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Talking All Things Digital Tech, Sustainability & Education with Ashwini Deshpande

by Michael Ratcliffe
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I was browsing Linkedin a while back and came across a post by Ashwini Deshpande, a Future of Fashion Consultant and Educator, entitled ‘Empowering Future Fashion Innovators: Join My Journey in India’. In the post Ashwini talked about the exciting journey she had, had to date in the weird and wonderful world of Fashion Technology and how, having a few months break between her last role and starting an MBA later this year, she was planning to spend them back in India sharing her knowledge and experience with students across the country. As I am forever inspired by people who actively pay it forward, Ashwini was one of the first people I contacted when I joined Seamless.

At the age of just 25, Ashwini has had a whirlwind journey in this space which she puts down to good fortune, but I now know better: it is clear that Ashwini has a drive and passion that is seemingly insatiable and it is these traits that have underpinned her success and growth. To set the scene, when this interview was conducted, Ashwini was taking a short and well deserved break from teaching, and was enjoying the serenity of her family’s mango farm in a small village called Maharajpet
. Sadly, I phoned in from a very grey and rainy Amsterdam but the conversation certainly lifted the mood! Here’s what she had to say!

Welcome to Seamless, Ashwini – it’s a pleasure to be speaking to you today! It only takes a quick glimpse at your Linkedin profile to know that you’ve held a bunch of really interesting roles to date, so let’s kick off with this: in a nutshell, what has your professional journey looked like so far within the field of fashion technology?

Thanks for having me – I’ve been a PI fan for a while now so I’m happy to be here! So I guess it all began at the London College of Fashion (LCF), where I pursued a BA in Fashion Design and Development. I was directly exposed to various technologies and concepts as part of my studies, but also in working with advisory firm Techstyler, and in holding internships with companies like Holition and RÆBURN. I was also lucky enough to participate in the Microsoft x The Fashion Innovation Agency ‘Future of Fashion Challenge’, specifically exploring how to use AI to automate zero-waste pattern cutting with my own start-up, Art-Z. Amongst the six teams selected for the incubator, I was chosen as the winner and was then invited to travel to Silicon Valley to work with Microsoft engineers for a week.

When the time came for me to graduate we were right in the middle of COVID and I faced the challenge of trying to create my final graded collection with limited access to physical resources. By this point I had already started experimenting with digital fashion anyways and so decided to leverage platforms like CLO3D, Unity, Blender and Gravity Sketch to create a fully digital fashion collection which was a first for LCF.

One of the digital looks from Ashwini's final graded collections at LCF
One of the digital looks from Ashwini’s final graded collections at LCF

Right out of school and with a new-found interest in digital fashion, I joined Republiqe, a digital-only fashion startup, as their Head of 3D Design and Production. I was their first proper full-time employee and worked closely with the Founder, James, on projects with amazing brands like Moncler and Coach. Our initial business model involved creating digital fashion collections for influencers, which later evolved to include projects in the Metaverse, such as building virtual shops and NFT assets for Decentraland.

It was a busy time and we soon ran into a significant challenge: the process of digital fitting was super labour-intensive and so we collaborated with Paris-based AI start-up Yokai, to automate and streamline the operation. This collaboration, coupled with my background in AI from Art-Z, further sparked my interest in the intersection of AI and digital fashion specifically.

This interest then caught the attention of Meta. I joined Reality Labs in 2022 as part of their Research & Development division and in a team of about 60-70 Engineers and only 3 Designers, we engaged in early-stage experimentation, exploring potential technological advancements for the future of fashion. It was amazing because it provided me with the resources and freedom to innovate beyond the constraints of smaller start-ups.

I was with Meta for 1.5 years but ahead of me starting my MBA at the Kellogg School of Management in Chicago later this year, I decided to leave and come back home to India where I have been travelling across the country giving lectures at various universities about digital fashion and its future potential. It’s been a really fun and fulfilling challenge!

A digital collection designed by Ashwini whilst at Republiqe
A digital collection designed by Ashwini whilst at Republiqe

I’m impressed – that’s a lot of facets of this space you’ve touched upon in such a short time! We know that there is an appetite across the Fashion industry for technology adoption, but that this is far from a frictionless process. From your experience, what are some of the barriers you’ve encountered to technology utilisation and adoption?

