The virtual fashion design allows you to create beautiful 3D virtual clothing with Marvelous Designer, the award-winning cutting-edge design software.

It also allows you to explore clothes with Virtual Reality and create virtual fashion shows.

The course also includes the ability to create apps to sell their online collections.
Finally breathe life into your designs with tools that enhance quality while saving you time.

A Virtual Fashion Show
From basic shirts to intricately pleated dresses and rugged uniforms, Marvelous Designer can virtually replicate fabric textures and physical properties to the last button, fold, and accessory.
With our versatile compatibility with other 3D software and interactive design interface, you can instantaneously edit and drape garments onto 3D forms with high-fidelity simulation.

Fashion in an alternative reality
Marvelous Designer’s innovative pattern-based approach has already been adopted by top game studios such as EA Konami and can be seen on the big-screen in animation films including The Hobbit and The Adventures of Tin Tin, created by Weta Digital.

  • Introduction to the basics of Garment Design & Construction
  • Introduction to Marvelous Designer
  • Creating a Skirt
  • Attaching Sleeves to the Garment
  • Applying Fabrics & Texture
  • Customizing Design – Creating and Understanding layers
  • Adding piping to the Garment
  • Applying Pose for the Avatar
  • Exporting a Pose from Marvelous Designer to Maya and 3DSmax
  • Creating a Seamless Circular Skirt
  • Applying Animation in Marvelous Designer
  • Importing a Scene from Maya to Marvelous Designer
  • Importing an Animated scene from Maya to Marvelous Designer
  • Exploring Wind Environment
  • Other Simple techniques in Marvelous designer
  • Import and open a project in the Unity and Unreal (Virtual Reality) platform
  • Learn how to view, inspect, and gain a basic understanding of the Unity and Unreal platform interfaces
  • Install and open a Virtual Fashion app in Google cardboard, Samsung and Oculus Rift 

For more infos: http://www.arseuropa.org/academy/en/product/virtual-fashion-design/

“L’Odyssée de Cartier” is a short film directed by Bruno Aveillan.
Agency: Marcel Production: Quad
Special Effects: Digital District
Music: Pierre Adenot
Panther tamer: Thierry Le Portier

Here the warpframe:

The sender (Cartier) is represented by the jewel-encrusted panther , which breaks free from its dormant state and travels from France to Russia, China and India (the new emergent markets of luxury).

The relationship between the sender Cartier and the receiver is based on reliability, safety, tradition.

The communication style is sophisticated , elegant, exciting, full of mystery, wonder and discovery.

The encrusted panther is  a symbol of Cartier.  The Eiffel Tower is the symbol of Paris, the birthplace of Cartier.

The flying gems are a symbol of freedom and change. The sleigh, pulled by white horses is a symbol of Russia and of a journey, freedom and change.

The six great rings are a symbol of obstacles but also icons of jewels.

The gold dragon is the symbol of China and of prosperity. At the beginning the dragon is an obstacle, then, when it  recognizes the panther of Cartier , it transforms itself in the Great Wall and becomes a helper for the brand. The garden with the tree full of animal jewels is the symbol of richness.

The crocodile jewel and the snake jewel, are symbols of India. The peacock jewel is a symbol of luxury, vanity and richness.

The beautiful palace on the enormous elephant is symbol of India, too.

The airplane built by Alberto Santos-Dumont, to showcase the classic Cartier Santos watch (first commissioned by the Brazilian aviation legend in 1904) is a symbol of modernity but also tradition, innovation but also of passion for the past.

The great staircase is a symbol of upward social mobility.

The architecture codes  imply we are in Russia, China, India and in France.  The furniture codes send an idea of richness, luxury, privilege. There are many closed circles in the video ( the six rings, the bracelet of the woman in red,  the domes) that send an idea of privilege, elite and closure.

In this video clip there are many synecdoches ( the woman’s hand represents the woman in red who is looking for the panther, the Eiffel Tower represent the whole Paris, the Great Wall represent China and so forth).

The panther is the archetype of the wanderer. The wanderer's goal is autonomy. Freedom is like the air he breathes. His task is to develop his sense of identity and assert his ideas. He fears conformity and compliance with written rules.

