INDUSTRY:
INDUSTRY:
INDUSTRY:
FASHION & APPAREL
FASHION & APPAREL
FASHION & APPAREL
ENGAGEMENT:
ENGAGEMENT:
ENGAGEMENT:
PANTHERA 3D
PANTHERA 3D
PANTHERA 3D
YEAR:
YEAR:
YEAR:
2022
2022
2022
SOFTWARE:
SOFTWARE:
SOFTWARE:
MAYA, SUBSTANCE PAINTER, UNREAL ENGINE
MAYA, SUBSTANCE PAINTER, UNREAL ENGINE
MAYA, SUBSTANCE PAINTER, UNREAL ENGINE
ROLE:
ROLE:
ROLE:
3D ARTIST, UNREAL ENGINE ARTIST
3D ARTIST, UNREAL ENGINE ARTIST
3D ARTIST, UNREAL ENGINE ARTIST
FASHION
WALK
FASHION
WALK
FASHION
WALK
FASHION
WALK
Fashion Walk began as an exploration into creating an interactive fashion configurator in Unreal Engine. The initial application featured two MetaHuman characters, Vivian and Skye, with matching body proportions, six Ankara-inspired dresses and two fabric pattern variations.
Fashion Walk began as an exploration into creating an interactive fashion configurator in Unreal Engine. The initial application featured two MetaHuman characters, Vivian and Skye, with matching body proportions, six Ankara-inspired dresses and two fabric pattern variations.
Fashion Walk began as an exploration into creating an interactive fashion configurator in Unreal Engine. The initial application featured two MetaHuman characters, Vivian and Skye, with matching body proportions, six Ankara-inspired dresses and two fabric pattern variations.
Fashion Walk began as an exploration into creating an interactive fashion configurator in Unreal Engine. The initial application featured two MetaHuman characters, Vivian and Skye, with matching body proportions, six Ankara-inspired dresses and two fabric pattern variations.
The project was later expanded beyond configuration into a fashion presentation. I developed a virtual catwalk where Vivian and Skye could walk in the garments with simulated fabric movement, recreating the presentation style of a real fashion event.
The project was later expanded beyond configuration into a fashion presentation. I developed a virtual catwalk where Vivian and Skye could walk in the garments with simulated fabric movement, recreating the presentation style of a real fashion event.
The project was later expanded beyond configuration into a fashion presentation. I developed a virtual catwalk where Vivian and Skye could walk in the garments with simulated fabric movement, recreating the presentation style of a real fashion event.
The project was later expanded beyond configuration into a fashion presentation. I developed a virtual catwalk where Vivian and Skye could walk in the garments with simulated fabric movement, recreating the presentation style of a real fashion event.
The first stage focused on developing an interactive Unreal Engine application for exploring different fashion combinations.
The first stage focused on developing an interactive Unreal Engine application for exploring different fashion combinations.
The first stage focused on developing an interactive Unreal Engine application for exploring different fashion combinations.
The first stage focused on developing an interactive Unreal Engine application for exploring different fashion combinations.
Users could switch between Vivian and Skye, select from six different dresses and change the Ankara fabric pattern applied to the garments. The completed .exe build successfully supported these interactions, demonstrating the feasibility of the configurator concept.
Users could switch between Vivian and Skye, select from six different dresses and change the Ankara fabric pattern applied to the garments. The completed .exe build successfully supported these interactions, demonstrating the feasibility of the configurator concept.
Users could switch between Vivian and Skye, select from six different dresses and change the Ankara fabric pattern applied to the garments. The completed .exe build successfully supported these interactions, demonstrating the feasibility of the configurator concept.
Users could switch between Vivian and Skye, select from six different dresses and change the Ankara fabric pattern applied to the garments. The completed .exe build successfully supported these interactions, demonstrating the feasibility of the configurator concept.
Two MetaHuman characters, Vivian and Skye, were used as the digital models for the fashion presentation. They were developed with matching body proportions for the initial configurator setup, while differing in skin tone to provide visual variation between the two characters.
The characters provided a consistent base for presenting the six garments and testing how the different Ankara patterns appeared across the collection.
Two MetaHuman characters, Vivian and Skye, were used as the digital models for the fashion presentation. They were developed with matching body proportions for the initial configurator setup, while differing in skin tone to provide visual variation between the two characters.
The characters provided a consistent base for presenting the six garments and testing how the different Ankara patterns appeared across the collection.
Two MetaHuman characters, Vivian and Skye, were used as the digital models for the fashion presentation. They were developed with matching body proportions for the initial configurator setup, while differing in skin tone to provide visual variation between the two characters.
The characters provided a consistent base for presenting the six garments and testing how the different Ankara patterns appeared across the collection.
Two MetaHuman characters, Vivian and Skye, were used as the digital models for the fashion presentation. They were developed with matching body proportions for the initial configurator setup, while differing in skin tone to provide visual variation between the two characters.
The characters provided a consistent base for presenting the six garments and testing how the different Ankara patterns appeared across the collection.
Six dresses were developed as the core fashion assets for the project, with each garment prepared to support two different Ankara fabric pattern variations.
Six dresses were developed as the core fashion assets for the project, with each garment prepared to support two different Ankara fabric pattern variations.
Six dresses were developed as the core fashion assets for the project, with each garment prepared to support two different Ankara fabric pattern variations.
Six dresses were developed as the core fashion assets for the project, with each garment prepared to support two different Ankara fabric pattern variations.
