Author: He Tao

We believe that, roughly speaking, there are two major characteristics that distinguish human beings from other animals. The first is that human beings take the initiative to wear clothes to cover the body. The basic function of clothes is protecting the body. However, people like to wear different beautiful clothes for vision pleasure and self-expression. The clothes become a symbol to distinguish one person from another. The second characteristic is that human beings can create and use tools actively to achieve their own goals.

When people realize that the metaverse, which is much broader and diverse than the real world, is rapidly opening, they will definitely create or use various digital tools to generate more new forms of products in the new application scenarios to satisfy their spiritual needs. Looking at humans’ feature of wearing clothes, the traditional manufacturing process of clothing is at the expense of environmental pollution, and people have formed an unprecedented consensus that the earth is overwhelmed. We believe that the sustainable fashion business model in the metaverse will soon be divided into two types in the next few years.

First, if the purpose is only for vision pleasure or social contact in the virtual world, people will be willing to accept that clothes are presented in digital form, only exist in the virtual world, and do not need to be converted into physical objects. This kind of digital clothing supply can reduce the material waste and relieve environmental burden caused by pure whim. Fashion NFT works, character costumes in 3D animation or game, avatar’s dressing in metaverse, etc. will replace part of physical clothes and become more and more popular for entertainment or spiritual satisfaction.

The second is to develop and use digital tools to meet individual needs conveniently in the environment friendly way. From the perspective of convenience, people can do shopping without time and space limitation, confirm the wearing effect in a virtual state. From the perspective of environmental sustainability, people will increasingly tend to choose clothing that can faithfully restore the virtual effects they once recognized. The greatest satisfaction of people is that the service of this kind of digital clothing fully matches their personalized needs.

Imagine such a scenario. Everyone can have several Avatars of different styles in metaverse. One Avatar of them is originated from real body scanning shape data of the user. It can be called 3D Human Avatar.
 A female X may visit a clothing store in metaverse using her animation Avatar, crush on a certain garment that VHuman Avatar(virtual influencer) wearing. She can change into her 3D human Avatar and do virtual try-on fitting.

She likes it and decides to buy for her 3D human Avatar. Then this 3D human Avatar wearing on new garment continues to party with friends in the metaverse. Everywhere she goes, she is praised by everyone for her dressing style, and X has the desire to wear the same physical clothes to the business dinner in the real world.

So X places an order in the metaverse store, and the dress is directly sent to the hotel reception of her business dinner. The store in the metaverse will submit the image data of this dress to X’s personal wardrobe in the metaverse, which is convenient for her to retrieve and match with other virtual clothes from any other metaverse store . And because X has already paid for the same digital clothing, she can enjoy a discount or favorable price deducts the digital price for the physical dress, so X will be really happy with her double harvest. One week later, X arrives at the hotel and puts on the dress. The wearing effect is just the same as the virtual fitting in the metaverse. X looks gorgeous and has a pleasant meal with the client. The supply of this type of digital clothing cannot be achieved by the simple image matching type of digital clothing. In other words, it must be able to switch between the virtual and the real, including fit & size.
 
The prerequisite, of course, is to achieve a direct digital twin to the end consumer.
 
In fact, we already have experienced similar cases during our business practice in China 10 years ago. A female entrepreneur was too busy to have time go shopping for dress. She often asked us to provide photos of products which the style she likes and made selections. Then we packed the dress of her size and gave it to her driver. The driver often sent the dress directly to the hotel she stayed in Beijing. What we are proud of is that this customer has never returned or exchanged goods because of the wrong size.

Sdibit expects to provide more scalable services to customers of more brands. For example, a Chinese girl X likes a dress from a Japanese merchant online, confirms online virtual fitting effect, places an order and informs the merchant that she will travel to Italy, hoping to receive the dress in Italy. The merchant immediately transmits the design pattern and fabric data of the dress to the cooperative plant in Italy to start production. A week later, when X arrives Italy, she can be satisfied to wear the dress she ordered , save time and energy for pleasant sightseeing.

With the continuous improvement of hardware and software and the continuous accumulation of know-how, we believe that within the next 3-5 years, business model vision in the metaverse scenario will be realized one by one.
29th,Aug.2022

We are familiar with the word “Butterfly Effect”. Targeting the large ecological circle of the apparel industry, we know this industry actually has a very long industrial chain, and every link must be re-examined and considered from the perspective of sustainability. From the production of raw materials, spinning, fabric manufacturing technology, design and pattern-making, production, sales, packaging, logistics, business operation to consumers’ consumption concepts and habits……Every factor in the chain is closely related to the sustainability of the whole fashion industry.