The woman in red is the archetype of the innocent. She is at the height of her accomplishment and has no further goals to achieve. She could only but fall, and fears the loss of bliss, of Paradise.

The subject is the panther who desires to reach the woman in red (object). The opponent is the distance between it and her. The helpers  are the panther’s strength, the gold dragon, the plane. The sender is the brand Cartier, the receiver is the target.

precious - Cartier Jewels and the woman in red
ordinary - the Parisian street, the frozen river
not precious - the sleigh, pulled by white horses, the great staircase
not ordinary - the airplane of Alberto Santos-Dumont, the dragon, the elephant, the panther

There are the presuppositions:  the animal jewels  are masterpieces of Cartier jewellery and the commercial takes for granted that the audience has this knowledge

This commercial was made to celebrate the 165 years of Cartier. It suggests that the jewellery of this historical French brand has a long tradition and the capability to innovate,  bringing  to the whole world the Cartier style .

Fashion is a communication system. But what is communication? It refers to the set of linguistic and paralinguistic signs used to send information to other individuals, making them experience emotions and feelings.

Communicating is a process that allows a number of people to share certain knowledge. To achieve this goal, communication uses a series of conventionallyaccepted signs; it uses codes in order to faithfully transmit messages; broadly speaking, communication is a game with a number of players and rules to follow.

To communicate (from the Latin cum = with, and munire = to bind, build and communico = to pool, to share) however, is not synonymous with to inform, but rather to relate with other subjects. Information is, in fact, simply an objective and neutral transmission of data, with no subjective or emotional implication or connotation. In other words, it is non-human. Pure “information” is viable only between machines, for instance, computers sending themselves data. Impossible for human beings.

Biologically speaking, objectivity is alien to human beings. It would be an aberration of our human nature. Even with the best of intentions, or with the most impartial of minds, a human being would inevitably be influenced in the transmission of a message by his own approach to the world, a “modus” not necessarily driven by partisanship, but merely (and subconsciously) by cultural background and personal attitude.

Hence, human beings cannot but communicate in order to relate with others, or transmit information “dressed up” with emotions, feelings, beliefs, and by ingrained and subconscious cultural patterns. Communication is a bridge connecting human beings to each other. There are various categories of people who specialize in the use of this particular aspect by learning the techniques for using communication effectively in order to obtain certain results from their kind.

These results must generate particular moods, instigating the receivers to perform certain actions or to take certain decisions. The signs used in the communication process become tools for the Sender to transmit his message to the Receiver, involving him and instigating him to act according to the Sender’s intentions. The communication flow between Sender and Receiver is divided into three coherent, coordinated and sequential steps:

transmission of the message
stimulation of interest in the Receiver
instigation to perform certain actions.

This is where Fashion and its signs - clothes - come into play. The noun abito (dress in English) comes from the Latin habitus and may mean from mode of life and behaviour to disposition. The word abito implies the derived-related word habit associated in turn with character. Dress, therefore, besides its primary role of coverage and protection of the human body, also has the secondary, yet essential function of showing who we are. Clothes are a way of expressing ourselves, of conveying certain meanings.

As Umberto Eco sustained in his reflections on dress codes at the start of the Seventies: “a girl wearing a miniskirt in Catania is considered provocative, in Milan she’s considered modern, in Paris she's simply a girl, and in Hamburg she could be a he”.

Dress is an instrument of communication that helps us display our identity in order for it to fit in the context we live in. It follows that the balanced relationship between the manifestation of our identity and harmony with the context/society we live in, generates the communicational effectiveness of dress. Clothes, accessories and body ornaments are a means of communication. They are signs organized in codes that generate their own language and create a visual text. A point worth remembering is that Fashion is constant semiosis, that is, signification, production of signs.

An old advertising  clip of the Italian brand Campari is an interesting example of video advertising created with the use of warpframe, a very effective semantic structural model.

It's the 2005 video campaign "RED PASSION" .

Agency: D'Adda, Lorenzini, Vigorelli, BBDO
Director: Tarsem Title: "The Secret"

It’s a visual diachronic text. Here, using the technique of warpframe, are the elements:

The sender (Campari) is the most important element for the whole story. The "red Campari" is inside every scene : is the colour of the carpet or  the colour of the liquor in the glass he is holding.

