Fashion CGI. For luxury campaigns.

Start with the product, the person and the shot

A polished metal clasp and a leather panel need different treatment. Product shape, surface grain, stitching and the way light crosses an edge all affect whether a digital asset resembles the physical item. Before production, define which details the camera will see, how close it will get and whether the object needs to bend, open or move.

For a talent-led campaign, the brief changes. Likeness, body proportions, hair, wardrobe and movement become separate review decisions. We can scope a product asset, a digital double or a combination of the two around the creative partner’s production pipeline.

Product CGI for bags, accessories and campaign imagery

Scanning, modelling and texturing can translate a physical product into an asset for a wider campaign workflow. Supply the product or available scan data, reference photography, dimensions and the intended camera views. Hero close-ups may need more surface detail than a distant object in a stylised environment.

Agree the required outputs before work begins. A model-and-texture handoff, a rigged asset and a finished rendered shot are different deliverables. File formats, texture resolution, colour workflow, rig requirements and downstream renderer should be confirmed in the brief.

Digital doubles for fashion talent

A digital double gives a production team a prepared representation of a real person. The fashion use case depends on likeness and wardrobe together: facial detail, groom, silhouette, clothing fit and movement all need review against references.

Plan the fashion asset reviews

1. Brief and references. Share the creative treatment, product list or talent, intended placements, deadline and partner pipeline. Identify which references define product colour, material and likeness.

2. Asset structure. Review proportions, topology and any required articulation before detailed surfacing. Resolve model changes here so they do not carry into later work.

3. Materials and likeness. Review agreed views under consistent lighting. For a product, check leather, metal and small construction details. For talent, review face, hair, clothing and silhouette with the authorised approver.

4. Motion and handoff. Where included, review rig behaviour, cloth or animation against the approved brief. Confirm scale, naming, dependencies and test-file compatibility with the receiving team. Review stages are agreed in the project scope.

What to include in a fashion CGI brief

Send product quantities and variants, dimensions or CAD/scan availability, reference images and any physical sample constraints. For a digital double, identify the talent, authorised likeness contact, available capture material and wardrobe requirements.

Include shot count, aspect ratios, camera distance, animation needs, target delivery formats and the review deadline. State whether you need assets for your partner to finish or rendered campaign content as part of the quotation. Usage territories, channels and the approved use period help the team define the requested scope.

Questions from fashion campaign teams

Can you work from an existing scan? Share a sample and its intended use. Its coverage, resolution and condition determine the cleanup or modelling work required; suitability needs a technical review.

Does a digital asset include final animation? Only when that is included in the agreed scope. Valentino and Balmain are examples of asset contributions within partner-led campaigns.

Can the same asset support several placements? Potentially, if its detail, rig, rendering requirements and permissions fit each placement. Confirm those uses before commissioning extra versions.

How much does fashion CGI cost? Product complexity, asset count, close-up detail, talent work, animation and delivery scope affect the quote. Share the brief for a scoped estimate; timing and cost are agreed for the project.