International environmental protection organizations, national industry associations, leading textile and apparel brands, as well as some excellent designers and consumers with a high sense of social responsibility, are actively responding and participating, and conveying their sustainable attitudes in different ways. The industry’s efforts and attempts to achieve digital transformation in the sustainable direction now are mainly focused on R & D and adoption of Eco-friendly fabrics, popularization of environmental friendly production processes, construction of digital production workshops, and recycling.

A common point can be noticed here. The starting point of these solutions is basically how to mitigate the waste that will be generated or how to deal with the waste that has been generated. As an assumption, if the Eco-friendly fabric with hard-working of R&D are not sold and turned into inventory, finally can only be discarded, is it contrary to the original intention of environmental protection? Therefore, based on the accumulation, it is more necessary to use design thinking to capture the overall situation, find the core entry point that can control the entire link, and solve the problem fundamentally.

SdibiT takes another look at fashion industry with reverse thinking. The premise is not how to deal with the waste that will be generated or has been generated, but whether it can avoid waste from the beginning as much as possible. Focusing on the key part, design and pattern making, return to the origin purpose of fashion design, design for people and produce according to needs. Only in this way can we solve the wastes problem of the industry.

Take every step in detail. Use virtual display technology to receive fabric orders before producing physical products to reduce undesired fabric producing. Use 3D design and pattern making technology to reduce sample wastes. Apply variable BOM in manufacture process to fulfill variable needs and avoid abundant stocks. Use VR fitting technology in the sales process to lower return rate so as to reduce logistics pollution and packaging wastes.

For any environment friendly product, the length of its service is a main factor to judge its sustainability. Even if the brand pursues the principle of sustainability from raw materials to all links of the supply chain, if it produces a product that has never been purchased and used，finally being discarded in the warehouse, the product’s life cycle is “fleeting”, and the brand’s such producing behavior is against sustainable development in essence. Don’t you think so?
 
In the video, we can see that consumers can choose their favorite front, back, collar, pockets, colors, fabrics… participate in the construction process of Fashion LEGOs, and can also confirm the effect of the final design product and see how it looks when matching with other clothes. In this way, the daily ready-to-wear, which accounts for the largest proportion of clothing consumpti

on, obviously can get more accurate guidance for production style and number than the traditional way of market prediction commonly used currently. As a result, it is possible to produce only the required designs and quantities from the beginning, and eliminate the generation of the wastes from the root.

To go a step further, supported by the digital standardized pattern, we can take advantage of the apparel DIY system in the aftersales process and allow consumers to order the parts of their clothes and replace the old parts to extend the clothes using period.
Strive for the maximum radiation range of sustainable business model (butterfly effect).

Eco business is no longer an empty concept. Not only international organizations, multinational groups and large enterprises can lead and participate in. E-commerce platforms, small and medium-sized enterprises and even workshops and consumers, everyone can participate in Eco-business. And people participate in this eco business to fulfill their need for personalized design needs with strong willingness and sense of achievement. The behavior is done with happiness instead of reluctant feeling.

SdibiT’s data analysis and processing technology and knowhow originate from R&D team in Japan. In the past 15 years, we chose Chinese market as the No.1 business development target area because China’s clothing consumption, especially women’s wear consumption, is the largest in the world in terms of quantity. Putting our ideas and value propositions into practice is of great significance and value whether from the perspective of verifying and improving technical services or from the perspective of truly doing our best for environmental protection.

In China, through 15 years of accumulation and R&D improvement, SdibiT has been recognized by some enterprises and started to provide them with comprehensive technical services. In fact, although it was SdibiT who provided background data support service for the products in the video in the last submission, we published it after getting the permission from clients.

We sincerely appreciated our clients for fully supporting and adopting the comprehensive solution of sustainable fashion advocated by us. In every process, we worked together and did everything we can to work in detail under the principle of sustainability.

For example, considering the current textile production situation in China, new material fabric development period is long and the cost is high, the price is beyond our budget, so we use natural fiber fabrics mainly made of cotton, linen, silk and wool for all clothing fabrics including linings. These natural fabrics are degradable after being discarded. And we use white solid color fabrics as many as possible to reduce the pollution caused by dyeing.

