Last week, I sat down with Lynn Boorady and Diane Limbaugh of Oklahoma State University (OSU) who have been instrumental in the 3DRC‘s Education work, specifically in establishing a harmonised skills matrix that includes the core disciplines required for executing 3D work for both students and professionals. Missed Part 1? You can read it here.
In the interview, they mentioned Carson Scott, a standout student who has helped shape the work and completed both the Fashion Design and Technical Design courses they created, alongside his undergraduate degree. After embracing the learning process and completing the certificate program, Carson continues to demonstrate exceptional dedication to his upskilling in the digital skills defining the future of fashion. Today, I am delighted to be sitting down with Carson himself to get his perspective on the journey.
Welcome to Seamless, Carson! It was great chatting to Lynn and Diane last week about all things 3DRC and the 3D skills matrix work they are leading at OSU. Your name came up a fair few times and so I thought it would be interesting to get your perspective on the work so far. To set the scene, could you share a bit about yourself and how your journey into fashion started and evolved?
Thanks so much for having me! I guess I was initially drawn to fashion at a young age because I loved the idea that clothing was both creative and functional. As a teenager, I enjoyed the challenge of solving puzzles and the idea of making my own garments, and as a start, taught myself how to knit. This then led me to explore other fibre arts like crochet, embroidery, dyeing, and weaving – basically, any handicraft I could get involved with!
I wasn’t exactly sure of my career path in high school, but after exploring different university programs, I landed on Fashion Design as I figured it would allow me to channel my creativity into something I truly loved. I toured a bunch of schools but having grown up in Stillwater, Oklahoma, I knew from the offset that OSU had a strong program and offered the best resources for what I wanted to pursue, so that’s where I enrolled. They had cutting-edge tools like 3D body scanning, garment production labs, Gerber CAD systems, and even an automated fabric cutter. I graduated in May 2023 with a degree in Apparel Design & Production, which has since been renamed to Apparel Design Technology to reflect the field’s forward-thinking focus.
I took some time off last Summer before returning to OSU in the fall of 2024 as a graduate student, focusing on further blending my passion for design with disruptive technologies. I also help out as a graduate teaching assistant, helping to support the undergraduates through their 3D onboarding and exploration.
In parallel, I’ve been working in technical design for a collegiate wear company based in New York, where I use digital tools like V-Stitcher to evaluate samples, create tech packs, and communicate effectively with manufacturers. This has allowed me to streamline production processes, ensuring both accuracy and quality in my work. Having these digital tools has been incredibly validating as a new technical designer.
I think it’s fair to say that my journey has evolved with a strong focus on innovation – integrating technology into design and finding ways to make fashion more sustainable and accessible.
Great to hear – did you go into fashion education knowing what you wanted to do afterwards, and did the onboarding of 3D work impact that vision?
To be totally honest, I didn’t really know what I wanted to do after graduation because I wasn’t fully aware of what was out there or what was possible. Fashion design is such a broad area and that made it even more difficult to figure out what path I wanted to take, especially since I was interested in so many aspects of the process. However, during the period between my sophomore and junior years, I spoke with Diane about 3D programs; I had signed up for a 30-day trial of CLO and was already experimenting with it when Diane let me know that we would be delving more into this technology side during my senior year.
Diane recognised my interest in 3D and provided me with the tools and the space to further develop these skills. I have always really enjoyed learning new things and continuously growing in this space, and having attended events like PI Apparel, where I saw how brands were using 3D in their design workflows, I was able to better visualise what I could do post-graduation.
This all led me to a focus on technical design, where I’ve found a balance between creativity and practicality. While I enjoy being creative, I didn’t want creativity to be the sole focus of my career. The technical design process, where I take someone else’s creative vision and turn it into a reality, really appeals to me, and 3D technology has become the perfect way to communicate and facilitate that transition from concept to tangible product.
As I mentioned, whilst I have been working in industry on the side, my main focus right now is my graduate degree program that I returned to OSU for last year and that is helping me further develop and hone my skills.
A second degree – you must be committed! Now we are here today to talk about the 3DRC’s 3D Skills Matrix. What were your first impressions when you were introduced to this work?