The relationship between the sender Campari and the receiver (public at home) is one of complicity. It is deliberately ambiguous.

The communication style is sophisticated and provovative, but in a very soft way. It is languidly transgressive.

We can see in the video many symbols: the staircase, a symbol of upward social mobility; the crystal chandelier, very great and shining, a symbol of luxury. Then we can see some pseudo-indices such as the fresh white flowers in the  vase that implicates the daily care of the hotel. The red color in the glass and of the carpet is an icon of the liqueur and a symbol of the brand.

The lighted, indoor swimming pool is a symbol of comfort and relaxation. This feeling is reinforced by the circular shape used for the swimming pool and by its blue color. This location creates  contrast and harmony, together it is a balance within the whole location, where the adrenalin red, acute angles and straight lines predominate. These elements are perceived as dynamic and vigorous.

The furniture code (bar, large and comfortable leather seats, the carpet) implies we are in the hall of a very luxury hotel. This spatialization connotes the story of exclusivity  and the characters. Dress code is used to identify the gender (male or female) of characters, their job (barman, waiter) or the time when the scene is set.

Kinetic and mimetic codes are used to denote their attitude (her slow elegant pace denotes femininity, sensuality, refinement; her  looks are allusive, full of promises) Figures In this video clip we can see an antithesis (male and female) and a paradox ( not male man and not female woman)

There is the archetype of wanderer (the two characters go in the hotel and they don't accept common rules). The wanderer's goal is autonomy. Freedom is like the air he breathes. His task is to develop his sense of identity and assert his ideas. He fears conformity and compliance with written rules. The archetype of labyrinth is also present. The glass that the man has in his hand is almost a lamp which  lights his path and helps him in his research.

The subject is the man who desires to reach the woman (object). Opponent is the distance between him and her. The helper is the liqueur Campari that inadvertently spilled into the female figure décolleté, forcing “her” to reveal her  true masculine identity. This fact pushes the male character to reveal himself, showing his true female identity. Sender is the brand Campari, receiver is the target.

There are strengths that give dynamism to the story building, balanced among various actants. They imply elements of  contradiction, opposite and complementarity that act among them. So, we can see the following elements: • Male/Female (men and women drinking and talking in the hall) • Not Male/ Not Female ( the two protagonists)

It's obvious that the protagonist "not male" is an idea complementary to "female", opposite to "not female" and in contradiction with "male". The same relationship unites concepts of "not female", complementary to "male" and in contradiction with "female".

The term sub-limen is related to those visual and textual hidden messages that deeply affect, in video, the perception by the public. Here we can find the presuppositions: depending on the clothing  worn by the protagonist, the viewer is made to deduce her/his sex. This fact creates the misunderstanding that is revealed in the last scene.

This ad has been appreciated for several years for its sophistication and for its final transgressive "coup de theatre". Without any doubt, if it has touched the mind of the public to such a large degree, the greatest reason is because of  its well-organized semionarrative structure

Il famoso spot della Campari THE SECRET, uscito nel 2005 per la campagna pluriennale RED PASSION, risulta a tutt'oggi uno degli esempi più interessanti di video advertising costruito utilizzando strutture semantiche di tutto rispetto. L'agenzia che ha firmato la comunicazione è D'Adda, Lorenzini, Vigorelli, BBDO, mentre la regia dello spot è stata affidata all'indiano “Tarsem”.

Per capire la ricchezza semantica di questo video proviamo ad analizzarlo utilizzando la griglia del warpframe, utilizzata dal Semiomarketing e dalla Comunicazione Relazionale Polisemantica per comprendere le strutture comunicative negli audiovisivi.

L'emittente Campari si pone come elemento in cui e per cui la vicenda si svolge. Infatti il colore "rosso Campari" è presente in tutte o quasi le scene, rappresentato da moquette e dal liquore che lui porta nel bicchiere che ha in mano.

L'Identità dell'Emittente è sempre forte:in questo caso il prodotto è mostrato con il paradosso della bottiglia ancora chiusa e il bicchiere pieno nella mano
Il rapporto tra emittente (CAMPARI) e destinatario (PUBBLICO A CASA) è complice, volutamente ambiguo

Lo stile di comunicazione si rivela raffinato e provocatorio, ma in modo estremamente soft, trasgressivo e patinato insieme.

