In 2016, PI Apparel proudly helped launch the 3D Retail Coalition (3DRC) alongside Sandy Gagnon of Target and Drew Cekada of Kalypso. Ever since, its 3 sub-committees have been relentlessly working to advance the conversation around 3D tech in Fashion.
One of the subcommittees – its Education group – has made great strides in establishing a harmonised perspective on the skills required for executing 3D work for both students and professionals, and today, I am thrilled to be joined by leaders Lynn Boorady and Diane Limbaugh of Oklahoma State University (OSU) who have been instrumental in getting this launched. We hope you enjoy!
A big welcome Lynn and Diane to Seamless – it’s great to have you here! Let’s start with a bit about you both: who are you and what has been your professional journey(s) to date? Lynn, would you like to kick things off?
Lynn: Absolutely and thanks so much for having us! I started my professional journey as a Production Assistant, where I was responsible for cut sheets, quality control, and working closely with factories. My role involved coordinating between Fabric and Trim Buyers, Patternmakers, Marker Makers, and the Sales team, which gave me a great understanding of the entire design and production process.
I went into academia almost by chance; I was working in New York and on weekends, I would go to the public library, spending my time looking up items from my thesis and sending updates back to my professor. Eventually, she called me and encouraged me to go into academia because I “spend far too much time in a library” – she wasn’t wrong! Later that summer, I received a phone call from the University of WI-Stout and I taught there for three semesters until I had the opportunity to start an apparel programme in Dubai, where I lived for almost 4 years. When I moved back to the US, I started my PhD and from that point, never looked back.
I led the department of Fashion and Textile Technology at Buffalo State University and it was here that I started to delve deeper into technology and 3D pattern making. They had a faculty leader who was an early adopter of all things technology; she would find out about a new software and learn it over the weekend to teach to our students. Her excitement was infectious and I saw how the students really embraced the enhanced learning opportunities.
And then I came to Oklahoma State University (OSU) for a number of reasons, not least of which is the amazing research going on here. The faculty have a number of patents on military protective gear and well as parts of the bunker gear used by firefighters. I have also found like minded people on the use of technology; one uses AR and VR to inform his design students on interior spaces and the other, Diane, here with me today, who has been working in 3D for over 15 years. Between their passion for innovation and technology and the rest of the faculty, we have a very robust programme.
I now serve as their Department Head for Design and Merchandising, while also the interim Department Head for Human Development and Family Science. I love that I’ve been able to support both students and faculty, and ensure we’re always staying ahead of industry trends. No two days are the same!
Thanks Lynn – what about you Diane?
Diane: Thanks Michael – I actually started out in retail but soon transitioned into roles that allowed me to explore the deeper facets of the industry, primarily as a Design Assistant and Pattern Maker.
But eventually, I realised that my true passion lay in teaching and preparing the next generation for success in the industry. After completing my degree, I joined OSU, where I’ve spent the past 24 years teaching technical design, with over 10 years focused on 3D design. As a true Okie, born and bred, OSU holds a special place for me, as it’s where many of my family members also earned their degrees.
In 2005, I was invited to be part of an OSU team working on military protective garments and given my background, I was an ideal candidate for the role of Tech Designer, in which I corrected patterns for production, developed construction documents, and collaborated with plant managers and quality control teams to ensure flawless execution.
Additionally, for the past 10 years I have also run my own business as a Product Developer and Wholesaler for the OSU Tartan Plaid, and for the past 5, I have also helped students provide Technical Design services for a women’s Collegiate apparel brand.
My experience in both industry and academia allows me to bring valuable real-world knowledge into the classroom, where I am passionate about equipping students with the competitive skills they need to thrive and become problem solvers in the ever-evolving apparel industry.
Above video: An overview of the digital design process at Oklahoma State University (OSU)
We’re here today to talk about your work with the 3D Retail Coalition (3DRC) that of course we at PI have been heavily involved in. For those who don’t know, what is the 3DRC and what first inspired its creation?
Lynn: The 3DRC is a community of fashion enthusiasts, born out of a collective need for better collaboration around the advancement of our use of 3D. It consists of three subcommittees: Education, Technology and Innovation, and I have been a member of the former for the past 8 years.
The goal of the Education subcommittee was to identify the key skills required for professionals, both current and future, and create a 3D skills matrix that would help them to effectively use 3D in the fashion industry.
It was identified as crucial to ensuring that the industry could progress and fully embrace the emerging technologies that were being developed.