Initially, I was overwhelmed by the sheer variety of skills outlined but as I delved deeper into it, it started to make more sense as I paid closer attention to the details. It was reassuring to see that the matrix was developed through a collaborative effort between industry leaders and educational institutions and wasn’t just a one-sided approach, which is oftentimes short-sighted.
This partnership gave me confidence that by going through the program at OSU, I’d be acquiring the 3D skills truly needed to meet the industry’s demands.
What stood out to me the most was how the 3D Skills Matrix aligned academic learning with real-world applications; it wasn’t just about taking a masterclass for a specific software but was about understanding how these tools fit into the larger design and production process.
That connection between academia and industry gave me the assurance that I would graduate not only with proficiency in 3D technology but also with the practical skills needed to transition seamlessly into the professional world.
The great thing about the certification is that it’s designed to complement either your academic program if you’re a student, or your work in the industry. It’s structured in a way that allows you to complete it concurrently without being too overwhelming. While it can be daunting to try and fit all the necessary skills into a short period, the certification strikes a balance; learning a software is one thing, but truly understanding the skills behind it is a different challenge.
The goal of the program is to provide ongoing development throughout the course so that you can get the support you need when you need it.
To date I have completed both of the Design and Technical Design modules, and as and when they become available, am eager to complete those for 3D Artists and Materials also.
What aspects of the 3D curriculum did you find the most valuable, and why?
What I appreciated the most about the 3D curriculum was that we weren’t confined to just one software but instead, were introduced to a range of tools, each integrated into the design process at the appropriate stages of our learning. This approach allowed me to build my own comprehensive digital workflow based on the guidelines we were given, tailoring it to suit my needs. I was able to incorporate each software into the different phases of my development which really helped with my own growth and made the process much easier compared to some of the traditional methods students had used in previous years.
By learning multiple tools, I gained a broader perspective on how technology can enhance every step of the design pipeline, from early concept development to the final product. The process-driven approach ensured that we weren’t limited to just one method of creation.
It gave us the flexibility and ability to adapt to various industry needs.
As the tools and technologies are evolving so quickly, it’s important to have a foundational understanding of how things are done, so that even as new technologies emerge, we’re already familiar with the processes behind them. There really aren’t any fixed standards yet for how things should be created, presented, or shared, which is why learning the various processes is so valuable for future adaptability.
Did you find the course structure, content and length manageable and interesting?
Absolutely – the structure, content, and length of the course were all manageable, but more importantly, it was engaging. Since it was an online course, I had the flexibility to access the materials from anywhere, which made the structure particularly manageable. The course was also self-paced, allowing me to work ahead on concepts I was already comfortable with and spend more time on areas where I needed more understanding.
This flexibility really helped reduce stress and kept me engaged with the coursework. It prevented that overwhelming, shutdown feeling that can sometimes happen when learning something new. Since I had the freedom to work through challenges at my own pace and still receive instructor feedback, I was rarely stressed and so I was able to manage my time effectively and complete the program with good mental health.
I’m glad to hear that. Did the 3D Skills Matrix align with your expectations of studying fashion at the time? Were there any surprises in terms of the skills you needed to learn?
Yes, I would say that the 3D Skills Matrix did align with my expectations of studying fashion because I anticipated that it would cover the technical skills we needed, like learning the foundational aspects of the software. However, since the 3D Skills Matrix was so new and being one of the first collaborations between industry and education, I wasn’t entirely sure what to expect.
As I mentioned previously, what really stood out to me about OSU’s approach was the use of multiple software programs – I didn’t expect that in the beginning.
I thought we would be learning just one tool and one workflow, either how to take a physical garment to a digital stage or how to work entirely in the digital space to create a digital prototype and final sample. I was surprised by how many different tools we incorporated, and how many supplementary programs existed alongside the core 3D software. That was a big and welcome surprise for me, and it really broadened my understanding of the tools needed in the industry.
Can you elaborate on the variety of tools and technologies you were exposed to?
Sure – so we started by setting textures, then moved into using programs like Style 3D, CLO and Browzwear’s VStitcher. We also integrated Adobe Suite, specifically Illustrator and Photoshop, into the workflow. Illustrator was used for creating AI-driven texture prompts, and we utilised Photoshop for material and dye effects. Additionally, we worked with Substance tools to create different weaves and fabric structures.