Abbiamo alcuni simboli: la scala, simbolo di ascesa sociale, il lampadario di cristallo, enorme e brillante, simbolo di lusso. Alcuni pseudo indici (il vaso di fiori bianchi freschi indica quotidiana cura dell'immagine della location). Il colore rosso nel bicchiere e della moquette è icona del liquore e simbolo del brand . La piscina coperta illuminata è simbolo di di comfort, relax, sensazione rafforzata anche dalle forme utilizzate (circolari) e dal colore (blu). Tale ambiente serve a creare un contrasto e insieme un'armonia, un equilibrio con il resto della location, in cui predomina il rosso adrenalinico, angoli acuti e linee rette percettivamente elementi dinamici e vigorosi.

La scala: simbolo di ascesa sociale
Il codice dell'arredamento (bar, ampie e comode poltrone di pelle, moquette) ci indica che siano in una hall di un hotel di gran lusso. Tale ambientazione connota di esclusività la vicenda e i suoi protagonisti. Il codice dell'abbigliamento ci vuol fare identificare il genere (maschile o femminile) dei protagonisti, il ruolo (barman, cameriere), o il periodo storico in cui si svolge l'azione. I codici cinetici (il lento incedere elegante di lei denota femminilità, sensualità, raffinatezza) mimetici (gli sguardi sono allusivi, carichi di promesse).

È stata inserita la figura retorica dell'antitesi (maschile e femminile) e del paradosso (uomo non maschio e donna non femmina).

Il momento della rivelazione delle figure retoriche dell'antitesi e del paradosso giocato sui termini maschile e femminile
Ritroviamo nello spot l'archetipo del viandante, impersonato dalle due figure protagoniste, che desidera per sé l’autonomia più di ogni altra cosa, la libertà è per lui l’aria che respira. Il compito che si pone nella vita è relativo alla formazione della sua identità e quindi all'affermazione delle sue idee. Teme la routine, l’obbedienza alle regole imposte da altri. E' presente anche la figura archetipica del labirinto. Il bicchiere che lui tiene in mano è quasi una luce che illumina il cammino e agevola nella ricerca (immagine archetipica).

Il soggetto è lui che desidera raggiungere lei (oggetto) l'opponente è la distanza che lo separa dalla figura che si allontana, l'aiutante è il Campari che versato inavvertitamente nel decolleté costringe la figura femminile a scoprirsi e a svelare la sua vera identità maschile. Questo spinge anche alla figura maschile a svelarsi, rivelando la sua identità femminile. Il Destinante è il brand Campari, il destinatario è lo spettatore-target

Sono forze che imprimono dinamismo alla vicenda attraverso la costruzione di equilibri fra i vari attanti e che comportano elementi di contraddizione, di contrarietà e di complementarietà che agiscono tra di essi.

Abbiamo quindi:
Maschile/Femminile (gli uomini e le donne che sorseggiano drink e parlano nella hall)
Non maschile/non femminile (i due protagonisti).

È evidente che il protagonista non maschio è come idea complementare a femmina, contrario a non femmina e in contraddizione con maschio. Identico rapporto unisce anche i concetti di non femmina, complementare a maschio, contrario a non maschio e in contraddizione a femmina.

Si tratta di tutti quei messaggi reconditi visivi e testuali che influiscono profondamente nella percezione del video da parte del pubblico. Qui abbiamo le presupposizioni: a seconda dell'abito indossato viene fatto dedurre allo spettatore il genere di appartenenza. Da lì viene poi fatto scaturire l'equivoco che si svela nell'ultima scena.

Lo spot è stato apprezzato per molte stagioni per la sua raffinatezza e per il trasgressivo colpo di scena finale. Ma senza dubbio, se ha colpito tanto l'immaginario del target il motivo risiede in gran parte nella sua ben organizzata struttura semionarrativa.

Come al solito se desiderate avere maggiori informazioni sul Semiomarketing e le opportunità di ottimizzazione che offre alla comunicazione e marketing aziendale, visitate il nuovo blog si Semiomarketing al seguente indirizzo:


"Già" l'allitterazione nel payoff della pubblicità Nero Giardini del 2017, è per assonanza, una allusione al brand (e Già primavera, e Già estate, Giardini).

