About the Author
Anastasia Yaroslavtseva is an art director and producer whose work has been published in leading magazines and exhibited in international art galleries. At just 23, she has already collaborated on projects with legendary figures of global fashion such as Michèle Lamy and Rick Owens at the Palais Galliera in Paris. Her portfolio also includes shoots for Russian fashion icon Olga Karput and film star Elizaveta Bazykina. She works with equal confidence in glossy fashion and commercial campaigns as well as underground projects.
Fashion as a Mirror of the Times
Fashion has always been a reflection of its time and its society. Not long ago, trends were dictated by designers on the runways of Paris and Milan. Today, in the 21st century, fashion is increasingly found on digital screens and inside virtual worlds. Designers and art directors now work not only with fabrics and catwalks, but also with virtual environments, AR fittings, 3D design, and avatar capsules. And they are doing so, I should add, with considerable success.
For some people, all this still seems like a playful experiment, something lighthearted and unserious. That’s a mistake. What I see is not a game but the beginning of a new era. My projects have been published in international outlets in London and Milan and exhibited at major European venues. Based on this experience, I can say with certainty: digital fashion is already transforming the industry, and in the coming years it will become one of its strongest foundations.
Virtual Shows: The Language of a New Generation
One of the clearest examples of global transformation was the collaboration between Balenciaga and Fortnite in 2021. The game’s creative mode introduced a virtual retail space where players could buy new outfits. This was one of the first successful cases of its kind, and it marked a moment when it became clear that the virtual and physical worlds were merging into a single narrative. And what connects them above all else is fashion.
No less significant was Gucci’s case in Roblox. In May 2021, the brand launched the Gucci Garden Experience to mark the House’s centennial. A virtual Gucci Dionysus bag was made available there, priced at about $6–9 (475 Robux). Then something extraordinary happened: users began reselling it on Roblox’s secondary market for up to 350,000 Robux (about $4,115), which was actually more expensive than the physical version of the bag (around $3,400).
This case became a turning point. Digital fashion proved that it could carry no less, and sometimes even greater, value than pieces from a physical wardrobe.
Of course, that does not mean that for Generation Z digital fashion holds more value than physical clothing. That was proven by an unusual event: Metaverse Fashion Week, the world’s first international fashion event held in a virtual space with the participation of luxury brands, which took place in 2022. The first edition attracted names such as Dolce & Gabbana and Tommy Hilfiger, but already by the second year attendance dropped sharply. Why? Because not everyone is ready to buy digital clothing. For major players in the industry, this became a lesson: digital fashion cannot be only a beautiful image, it must also be a format that feels accessible and comfortable for the audience.
How Can That Be Achieved?
From my own experience, digital fashion will only become a stable direction once it stops being entertainment and turns into a tool. Three things are key here:
1. Hybrid Shows
Online should not replace offline, but complement it. When the audience has a choice – for example, to attend physically or to participate in the metaverse – the brand expands its reach and makes the event more democratic. Put simply, one does not exclude the other.
2. Interactivity
Viewers are tired of being mere spectators. The chance to try on clothing with an avatar, customize details of a look, or receive an NFT certificate of attendance turns a fashion show into a personal experience.
3. Functional Value
Digital clothing must be usable beyond a single platform. If it can be worn in multiple metaverses, applied to an Instagram avatar, or exchanged for discounts on a physical version, then real motivation to purchase is created.
AR Try-On: From Game to Business
Let’s start with some statistics. According to the global study Augmentality Shift by Snap Inc., 78% of brands report that AR tools help reduce product returns. That is a significant advantage. The same study also predicts that by this year, 6 out of 10 Americans will regularly use AR, from social media filters to shopping. In short, it’s no secret that many of us have tried AR filters at least once. Snap Inc. reports that more than 200 million users interact with Snapchat’s AR features every day.
In general, these technologies have stopped being mere entertainment and have become effective sales tools. Research – and everyday experience – shows that the ability to virtually try on an item using a phone camera increases the likelihood of purchase and reduces returns.