In addition, the online VR fitting and matching system is used in the sales process, so that consumers can easily participate in the design and match process without time and space limitation. The application provides references for multiple matches with the designated one garment to prolong the garment’s life cycle and reduce wastes.

Most importantly, we combine the data assets of Chinese women’s body shape with the digital design of clothing. Based on the 3D VHuman model, we apply 3D design & pattern making technology and 3D visualization technology in the form of VR throughout the process to lead the design, development and marketing display. The technical logic is based on the data output of human body modeling, clothing modeling, accessory modeling, etc to realize the digital twin directly to consumers.

We have emphasized several times that SdibiT aims to provide solutions that do not generate physical waste as possible as we can from the start. And we focus on providing sustainable solutions for ready-to-wear that accounts for the largest proportion of products in the industry.
 
In fact, there are more and more consumers just want the fashion to satisfy their temporary visual enjoyment or spiritual entertainment, and have no desire for physical objects. Concerning this trend, we believe that using digital clothing to fit consumers’ own images is also a vital part of sustainable fashion. As shown in the pictures, SdibiT is confident to provide technical service in this area.

 
However, SdibiT currently focuses on providing sustainable solutions for physical ready-to-wear which accounts for the largest proportion of products in the industry.
 
We reduce the high return and exchange rate of online shopping by the following 3 means. First, we design according to customers’ requirements. Second, we produce and delivery only the quantity needed as possible as we can. Third, we ensure that the VR fitting we display is as same as the actual wearing effect on consumers. As a result, we solve the clothing waste disposal problem comprehensively from the root.

 
There is one achievement of VR fitting that we want to emphasize here. SdibiT can replace the reference Vhuman Avatar with the digital Avatar of consumers’ personal scanning data to further check the wearing effect. And we have recognized many issues may occur in practical applications.
 
The natural environment is already overwhelming. Fashion-loving citizens of the earth should also have a sense of responsibility for sustainable fashion, advocate a fashionable lifestyle friendly to nature, and lead a culture of data fashion. And the mission of digital technology is supporting and serving such healthy and sustainable lifestyle. Do you agree with it?
 
Now that we have gained a lot of useful application experience in the country with the largest number of clothing consumption, we look forward to cooperate with more partners in the world to expand our Eco fashion business.
 
14th Aug 2022

We have emphasized repeatedly that the foundation of successful digital transformation in the design and pattern making process lies in the use of structural design, establishing various types of 3D Digital Garment Model in advance. This is the key that even design varies depending on different cutting lines, the actual looseness commonly known as comfort of wearing on consumers can achieve a stable level. Therefore, the use of structural design is also the core of solution for【fit & size】.

Paper is similar with fabric. Many countries have the tradition of making paper art. Here, we take paper art creation works as an example to explain clothes structure. Most 3D paper art requires the use of both kirigami(paper cutting) and origami. The appearance and shape including the 3D infrastructure are established through kirigami(paper cutting) first. After the proportion balance, stability and aesthetics of the infrastructure are confirmed, origami decorations can be added or done directly in the reserved areas. Finally, the appearances are varied according to the theme of creation. The more excellent the basic structure done by paper cutting is, the more complete the decorative effect of origami can achieve. There is a common point in the experience sharing of excellent paper art works creators. Origami is not added at random, but added on the premise of not destroying the balanced beauty of the infrastructure. Sometimes, due to the limitations of the completed infrastructure of paper cutting, the original design scheme of origami will be modified, such as size, shape, adding position, etc., or even finally abandoned. On the other hand, it is rare to modify paper cutting design in order to preserve the design of origami.

Similarly, the basic 3D presentation of clothing is completed by structural lines, just like paper cutting. Any additional elements added to the surface of the garment can be considered equivalent to origami and belong to decorative design rather than basic silhouette structure design.

The core of SdibiT’s solution as well as its expertise is the use of structural design, establishing various types of 3D Digital Garment Model. That is complete various paper cutting accurately and effectively according to creation theme.

The 3D structural lines created under our digital management mode have two big advantages. One is that they can be retrieved and reused. Taking previous shapes and cutting positions as reference, new cutting lines can be created quickly. The other is that most design patterns generated by such kind of cutting lines can combine with each other.

As shown in the attached pictures, even if different paper cutting shapes(patterns) are used in front, back, left and right of the blouse, the silhouette shape and 3D structure still maintain balanced and stable.