I first became involved after attending PI Apparel NYC in 2016, where I was one of only a few educators in attendance. The mission of the subcommittee of course immediately resonated with me; I’ve always been passionate about collaborating with industry partners to advance apparel design and merchandising education.
Diane: And I became involved 2 years ago when Lynn recruited me to help create training videos based on the industry matrices they’d developed for 3D Designers, 3D Tech Design and 3D Artists. Up until that point, I had been working with 3D for a while so jumped at the chance. It’s been such a great opportunity, albeit a challenge!
And I can confirm that the Education sub-committee have been smashing it! Could you walk us through how the idea of creating a harmonised industry 3D Skills Matrix evolved?
Lynn: Our overarching goal was to establish and stay abreast of the needs and requirements of the industry when it came to digital skills, ensuring we were representative of companies both big and small. To meet this goal, we first focused on identifying the various positions within the industry that utilised 3D technology and once we had a clear understanding of that, we began listing the specific skills required for each of them. With those, we then reached out to the industry through two surveys to verify or dismiss these skills and to gather any additional ones we might have overlooked.
A critical part of our process was assessing all known software that could be used for the required skills, while maintaining a neutral stance on specific tools. Our subcommittee remains agnostic when it comes to software; as long as an individual possesses the necessary skills, it doesn’t matter which software they were trained on. This approach also aligned with another of our objectives – collaborating with software companies.
Through this process, we defined four key roles: 3D Apparel Designer, 3D Tech Designer, 3D Fashion Artist, and 3D Materials Specialist.
Each role shares some commonalities but also requires distinct skills. After defining these positions, we reached out to industry professionals working in these roles to further validate our findings. We specifically asked whether they would hire someone for these roles based on the skills we had identified, keeping in mind that these hires would be early career professionals.
Diane: And once we were confident that our skills matrices were thoroughly vetted, we moved on to the next step which was to develop courses to teach the necessary skills. This required us to turn the identified skills into learning objectives, which would form the foundation of all course syllabi. Again, we sought input from industry professionals to ensure these objectives met real-world demands.
OSU then stepped up to build the courses, creating the curriculum needed to teach the required skills.
We designed four courses, one for each role, which totals around 160 hours of learning and practice, ensuring that new employees would be able to contribute to their companies from day one.
Currently, we have the courses for 3D Designer and 3D Tech Designer up and running and the next focus is on 3D Fashion Artist. 3D Materials remains more challenging due to a lack of industry standards, however, we’ve laid the groundwork for this certification and expect to move forward with it by 2025.
Who is the target of this work?
Lynn: The target of this work has always been twofold: ensuring that future professionals – our current students – are fully prepared for the jobs of tomorrow, as well as to help current industry professionals transition into 3D positions.
The goal isn’t just to meet the needs of today’s industry, but to anticipate what skills will be required in the future, and that’s what sets these programmes apart.
Diane: And to help facilitate this, I led the development of the comprehensive set of online courses we just discussed. These courses are designed with flexibility in mind, allowing those interested to work at their own pace and incorporate their existing workflows into the curriculum, all while knowing that we are there to support them throughout. Our students are taking these same courses alongside their traditional training in assembly, patternmaking, draping, and live fit sessions. This approach ensures that both groups are equipped with the most up-to-date skills to thrive in the evolving fashion landscape.
Amazing! Now, aside from the two of you, who else has been critical in the subcommittee’s momentum and success?
Lynn: We’ve been incredibly fortunate to be able to work with a team of outstanding professionals who are genuinely passionate about driving the industry forward. Sabrina Buchanan was our first lead and she was instrumental in launching the committee, initially focusing on identifying essential skills through surveys and interviews. Sabrina compiled the results and sent them to dozens of brands for feedback, asking for confirmation, additions, or even deletions.
And then Safir Bellali took over who, as you know personally, seems to be living in 2050; with his visionary approach to 3D technology, he has helped push the committee to new heights. Under his leadership, we verified our findings and created the skill matrices for the four distinct roles.
Diane: Once we felt we’d reached a saturation point, a smaller group of us broke off to convert the skill matrices into measurable educational objectives. I piloted the first 3D courses developed from this work, which was a significant milestone. And now, the committee is collaborating with an accrediting body to ensure schools can be accredited for teaching this curriculum. This will give hiring managers confidence that applicants from accredited programmes possess the 3D skills needed for these specific roles.
Although we need permission to mention the brands involved, rest assured they are large, well-known companies, both in the U.S. and internationally.
This collective effort has been a game changer for moving the industry forward in terms of 3D design and education.
More of Kaitlin Ayers here.