One significant barrier is the disconnect between the various technological tools. For instance, 3D modelling platforms like CLO3D and Browzwear are specifically designed for fashion production and integrating these with metaverse platforms or gaming environments can be complex and cumbersome. I’ve seen first-hand the friction this lack of seamless integration creates and it also limits their collective potential.

Another major challenge is the reluctance of Brands to allocate substantial budgets for digital initiatives. While yes, there is a keen interest in exploring digital activations, I’ve witnessed Brands repeatedly prioritising their physical business and hesitating to invest heavily in what they deem to be an ‘unproven space’. This constraint often results in superficial or tentative steps into the digital realm, rather than a full-fledged commitment. And whilst I understand the need to be cautious, these tools are only set to become more important so it’s vital that we experiment, innovate and fail now so when a significant investment is made, we reap the potential benefits much quicker.

I just mentioned this sense of these things being ‘unproven’; another barrier is the very palpable fear of being the first to invest heavily in new technologies without guaranteed success. Brands are looking for definitive proof that digital fashion initiatives will yield positive returns before committing substantial resources. This makes sense to some degree but does slow down the adoption process, as companies wait for others to demonstrate successful use cases before they take the plunge themselves.

Listen, I’m not going to pretend technology is easy but overcoming these barriers not only requires advancements in the tech itself, but also – arguably more importantly – a shift in mindset to one that is less risk averse and more experimental. Learning through play is the way forward here!

Nicely put. Now during and directly post-COVID, we all witnessed a steep increase in interest around the Metaverse, NFTs and the digital-only space. However, this now seems to have plateaued, if not even retracted. Why do you think that is and in the long term, are these still areas that you believe Fashion brands should be allocating resources to?

Regarding NFTs and blockchain technology, their initial emergence was marked by significant hype and a flurry of investment, largely driven by the novelty and potential of these technologies, which promised new ways of owning and trading digital assets. However, that initial excitement led, in my opinion, to over-investment and speculative behaviours, which were unsustainable. I don’t however believe that the subsequent decline in hype signifies the end of these technologies, but is rather a process of natural stabilisation. The volatility that characterised the early days is giving way to a more measured approach, where practical applications and reasonable investment strategies are starting to take shape, and this stabilisation period is crucial for the long-term viability of NFTs, as it will help define more practical and useful applications of the technology.

On the Metaverse side, I believe the plateau can largely be attributed to economic factors. The Metaverse, for many, has been an experimental addition rather than a core business component and with economic uncertainties, companies are naturally prioritising their primary operations, relegating Metaverse investments to a lower priority. Additionally, the heightened online activity during the pandemic allowed people to more vividly imagine and engage with the concept of the Metaverse, which has subsequently waned as things have gotten ‘back to normal’. That being said, our overall time spent online continues to increase and I think suggests that the interest in the Metaverse will likely resurge as online integration in our lives deepens.

Part of Ashwini's graduate collection designed in VR space she built
Part of Ashwini’s graduate collection designed in VR space she built

Have you heard of Amara’s Law? It states that we tend to overestimate the impact of a technology in the short term but underestimate it in the long term. This has been evident in the development of AI for example, which has been in the works for decades but only gained mainstream attention and practical application in recent years. I think similarly, the Metaverse and NFTs are likely to follow a similar path. Although their current growth has slowed, it is only a matter of time before they expand significantly, potentially transforming all industries, including Fashion, over the next decade.

This all being said, it’s also important to mention that entering the digital fashion space is not straightforward. The necessary hardware and underlying business models are still developing, but as these technologies mature and become more accessible, we should expect an increase once more in adoption. For example, Brands now find it easy to use Spark AR filters on Instagram because the tools are readily available and the investment is minimal. Similarly, as companies like Meta develop more advanced and user-friendly capabilities for AI and the Metaverse, the barrier to entry will lower, encouraging more brands to participate.

