Last week, in Part 1 of this Seamless spotlight, I sat down with Sandy Bailey, Assistant Professor at Missouri State University (MSU), as she talked through her 2-year journey to completely transform their Fashion Design programme with 3D. In the interview, Sandy detailed the challenges of implementing these changes, including resistance from faculty and the lengthy approval process, but ultimately emphasized the long lasting benefits for her students. Missed Part 1? You can read it here.

But I wanted to hear from one of her students directly, to get their honest take on the rehaul and how they feel the transformation has impacted them. With that said, today we sit down with Britney Spangenberg who was intimately involved in this journey from initial software demoing right through to execution. Let’s go!

Hi Britney, thank you for joining us today! When I was interviewing Sandy and she mentioned your active role in MSU’s 3D rehaul, I thought it would be interesting to get your perspective on the whole transition. First up, can you tell us what you were studying and how your career ambitions have evolved over time?

Hi Michael, happy to be here and I’m honoured to have been put forward by Sandy (who we affectionately call ‘Bailey‘ by the way)! I was studying Fashion Design and Product Development, with a Minor in Art. To be honest, though I found the premise of Fashion Design to be fun when I was very young, I never thought of it as a career. Then in high school, I got into Fine Art, particularly hyperrealism and surrealism, and dabbled in Fashion as part of that, only to realize that in essence, it is just another medium of art. It combines creativity with technical aspects, which I loved.

After that realisation, my main goal and dream then became to find a stable job in the Fashion industry which is when I started at Missouri State. Initially, I only knew about high-profile fashion jobs that I’d come across in the media and wasn’t aware of the vast opportunities that existed in the corporate setting until much later. But throughout my degree I began to learn more about the possibilities available to me and decided that I wanted to go down the Technical Designer route, which fits perfectly with my interests.

I have in fact just finished my degree this Summer and have recently started as an Associate Technical Designer for Fanatics Apparel, a company known for its sports merchandise. I started remotely and then moved to Tampa, where they are based; it’s a big change from my hometown of Springfield, but the team at Fanatics has been really welcoming and I’m mostly just excited to get going with this next chapter!

Huge congratulations, Britney – that’s great to hear! Now, Bailey mentioned you were heavily involved in the 3D demoing process way before the school fully adopted it. How did that come about and what was your experience evaluating, transitioning to, and learning with 3D?

Well in terms of how I initially got involved, I asked! I guess throughout my Freshman year, I had been talking with Bailey about the future of the fashion industry and how 3D design was becoming increasingly important. I knew that Bailey was planning to meet with various companies to evaluate the best software for our program, and out of curiosity, I asked if I could join in. She agreed and that was that !

I must admit that at that time, 3D was completely new to me. I mean, I barely understood the basics of pattern work at that point, so diving into 3D was a significant leap! I did have a bit of general knowledge about 3D from seeing it being used in game production with platforms like Blender, but fashion-specific applications were a whole new world to me. But despite this lack of experience, I was eager to learn and see where this technology could take us…

Seeing the inner workings of these programs was incredibly exciting; they shared many functions but each had their own unique features and feel. 

It wasn’t until the beginning of my third year that the curriculum for 3D design was fully implemented and if I’m being totally honest, the transition gave me mixed feelings: on one hand, yes, it was exciting, but on the other, it was nerve-wracking because it was such an abrupt change. It’s important to add here that the first two years of my college education had focused on physical design, and then the last two years shifted to digital. Bailey was also learning as she went, so the curriculum evolved as we progressed, requiring us to continuously adapt and learn on the go. 

The nice thing was that our department was small, with around only 15 students in each design class, so we supported each other throughout the transition, and we received help from Browzwear, who, as you know, MSU partnered with and who provided ongoing guidance as needed.

Were you given a choice about the shift?

No, it was mandatory. We were told that the decision had been made to align our learning with industry trends and to better our marketability. And I must admit that in hindsight, while the abrupt change was challenging, it was ultimately beneficial. It was a collective learning experience, and despite the initial difficulties, we appreciated and have since benefited from, the integration of 3D into our curriculum.

Well it sounds like, though stressful, you got your first taste of what it is like being in industry too; 3D adoption is scary and is often met with a need for intense change management and hand-holding. What were the immediate differences that you noticed in what you were learning and how it was taught?

The classes became more self-directed; we suddenly had the freedom to choose our projects and apply the pattern knowledge we had gained. This shift allowed for more independence in our learning process, although we still received support when needed. At the beginning, there was a sense of confusion and adjustment as we navigated the new curriculum but Bailey was proactive in addressing issues and seeking answers, often consulting with our Browzwear representative to ensure we understood the new tools and methods.

Another significant improvement was the cost savings. In traditional classes, we have to spend a lot on materials for each project we want to bring to life, but with 3D, those expenses were greatly reduced, which I’m sure you get was a huge relief as a student.

In terms of engagement, I found both methods equally interesting but in different ways, especially as it related to learning fit and pattern alterations. In physical design, you could manipulate the fabric directly, which provided an intuitive understanding of necessary adjustments, whereas with 3D, you were provided with real-time feedback, making it easier to perfect the fit by incrementally adjusting patterns and immediately seeing the results.

This instant feedback loop was incredibly beneficial, though I must admit that also having that fundamental understanding of physical fabric manipulation was also crucial to applying these concepts effectively in the digital realm.

And in terms of your final projects, was it down to you as to whether you wanted to present physically or digitally?

For the first year of this new curriculum, we were still allowed to showcase physical garments if we chose to make them. In the second year, the curriculum was entirely digital, but there was still room to include some physical pieces if we managed to create them independently.

