Meet Anny Han: 2nd Place Winner of MDCC Vol.2!

Meet Anny Han, a 3D fashion and graphic designer with a deep background in pattern making and garment construction.
By bridging traditional techniques with digital tools, she created a realistic, emotionally resonant digital fashion, resulting to her award of 2nd Place in the Marvelous Designer Creator's Contest Vol.2 " TOKYO CONTINUUM - 東京進化系 -"!

花と爆 (Hana to Baku)

1. Artist Introduction: please tell us about yourself.

Anny Han: Hello, my name is Anny Han, and I am a 3D fashion and graphic designer.

I currently work in fashion product development, using CLO and Marvelous Designer to create realistic digital garments based on my background in pattern making and construction. I first started learning 3D to improve communication and speed within the development process, and it soon became an essential tool for expressing my own creative world.

I joined this contest to explore new styles and push myself beyond my usual workflow as a creator. Through this experience, I gained clearer direction in building my own aesthetic and artistic identity in 3D.

2. We’d like to hear more about the art direction in your Creator’s contest 2025 Vol.3. What was the visual style you were aiming for?

Anny Han: For this project, I aimed to express the dual identity experienced by many young people living in modern cities.

The “Bomb (ボム)” on the back and the “Flower (花)” in the hand symbolize the contrast between destruction and beauty, resistance and acceptance—visualizing the conflicting emotions that coexist within today’s youth.

The overall art direction focused on the intersection of tradition and modernity. Inspired by traditional Japanese silhouettes and textiles, I reinterpreted these heritage elements through a contemporary and functional lens. I incorporated delicate stitchwork inspired by Sashiko, a traditional Japanese embroidery technique, to bring a rhythmic and meditative craftsmanship to the garment.

To balance this with a modern sensibility, I added technical pockets and a bold graphic bag to enhance practicality, creating a bridge between the past and the future.

The flower motif, blooming like an explosion, serves as the centerpiece of the look—turning the garment into a powerful form of visual storytelling.

3. Would you be able to give us a quick overview of the different tools you use in your pipeline with a focus on Marvelous Designer? Have you encountered any challenges and how have you overcome them?

Anny Han: I began by creating the garment 2D pattern in a CLO program. Thanks to my background in pattern making, building the base structure was not difficult, but I focused on ensuring the garment made structural sense in real life.

In Marvelous Designer, I refined the silhouette by adjusting ease, natural wrinkles, and three-dimensional shape. After assembling the garment, I conducted quick color tests directly inside MD to explore different palettes. Separating parts into UV areas allowed me to manage materials and colors more efficiently throughout the process.

4. Are there any tips and tricks with Marvelous Designer that you can share with the community?

Anny Han: One thing I’ve learned is that continuously studying other creators’ work is essential. Seeing different approaches and styles always pushes me to grow, and I still feel that I have a lot to learn.

Rather than relying only on my own habits, I try to broaden my perspective by observing how others use Marvelous Designer and how they express details.

These days, I believe combining Marvelous Designer with AI tools can elevate the quality of a project even further—whether for ideation, reference gathering, or enhancing the final presentation.

Staying open to new tools and new ways of working is, for me, the most important tip.