You mentioned AI, which is of course the big flavour of the moment. Having worked intimately in the realms of both 3D and AI, how do you foresee AI impacting the 3D workflow?

I think AI is poised to significantly transform the 3D workflow, primarily by acting as a powerful design assistant; this transformation has already begun, and we can only expect it to deepen over time. One of the most immediate impacts is the potential for AI to automate the generation of 3D meshes. Designers can leverage AI to create basic structures, which they can then refine and customise, and this ensures that human creativity remains integral to the process and allows designers to impart their unique touch and vision to AI-generated models.

Let’s think about it in terms of website creation: in the past, building a website required extensive coding knowledge, but today, platforms like WordPress enable users to create professional websites with minimal technical expertise. Similarly, AI can democratise 3D content creation. Right now, creating intricate 3D models and environments for the Metaverse or other applications, requires specialised skills and software proficiency, but with AI’s assistance, individuals without advanced technical training will be able to contribute to 3D content creation, leading to a flourishing creator economy, much like how smartphones and social media have turned millions into amateur photographers and content creators.

In more practical terms, AI’s role in 3D workflows will enable a broader range of people to engage in creative activities, such as designing skins for video games or virtual fashion items. These tasks, traditionally reserved for skilled 3D modellers, will become accessible to a wider audience, enhancing creativity and driving innovation by incorporating more diverse perspectives and ideas into the design process.

But worry not: I don’t believe that AI will replace skilled 3D modellers but instead, will complement their expertise. The nuanced skills and creative insights of these trained professionals will always be in high demand and whilst AI will handle repetitive and time-consuming tasks, Designers will be able to focus on more complex and creative aspects of their work. This synergy between AI and human designers will absolutely lead to higher productivity and more sophisticated designs in my opinion.

We have seen a lot of Brands roll out 3D with lofty end-to-end plans but in recent times these seem to be being paused or even scaled back. Do you think the same will happen with AI or do you think the immediate opportunities are going to be so obvious and valuable that it will evolve differently?

That’s an interesting observation. I think it’s important to first consider how AI and 3D technologies are integrated into the broader workflow and how they can be effectively utilised across different contexts. From my experience, understanding the capabilities of AI and ensuring that everyone on the team has a grasp of these capabilities is essential. AI, much like 3D tools, may not be as straightforward to apply across all areas without a comprehensive understanding of how it can enhance specific processes.

For instance, when I was working on a project with Microsoft, the idea of using AI for zero-waste pattern cutting was not something that would have naturally emerged without a deep understanding of both the Fashion industry and AI’s potential. This kind of integration requires a collaborative approach where experts in various parts of the value chain can identify specific opportunities for AI application. Similarly, at Meta, Fashion Designers were brought in to work closely with Engineers and this ensured that AI solutions were tailored to address specific needs within the Fashion production process, which might not be immediately obvious to engineers alone.

I believe this approach can and will prevent the kind of scaling back we’re perhaps seeing with 3D initiatives. If AI is understood and applied correctly, its benefits will become more obvious and valuable, making it less likely to be paused or abandoned. The key difference with AI is its broad applicability and the immediate value it can provide when integrated thoughtfully. But for AI to avoid the pitfalls experienced by many other technology rollouts, there must be a concerted and prioritised effort to educate teams across the value chain about its capabilities and potential applications.

Let’s talk about your time at Meta: what was the focus of your work there and how do you envisage those areas evolving in terms of their application in Fashion?

At Meta, my primary focus was to develop Fashion capabilities for the Metaverse with the mission to better understand what Fashion brands would need from our platforms including Instagram, Facebook, WhatsApp, and increasingly, virtual reality spaces like the Oculus Quest. We aimed to make it easy for Fashion Designers to represent their work on these platforms, ensuring compatibility with existing tools they use, such as Clo3D. By integrating AI, we hoped to enable even small fashion brands to create for the Metaverse without needing extensive dedicated teams.

And in terms of augmented and virtual reality (AR and VR) specifically, these technologies have the potential to significantly impact the fashion industry. Years ago, we began exploring AR, later extending into VR, with some retailers incorporating VR into changing rooms and stores. And though widespread adoption has been slow, I do believe AR and VR will become more mainstream as they become easier to use and more integrated into our daily lives, much like smartphones are today.

