Outside of her day job with Massive, Marie is still exploring other ways of designing digital fashion outside of the gaming sphere. If the pieces will only exist virtually it’s not necessarily easier to design if one has experience of designing physical fashion, it might even be the opposite. Therefore it all depends, if it’s virtual fashion that will also become physical fashion pieces, then yes for sure it is way easier because you need to have the tactile understanding. ”I used to believe that it is easier to design virtual fashion pieces having the experience of designing physical fashion, however, I’m not that convinced anymore.” Virtual fashion is purely visual and technical whilst real-life fashion is first of all trendy cloth that protects your body. The biggest difference between virtual fashion and real-life fashion is the tactile and non-tactile experience. I used to believe that it is easier to design virtual fashion pieces having the experience of designing physical fashion, however, I’m not that convinced anymore. Is it easier to design virtual fashion pieces with experience of designing physical fashion? Both software (CLO & Marvelous) are made by the same developer, however, CLO3d is targeting the fashion industry and Marvelous Designer the games industry. Outside of work I use the software clo3d, however at work I 3D model in Marvelous Designer, and then I also use Substance Painter. When I’ve finished sketching and the looks are decided, I start to 3D model it. Firstly I always start with research and depending on what the brief is I think about overall silhouettes while I’m researching. Walk us through the design process of a virtual fashion piece. Marie has also started to explore with the cosplay community, a phenomenon that has been extracting digital culture into the physical world for decades. Since a year back, Marie has been developing concept art on outfits and apparel collections for Massive’s online characters. The Malmö-based game developer, owned by Ubisoft, has developed games like Assasins Creed, Far Cry, and Tom Clancy’s The Division, to name a few. Marie’s physical and digital collections from her time at Beckmans won several design awards, and the recognition together with her exploration of digital identities landed her a job as Junior Concept Artist at Massive Entertainment. Clothes from Isacsson’s Fantasy Land collection. Video games are virtual worlds and a huge platform for entertainment wherein fashion can exist and grow, I saw an opportunity to expand the context of fashion. What really caught my eye was the social aspects as well as the identity perspective within gaming, but also the link between physical and digital identities. For my graduation work, I, therefore, started to look into designing for virtual worlds instead and I was specifically focusing on the gaming industry and MMO (Massive Multi Online games), Marie explains, adding: Fashion is all about change but somehow the way we show fashion, consume fashion, and how the fashion industry works is very traditional and stuck in the same system. Her fascination with fashion’s ability to express identity, creativity, and influence persisted during her bachelor’s degree, but she found herself turning to 3d programmes like CLO3D and Marvelous Designer rather than the sewing machine. While cutting her teeth as a fashion designer at Beckmans College of Design in Stockholm, Marie Isacsson’s perception of traditional fashion changed as her studies went along. In this 16-part special, we list the most exciting designers, brands, and platforms that are helping our digital selves to get dressed to progress. Introducing the forerunners of the new digital fashion industry.
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