Although the metaverse isn’t new, the idea of wearing digital fashion in these virtual spaces remains a puzzle for many. It’s like a contemporary rendition of “The Emperor’s New Clothes,” blurring the line between reality and illusion. Yet, this intangible realm is expected to become a booming market, reaching a staggering $4.8 billion by 2031. It’s no wonder that industry insiders are eagerly focusing on this expanding frontier.
Meet Joshua Kane, the London–based tailor who has been a pioneer in this space. From designing bespoke garments for A–list celebrities to costume designs for the Netflix series She–Hulk, he’s also a designer leading the way for virtual fashion in the metaverse.
In an exclusive interview with Arabian Business Traveller, the celebrity designer discusses the intersection of fashion and the metaverse, offering a glimpse into the future of the industry.
What inspired you to design fashion for the metaverse?
The concept of merging age–old traditional tailoring techniques with the metaverse was a captivating idea for me. As a designer, I’m always seeking new outlets for self–expression and storytelling — the metaverse offered a unique platform to bring my fashion designs to life in ways that were previously unimaginable.
Tell us a little more about how you were able to take your brand into the metaverse
It all began with my passion for storytelling. Each of my runway shows revolve around characters and their journeys. So, I took this approach and expanded it into the digital realm. By using CGI films and video game design, I translated the fabric designs from my real tailored garments into formats compatible with the metaverse. And it all just elevated from there. I took all my intellectual property, including patterns of suits that I’ve designed for celebrities, and digitalised them for different mediums such as video games, NFTs, or any digital platform that may emerge in the future.
What is the purpose of digital fashion?
In my opinion, digital fashion still hasn’t found its purpose. Currently, digital garments are primarily being used in video games to dress avatars and they are also sold as NFTs. However, I believe we are still in the early stages of witnessing something significant, similar to the early days of the internet.
But looking ahead, I think the future of digital fashion will take shape in a more lifelike manner. This could involve integrating digital fashion into augmented reality (AR) experiences, virtual reality (VR) environments, or even yet–to–be–realised emerging technologies. The possibilities for innovation in this field are endless, and there are countless avenues currently being explored and developed.
In an industry that is evolving rapidly, how do you stay ahead of the curve?
As a designer, it is essential for me to keep developing, creating, and preparing assets that are portable and usable for an ever–changing landscape until the final form exists. What I am currently doing is creating the technology for our digital tailoring and digital fashion assets for all the different versions of what that format could potentially be. Currently, my focus lies in creating customised digital garments for video games. I am actively adapting my creations and embracing emerging technologies to stay ahead of the curve as this field evolves.
Do you see the metaverse impacting the future of fashion as a whole?
I definitely believe it will. Digital fashion will make a significant impact, although it may take different forms and unfold over time. In the distant future, its impact will be colossal. However, in the coming years, it may still be seen as something not fully understood or a passing trend. It will require time for people to truly grasp its potential.
But I do anticipate there will be developments in digital fashion, and those who become early adopters of digital fashion will gain a substantial advantage in staying ahead of the game. In any case, I find digital fashion to be exciting and innovative. Clothing design has remained relatively stagnant for a period of time, and digital fashion opens up a brand new avenue for creativity. And I think it is really exciting.
Tech and fashion are two very different mediums. What advantages can fashion designers bring to the metaverse?
Creating fashion garments, whether digital or physical, requires knowledge of real–life construction. If you can’t put them together in real life, there is no way you can accurately portray them in the digital world.
Digital artists can make digital art and capture form effectively, but it’s not digital fashion. To understand how to replicate function, such as a three–dimensional structure that fits and is comfortable to wear is difficult, that is something that fashion designers understand.
A digital model is never going to complain if it doesn’t feel good, the garment just has to look good. But when making fashion in real–life, there’s a science behind body language, movement, self–perception, and how a garment makes someone feel, that needs to be reflected in the digital form.
This is not to undermine the skills of digital artists, who face their own challenges. However, there is a missing connection between the emotional bond we have with clothes in the real world versus in the digital world.
Fashion designers can also contribute to aspects such as making digital fabrics drape or flow like they do in real life. These are the possibilities that I am obsessed with learning. At the moment, we are looking at the first “big drop” of digital fashion, but I would say in the next few years, we will be seeing digital fabrics look and behave in a completely different way.
If you look beyond the metaverse, are there other areas where digital fashion can be utilised?
Definitely! There are so many areas where digital fashion can be used. Take, for instance, the film industry, where digital artists are using 3D body scanners to digitise apparel. It’s the same software that is used for video games, just 20 times more powerful. This is being used in projects such as Disney TV shows, especially in partially animated TV movie shows where CGI blends with real–life actors. They are so accurately depicted that it is hard to tell what is real and what is digital. The budget and the skill of the artist play a big role in how well you can spot the difference.
Are there any challenges when designing for these spaces?
It’s a real challenge for me to achieve the level of quality I desire in my digital fashion creations. As an independent brand, the amount of time and effort required to make each garment is huge. It’s a costly and time–consuming process, especially considering that I’m not directly selling these digital garments, but rather integrating them into video games. Justifying the investment and the hours spent is a challenge in itself.
Another challenge I face is the experience gap between creating real–life garments for over 21 years and digital garments for only two and a half years. I need to catch up and ensure that my digital creations match the same level of excellence as my real ones. I want players of the video game to perceive the digital garments as real and of the highest quality. So, the ongoing challenge is to maintain consistency and make everything look equally impressive.
Tailormade for the metaverse
Whether we will be wearing digital fashion in the near future remains unknown. However, historically, tailors, one of the oldest traditions in the world, have made significant contributions to the fashion industry. And, as the world steps into a new era of fashion, Joshua Kane is no different.
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