By the end of my Sophomore year, I knew the shift to digital was happening and that physical collections would no longer be part of the classes. Wanting to pursue both, I presented a physical collection at Omaha Fashion Week and after winning a prize for that collection, I returned in my Junior year to present a collection as a headline designer.

So overall, throughout my Junior and Senior years, I balanced creating both physical and digital collections, even though the curriculum itself focused solely on digital design.

Well done on your prize win! Looking back, were there any specific projects or assignments that you worked on post-rehaul that were particularly impactful or memorable?

Absolutely! I was a bit out of sequence with my coursework, completing my Senior collection during my Junior year, followed by an independent study where I created another Senior collection in my final year. Additionally, I undertook another independent study focusing on a couture look in Browzwear.

The first collection was a significant learning experience; we were all figuring out the basics and adapting to the new software, but despite initial growing pains, this project helped me grasp the fundamental concepts of the software quickly. Understanding that the core principles of different programs, such as Illustrator and Browzwear, are similar, was a key takeaway for me.

Creating the couture look was particularly memorable because it involved using advanced techniques in 3D. This project pushed the program to its limits, requiring substantial computing power and time to render, and ultimately showed off the true potential of digital design.

Finally, in my Senior year, I worked on an outerwear collection. By this time, my classmates and I had a solid understanding of the 3D platform, and everything began to click for us. Combining my accumulated pattern-making experience with our now-familiar digital tools, this collection represented the culmination of my learning journey. It was during this project that I truly felt everything had come together, both in terms of pattern work and digital design, so it was very special to me!

Nice – basically a timeline of your 3D progression then! I asked at the start how your career aspirations changed with time but what role would you say 3D directly played in this evolution?

Even up until my Sophomore year, I was still unsure about my career path after college. BUT as I started working more with tech packs and focusing on 3D, the instant feedback allowed me to see how different adjustments affected the fit, which I found incredibly engaging. And as I continued this work, I realized that I wanted to pursue a career as a Technical Designer; the clarity and detail provided by the tools made this role much more appealing compared to other options and while I might have eventually come to this conclusion through traditional physical design education anyhow, for sure the use of 3D accelerated this decision!

Quite the advertisement for the power of 3D in education! Now, you have obviously graduated and immediately entered industry: do you think the new curriculum better prepared you for that step?

In hindsight, I can say with certainty that the new curriculum significantly prepared me for my career by making me more marketable. Several job listings explicitly mentioned the need for 3D skills, and being able to say I had that experience was a huge advantage. And while others didn’t list it as a specific requirement, they still openly valued the skill. I am certain that as more companies begin switching to 3D, having that experience will be a major plus for graduates. 

For instance, in my current role at Fanatics, they use a tool that has both 2D and 3D capabilities and while I wasn’t initially familiar with their specific software, my experience with other digital design programs, like Browzwear and Adobe, and my background in 3D modeling and printing, demonstrated my ability to learn new software quickly. And it was this adaptability that proved to be a big selling point for Fanatics; they appreciated that I could quickly pick up new programs and understand the technical aspects of both digital and physical fittings.

So yes, the new digital design curriculum definitely better positioned me for my move into industry, without a doubt.

The biggest lesson I learned in college is that taking control of your own education is crucial. You know your goals and what you want to achieve better than anyone, and ultimately, you’re the one responsible for your success. My advice to students in more traditional schools is to proactively seek out and learn new skills on your own.

While yes, some of the tools require paid licences that are not always affordable on a student budget, there are other options available, such as Stylist3D, a software I follow on Instagram. They offer a version of their software that’s free or discounted for individuals, not just businesses. I’ve been considering using it myself after graduation…

And as I mentioned before, learning 3D makes you more marketable in the industry, as it allows you to bring your ideas to life more cheaply and quickly than traditional methods. Even if it’s just for personal fulfilment, teaching yourself these skills can be incredibly rewarding; by designing in 3D, you can bypass the need for fabric and the full production process, making it an accessible and valuable tool for any aspiring designer!

So in summary, just because your school doesn’t formally offer it as part of their teachings, doesn’t mean you can’t get access to tools and teach yourself, and you absolutely should!

Great advice. You mention not all tools are affordable or accessible to students; is there a message you’d like to share with the technology providers out there on this point?

I would love it if technology providers offered freelance or student pricing, even if it’s not entirely free. Currently, many of the pricing models are geared towards businesses, making it difficult for individuals without a business or school affiliation to access the software. A monthly subscription model, similar to Adobe’s for example, would be incredibly helpful!

Plus, more accessible pricing would allow more students to learn these tools, which ultimately I’d like to think would benefit the technology providers as well. When graduates enter the industry already trained in these tools, it promotes the software and encourages wider adoption. It’s a win-win situation in my eyes.

Absolutely! Well, I think it’s fair to say after our chat that Bailey’s rehaul of the curriculum has been massively beneficial to you. Is there anything you’d like to say to her publicly?

A huge THANK YOU! Bailey has been an incredible advocate and mentor for us. She consistently tackles problems head-on and is always looking for ways to make things better for her students, making us more marketable and helping us secure stable work.

Throughout my job search and moments of uncertainty about my future, Bailey was there to guide and support me. Her willingness to assist didn’t stop in the classroom; she was always available to offer advice and encouragement. The close-knit environment of our small department allowed for that personal connection, which I loved.

Bailey also values our feedback, which has been crucial for the transition; she actively sought our input, implemented changes, and improved the experience for future classes. She also supports personal growth and always encourages us to pursue our passions, even if they fall outside the curriculum. 

So yes, thank you Bailey! Your dedication to helping us reach our potential is not only inspiring, but beyond appreciated!

What a lovely way to end our interview! Well Britney, thank you so much for taking the time to speak with me today and best of luck on this new chapter! Hope to see you and the Fanatics team 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!