Earlier this year, at PI Apparel Europe 2024 in Milan, I had the pleasure of meeting Tamsin Smith, the Global Head of Future Product Concepts at Triumph International. Tamsin was attending the event with her boss to explore how 3D technology had evolved and to identify ways they could start building on Triumph’s existing 3D foundation that they’d established during COVID. I remember Tamsin expressing feeling “emotional” after the event, relieved to find that others in the industry were navigating similar challenges and excited by the new developments and opportunities that she believed would take Triumph’s 3D to the next level.
Welcome to Seamless, Tamsin! Let’s start with a bit about you: your professional history to date, an overview of your current role at Triumph and the associated roles and responsibilities you oversee
Cheers Michael and thanks for having me! My name is Tamsin Smith and I am the Global Head of Future Product Concepts for the global lingerie company, Triumph International. I probably shouldn’t admit this, but I’ve got over 22 years of experience in the Fashion industry at this point; I started with a degree in Fashion Design and then my first industry gig was in Lingerie, where I immediately fell in love with the blend of technical precision and creativity. This was with a full-service vendor that supplied big high street names like Marks & Spencer, Debenhams, and House of Fraser, and was a fantastic learning experience across Technical Design, Production, and consumer behaviour.
I then decided that I was ready to give the luxury sector a go and so I joined Agent Provocateur and worked on their ultra-seductive Soirée collections. Creatively, it was amazing; the collections were super innovative and technical with lots of embellishments, beautiful embroideries and crazy patterns. But, I must admit, it was a wild environment and I have interesting memories from working there. Still, I learnt a lot and met some amazing people and it primed me for my move to Myla, another luxury lingerie and bespoke pieces brand, as their Head of Design. I ended up staying there for over 4 years, I think, until it sadly closed down.
And that is when I started freelancing for Triumph which was also a tad crazy at first; I was commuting between London and Hong Kong to work on the Liv Tyler collection and was having to balance that with motherhood which was quite the ride, but I loved the challenge. And I must have done something right because Triumph eventually offered me a full-time position in Germany. Moving from bustling London to the quiet German countryside was quite the change, but I embraced it because Triumph had this incredible culture of innovation, a global reach and an especially strong connection to women which was, and still is, inspiring. Plus I loved that they had their own in-house production capabilities and the freedom to develop unique fabrics and trims.
After 5 great years, my role evolved from heading the European division to overseeing Global Product Design and Innovation, which brought me here to Switzerland. Now, I manage global concepts, regional best sellers, and creative direction, along with strategic initiatives. The irony is, you and I know one another because of my 3D work, but that’s really just something I’ve been doing on the side, albeit it’s a big project! So yes, for the past 3 years, I’ve been championing the 3D initiative at Triumph and it’s been a blast. Yes, it’s a part-time gig, but it’s allowed me to bring new skills and technologies to the team. I know we’ll be chatting more about that today so I won’t say anymore just yet!
I’m working on a lot, but I thrive on the variety; it’s given me an opportunity for continuous professional growth and personal satisfaction, and I wouldn’t have it any other way!
Not sure how you manage all of that but kudos to you! And yes, I do want to know more about the 3D work you are doing at Triumph. It seems like only a few years ago that Lingerie companies were really struggling with the limitations of 3D given their very specific technical requirements. Can you share a bit about Triumph’s 3D journey to date and the benefits you have seen post-adoption?
Absolutely – I love talking about this! So when I joined Triumph, we had a massive team of 18 Designers covering Lingerie and Homeware, which included Nightwear and Swimwear. The team had varied skill sets: we had Designers for hand sketching, pattern cutting, and CAD, plus a sample room team. The collection was also huge. Then, about 7 years ago, the company decided to restructure to become more agile and modern; the Design team was reduced to a tight-knit group of 4 Designers, including myself and a Senior Designer, and the collection also became smaller and more focused, which actually boosted our productivity and profitability.
Then 3 years ago, the business came to us with an objective: reduce lead times, get closer to the market, be more sustainable and cut costs. For context, Europe’s collection is 70% runnings , meaning it’s mostly bestsellers already in stores and to maintain these, we needed to do extensive colour development, which involved producing colour samples and making strategic decisions about the collection before even having the samples in hand. This process was lengthy and costly, and often we had to make last-minute changes based on sales data which meant repeating the whole cycle.
We realised that needed to change around the time that 3D technology was emerging, or I guess becoming more popular during COVID. We put together a team from Design, Merchandising, Marketing, IT and Sales to figure out how to use 3D effectively and together decided to start with the goal of reducing the need for salesman samples in e-commerce, marketing, and sales.
After some pretty intense workshops and research, during which we tested various software suppliers by asking them to reproduce one of our best-selling (and notoriously complex) lace products, we invested in CLO for its superior rendering quality. We also invested in Vizoo scanners as we felt this would give us the best results. If you’re going to do it, do it right, right?! We created 3 different avatars with six different bust shapes to accommodate our designs, and we built a comprehensive library with 147 patterns across bras and briefs and up to 500 materials and trims. This library allows us to pull and adapt designs each season, so that we can easily create a variety of views and setups.
