence
The garment pieces were constructed and simulated in Marvelous Designer, allowing the fabric to form naturally around the character. The software was also used to simulate the movement of the gown during the walking sequence
The garment pieces were constructed and simulated in Marvelous Designer, allowing the fabric to form naturally around the character. The software was also used to simulate the movement of the gown during the walking sequence
One of the key effects was the gradual appearance of the lace overlay over the inner bodice. Instead of cutting directly to the finished garment, the animation reveals the layers progressively to emphasize the construction and detail of the gown.
One of the key effects was the gradual appearance of the lace overlay over the inner bodice. Instead of cutting directly to the finished garment, the animation reveals the layers progressively to emphasize the construction and detail of the gown.
One of the key effects was the gradual appearance of the lace overlay over the inner bodice. Instead of cutting directly to the finished garment, the animation reveals the layers progressively to emphasize the construction and detail of the gown.
One of the key effects was the gradual appearance of the lace overlay over the inner bodice. Instead of cutting directly to the finished garment, the animation reveals the layers progressively to emphasize the construction and detail of the gown.
After simulation, the garments were textured in Substance Painter. Materials were adjusted to establish the different visual properties of the gown, particularly the contrast between the opaque inner bodice, delicate lace, and flowing outer fabric.
After simulation, the garments were textured in Substance Painter. Materials were adjusted to establish the different visual properties of the gown, particularly the contrast between the opaque inner bodice, delicate lace, and flowing outer fabric.
After simulation, the garments were textured in Substance Painter. Materials were adjusted to establish the different visual properties of the gown, particularly the contrast between the opaque inner bodice, delicate lace, and flowing outer fabric.
After simulation, the garments were textured in Substance Painter. Materials were adjusted to establish the different visual properties of the gown, particularly the contrast between the opaque inner bodice, delicate lace, and flowing outer fabric.
The completed animation combines 3D garment reconstruction, cloth simulation, texturing, modelling, procedural effects, and visualization to present the gown in a dynamic and engaging format.
The completed animation combines 3D garment reconstruction, cloth simulation, texturing, modelling, procedural effects, and visualization to present the gown in a dynamic and engaging format.
The completed animation combines 3D garment reconstruction, cloth simulation, texturing, modelling, procedural effects, and visualization to present the gown in a dynamic and engaging format.
The completed animation combines 3D garment reconstruction, cloth simulation, texturing, modelling, procedural effects, and visualization to present the gown in a dynamic and engaging format.
