CGI supermodels: The future of fashion in a global pandemic
2020 was the year of adapting and finding creative ways to adjust to the new normal. The fashion industry in particular adapted by switching from photoshoots with high tech equipment, make up artists, stylists and supermodels to at-home photoshoots using smartphones, iPads and video calling platforms.
During 2020 photographer Mary Fix experimented with shoots over FaceTime. In an interview with Vogue Business, Fix explained that although her at-home shoots were ‘safer’ they were ‘more time-consuming than in-person shoots’. Her process consisted of metaphotography taking photos of the photos she took on various devices. Now due to COVID-19 an in-person shoot would likely include testing before the day of shooting, temperature checks upon arriving on set and the wearing of masks by industry professionals and supermodels.
The rise of CGI supermodels are becoming a solution to the future of fashion photography and catwalks. In 2017 Cameron James Wilson created the world’s first digital supermodel named Shudu using a 3D rendering progam called Daz 3-D. Shudu’s presence shook Instagram and the world with her hyper realistic beauty. Many of her followers did not realise that she was a CGI creation which led to Wilson’s further praise and criticism. To date Shudu has 215k followers on Instagram and in 2018 she featured in Vogue Australia’s campaign with Tiffany and Co. In 2020 Wilson revealed to Virtual Humans that due to COVID-19 the fashion industry is taking interest in ‘3D as a solution and a contingency’ for the future. This enables agency teams to adapt their products into 3D assets to be worn by Diigital supermodel shown in Balmain’s Fall 2018 campaign. Wilson’s CGI supermodels have sparked criticism such as Diigital models abiding by influencer social media regulations stating if a post is a #ad or #sponsorship. Most of Wilson’s criticism are from human models, particularly models of colour vocalising their fears of being replaced by and competing with computer generated avatars for opportunities.
Though Wilson’s Diigital supermodels have caused a storm and conversation within the industry they also pushed the boundaries of what many didn’t consider as possible. Seeing beyond the here and now and creating CGI supermodels supercharged the fashion industries’ need for digital. In the summer of 2020 Helsinki Fashion Week made its mark by introducing virtual catwalks with CGI supermodels crafted for each designer in the show. In 2021 Canada Goose and Angel Chen work in collaboration to unveil their Spring Collection using CGI (Computer-Generated Imagery) and AR (Augmented- Reality) technology. The campaign uses CGI and AR technology to create visual environments and vibrant colours that reference Chen’s Chinese heritage. Karl Taylor Education described the benefits of CGI modelling such as image retouching is quicker and easier than if it were photographed. Instead of reshooting an entire image designers can open a file and make their alterations with ease.
COVID-19 has forced the fashion industry to evolve faster than it had anticipated. GCI supermodels and the rise of immersive technology will be the future of fashion because of its ability to look ahead and to integrate industries and promote collaboration. Designers and agencies can work together to produce 3D assets for digital photoshoots that adjust to the global pandemic and beyond. The possibilities for the fashion industry to generate ideas for campaigns, plan events and execute photoshoots are endless.