To develop the fashion-walk sequence, the MetaHuman characters were brought into Autodesk Maya, where their walking animation was prepared for the catwalk presentation.
The animation was then exported for use in the subsequent garment simulation workflow, providing the character movement required to drive the cloth simulation.
To develop the fashion-walk sequence, the MetaHuman characters were brought into Autodesk Maya, where their walking animation was prepared for the catwalk presentation.
The animation was then exported for use in the subsequent garment simulation workflow, providing the character movement required to drive the cloth simulation.
To develop the fashion-walk sequence, the MetaHuman characters were brought into Autodesk Maya, where their walking animation was prepared for the catwalk presentation.
The animation was then exported for use in the subsequent garment simulation workflow, providing the character movement required to drive the cloth simulation.
To develop the fashion-walk sequence, the MetaHuman characters were brought into Autodesk Maya, where their walking animation was prepared for the catwalk presentation.
The animation was then exported for use in the subsequent garment simulation workflow, providing the character movement required to drive the cloth simulation.
The animated characters were brought into Marvellous Designer for garment simulation. Each of the six dresses was fitted to the characters and simulated against their walking movement to reproduce the natural behaviour of fabric during a fashion walk.
This process allowed the Ankara garments to respond dynamically to the characters' movement rather than behaving as rigid 3D meshes.
The animated characters were brought into Marvellous Designer for garment simulation. Each of the six dresses was fitted to the characters and simulated against their walking movement to reproduce the natural behaviour of fabric during a fashion walk.
This process allowed the Ankara garments to respond dynamically to the characters' movement rather than behaving as rigid 3D meshes.
The animated characters were brought into Marvellous Designer for garment simulation. Each of the six dresses was fitted to the characters and simulated against their walking movement to reproduce the natural behaviour of fabric during a fashion walk.
This process allowed the Ankara garments to respond dynamically to the characters' movement rather than behaving as rigid 3D meshes.
The animated characters were brought into Marvellous Designer for garment simulation. Each of the six dresses was fitted to the characters and simulated against their walking movement to reproduce the natural behaviour of fabric during a fashion walk.
This process allowed the Ankara garments to respond dynamically to the characters' movement rather than behaving as rigid 3D meshes.
The simulated garments were brought back into Unreal Engine, where their fabric materials were developed and applied.
The Ankara patterns were used as interchangeable material variations, allowing the same dress designs to be presented with different fabric appearances while retaining the underlying garment construction and simulated movement.
The simulated garments were brought back into Unreal Engine, where their fabric materials were developed and applied.
The Ankara patterns were used as interchangeable material variations, allowing the same dress designs to be presented with different fabric appearances while retaining the underlying garment construction and simulated movement.
The simulated garments were brought back into Unreal Engine, where their fabric materials were developed and applied.
The Ankara patterns were used as interchangeable material variations, allowing the same dress designs to be presented with different fabric appearances while retaining the underlying garment construction and simulated movement.
The simulated garments were brought back into Unreal Engine, where their fabric materials were developed and applied.
The Ankara patterns were used as interchangeable material variations, allowing the same dress designs to be presented with different fabric appearances while retaining the underlying garment construction and simulated movement.
A dedicated fashion-walk environment was created in Unreal Engine to present the characters and garments.
The scene was designed around a catwalk presentation, with curtains incorporated into the environment and dressed with Ankara fabric materials to visually connect the environment with the fashion collection.
A dedicated fashion-walk environment was created in Unreal Engine to present the characters and garments.
The scene was designed around a catwalk presentation, with curtains incorporated into the environment and dressed with Ankara fabric materials to visually connect the environment with the fashion collection.
A dedicated fashion-walk environment was created in Unreal Engine to present the characters and garments.
The scene was designed around a catwalk presentation, with curtains incorporated into the environment and dressed with Ankara fabric materials to visually connect the environment with the fashion collection.
A dedicated fashion-walk environment was created in Unreal Engine to present the characters and garments.
The scene was designed around a catwalk presentation, with curtains incorporated into the environment and dressed with Ankara fabric materials to visually connect the environment with the fashion collection.
The final result combines interactive fashion configuration and real-time cinematic presentation within Unreal Engine.
What began as a dress configurator evolved into a digital fashion showcase, combining MetaHuman characters, garment design, cloth simulation, material variation and Sequencer-based cinematic production to demonstrate how fashion concepts can be presented interactively and visually in a real-time environment.
The final result combines interactive fashion configuration and real-time cinematic presentation within Unreal Engine.
What began as a dress configurator evolved into a digital fashion showcase, combining MetaHuman characters, garment design, cloth simulation, material variation and Sequencer-based cinematic production to demonstrate how fashion concepts can be presented interactively and visually in a real-time environment.
The final result combines interactive fashion configuration and real-time cinematic presentation within Unreal Engine.
What began as a dress configurator evolved into a digital fashion showcase, combining MetaHuman characters, garment design, cloth simulation, material variation and Sequencer-based cinematic production to demonstrate how fashion concepts can be presented interactively and visually in a real-time environment.
The final result combines interactive fashion configuration and real-time cinematic presentation within Unreal Engine.
What began as a dress configurator evolved into a digital fashion showcase, combining MetaHuman characters, garment design, cloth simulation, material variation and Sequencer-based cinematic production to demonstrate how fashion concepts can be presented interactively and visually in a real-time environment.