We also incorporated 3D body scanning into our work. Each of us had the opportunity to scan our fit models, particularly for the fashion show that we hold at the end of each semester. This allowed us to use the scanned models in the prototyping phase, ensuring a proper fit for our designs.
We also had access to Alvanon’s body platform, which allowed us to find digital avatars that closely matched our fit models. One of my male models happened to match an Alvanon form perfectly, so I was able to compare the virtual and physical forms side by side. The similarities between the digital and physical fits were almost indistinguishable, which was fantastic!
Another tool I wanted to mention is the automated cutter. I absolutely loved using it because it made the marker-making process much more efficient. I used a tool called DeepNest.io, which helped fit pattern pieces together like a puzzle, optimising fabric use. CLO has a similar AI-driven marker-making tool to improve layout optimization. After designing the layout, we could send it directly to the automated cutter, which cut everything for us quickly, without wasting fabric or paper. It made the entire process incredibly fast and efficient.
I’m sure there are more that I am forgetting in this moment, but this gives you a glimpse into the range of tools we were exposed to as part of this learning process.
Above video: Carson in the OSU 3D Body Scanner
This sounds amazing! Now, because of your eagerness to delve into these tools, I know you were somewhat of a guinea pig during the initial concepting phase of these courses. What were some of the biggest challenges you faced while transitioning to learning 3D skills?
To be honest, when I began transitioning to learning 3D skills, I already had a background in 2D CAD, wearable technology and 3D printing which made the transition smoother because I was already familiar with certain aspects of digital design. I didn’t feel that 3D added extra time or stress to the process – it was more efficient overall, thanks to the strong focus my department already had on integrating technology into the curriculum.
The biggest challenge I faced wasn’t in creating the designs themselves but rather in developing a smooth workflow that would save time and be efficient.
However, working through these challenges was manageable, as the program provided support in refining those workflows, which helped a lot in making the process more streamlined.
Unlike in the industry, where I understand there is often resistance to adopting new tools, in education, there’s a strong openness to experimentation and discovering what these tools can and can’t do. In the industry, the challenge is more about validating the tools – whether they are truly beneficial, if they help the process, and if they are feasible to implement. When I’ve spoken to people in the industry about 3D, they’ve often expressed excitement but also hesitation, unsure of how to move forward with adoption.
I’m hopeful that by showing we have certification in these skills, it can serve as proof that the tools are valuable and worth the investment. I think that’s the key to overcoming the barriers to adoption in the industry.
Do you feel that understanding both traditional and digital methods has given you an advantage in the fashion industry?
Absolutely – the combination of these skills allows me to approach design challenges from multiple perspectives and apply the most effective solution for each one. For example, in my role as a Technical Designer, my knowledge of traditional methods has been invaluable and has provided a solid foundation for understanding the detailed aspects of the process.
This traditional expertise is then complemented by my proficiency in 3D software, which I use to evaluate samples, create tech packs, and communicate more accurately with manufacturers. It also streamlines the design process because when I receive a final sample to approve, making adjustments is much easier in 3D. I can quickly adjust designs in 3D, export the tech pack, and have everything set up and ready, compared to the more time-consuming process of going back to adjust an Excel sheet or a flat design manually.
Being able to click a button to export all assets and resources at once is a major advantage of working in 3D. So yes, without question the ability to combine both traditional and digital skills has given me flexibility and efficiency, allowing me to adapt to various design needs.
How has your involvement with events like PI and the related exposure to industry professionals influenced your studies? Can you share a moment where you realised the value of your 3D training during one of these interactions?
The 3D training I did has undoubtedly paid off – I’m so glad I took it. And my involvement in events like PI has only served to solidify that.
At your conference, I had the opportunity to showcase a digital fashion show I created for my senior collection and the positive reaction and support from the audience was amazing, albeit surprising!
After my presentation I was approached by a number of professionals in the audience who were interested in learning more about how I used technology to effectively visualise my garments and communicate design details. They emphasised that this capability is increasingly in demand and valued for bridging the gap between design and production.
