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The Ones
3D Render by krepinskyofficialAs a fashion designer, I followed the RenderHub contest for quite a while before finally deciding to enter - it ended up being quite the stressful experience 
I've always admired the kinds of garment designs you would discover on platforms like RenderHub. futuristic and imaginative stuff. These aesthetics always spoke to me, but I never had the right outlet to try myself out. Learning 3D and digital fashion at the 3D Akademie in Stuttgart changed that and gave me the tools to explore more what my fashion could become in digital spaces.
The result of this project is a hybrid between fantasy and sci-fi tropes. something you could easily find in a game or virtual world. At the same time, I tried to ground it with mundane fashion details, like a knit texture.
One of my goals was the idea of not just creating a static representation of the design, but building a functional avatar. I tried myself in realtime character workflows, experimenting with ways to make the garment move. It’s not perfect yet, but it incorporates nearly everything I set out to achieve within the contest timeframe, including working with UDIMS and trying out cool texturing workflows.
The challenge of working with otherworldly, stylized anatomy, provided by my trainer at 3D Akademie, pushed me toward a different approach than what you would normally find in traditional fashion. That tension between chunkier, exaggerated forms and the possibility for intricate details was super compelling to me, especially in contrast with the aesthetics of reality.
For the staging, I wanted to avoid being too literal with the catwalk. Instead, I played with simple volumes in Blender, combined with some spotlighting and atmosphere, to create a simple but eerie vibe. The scene is imagined as a gathering of some sort. A crowd encircling this otherworldly character.
This project has been an intense learning experience, also an inspiring one. It brought together my love of sci-fi and fantasy aesthetics, my growing skills in 3D and digital fashion, and my drive to push my clothing design beyond reality.
The outfit “theOnes" is a multi-layered composition that maintains protection, reinforcement, and freedom of movement in harmonious balance. Through its precise lines, it embodies elegance, minimalist futurism. Inspired by organic material, flora and fauna, high-tech and smart materials, the forms and structures developed that surround the body of the avatar.
The bodysuit fits ergonomically and closely to the figure. A segmentation into flexible parts guarantees mobility, while dynamic seam sequences shape the silhouette and emphasize the athletic form of the avatar. By imitating the graceful body architecture, an exoskeleton-like system was developed using 3D techniques – pen, pressure, and collision thickness. Here too, the material is segmented.
Reinforced joint areas protect and stabilize, while ribbed surfaces and sculptural elements set a visual accent. These structures simultaneously function as shield, docking station, or holder for gadgets – multifunctional, aesthetic, and mysterious, as if they could activate a kind of system at any time.
The textures and materialities reflect the character of the avatar. Between glossy and technoid there is this softness ans elasticity shown by the undersuit and the connection straps. The relief surfaces emphasize the form of her body and the structure of the suit.
In summary, “theOnes" combines high-fashion and high-tech – a design between armor, couture, and sculpture, embodying both the body and the vision of a futuristic aesthetic, still connected to our generations fashion.
I've always admired the kinds of garment designs you would discover on platforms like RenderHub. futuristic and imaginative stuff. These aesthetics always spoke to me, but I never had the right outlet to try myself out. Learning 3D and digital fashion at the 3D Akademie in Stuttgart changed that and gave me the tools to explore more what my fashion could become in digital spaces.
The result of this project is a hybrid between fantasy and sci-fi tropes. something you could easily find in a game or virtual world. At the same time, I tried to ground it with mundane fashion details, like a knit texture.
One of my goals was the idea of not just creating a static representation of the design, but building a functional avatar. I tried myself in realtime character workflows, experimenting with ways to make the garment move. It’s not perfect yet, but it incorporates nearly everything I set out to achieve within the contest timeframe, including working with UDIMS and trying out cool texturing workflows.
The challenge of working with otherworldly, stylized anatomy, provided by my trainer at 3D Akademie, pushed me toward a different approach than what you would normally find in traditional fashion. That tension between chunkier, exaggerated forms and the possibility for intricate details was super compelling to me, especially in contrast with the aesthetics of reality.