Currently, VR headsets, like the Oculus Quest, are still primarily used by early adopters because they are expensive and bulky. For VR to become ubiquitous, it needs to be light, simple, and affordable, with seamless integration into everyday activities. As the hardware no doubt improves over the next decade, and eliminates issues like heaviness and lag, adoption will become easier and more streamlined.

Ashwini designing on her Oculus Quest headset
Ashwini designing on her Oculus Quest headset

It’s also important to mention the generational shifts at play here. Younger people are more accustomed to using things like VR hardware, which suggests that as they grow older, popularity will increase. This trend will likely continue as Generation Z and Generation Alpha become the dominant consumer groups and Fashion brands will need to already be preparing for this and leveraging these sorts of tools to build brand loyalty among these younger, tech-savvy consumers.


Brands like Balenciaga and Gucci are already capitalising on this trend by engaging with younger audiences on platforms like Roblox. This early engagement could lead to a significant shift in brand loyalty and consumer demographics in the future. And as these younger generations grow up, their preferences, shaped by early digital interactions, will influence the market, potentially leading to a clear divide in the customer bases of brands that have embraced digital transformation versus those that have not.

I know sustainability has been an ever-present driver in all of the work you’ve been involved in. Can you elaborate on that a little more? 

I grew up in Bangalore, India, in a green community where sustainability was at the centre of how we lived and worked. Our community was among the first in India to implement rainwater harvesting and sewage treatment plants, and I think this ingrained in me a sustainable mindset early on. And so, when I entered the Fashion industry and discovered just how unsustainable it often is, it fuelled my commitment to prioritise sustainability in all that I was involved in.

My start-up, Art-Z, focused on reducing fabric waste during production and later, at Republiqe, we aimed to curb the consumption of super-fast fashion with digital only. Recognising the growing importance of online identity, we sought to help people express themselves digitally without contributing to this cycle of waste. And by offering purely digital fashion for social media, we provided a sustainable alternative to physical garments, helping people make more environmentally conscious choices.

Part of a digital collection designed by Ashwini whilst at Republiqe
Part of a digital collection designed by Ashwini whilst at Republiqe

We also collaborated with brands like ASOS to reduce their carbon footprint through digital fashion. ASOS used to send large shipments of garments to influencers for a single Instagram post, and so we created digital replicas of these garments, allowing influencers to showcase the fashion without the need for physical shipments, preserving the essence of influencer marketing while drastically cutting down on environmental impact.

I do want to acknowledge that digital fashion’s sustainability depends on its application though. While it can promote sustainable practices like made-to-order clothing, it can also expedite supply chains, potentially leading to increased consumption and overall waste. Ultimately, technology is just a tool, and its impact hinges on the intentions behind its use.

On the topic of India, I wanted to talk more about the educational work that you’ve been doing over there. What has been your mission and how has it played out?

Fashion Design education in India, sadly much like in other parts of the world, often overlooks the significant role of fashion technology in its teachings and so over the past five months, I have been focused on trying to help integrate more of this into the curriculum of various universities over here.

When I first got back, I reached out to numerous schools and despite encountering some resistance from the more traditional and rigid hierarchies, found the private institutions particularly receptive. Students and faculty alike at the latter showed immense interest and to minimise the barrier to access as much as possible, I asked for very little remuneration for my time and efforts. After all, this was very much a mission of storytelling and education versus one of money making.

In my lectures, I focus on various aspects of digital fashion, including VR, AR, 3D fashion design and AI. Interestingly, students here seem more familiar with AI due to the country’s strong tech background (Bangalore is the Tech Hub of Asia!) but digital fashion was a new and exciting concept for them. This has created an opportunity to bridge the knowledge gap and inspire a new generation of Fashion Designers to incorporate technology into their work.

And the sessions have been incredibly rewarding! After each lecture, the enthusiasm from both the students and university staff has been palpable. Many institutions have shown a keen desire to integrate digital fashion learnings into their programmes, often asking for guidance on how to effectively teach these skills. For example, the first university I visited has now introduced a month-long course on CLO3D, facilitated by experts I connected them with.