3D Design: Less Waste, More Speed
The fashion industry has long faced the problem of overproduction. The solution is digital design. One of the most advanced brands in this field is Tommy Hilfiger. Since 2017, the company has been implementing digital tools and was one of the first to transition its team to 3D. By 3D, I mean digital design and 3D modeling of clothing as a way to combat overproduction in fashion. This has reduced waste, accelerated production cycles, and allowed the brand to evaluate collections before anything is sewn.
For me, as an art director, this is revolutionary. I can build the concept of a shoot using a 3D model even before the dress exists physically. This saves weeks of work and preserves the integrity of the idea from sketch to publication.
Immersive Devices: The Runway Without Limits
Innovations like virtual reality headsets have created a new format: fashion shows at home. Some luxury brands now stream collections in immersive formats. I have tried watching them myself, and I can honestly say it is an unforgettable experience.
Now, access to fashion is no longer limited to a hundred guests in venues like the Grand Palais, where Chanel traditionally holds its shows. Millions of viewers worldwide can participate. For brands, this opens new markets and monetization opportunities. For viewers, it offers a unique emotional experience and a sense of presence.
What Works, What Doesn’t, and Why
I can identify three main areas that are proving successful:
– AR Try-On works because it solves a real problem: it reduces returns. This is a cost saving for companies and a convenience for customers.
– 3D Design is effective because it allows collections to be created faster, ideas to be tested before physical production, and the number of physical samples to be reduced.
– Hybrid Shows (offline + online) have taken hold because they expand the audience and make fashion more accessible.
At the same time, projects that exist solely to exploit buzzwords like “metaverse” are losing relevance. People are not ready to enter a digital space just for the sake of a pretty picture. Only initiatives that provide functional value- such as customization, integration with real life, or a unique audience experience – will succeed.
This shows that the market is maturing. Digital fashion is moving from entertainment to a practical tool for brands, buyers, and artists.
Checklist for Brands
1. Implement AR Try-On for at least accessories.
Start with glasses, shoes, and bags. These categories are easiest to digitize and deliver quick results: higher conversion and fewer returns. We have seen this with both major brands and smaller players who increased sales through these innovations. Users are happy to try accessories for fun, but this often leads to a purchase.
2. Translate key models into 3D.
Digital prototypes save fabric and speed up processes. In 3D, you can easily change color, material, and silhouette. For smaller brands, this is a chance to test demand before production begins.
3. Launch a mini capsule for avatars.
Two or three digital items can attract a young audience and generate strong PR. For the brand, this is not only marketing but also a potential revenue source.
4. Create content tailored to each platform.
Vertical, dynamic videos work for some platforms, while others require slower pacing and a sense of space. There is no universal content. In my projects, I always start by asking: “Where will this story be shown?”
5. Measure not only views but repeat engagement.
A million views is just a number. The real metric is whether the viewer returned, shared content, added items to their cart, or subscribed. Repeat engagement shows that the story truly resonated. I structure analytics so that clients can see not just reach but the depth of audience interaction.
Forecast: What’s Next
– Hybrid shows will become the norm.
In a few years, offline and online formats will no longer exist separately. A single show will happen simultaneously on the runway and in digital spaces. Many brands are already testing these models. This will create new revenue streams – from digital tickets to exclusive AR experiences for guests.
– AR Try-On will become ubiquitous.
It will be as standard as product photos. Adoption will spread fastest in shoes and accessories. In a few years, the absence of AR will feel outdated.
– 3D design will become a core skill.
Resumes without 3D skills will look incomplete. The industry now requires digital literacy and technical skills, not just artistic vision. Being proficient in 3D software is becoming as essential for designers as sketching once was.
– Digital clothing will be part of loyalty programs.
Brands are already experimenting with campaigns such as “buy a physical item, get a digital avatar version,” or vice versa. This connects young audiences with the product. In my experience, these campaigns are among the most effective.
My Experience Instead of a Conclusion
I always design my projects so they can exist across multiple dimensions. A dress for an upcoming shoot does not need to exist physically right away. It can start as a 3D sketch, then become an AR filter for social media, a digital product, and finally materialize in the atelier for the photographer’s lens.
Fashion in the digital age clearly shows that technology is not the goal but a tool. What remains essential is the story and the emotion. Digital formats allow that story to reach millions of people, not just a hundred guests in a fashion show.