How have you ensured that the 3D Skills Matrix reflects the real-world needs of both employers and educators in the fashion industry?
Lynn: By incorporating extensive industry feedback and collaboration. Alumni feedback, along with input from a wide range of brands, played a crucial role in shaping the matrix. Dozens of companies helped vet the skills we identified, and the professionals on the Education subcommittee leveraged their own networks to reach out to additional industry experts for further validation. We also took advantage of networking opportunities at PI conferences, approaching new contacts to ask for their input and help in refining the matrix.
Looking ahead, we plan to continuously update the skills matrices annually to stay aligned with advancements in software capabilities and evolving industry needs. These updates will not only be reflected in the skills matrix itself but will also be incorporated into the curriculum of accredited programmes. As the software and industry continue to evolve, I expect we’ll see the development of new positions that will also be vetted through this process.
Our goal is to ensure that the skills we’re teaching are always relevant and preparing students for success in the fast-changing fashion industry.
What are some of the biggest challenges you have faced in developing these educational frameworks?
Diane: How fast the technology changes. We’re always trying to keep up with the latest advancements, but it’s tough. And another significant issue that our students face is the hardware requirements for the software they use. The computers needed to run these programmes – particularly for rendering and creating digital twins – require incredibly powerful graphic cards. And it’s not just any graphic card, like those used for gaming; they need professional-grade graphic cards, which come with a high price tag.
Many of our students can’t afford these high-end machines, so it becomes our responsibility to ensure that our labs are equipped with computers that can handle the load. We’ve been working closely with our college’s IT department to make sure that the labs are outfitted with high-end machines capable of running not only our programmes but also those used in other fields like interior design, which also demand a lot of RAM and graphic processing power. It’s been a significant challenge to meet these hardware requirements, but it’s necessary to ensure our students have access to the tools they need.
Lynn: From my perspective, one of the biggest challenges has been managing time, particularly for our committee. Initially, our meetings were infrequent, maybe once every couple of months for about an hour. We soon realised this wasn’t sustainable if we wanted to make real progress, so about two years ago, we switched to a model where we meet every other week for half an hour. These quick, focused meetings allow us to stay updated on the work of our subcommittees and make sure everyone is on the same page.
This change has been incredibly successful, and we’ve been able to get so much work done because of it. It feels like after years of preparing, we’ve finally hit our stride and are getting things implemented and updated more efficiently.
Another key factor in our success has been the willingness of everyone involved – whether on the committee or within the wider industry – to share their knowledge and collaborate. That openness has made a huge difference in the progress we’ve made and it’s been really impressive to see how much we’ve achieved through this collective effort.
Above video: Demonstration video of a 3D garment simulation featuring a t-shirt and pants.
Has gaining buy-in from brands, tech providers and educational stakeholders been difficult?
Lynn: Securing support has definitely been a journey, but one of the most exciting parts for us has always been sharing what we’re doing with the community at PI and seeing their reactions. The response from the audience has been overwhelmingly positive and encouraging, which has really uplifted us throughout the process.
We actually once brought one of our students, Carson Scott, to PI and though he was absolutely terrified to present, when he showed his video on screen and the audience broke into applause, it was a huge moment of validation.
That sense of accomplishment, not just for him but for all of us involved in the programme, was tangible.
I really have to give a huge thank you to your audience for being so welcoming and for providing such great feedback. Their openness and support have been so important in helping us build relationships with brands, tech providers, and educational stakeholders. It’s that kind of collaborative spirit and willingness to engage that’s made all the difference in securing the buy-in we needed to push our certification programmes forward.
I’m thrilled to hear we could help! Now, you’ve mentioned the courses you’ve developed – what do they look like in practice?
Diane: So as we’ve mentioned, our programme is designed to provide comprehensive training in four main areas: Fashion Design, Technical Design, 3D Artist, and Materials. Each of these areas is structured into a 4-course sequence, including three core courses and a final Capstone, with each course building upon the previous one. The programme is entirely online and self-paced, offering flexibility for both industry professionals and individuals looking to rebrand themselves or enhance their skills.
Each of the courses are divided into modules, typically 6-7 per course, and include a variety of learning resources such as videos, PowerPoint presentations, and additional materials to ensure success. And each module requires the completion of assignments before moving forward. These assignments are graded, and students receive feedback, with the opportunity to make corrections as needed.
The goal is mastery – students must demonstrate competency in each skill before progressing.
The Fashion Design track begins with the basics of navigating 3D software, creating avatars, and digital garment creation. As students advance, they move on to more intricate design techniques, mastering fit, detailing, and complex workflows, culminating in a Capstone project where they design a complete collection.