Attending these conferences also provided me with insights into how 3D technology is actively being used across the value chain, not just in theory but in real-world applications. Seeing this helped me realise the broader potential and relevance of my skill set and gave me the confidence that my training will allow me to contribute meaningfully to my future roles in industry, and not just have been a nice to have.
Below video: ‘Weapon of Choice’ Animation
I’m sorry I missed you there – next time! Looking back, were there any specific 3D projects or assignments that you worked on that were particularly impactful or memorable?
The one that immediately comes to mind was my senior collection which included the fashion show animation that I went on to present at PI. This project was significant because it allowed me to integrate multiple aspects of 3D design, from creating detailed simulations to presenting them in a dynamic and visually engaging format.
One of the most notable parts of the project was the ability to create digital prototypes for all the designs in my collection. While only three of the designs were fully developed to the digital twin stage, 3D technology played a crucial role in streamlining the process for all the outfits. In the short time period of just one semester, using 3D tools helped me save time by reducing the need for physical sampling which allowed me to focus more on visualizing and refining the designs online before finalizing them and putting them into production.
My process involved body scanning fit models, creating detailed garment simulations, texture mapping, animations, and building a 3D environment to showcase the collections in a promotional video. The experience demonstrated the practical benefits of 3D design, such as improved efficiency and enhanced communication. It was incredibly rewarding to see how the digital prototypes not only facilitated the design process but also contributed to a more cohesive and compelling presentation at the end of the collection.
This project highlighted the value of 3D design, and seeing how the digital work came together in the final presentation was a proud moment for me. It showed me how these tools can streamline complex processes and create visually impactful results.
And how has your digital education continued to evolve post the 3D course? What new and/or emerging technologies are you excited to explore?
Whilst I don’t have a huge amount of free time, it has definitely continued to evolve because I just love getting my teeth stuck into these new and emerging areas! Everything seems to be moving and changing so fast so it’s important to roll up my sleeves and jump in.
I am working with OSU seniors to help with their digital fashion shows in which we started playing around with Blender and Unreal Engine which was an exciting shift as they made the shows feel more realistic. We were able to use MetaHumans, allowing students to customise avatars to fit the aesthetic of their collections or match their fit models.
Our university also recently acquired a 4D body scanner, and I’m eager to explore how we can incorporate it into the fashion design workflow. It opens up possibilities for even more accurate virtual fittings and while the industry isn’t fully there yet, the potential is massive. Being able to virtually feel and interact with fabrics, combined with 3D visualisations, could revolutionise how we design, source, and present fashion in the near future.
And then there is AI. AI has been incredibly useful in several ways, especially for idea generation when creating collections and exploring new concepts. It helps us quickly brainstorm and visualise new design ideas. In Illustrator and Photoshop, I’ve used AI for text-to-vector and text-to-image generation to create seamless patterns which has allowed me to communicate my design intentions quickly and easily, and then go back to refine and tailor the designs to my specific needs. In Style 3D, I’ve utilised AI for rendering and creating avatars, either for ourselves or for a company’s fit model. This allows us to tailor our designs for a specific customer, ensuring that the avatar closely represents our target audience, rather than using the standard avatars. It makes the designs look much more realistic and relevant to the intended market.
Again, I don’t have a lot of free time, but I try to approach these technologies with a playful mindset; I know I’ve mastered something when I can share it, render a design, or integrate it into my workflow.
It can be a lot, but I love learning and teaching others about digital applications. Being a graduate teaching assistant adds to my workload, but it’s something I genuinely enjoy. Helping others improve their 3D skills is motivating and keeps me excited to learn more. I’m not honestly sure how I manage it all, but I’m passionate about what I do, and that keeps me going.
I love that! Now, not all students have access yet to the kind of education you have had. What advice would you give to other students considering pursuing a 3D-focused education in fashion?
My advice to students is to fully embrace the learning process and be open to experimenting with new tools and workflows. There is no denying that 3D design is going to continue to be an integral part of the future of fashion, and having these skills will give you a significant advantage in the industry.
It’s not a question of if 3D will become standard, but when, so it’s important to be prepared.
