At University of Fashion, our mission has always been to prepare students with a solid foundation in on-the-table technical techniques, as well as computer-assisted design and pattern making skills. In 2022, with our industry embracing 3D design software, we added a 3D Browzwear lesson series, taught by industry pros Iris Hopkins and Brittany Gray.
We are proud to announce that we are expanding our commitment to 3D by adding lessons in CLO 3D, taught by our newest instructor, Lane Odom. Lane’s series begins with an Introduction to CLO 3D, followed by How to Construct a Garment with Existing 3D Patterns and then How to Draft a CLO 3D Women’s Bodice Block. Lane provides instructions on how to purchase the CLO 3D software and demonstrates how you can actually draft a set of slopers, based on your avatar’s measurements from scratch, a rare lesson in the 3D space. Click on the link below each lesson’s poster frame to view a preview of that particular lesson.
UoF’s lesson on Introduction to CLO 3D
UoF’s lesson Constructing a Garment with Existing Patterns
ABOUT LANE ODOM
Upon graduating from Johns Hopkins University with a B.A. in International Studies, Lane enrolled at Parsons School of Design to pursue a A.A.S. Fashion Design degree. After four semesters, he graduated with honors and displayed his senior thesis collection with the Design x NYC student showcase.
Through the post-pandemic uncertainty of 2021, Lane started as an intern for Swiss apparel start-up Mover Plastic Free Sportswear. There, he quickly became a full-time employee and eventually assumed all responsibilities for product design, development and production, and managed a global supply chain of premium materials and top-notch European craftsmanship.
As Lane advances his journey in fashion design, he hopes to continue to increase his involvement in the education of the next generation with the knowledge he has gained from his experiences in the industry.
In an interview with University of Fashion founder, Francesca Sterlacci, Lane shares his career aspirations and his interest in 3D design:
What made you interested in fashion after having graduated with a degree from Johns Hopkinson in International Studies?
I became interested in fashion from an entrepreneurial perspective during my second year at Johns Hopkins. I always had an active imagination and would find myself daydreaming a lot. I saw that fashion could be a great mix of creativity and business/analytics, and I quickly fell in love with sketching ideas. On top of that, fashion was going through its “streetwear renaissance,” where it felt like participation in the industry was opening up, and I wanted to throw my hat in the ring. I knew I wanted to have a career contributing to culture and leaving a positive impact; it just so happened I found my passion in fashion, and it has been a fulfilling medium after my time as an athlete.
What prompted your interest in learning 3D?
My Design Communication class at Parsons was my first introduction to the software. The class had a focus on CLO3D, with the final project to build an eight-look collection by the end of the semester. I took to the program immediately, thoroughly enjoying the ability to conceptualize designs beyond 2D drawings. Additionally, I already had a lot of interest in technical design. Since I came to fashion with an entrepreneurial spirit, I felt it would be important for me to be able to build garments on my own. 3D stood out to me as a tool for a less resource-intensive approach, in both product development and presentation.
Do you think 3D is as accepted in the fashion industry as it could be?
I think naturally it is going to take time for industry professionals to get familiar with 3D, and how to integrate it into the design and development process, as well as establishing standardization across different software. While it is digital, 3D is still quite technical, not just in clothing design but in 3D modeling/animation as well, so I think it will always have a particular type of user. I think the first to adopt 3D is/should be technical designers and pattern makers, or any designers who are really into the making process. Then it remains to be seen how product represented in 3D will be received by fashion consumers. Again, it’s going to take time for people to build trust with 3D, just as it takes time for any brand to build trust with customers. All and All I think 3D is exactly where it should be, and it will be up to the early adopters to continue to prove its use cases.
What role does sustainable design play in your future aspirations as a designer?
Mainly using natural materials as much as possible. If we can create more products with its end-of-life cycle in mind, then we can cut down on a lot of plastic pollution relatively easily. I love wool as a fiber for its versatility across knits and wovens and its interaction with a person’s body. I think that is a great place to start as an independent designer, and then continue to track our impact and continue to make responsible decisions as we grow.
Do you find your proficiency in on-the-table technical skills a big plus when working with 3D design software?
Yes, definitely. If anything, the 3D software has been a vital tool to practice my on-the-table technical skills more efficiently. Being able to study different pattern drafting methods before needing to cut and sew is a big plus. The 3D simulation not only shows you silhouette, but also where fabrics are falling, bunching, or stretching around the body. It will always require technical know-how to correct or alter your garment. Even though it is digital, when you know what you are looking for, you have to take the right steps to achieve a good result, just like you would on the table.
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