L'adv primavera-estate 2017 di Nero Giardini 

La posizione dei singoli elementi dell'allitterazione genera inoltre un'ideale piramide, aumentando la stabilità e fiducia nel brand.

L'ideale piramide generata dagli elementi dell'allitterazione

Interessante notare, in tempi di gender fluidity, l'ancoraggio a una marcata antitesi fra:
  • chiaro e scuro
  • maschile e femminile

Le antitesi presenti nel visual
La spazializzazione è ancora una allusione al brand, in quanto i due protagonisti si trovano in mezzo al verde rasserenante di boscosi giardini di primavera e al bordo di un'azzurra piscina.

Ancora viene evidenziato il dualismo fra:
  • primavera
  • estate
richiamato dallo slogan, dai colori verde e azzurro del giardino e della piscina, simboli rispettivamente delle due stagioni.

L'ulteriore dualismo primavera/estate

Una pubblicità basata su elementi semplici e per nulla complessa nella struttura narrativa, quindi un po' debole ma non per questo inefficace.

Uno degli advertising 2017 della Swatch mostra una giovane abbracciata da un enorme orologio.

L'immagine si basa su una iperbole, figura retorica che consiste nell'esagerare la descrizione della realtà tramite espressioni che l'amplifichino, così da mettere in evidenza il prodotto, enorme orologio che avvolge la donna.

L'orologio vuole inoltre essere una metafora visiva, in quando il colore (per similitudine) e il codice prossemico che evoca, senza mostrarlo, il movimento avvolgente intorno al corpo di lei, rappresentano la pelle (skin in inglese) della ragazza.

In pratica, il messaggio è che l'orologio diventa parte del corpo dell'acquirente, come una seconda pelle, elemento integrante della sua identità fisica.

Non manca un attento uso delle forma che mostra l'orologio di lato, in verticale, con una linea dritta immaginaria, che evoca una idea di forza, di resistenza (e di minimo ingombro) e poi a spirale intorno alla ragazza, evocando inconsciamente l'idea del cambiamento, della novità, nel mondo degli orologi e della loro portabilità.

La diagonale dell'orologio e degli arti della ragazza si concludono infine in modo naturale nel marchio, collocato in basso a destra: "Swatch. Swiss Made".

This a visual synchronic text. 

We have many signs: the naked woman is an icon of female beauty and a symbol of Nature and authenticity. 

The parrots are symbols of sophistication, exoticism, uniqueness, rarity, beauty and privilege. 
The pillows and the peacock feathers are an icon of hill and exotic landscape and a symbol of luxury, elegance,  comfort, sophistication, exoticism , vanity and seduction. 

The bag with the double circular shining ornament  is a symbol  of lunar phases (and evokes an idea of womanhood with the stylized icon of the moon). 

The bag with the double circular shining ornament  is a symbol  of lunar phases 

The jewel are symbol of luxury, elegance, good taste wealth, richness and abundance. 

From the point of view of discursive categories we have: 

Actorization: a naked woman and her two parrots. 
Spatialization: a bed of pillows and peacock feathers (symbolic of  a jungle). 
Temporization: the accessories and jewels suggest to us we are in the present time. 

From  the point of view of eidetic categories (the shapes) we can see a triangle formed by the naked woman .  

There are a lot of triangles formed by the corner of the pillows. The use of triangles sends to us an idea of stability . 

The triangle evokes in an unconscious way in the receiver the idea of stability, security and reliability (about the Bulgari brand and about women who wear Bulgari products). 

The bag has a circular ornament  and from the point of view of eidetic categories, it sends an idea of privilege, elite and closure. 

In the picture we can see curved lines on the shapes formed by the peacock feathers, which define womanhood and comfort. 

The bracelet s, earrings and rings have a closed circular line that denote privilege and the élite.  

The bracelets have a closed circular line that denote privilege and the élite
From the point of view of mimetic and gestural codes, we can see that the woman seems self confident and serene, immersed in a peaceful land, without troubles, full of joy and richness. 