We want to make it clear that the application of digital technology can not completely replace experienced craftsmen with superb professional skills. Compared with other manufacturing industries, the fashion industry has more artistic characteristics, and there is no unified standard for aesthetics. Meticulous customized design and craft such as the prestigious handmade suit customization store, will always exist. We believe that while maintaining traditional excellent elements, both customized clothes and ready-to-wear clothes creators should apply digital tech. effectively to create design works which are really needed by the market quickly and accurately.

The image of today’s attachment is an extended secondary creation made by our company’s interns based on the 3D digital garment model in the database. As the example we illustrated in the previous submission, the cutting lines are different in left and right, front and back. The intern worked with the company’s veteran employees with 20 years’ experience in manual draping, and spent 3 hours together to make the full set of pattern and display it in the form of video. It must be emphasized here that because origami is done after standardized paper cutting work, the design elements completed by draping in the designated parts can not only ensure the same wearing effect on ordinary consumers and VHuman, but also can be collected in the database as new design data and be combined with other design patterns, generating countless new looks. In other words, new varieties have been added to LEGO’s decorative parts library.

Digital technology and craft should be integrated more effectively. Digital technology provides accurate location judgment for craft and abundant reference information for brewing new creation. If the new creation is done on the standardized 3D digital garment model, it can be output as a design pattern for production instantly. At the same time, it can be combined with other patterns of the same specification, resulting in countless new looks.

We believe such efficient interaction will form the most critical shock wave, digital design creativity, to promote the digitization of the source of the industry.

Now, every link of the fashion industry chain is facing innovation, especially the design and pattern-making department which is like the brain center of the industry. They have to change their working content and rules. Compared with other departments, they are facing a more difficult problem of thinking transformation.

And it is also an unavoidable process for entrepreneurs seeking digital transformation and development.

Here, I think of a sentence said by Rosalynn Carter, the former first lady of the United States. I was so touched and I’d like to share with you:

A leader takes people where they want to go. A great leader takes people where they don’t necessarily want to go but ought to be.

31^st Jul, 2022

We believe the foundation of successful digital transformation in the design and pattern making process lies in the use of structural design, establishing various types of 3D Digital Garment Model in advance. Fashion brands can determine and establish 3D Digital Garment Models according to their own aesthetic criterion. What proportion is the most beautiful, what size and shape of each cross section should be, etc. But once the 3D Digital Garment Model is established, it can not be modified arbitrarily. It should keep stable as the DNA to brand to contribute to the accumulation and management of modularized and interchangeable design. Even the Models have to be modified due to change of body shape big data or target consumer group, they should be modified under the brand’s new criteria and keep stable for a long time.

And the application of these 3D Digital Garment Models should follow some standards. For example, the intersection point is fixed at the same position no matter how the cutting lines vary. This standardization management method requires modularized and compatible design on 3D Digital Garment Models. Such digital fashion design management mode is absolutely the core of our solution because this core can play following two key roles. 

First, we think that the key of giving consumers’ unique impression of one clothing brand is establishing the brand’s identification, and the key is consistent style and brand value conveyed to consumers. No matter how different design elements, fabrics, colors and patterns match and mix with each other to generate various looks every season, the representative outer shape of clothes is as the brand’s DNA, the key to enhancing brand identification. Take these products in life for example, the Coca-Cola glass bottles, Porsche sports cars, Chanel tweed coats, etc, you will find the easily recognizable products all have one thing in common, consistent outer shape. Therefore, to accurately control the brand information transmit of clothing outer shape DNA, we do fashion design on unified 3D Digital Garment Model.

Second, the design and pattern-making phase is just like the brain center of the entire apparel industry chain, issuing instructions to the synergy operations downstream. The development level of the brain directly affects the comprehensive competitiveness of brands in the industry. In the commodity development process, the full sharing of creators collaboration can be achieved, through digitization, standardization and component interchangeable transformation of design and pattern making phase.

The video only shows the tip of the iceberg of changing clothing designs. If following our digital design processing and management method, clothing is like LEGO, from a single design, creators can build up thousands of different looks by combining standard digital components.

In previous submissions, we talked about if following our digital design processing and management method, clothing can be designed like LEGO.
Because information silos are eliminated, new design patterns can be automatically generated through unlimited exchange combination, so as to form the brand teams’ or enterprise’s unique standardized design database, and greatly shorten the design expansion cycle.

