Fashion Designer and Texture Artist
Anna Lisa Liedtke began her career in physical fashion and then trained with 3D software, CLO 3D. Today, she is Director, Digital Fashion, The Fabricant.
Digital fashion designer Anna Lisa Liedtke began her career in physical fashion before she diversified into digital design in 2018 after she received training in 3D software, CLO 3D. Today, she trains aspiring digital designers to use CLO 3D and works as the Director of Digital Fashion at The Fabricant.
Anna Lisa Liedtke began her career in physical fashion before she diversified into digital design in 2018 after she received training in 3D software, CLO 3D, which allows the user to sew your garment with its software and immediately see the result. Today, she trains aspiring digital designers to use CLO 3D and works as Director, Digital Fashion at digital-only fashion house, The Fabricant.
It’s quite interesting how Anna transformed her desire to combine new technologies with traditional fabricant into a lucrative profession. She cut her teeth at physical fashion by joining Germany-based ‘Aurora Collective’, in 2010. Here, the high expectations on quality were accompanied by the conscience of sustainability. Anna’s role was production of the Velcro Straps although she also developed bags and messenger bags made of functional materials and caps in limited editions. Two years later, she moved to ‘Bespoke Tailor’ where she looked at custom design and tailoring for classic suits, casual wear; evenings gowns and work wear; supervised students’ thesis; and supervised quality, pattern making and sewing garments.
Things began to look up when she envisioned recreating physical garments using the software, CLO 3D, however, could not fathom technicalities. Often comparing herself with 3D artists, and trying to perceive the difference, led her to seek support from the digital fashion community. With a skill set of texturing, fashion design, cloth simulation and software proficiency in Blender, Substance 3D Painter, Substance 3D Designer, Unreal Engine, Marvelous Designer and CLO 3D, there was no looking back. She joined Hugo Boss as an intern and worked her way up to Apparel Designer and then Senior 3D Design Project Manager which involved training the team in CLO 3D, supporting digital transformation for the design and operations team, and researching new technologies to create new costumer experiences.
Six years later, Anna put her skill set and considerable experience to use and began rethinking her physical approach to designing garments at digital-only fashion house, The Fabricant, where she leads teams in creating 3D fashion visualisations for marketing and digital product development as Senior Digital Fashion Designer. Anna employs a very handcrafted process. she still works with traditional tools like pattern pieces and sewing tools, in 3D fashion software, of the thought that the knowledge of a fashion designer is the foundation needed to create a level of detail that makes the digital garment realistic and beautiful. Her vision is to create immersive spaces, emotional experiences, and unique opportunities that engage all senses in the metaverse.
Today, the designer’s greatest strength is to revolutionize augmented wardrobes with pieces that defy gravity; her metallic textiles that fold like silk, and chain-link socks that cling to the feet like latex force the creative mind to re-think the future of fashion. Be it designing and developing pieces that can be superimposed onto avatars or curating looks simply for the Metaverse, her body of work continues to evolve and breathe new life into the craft. Is it a wonder then her favourite quote is Oscar Wilde’s “You can never be overdressed or overeducated”, which she considers on point with web3 and digital fashion?!
To create immersive spaces, emotional experiences, and unique opportunities that engage all senses in the metaverse.
Phygital fashion
As our spaces online begin developing a tangible presence, it makes sense that garments should be tailored to be in sync with the continually evolving spatial potentials.