This in an index that she has everything she can desire, so the archetype represented is the innocent.  
She is at the height of his accomplishment and has no further goals to achieve. 

She could only but fall, and fears the loss of  bliss, of Paradise. 

About chromatic categories: green evokes an idea of authenticity, contact with Nature, naturalness; brown sends an idea of stability, authenticity, warmth; purple is a chromatic trans-perceptual element.

It’s used here to send to the receiver’s unconsciousness some subliminal visual messages, which refer to the concept of extreme luxury and high sophistication. 

The images's concept is pointed up by the idea of natural elegance and suggests to the mind of target that Bulgari  is a company that creates jewels that are naturally beautiful. 

A simile is generated by the juxtaposition of natural elements and luxury goods,  and suggests the concept that luxury is natural for a woman.  

So the advertising, in an unconscious way, amplifies the brand’s power and the reliability, improving the target’s  desire for the company products and increasing the confidence of customers in Bulgari, which is perceived as good and engaged.   

The Sephora Glossy”, the company’s blog, does an excellent job of executing beauty-centric content while showcasing its many brands, driving traffic to stores while increasing digital engagement with helpful how-to’s, playlists, and other thoughtful posts.

As Pew Research notes, 66 percent of consumers engage with a brand after purchase. To create loyalty, it’s important to have a blog like Sephora’s where your brand can be integrated into your consumer’s daily routine.

The company’s blog Home Page
Sephora’s blog is divided into five content buckets:
  • news
  • inspiration
  • how-to, people
  • video 
“News” features text articles with big visuals to accompany them, and the video page is primarily composed of -you guessed it- video tutorials, serving a variety of content for an audience with diverse needs and preferences.

One of the interesting page types that Sephora experiments with is an “inspiration page.” Other beauty brands should take note of this integration of a Pinterest-like board that drives sales directly from the blog.

Sephora’s inspiration page features beautiful, high-quality photos of different makeup looks in a collage with no text. When readers click on the photos, they are taken to a sub-page where products used to create the look are featured, giving readers the opportunity to buy right from the blog. As a platform that over 25 percent of women on the internet use, leveraging the same concept behind Pinterest helps Sephora win over their target demographic.

High-quality photos of different makeup looks
 Another clever feature on the Sephora blog is the “People” page, which features profiles of women in the beauty industry giving beauty advice. Posts include an interview with nail artist Naja Rickette: “the master manicurist on Formula X, interplanetary nail looks,” as well as Laura Slatkin of Nest Fragrances: “Slatkin pays a visit to Sephora HQ to talk about the floral, spicy world of fine fragrance.”

The People page
These endorsements give credibility to the brands that Sephora sells, and also leverages the social followings of the people the blog profiles. Sephora’s blog design takes into account not only overall branding, but also the functionality of each page.

Instead of applying the same template for each page, Sephora carefully implements designs that allow viewers to fully engage with various types of content easily.

Relative to other brands like Maybelline and Chanel, which have four and ten times more followers on Facebook respectively, Benefit makes a strong showing on Instagram and YouTube by truly embracing the world of beauty bloggers, employing famous YouTube influencers in their branded makeup tutorial videos.

Benefit recently collaborated with plus size model Tess Holiday, beauty vlogger Dulce Candy, and transgender YouTube star Nikita Dragun to introduce The Bold Is Beautiful Project, which donates money to domestic and international charities focused on promoting women’s education and health. Combined, these influencers amass a following of over 5 million across YouTube and Instagram alone.
The famous YouTube influencers
Using a diverse group of influencers is appropriate for a mass market brand like Benefit as they can easily reach their target audience and be in the forefront of their consumer’s mind as a fun-loving, forward-thinking brand.

Consistent design and tone of voice accounts for the familiarity users can expect on Benefit’s social channels. To the knowledgeable beauty consumer, there’s no mistaking the sassy tone, retro fonts, and prissy-pink color scheme that define Benefit: the brand’s Pinterest account features an entire board celebrating the color pink, and a recent Instagram post reads, “Don’t let anyone with bad eyebrows give you advice on life.”

Across all social channels, content is fun-loving and makeup-centric. Sticking to one theme has its benefits (pun intended), making it easier to control quality and produce content in-house.