We have repeatedly stated that SdibiT’s solution focuses on consumers. SdibiT makes virtual clothes for people to watch and order online. All the virtual clothes people see online can be produced into ready-to-wear goods offline, and immediately delivered to end consumers in need．
The ideal style which the consumer expects is the purpose of our data output. Take a dress as an example, looking at the design drawings or commodity brochures, it is often that consumers like looks that are not completely same as what they have seen. They may like brandX’s collar +brandY’s sleeve, or brandA’s front +brandB’s back +brandC’s hemline, or even one of the cutting lines that appeared in brandV’s haute couture designs. And we just meet their needs through our solution.

There are two major changes that everyone must be aware of.

First, with our solution, standardized design database is dynamic and constantly expanding. In addition, as this expansion is no longer limited by time and space, new design data can be added by different people working in synergy.
In standardized design database, the growth rate of design materials is no longer calculated in the traditional way of addition, but exponential multiplication.

Secondly, according to the actual needs of end consumers, fashion creators extract various structural lines or design elements from the design database and continuously combine them to generate new design patterns. The definition of original in the traditional sense will be subverted. LEGO, for example, uses the same standard parts and combines them to form kaleidoscopic shapes.
Can these final appearances of LEGO be claimed by the creator to be original of his own idea?
17th Jul, 2022

In the last submission, we showed SdibiT’s VHuman creation method. Watching the video, we can know that SdibiT creates 3D Digital Torsos in advance based on the target consumer groups’ body shape big data analysis and processing. And the shapes and values of each cross-section of these 3D Digital Torsos are standard data formed by precise calculation. So that the 3D digital torsos we make are in optimized body shape and this is the basis for making clothes that fit customers and can make their figures look better.

Today let’s go on our next session. How the garment pattern is generated?

How to convert the clothing design into industrial production patterns accurately and efficiently is the most difficult problem in the apparel industry. We believe that the 3D Digital Torso database building and its flexible application based on dynamic algorithm is the fundamental source of the digitization of apparel industry. Without the building of 3D Digital Torso database, any digital transformation solution cannot solve the key issue.

Therefore, our VHuman creation, virtual clothing design, conversion of 3D digital design to actual pattern for production, and final virtual display on VHuman, all these steps are performed on the unified 3D Digital Torso. This means we use the same 3D Digital Torso data throughout the entire digital solution process.

Here, we will explain our 3D design and pattern-making digital solution in comparison with the physical draping in traditional design studios. And we start from the basic point of prototyping.

In the process of physical draping, as human eyes are not X-ray machines, it is impossible to see the actual space between the fabric and physical mannequin from all perspectives. So it is very difficult to achieve the ideal looseness for each part in real time. In addition, human eyes are not omnidirectional camera. There is no way to view the real time condition from the front, side, back or top perspective at the same time. So if an adjustment is made at one part, it is very difficult to see the effect on the overall clothing. However, our digital technology can visualize the distance between fabric and torso, the aesthetic sense and even the proportion balance in the hollow state at the same time.

 

Now, after establishing the 3D Digital Torso as the basis, we enter the most decisive digital processing phase. We set the looseness value between the garment and the 3D digital torso according to the actual wearing looseness requirements of different types of clothes. Then 3D Digital Garment Models for different types of clothes can be generated after sophisticated simulation. All of our designs are made on these 3D digital Garment Models. This is the reason why even design varies depending on different cutting lines, the actual looseness commonly known as comfort of wearing on consumers can achieve a stable level.

As in the video posted last time, taking women’s blouse in East China as an example, you can see the 3D Digital Garment Model we provided for customers in the hollow state.

Next, on the digital blouse prototype model, directly restore the blouse design artwork, and then directly add the cutting line. In the process of 3D modeling, more excellent curves are recommended through precise simulation.  After confirming that the specified design is faithfully reproduced on the 3D Digital Garment Model, 2D patterns can be converted from 3D by flattening in real time. And the 2D pattern of actual size for clothing production is now generated.

You can also see in the video attached below that intersection points we marked on the digital garment model can correspond to the same point no matter how many different patterns are generated later. In other words, 3D Digital Garment Model is like human DNA to our solution.

It can be confirmed as DNA that the points are in the same position even if the shape of the pattern is different.

This is why we emphasize that the output of the 2D production pattern must be under the 3D digital verification. Because the current 2D #CAD software products cannot achieve such precise control.