For the staging, I wanted to avoid being too literal with the catwalk. Instead, I played with simple volumes in Blender, combined with some spotlighting and atmosphere, to create a simple but eerie vibe. The scene is imagined as a gathering of some sort. A crowd encircling this otherworldly character.
This project has been an intense learning experience, also an inspiring one. It brought together my love of sci-fi and fantasy aesthetics, my growing skills in 3D and digital fashion, and my drive to push my clothing design beyond reality.
The outfit “theOnes" is a multi-layered composition that maintains protection, reinforcement, and freedom of movement in harmonious balance. Through its precise lines, it embodies elegance, minimalist futurism. Inspired by organic material, flora and fauna, high-tech and smart materials, the forms and structures developed that surround the body of the avatar.
The bodysuit fits ergonomically and closely to the figure. A segmentation into flexible parts guarantees mobility, while dynamic seam sequences shape the silhouette and emphasize the athletic form of the avatar. By imitating the graceful body architecture, an exoskeleton-like system was developed using 3D techniques – pen, pressure, and collision thickness. Here too, the material is segmented.
Reinforced joint areas protect and stabilize, while ribbed surfaces and sculptural elements set a visual accent. These structures simultaneously function as shield, docking station, or holder for gadgets – multifunctional, aesthetic, and mysterious, as if they could activate a kind of system at any time.
The textures and materialities reflect the character of the avatar. Between glossy and technoid there is this softness ans elasticity shown by the undersuit and the connection straps. The relief surfaces emphasize the form of her body and the structure of the suit.
In summary, “theOnes" combines high-fashion and high-tech – a design between armor, couture, and sculpture, embodying both the body and the vision of a futuristic aesthetic, still connected to our generations fashion.
The foundation of the outfit was created using a 3D pen tool within Clo3D, complemented by a series of hand-drawn sketches. This process allowed for the development of a precise line structure that defines the body suit, which then served as the inspiration for the exosuit design. Both elements are directly derived from the natural contours of the avatars body, resulting in a harmonious connection.
Building on this foundation, style lines were developed to explore structure and form. Through a detailed design process, key structural elements were identified and, inspired by reference imagery, sculptural shapes began to emerge. The created pattern pieces were refined and carefully reviewed, with shapes being merged and simplified to achieve a coherent design. Following this process, fabric thicknesses were defined and textile properties were assigned, adding both material depth and a realistic sense of tactility to the digital garment.
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Following this stage, the texture creation process began.
Drawing from both artistic references and organic inspirations found in flora and fauna, the design was further enriched by the integration of advanced, newly developed technical fabrics. Using Substance Sampler, Substance Designer, and Photoshop, original textures were created such as perforated mesh structures and the ultra-lightweight material defining the exosuit. To subtly break the futuristic appearance of the outfit, elastic strap underwear material and a knitted structure were incorporated. These additions introduce a tactile contrast, softening the high-tech aesthetic.
Drawing from both artistic references and organic inspirations found in flora and fauna, the design was further enriched by the integration of advanced, newly developed technical fabrics. Using Substance Sampler, Substance Designer, and Photoshop, original textures were created such as perforated mesh structures and the ultra-lightweight material defining the exosuit. To subtly break the futuristic appearance of the outfit, elastic strap underwear material and a knitted structure were incorporated. These additions introduce a tactile contrast, softening the high-tech aesthetic.
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In Blender, the materials were reassessed and refined, enhancing structures, roughness, textures, and tactile qualities. At this stage, the color palette was also defined.
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The camera setup, posing, and lighting of the render were carefully designed to highlight both a sci-fi and fashion-inspired aesthetic. I posed the avatar in a stylized way, combining futuristic body language with elegant fashion gestures to enhance the visual storytelling. The lighting was arranged to match the given stage environment, creating depth and atmosphere while emphasizing textures and silhouette. I experimented with different angles and intensities to achieve a balanced composition that feels both dramatic and harmonious. The setup aims to connect the narrative of sci-fi with the sophistication of fashion presentation, ensuring the avatar stands out as the central focus of the scene.
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The unedited renders can be seen here. The post-processing was done in Photoshop.
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The Ones
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