Since the implementation, we’ve significantly reduced our lead time for colour selection from 3 months to 8 weeks. Now, instead of ordering materials and waiting for samples, our 3D team handles all the colour selection and rendering. Yes, we work through some interim phases for quick discussions but we aim for a high-quality level 3D rendering for 70% of our range within those eight weeks.
One of our Designers, Emily, focuses on creating new runnings from the previous season, typically producing about 37. And two intermediate Designers handle the colour editions in 3D, which is quite labour-intensive due to the need to tweak settings for each new colour, but by not relying on external sample production, we’ve freed up capacity to focus on innovation and novelty products. This also means Designers and Merchandisers get samples quicker, enabling faster and better decision-making. Now, when we reach a range meeting, we’re able to sign off on designs more efficiently than before.
Today we’ve been fully running in 3D for about 2.5 years and are about to complete our seventh season. It’s been a lot of work, but it’s absolutely been worth it given the efficiency and innovation it has helped bring to our process!
We do love a good 3D success story – I mean the numbers speak for themselves! After 10 years of PI Apparel though, I do know that it’s not an easy journey; what were some of the challenges that you ran into along the way and how did you tackle them?
Honestly, most of the challenges have been cultural and people-related.
When we first introduced 3D technology, the initial excitement was palpable, especially among the Design teams. However, as we started on the journey, some of our Designers became intimidated because, look, they were not even comfortable with Adobe at that point – this was a big change! Recognising this, we tailored our transition to 3D by leveraging and building on their existing skills, like those proficient in Gerber or 2D CAD. This approach helped build their confidence slowly and meaningfully, and kept them enthusiastic.
At the same time, our Development teams faced the significant task of providing materials and patterns, but we made a concerted effort to stress that the removal of admin work related to sample ordering would make things easier for them in the long run. We structured the transition well, made sure to communicate clearly and often, and now the process runs smoothly. For Merchandisers, the challenge still lies in the lack of integrated tools to utilise 3D assets effectively. We’re actively working on this though through workshops and trying to expand their toolset.
But I think the hardest transition has been for the Sales team; taking away physical samples was a big shift, especially in the Intimates industry where tactility is crucial. We haven’t been able to eliminate samples entirely, especially for key strategic customers, and a big reason for that is the colour disparity that still exists between 3D renders and physical samples due to the limitations of the software. That will improve though with time; we just have to be patient.
We have also needed to continuously tackle misconceptions that people have about 3D.
Firstly, we’ve encountered some people believing that 3D is a quick and easy solution across the board, which is true for physical sample-making and Development teams, but not for the Design teams. In reality, transitioning to 3D has been significantly more time-consuming than traditional 2D CAD. Each change in colour or angle requires adjustments to lighting and often leads to technical challenges like crashes, which eat into the time saved. But the Design team embraces these challenges because it has revitalised our roles.
There is also the misconception around usability across different functions. While 3D has empowered our Design team, it does remain somewhat isolated; Merchandisers and Salespeople, for instance, can’t effectively import and utilise assets due to hardware limitations or slower internet speeds in certain regions. This disconnect restricts its broader adoption within the company and addressing these infrastructure gaps poses a continual challenge for us, especially as we look to scale and extend its use.
And finally, the ongoing investment in training and software upgrades is crucial for maintaining our 3D capabilities, but this requires sustained commitment and resources.
It’s not a one-time implementation; rather, it demands regular reinvestment every few years which I think has also come as a shock despite our open and realistic messaging.
But look, even despite these challenges, the benefits are clear: samples are always delivered on time, without delays from external factors. And yes, while some technical issues remain, we’ve made substantial progress; about 80% of the sales team has embraced the change, and our next step is to equip them with better software tools to further integrate and extend 3D technology into their workflow.
A perfect segue into our next question because, off the back of PI Apparel Europe, I think I am right in saying you just ran your own event in Zurich related to this topic of new tooling and 3D extension, correct?
Yes, correct. As I mentioned, we initially invested heavily in 3D technology almost 3 years ago to be faster and more efficient and whilst, yes, we started strong, we had recognised that momentum had slowed and that we are not leveraging it as much as we could, or should, be. We wanted to see how we could push it further.
So Paul, my manager and Triumph’s Global Head of Brand, and I decided we needed to step up our game. We attended the PI Apparel Europe event and really were blown away by the technology and the possibilities it opened up for our business. It was inspiring and, I’m not ashamed to share, even emotional, to see what was happening and how much more we could be doing!
Post-event, we regrouped and decided to run our own event in Zurich, focusing on new tooling and 3D extensions, which happened at the end of May. We structured the event around a full end-to-end digital process, from product creation through to consumer selling, with a focus on how these tools could integrate into our workflow, and brought together ten top-notch vendors who could help elevate our designs and improve consumer engagement.
Each vendor was given a specific project to work on for Triumph and Sloggi, and they had 45-minute slots to present and discuss their solutions. Despite a technical glitch that wiped out our event recording – a minor hiccup, haha – the insights and presentations were invaluable!