12th,July,2022

As repeatedly mentioned in previous submissions, SdibiT makes virtual clothes for people to watch and order online. All the virtual clothes people see online can be produced into ready-to-wear goods offline, and immediately delivered to end consumers in need.
Therefore, our VHuman does not focus on the creation of ideal characters like animations, doing some surreal exaggeration; nor does it follow the popular way of fashion brands, using gorgeous face and three circumference values as supermodels, or amazing figures such as 8heads tall even 10heads tall. In Japanese culture, having a small head is one of the most important factors of beauty. Many young women wish they were eight heads tall, which means the ratio of her head and her total height is 1 to 8. It’s considered the ideal body proportion. Take our No.1 official V-model Dibi as an example, she is not made in this beauty standard, but as normal as the sweet girl next door who just has slightly slender legs.
we have seen the generation of Dibi as shown in the video posted previously. In fact, we will first generate an Avatar(3D Digital Torso) based on the analysis and processing of Chinese female body shape data assets accumulated over 15 years according to the target customer group.The shape and value of each cross-section are standard data formed by precise calculation. After processing, a 3D digital torso with optimized body shape and smooth curves is formed. And Dibi’s main body is created as similar as possible to our 3D digital torso.
A regrettable issue must be mentioned here, because the current #3Dmodeling of human body mainly focuses on cool and beautiful visual effect, and almost does not directly provide service tools for the actual supply chain of the apparel industry. When we create a V-human, even though the data assets and data processing technology we already have can make the output display results closer to the state of #digitaltwin, due to some limitation of the software, we can’t completely adjust the shape according to our calculation result which most conforms to the real human body. Regarding this little gap between digital model and reality, we expect partners with software tools to work together to eliminate the gap.

Today, our company in Wuxi, China is facing the crisis of not being able to commute normally for the next few days because of the epidemic policy. Since the mood of online meeting is not very good, we simply take a break and have a serious discussion here.
6th Jul, 2022

How VHumans are generated, this topic is very important. Because the display of virtual clothing is as same as physical clothing, it needs a carrier or medium like hanger or model to display from different angles in a three-dimensional and comprehensive way. In this way, it can release or transmit various information. What kind of carrier you use to display the clothing basically determines your target group. In other words, it determines what kind of mentality people will have when seeing this clothes, even the whereabout and final result of this garment can be predicted. After watching the picture or video, will people stop on the [watch], or will they continue to operate, such as saving the image or changing other tools to continue other gameplay, or will they have the desire to convert it into physical objects and ware the actual clothes right away?
In our current range of knowledge, apart from humans, no other creatures need clothing. Whether in digital world or real world, clothing exists only for people. People dress animals in costumes because they think it is ritualistic, visually pleasing, or expressing love. As for what do animals think, OMG no comment…
Therefore, we believe that virtual clothing can be divided into two major categories according to people’s requirement. One is only for visual appreciation or entertainment, and the other is expected to be converted into physical clothing in real life.
SdibiT makes virtual clothes for people to watch and order online. All the virtual clothes people see online can be produced into ready-to-wear goods offline, and immediately delivered to end consumers in need. Therefore, we must think from the perspective of ordinary consumers. What kind of virtual display can convince consumers that they can place orders without misgiving according to their shopping experience and habits? And there will be no follow-up returns and exchanges due to information asymmetry. Now, you must have the conjecture that what kind of VHuman is used for display is the decisive factor.
For current online shopping, it is very difficult for consumers to make objective and accurate shopping judgment according to commodity pictures. Because the height and figure of the model wearing the clothes is very different from ordinary people. And this kind of pictures are processed by tools like PS. 40% of the root causes of returns and exchanges after online shopping are people’s dissatisfaction with clothes wearing on themselves considering fit and size. This is what we usually call【Buyer show vs. Seller show】.
Specifically, we can see the generation of Dibi, our No.1 official V-model, as shown in the video. In fact, we will first generate an Avatar(3D Digital Torso) based on the analysis and processing of Chinese female body shape data assets accumulated over 15 years according to the target customer group.

(to be continued…)

 

As explained in previous posts, we believe even design varies depending on different cutting lines, the actual looseness commonly known as comfort of wearing on consumers can achieve a stable level through digital technology.

Compared with the companies’ works mentioned above, the media worked out by SdibiT may not be the most beautiful one or the most attractive to consumption. However, we can ensure that consumers can get exactly the same clothes as long as they place an order after watching the video in the same relax mood, and the effect of physical objects is even better than that in the video.
 