A collection of images taken with the undergraduate students at the Army Institute of Fashion Design in Bangalore
A collection of images taken with the undergraduate students at the Army Institute of Fashion Design in Bangalore

To reach even more students, especially those whose universities were not as cooperative, I organised a separate online cohort. This free initiative included multiple sessions on digital fashion, demonstrations, and guest lectures from industry professionals. The students were grateful and eager to learn and you could see how much untapped potential there is in this area.

It’s gone much better than I could have imagined; to date, I’ve managed to reach over 15 universities, both in person and virtually, and the response has only reinforced my belief that there is immense potential for the digitalisation of Fashion in India.

I hope that by continuing to do my part to educate and collaborate, we will soon see a future where Indian fashion technology stands on par with global standards, providing students with the skills and opportunities they need to succeed in this rollercoaster of an industry.

It’s so great to hear that people like you are out there leveraging your experience for the greater good – I’m excited to see how this develops! You’ve had a whirlwind journey to date that has covered so many incredible areas; how do you envisage the industry evolving and what advice would you have for graduates entering this space?

Big questions! Well, looking ahead, my vision for the future of fashion is one of innovation and sustainability. As both hardware and software continue to advance, I envision a future where Brands will be able to seamlessly integrate into the Metaverse, leveraging technology to create immersive and engaging experiences for their consumers.

And I also see significant potential for innovation in the production side of Fashion. While perhaps less glamorous than consumer-facing initiatives, by embracing emerging technologies like automation and AI-driven processes, Brands will be able to streamline their operations and reduce their environmental footprint.

As far as my advice for graduates entering the fashion industry, particularly as it relates to emerging technology, this can be equal parts exhilarating as it is challenging. Reflecting on my own journey, one piece of advice stands out: embrace curiosity and experimentation. Throughout my career, I’ve found that being unafraid to explore new technologies and methodologies has been instrumental in my growth and success and that this mindset has allowed me to navigate through various roles and projects, even when the path seemed uncertain.

Ashwini at her LCF graduation ceremony 
Ashwini at her LCF graduation ceremony 

And an essential aspect of fostering this mindset is again, education. My experience at LCF, where experimentation was encouraged, has played a significant role in shaping my approach. The freedom I was given to explore and figure things out independently has definitely instilled a sense of confidence in me that has been invaluable as I’ve navigated this space and considered where I want to work and what I want to focus on. I believe that graduates entering this field should actively seek opportunities to expand their knowledge and skills, whether that’s through formal education or self-directed learning.

Also, don’t shy away from taking on projects or roles that may seem daunting at first. Embracing challenges and pushing boundaries is where true growth lies. Throughout my career, I’ve encountered situations where I had to dive into unfamiliar territories, whether it was creating a fully digital fashion collection or exploring new software tools reactively, and each of these experiences has been a learning opportunity and has reinforced the importance of being adaptable and open to the new.

So I guess in summary, be curious, embrace experimentation and try not to fear the discomfort of new challenges

Let’s end with this: you mentioned earlier that next up you’re off to do your MBA in Chicago. What prompted this and what do you hope to come away from it with?

The decision to pursue an MBA in Chicago stemmed from my experiences at Republiqe, where I found myself increasingly drawn to the business side of things. While working on projects involving AI and digital fashion, I discovered a passion for pitching ideas to clients and exploring how digital fashion could enhance brand sustainability. This led me to consider a shift towards the business and innovation space and away from the pure design or digital fashion focus.

I’m hoping that by attending Business School I will get the opportunity to further broaden my horizons and learn from individuals across different industries because innovation shouldn’t be confined to any one sector. Ultimately, my goal is to work in the Innovation and Business advisory space, but still with a focus on Fashion; advising brands on how to integrate digital technology and strategy into their core business model.

That kicks off in September and so until then, my work in India continues!

Keep in touch Ashwini and thanks so much for taking the time to speak with us today!

Have any questions or comments? Pop them in the comments section below and we’ll come back to you!

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