However, mastering 3D isn’t just about learning a single software or tool; it’s about understanding the overall workflow and how different technologies can be used together to enhance various stages of the design process. I would also encourage students to take their time building a solid foundation in garment construction and traditional design methods. Sometimes, people get so excited by the cool and innovative things you can do with technology that it’s easy to overlook the importance of understanding how garments are made in the physical world. Having a strong foundation in traditional methods makes it much easier to translate those skills into the digital space.
Don’t shy away from projects that challenge you or push you out of your comfort zone. These experiences provide the best learning opportunities because they force you to figure things out for yourself. It’s not just about following a demonstration of what a tool can do, but understanding how you can use that tool to get something done. The more you experiment and face challenges, the more you’ll thrive and truly start to learn.
And lastly, these courses are not just available to OSU students! If you want more information, you can visit the program website: 3D Digital Product Creation at OSU and/or reach out directly! Get involved!
Above video: An overview of the digital design process at Oklahoma State University (OSU)
I hope more do. I’m fairly sure I know the answer to this already, but do you think the 3D certification has helped open doors for you within the fashion industry?
Without a doubt. The certification has definitely made me more competitive in the job market, particularly during interviews and networking events.
Over the past year, while I was in a gap period, I attended several networking events and went through interviews. I found that prospective employers were interested in the fact that I have 3D design skills and when you look at most job postings, 3D skills are often recommended, along with proficiency in certain softwares, usually two or three specific ones.
I feel like the certification signals that I’ve been properly trained in these skills, giving me a significant advantage as companies move towards a digital-first approach. It adds a level of credibility to my skill set and helps me stand out in the competitive fashion industry.
As we near the end of the interview, I have to ask the question all students dread: what is next for you, Carson?
Haha – well, right now, my focus is on my graduate studies, but more generally I’m excited to continue deepening my learning in 3D design and exploring how these tools are transforming the fashion industry now and will continue to do so in the future. My immediate goal is to keep building on the technical design work I’m currently doing and find new ways to streamline my process through 3D simulations and digital workflows. I also want to push the boundaries of digital fashion, particularly in areas like virtual fittings, sustainable design solutions, and augmented reality experiences for both consumers and internal use.
I didn’t mention this earlier, but I did an internship at Cotton On in Australia and I saw the merchandising team spend a lot of time setting up displays for global meetings. Managers from different departments would come in to view the merchandise layout, and I kept thinking how much time and resources could be saved if they could just wear 3D glasses and meet in a virtual space. They could see the garments laid out virtually, and even view them on a moving avatar to better understand the fit and flow.
There are so many new and innovative ways technology can be used, and I want to explore these possibilities further.
As I continue to develop my current technical design skills, I also plan to look for more tech-focused design roles, particularly in mass production. I’m excited to see where this path takes me, especially as more companies adopt a digital-first approach. AR, VR, and 3D technologies are still evolving, but I’m looking forward to being part of that evolution and finding ways to incorporate these advancements into the fashion industry.
Finally, is there anything you’d like to say to Lynn, Diane and the 3DRC sub-committee at large, regarding the work they are doing?
I want to express my deepest gratitude to Dr. Lynn Boorady, Diane Limbaugh, and the entire 3DRC sub-committee for the incredible work they’re doing. The 3D curriculum and the Skills Matrix they’ve developed are not just ahead of the curve but truly visionary in preparing students for the evolving demands of the fashion industry.
It’s clear that their dedication to creating a program that bridges education and industry has had a profound impact, not only on my own journey but on many students who are now entering the field with a competitive edge.
The collaborative approach between education and industry professionals has given us the tools and confidence to thrive in a digital-first world. The skills and insights I’ve gained from the program have been invaluable, and I see how much thought has gone into ensuring that we’re not just learning software, but mastering a comprehensive digital workflow that will allow us to adapt as new technologies emerge.
The work they are doing is undoubtedly shaping the future of fashion education, and I’m excited to see how the program will continue to evolve. Thank you for creating such a forward-thinking curriculum that not only supports students but also pushes the boundaries of what’s possible in the fashion industry!
A perfect note to end our interview on! Well Carson, thank you so much for taking the time to speak with me today and best of luck in your graduate studies. Hope to see you at another PI Apparel event soon!
Have any questions or comments? Pop them in the comments section below and we’ll come back to you!