Two days ago, reading the post that CLO’s CTO announced the end of his career at CLO and was ready to take on new challenges,  we fell into deep consideration. The digitization of the fashion industry has really experienced a long exploratory period. We really want to pay tribute to the people who have made unremitting efforts for the digitization process of the industry for many years.

2nd Jul, 2022

Thanks to brand Flipped Lab, for the permission of the videos and photos.

We have already talked about the difference between SdibiT’s and 3D animation’s clothing visual presentation.
Today, let’s explain the difference between SdibiT’s clothing virtual presentation and that of other companies in the fashion industry in the world.
We reiterate that the core of the difference discussed here is not from the perspective of visual impact, which is cooler, more popular or more promising, but whether it can be faithfully restored in real life after the visual is presented, and finally delivered to consumers in the form of ready-to-wear goods.
Not only the 3D animations that have been talked about, but also visual presentations purely for entertainment purposes, such as Hollywood blockbusters, have the same problem. After watching the movie, people don’t think that they can wear the exact same clothes as worn on characters. There are three major reasons. One is that people think the clothes in the movie is too unrealistic. The second is that they think it must be completely customized from the fabric to the cutting and sewing, and the delivery period and price are not within their expectation. And the last one is that they don’t think they can compare with the characters in terms of age, figure nor temperament, so they can’t judge whether the clothes would fit them from the visual effect of characters in the film.
Similarly, at present, in the global apparel industry, clothing virtual presentation has developed a lot. Software tools provided by digital fashion companies such as #CLO, #Browzwear , #Z-emotion, #Style3D… etc., and other visual display effect tools are developing ，surly the skill of combining use of different tools is progressing. So the presentation effect is becoming more and more fabulous.
However, are we the only group who think that there is still problems in terms of distance and time from this kind of visual presentation to physical clothing products for end consumers? It is the same problem that 3D animation and Hollywood movies are also facing.
We always believe that the core of the apparel industry lies in the design process. Through digital technology, even design varies depending on different cutting lines, the actual looseness commonly known as comfort of wearing on consumers can achieve a stable level. And this is the key problem that must be solved in the design process empowered by digital technology.
As stated previously, the core of SdibiT’s solution is based on the big data of human body, the complete output from design ideas to modeling and sewing pattern making process to the final product , focusing on the actual wearing effect of the apparel on consumers.
In other words, no matter what the size is, for each size, we start from human body shape study to ensure the comfort and fit of the final clothing always kept constant.

(to be continued…)
2nd, Jul, 2022

Many thanks to brand D⁴ platform, whose digital-tech service is provided by SdibiT, for giving permission to use the VR show of the brand and photos of their customers.

 “What is the difference between what your company is doing now and watching 3D animation in the perspective of visual presentation of final output?”, We’ve been constantly asked by fashion designers and animation creators in recent years.

It’s time for explain. And We‘d like to take this as a summary of our long-term work.
In terms of visual effect, there is not much difference in essence, but our purposes of visual presentation are completely different! 3D animation serves for spiritual enjoyment. After watching it, people expect to be touched or thrilled up by the resonance of a certain theme. In short, it’s for entertainment.
However, the VR visual output we work on is focusing on the actual wearing effect of the apparel on consumers. In other words, our digital solution starts from the perspective of actual human and plays a fundamental role in design process. From the origin, first of all, our V-human is generated based on our human shape data asset analysis and processing and then modelling. The shape and value of each cross-section of the body are formed in strict accordance with the standard data calculated from big data analysis. It is not the usual way for animation modeling that directly input the three circumference values according to the ideal goddess and set her legs long.

Please look at the parts marked in the photos and you will notice the space between the dress and the body, that is very rare in 3D animation.
There should be a certain space between the dress and the body which is known in the fashion design as looseness, otherwise the dress will be too tight on the body and make people unable to move in the real world. In other words, the dress we displayed can be faithfully restored and converted into real clothes.

Animation does not need to consider whether the designed clothes are comfortable to wear on the characters. If an animation character complains when painting a dress for her, “it’s too tight, I can’t breathe!”, will the designer or creator faint?
The clothes our V-human wears exist in the form of 1:1 standard data in the 3D data library. The pattern can be output and sent to the production line in real time for garment production. Clearly speaking, the costumes in our animation is not only for entertainment, but also can be used for producing real clothes 100% same and directly send to consumers.