Now, we’re guiding these vendors to the right departments for an even deeper integration. This event was just the beginning, and we’re excited to see where these new tools and ideas will take us next!
I’m so happy to hear that PI Apparel could help you coordinate this; it sounds like a very exciting new 3D chapter is about to unfold at Triumph! We’ll have to do a Part 2 interview when decisions have been made. This is probably a stupid question, but new investments no doubt require executive buy-in and sign-off; were Triumph’s leadership in attendance and what were their reactions?
Yes, Triumph’s leadership attended the Zurich event, and their reactions were very positive. Key leaders, including board-level executives like Paul and senior sales personnel, were present; as you say, their involvement is crucial as they have the authority to allocate budgets and drive initiatives like this forward. Alongside them were senior management, global teams, and key individuals from various business levels who will be using the new tools daily.
The events structure ensured that everyone, from top executives to daily users, was engaged and enthusiastic about digital innovation and change. These attendees are now tasked with assessing how each vendor’s solution can enhance their roles, benefit consumers, and improve profitability.
Following these assessments, they plan to reconvene soon to finalise vendor selection and prepare for a global rollout. This approach ensures thorough due diligence, and once completed, Triumph will hopefully proceed with a robust and well-supported implementation strategy.
Now you mentioned to me on our prep call that you are also looking to push your 3D capabilities into new and different product categories as well. What does that process and roadmap look like?
Yes, following our vendor day, we’re excited about expanding Triumph’s 3D capabilities into new product categories. Currently, we’re focusing on introducing novelties in Europe, starting with bras and briefs. Our goal is to speed up decision-making by transitioning from 2D to upgraded 3D tools and rather than hiring in new Designers, we’re investing in upskilling our existing team, though it will still no doubt be a time-intensive process.
We then plan on expanding 3D into nightwear, swimwear, and leisurewear, which will require additional expertise and careful cost considerations. We’re already building pattern libraries and preparing necessary hardware over in our Asia office, where we’ll begin training on novelties from September.
However, we also have a Japan-based team and they pose unique challenges due to their retail-focused business model and intricately designed products, which include highly embellished details. While Asia shows promise for leveraging 3D in novelty collections, Japan’s legacy design team and complex product specifications make immediate implementation more challenging so we’ll tread slower and more carefully there.
We’re in a good place though and now it’s all about strategy and planning!
Makes sense and no doubt you can leverage a lot of the adoption learnings from what you’ve already done to make this smoother and faster. You’d also mentioned wanting to extend digital assets into more consumer-facing applications; can you share a little about the strategy there?
Well, currently, we face challenges with photographing new novelty products for our E-commerce platforms due to long lead times and the need to decide on colours and materials very early on in development. Sometimes, these decisions lead to ordering the wrong materials or colours, resulting in a lot of waste if adjustments are then needed mid-process – this isn’t sustainable. So in an effort to mitigate this, we’re exploring the use of 3D in consumer-facing applications, specifically by creating real-life avatar models. We believe that this approach would allow us to be more agile in adapting to market demands, tweaking marketing campaigns as needed, and enhancing consumer-centricity.
That being said, for lingerie, whilst using digital avatars or superimposing 3D assets onto real models does offer potential benefits, there are unique quality and realism challenges for us that others, in say outerwear, might not have to think about. We need to ensure we achieve the same desirability with 3D that our customers have come to expect from our physical product; the delicate nature of materials and close-fitting lingerie is exposed, and, at least when we first started trials 3 years ago, there were issues that you couldn’t hide and weren’t good enough for consumer-facing use. That being said, 3D was still in its infancy then and has come a long way since. We are quietly confident that today, we can find a solution that strikes the right balance for all involved.
This has been amazing and really informative! Given this is just a side project for you (something I still can’t quite get my head around given the ambition), I’d best let you get back to it so I will end with this: what is your dream vision for 3D at Triumph?
Ooo…ending strong! I’d say my dream vision for 3D at Triumph, at least in the short to mid term, is two-fold: first, to establish a 3D Sample Room where Design inputs can be transformed into 3D samples seamlessly. And second, I want everyone in the company to fully leverage 3D technology, making it an integral part of our workflow and maximising its potential. And as per our event, this requires more interactive tools and software to make the process more engaging and efficient which we are working on.
Education will remain a key part of this too; many people in the business still see 3D as a futuristic concept and don’t realise its current impact—like how it’s already used on our e-commerce website. It’s crucial to educate everyone about its benefits and capabilities but this can’t be done by just one person; it needs to be a collective effort.
But on that front, I feel good. With the support of leaders like Paul and the teams we brought together for recent events, I believe we can effectively educate the rest of the business. And this educational push is the next phase for me; by collectively reflecting on our accomplishments to date and setting clear goals for the next 3 years, I think we’ll be well on our way to 3D greatness, if I do say so myself!
Thank you so much for taking the time to speak with me today Tamsin and best of luck with everything! Hope to see you at a PI Apparel event soon!
Have any questions or comments? Pop them in the comments section below and we’ll come back to you!