In the Technical Design track, the focus is on fit, grading, and preparing garments for production. The final Capstone in this area involves creating full tech packs and ensuring garments are production-ready across multiple sizes.
For the 3D Artist track, the emphasis is on creative skills such as lighting, material mapping, and rendering. The Capstone project challenges students to create realistic, high-quality 3D renders.
And the Materials track, which is still under development, will focus on the creation, measurement, and implementation of digital materials, exploring everything from fabric physics to production-ready digital assets.
The final Capstone courses allow the students to specialise in the skills most relevant to their career path and the courses are available for credit or non-credit, making them accessible for different learning goals. Regardless of track, each is designed to ensure that by the time students complete the programme, they are equipped with the practical skills necessary to excel in the fast-evolving fashion industry.
And these courses are not just available to OSU students! If you want more information, you can visit the programme website: 3D Digital Product Creation at OSU and/or reach out directly!
More of Heather Pidcock here.
After 7-8 years of hard work, what would you say are the most significant milestones the subcommittee has hit to date?
Lynn: It’s been quite the journey…I think the biggest milestone has to be getting the skills matrix nailed down. That process took years of effort, collaboration, and constant refinement. Once we had that in place, the next major step was implementing the courses based on that matrix and seeing our first students graduate. I remember thinking, “wow, this is really happening!” It was a surreal moment that brought a real sense of accomplishment.
Diane: Another huge milestone was the success we’ve seen from those first graduates. Seeing them apply their skills and thrive has been incredibly validating for all the work we’ve put in over the years. And of course, the upcoming accreditation process is going to be a “pop the champagne” moment for us. We’re looking forward to getting that final stamp of approval, but it doesn’t stop there – even we at OSU will have to go through the same accreditation process even though we’ve developed it. That being said, it’s only fair that we lead by example and prove that our students are learning everything they need.
Lynn: What makes this whole experience even more fulfilling is the collaboration and friendships we’ve built with industry professionals along the way.
This has been a personal passion of mine for the last 30 years – getting industry and education to truly work together. Seeing it all come to fruition is incredibly satisfying, and it feels like we’re really making a lasting impact.
Could you share any success stories or feedback from students who have participated in the programmes developed by your sub-committee?
Diane: One of our standout success stories is Carson Scott, the student I mentioned coming with us to PI, and who was part of the first cohort to go through our certificate programme. From the beginning, he truly embraced the learning process and quickly began self-teaching beyond the course materials. Carson was so driven by his passion for digital fashion design that, after completing the programme and graduating, he didn’t stop there – he’s now returned to pursue a Master’s degree, focusing on expanding his expertise even further.
What’s been truly amazing to see is the impact he’s had on his peers. The other students really look up to him, and having him back as a graduate student while we’re still developing and refining the capstone courses has been such a blessing.
Lynn: He’s been a great ambassador! The PI audience response to his work was so positive and it was a proud moment for Carson and for us, as it reinforced the potential of our work to equip students with the tools they need to excel in this rapidly evolving field.
Carson has continued to incorporate more advanced tools like Unreal Engine, AI, AR, and VR into his work and is now teaching some of these innovative concepts to others.
His journey showcases not only the effectiveness of our programme but also how deeply students can dive into these technologies and emerge as leaders and innovators in the industry. We’re thrilled to see where his journey takes him next!
More of Carson Scott here.
Love that and I’ll being speaking to Carson soon, so watch this space readers. Now for a bit more of a general question: how do you envision the role of traditional skills, like manual draping and pattern-making, evolving alongside these new digital skills in the future?
Lynn: Good question and something we’ve been discussing a lot. We’ve also consulted industry experts to ensure we’re aligned with what brands and professionals need.
What we’ve found is that traditional skills are still incredibly important, and industry stakeholders have made it clear that real-life, hands-on learning is not going away anytime soon.
Diane: One key reason for this is the ability to fix issues like fit, which is such a critical component in garment design. To fix fit issues properly, you still need to understand the fundamentals of pattern-making, draping, and garment construction. Without these skills, it becomes much harder to communicate effectively with overseas vendors or ensure the integrity of a design when transitioning from digital to physical production.
Lynn: There’s also the reality that not every brand has adopted 3D technology just yet, so students need to be prepared for a wide range of roles, whether they’re working with traditional methods or using 3D. Having a strong foundation in both gives students a significant advantage.
