Character FX

Asylum consists of a digitally tailored ensemble combining hard and soft materials, constructed in Marvelous Designer and optimized for multi-fabric simulation. The outer garment is a fitted white jacquard blazer, digitally printed with Plath's Tulips, and integrated with a corset made of raw Piñatex, held by four structured belts that replicate straitjacket binding. The inner bodysuit was designed as a separate layer, complete with a shirt collar and hidden button placket. A leg garter accessory was modeled with rigid cloth settings to preserve form.

Midnight Tears features a digitally constructed gown in shimmering blue lamé, developed using CLO3D as part of the collection EGO, NÉMESIS. The look merges corsetry, internal structure, and suspended volumes, designed to simulate lightness while retaining a sculptural silhouette. The dress is built upon a mermaid-shaped base skirt and boned overskirt, requiring precise handling of layered simulations and rigid-body integration. Particular attention was given to reproducing the garment’s floating shape digitally, and to the behavior of dynamic accessories like hanging crystals added as secondary animations in houdini.

Trauma features a digitally constructed full-length gown in black taffeta, built over a corseted base with a dual closure system: internal lacing and external buttons. The digital patternmaking was executed in Marvelous Designer, based on the original physical pattern. Key challenges included simulating over 30 meters of gathered fabric, preserving silhouette volume and weight without compromising stability. This look is part of my Master's collection EGO, NÉMESIS, and reflects a hybrid workflow: from physical pattern drafting to CLO3D prototyping, Marvelous simulation, and final real-world construction.

This 3D garment is inspired by the signature dress worn by Mia Goth in Pearl (2022). The dress, originally belonging to Pearl's mother from her youth, is designed in a classic Edwardian style, featuring embroidered details on the bodice and a gathered skirt at the back. The garment was patterned and simulated in CLO 3D, with textures created in Photoshop using hand-modified alphas sourced online. The buttons were modeled and textured in Substance Painter, while the final rendering was also done in CLO 3D.

As part of the promotional video game for the YEEZY GAP Engineered by Balenciaga collaboration, I joined a small team of 3D artists to help bring the collection into a digital, interactive format. Working alongside Jon Sánchez (@slamthings), we translated real-world fashion designs into optimized, game-ready assets that could run smoothly on mobile devices. Our tasks included pattern-based cloth modeling, texturing, and mesh/material optimization, all aimed at delivering an efficient in-game experience.

During my final project for my La Salle BCN Degree, I collaborated with a group of 9 artists over a two-year period. In the project, I was responsible for designing clothing, 3D modeling for assets and character clothing, and Cloth FX. My thesis focused on exploring various methods of cloth simulation and pipeline optimization using software such as Marvelous Designer and Houdini FX.