As Diane mentioned, there are practical issues too—such as when technology fails. If you don’t know how to manually make a pattern or understand the physical construction of a garment, you could find yourself stuck if your software crashes. Understanding how patterns work, how to balance side seams, and even how to choose the correct interfacing are all essential skills that contribute to a well-made, production-ready garment.
The idea that digital tools could entirely replace the need for these physical skills was maybe an early assumption by some, but it’s become clear that the best approach is a blend of both.
Diane: Yes, just imagine trying to create a complex 3D garment, like a men’s suit jacket, without any knowledge of traditional tailoring – it would be incredibly difficult to ensure the proper fit, construction, and overall quality! That’s why it’s crucial for designers to have a strong foundation in both physical and digital techniques.
So while the digital skills we teach are becoming more critical, we believe that traditional skills remain essential. It’s the integration of both that will ultimately shape the future of fashion design.
So in summary, we foresee that, at least for the next 5-10 years, these traditional skills will continue to be a significant part of fashion education and practice.
Looking ahead, what’s next for the subcommittee?
Lynn: Looking ahead, we’ll be focused on ensuring that the collaboration between educators and industry remains strong and continues to evolve. As the DPC journey is still in its early stages for many brands, we anticipate that the demand for digital skills will grow exponentially and to keep up, we plan to update our certification skills matrix every year to stay current with the latest software and technologies.
We’ve also been hearing from industry leaders who are managing DPC teams and facing unexpected challenges while trying to maintain their daily operation.
Leaders often believe that an eight-hour training course is enough to move forward, but it’s not that simple. We’re committed to providing more information and real-world examples to help companies balance training and ongoing work demands.
One potential solution we’ve discussed is hiring recent graduates who are already proficient in these digital skills to help bridge the gap in training, allowing experienced workers to continue their tasks while learning from their newer colleagues. And as we said earlier, this is actually how we have developed our online classes for professionals: all the assignments can be done within their regular work flow.
Additionally, we’re excited to continue working with software companies and exploring new tools that can be integrated into the curriculum and industry practices. There is a lot of great software that has been developed and is still being developed, however most companies don’t think about the software being used in an educational setting. Educational institutions are so grateful when companies can give us discounts on the software that our students need to know to be successful – amazingly, some companies give it to us for free or for a low maintenance fee. We need to identify these companies and put them together with the schools – it’s a win-win for both of them as we believe once students are in the industry, they would request software that they are familiar with.
As we continue to see new job roles emerge, we aim to stay at the forefront of the conversation, helping to shape the future of digital fashion education and industry practices.
And we look forward to helping you in anyway we can! As a closing question, and somewhat of a Call to Action, what do you need from the community to keep moving this work forward?
We need the collective support of the entire fashion community; the 3DRC has already made incredible strides, but there’s always room for more voices and more volunteers to enrich the work we’re doing. More perspectives help us stay relevant, innovative, and responsive to the needs of the industry.
We also encourage brands to engage more directly with the educational institutions they work closely with. Most brands have key universities from which they hire talent, and if there’s a growing need for workers skilled in DPC, it’s vital that they inform these schools about the resources available, like our skills matrix. By raising awareness of these tools, brands can help educators better equip students with the skills they need, ultimately creating stronger, more capable employees who can seamlessly transition into the workforce.
In addition to the general call for support, there are some specific areas where we could really use the help of the fashion community to continue progressing the work of the 3DRC:
Though we’ve made significant progress with the 3D design and technical design tracks, the development of the 3D Artist and 3D Materials tracks still requires substantial input. For the 3D Artist matrix, we are collaborating with industry experts to ensure that the curriculum reflects the real-world needs of professionals working in areas such as digital environments, animation, and rendering. However, we need more insight into the specific tools and skills that 3D Artists rely on day-to-day in fashion. This could include software like Unreal Engine, Maxon Cinema 4D, or Blender, and we are seeking partnerships with brands and Digital Artists to provide guidance and expertise.
And with regards to the Materials track, developing a standardised approach to digital materials remains one of our biggest challenges. There is currently no unified system for measuring fabrics and creating digital assets across different software platforms. We need help from both brands and material suppliers to bridge the gap between traditional and digital workflows. Input from material factories, especially those serving multiple brands using different platforms, will be essential in developing a cohesive system for digital material creation and integration.
Finally, we are expanding our efforts to include the footwear industry more prominently. As we build out the skills matrix and educational tracks specific to footwear product development, we would greatly benefit from partnerships with footwear brands to better understand their unique needs. Footwear design and production involve specific challenges that we want to address with the same rigour and relevance as our work with apparel.
In short, this call to action is simple but powerful: get involved, share knowledge, and help us build the future of fashion education together!
