Krys
Metaverse editorial cover with garment details and final look← Back to Fashion Work

F-02 / PRATT INSTITUTE / SEMESTER COLLECTION

METAVERSE

A concept-to-garment project built around one question: what happens to clothing when the body sits between physical and digital space?

ROLEFashion DesignerSCOPEResearch, Draping + ConstructionOUTPUTMulti-piece Look + Visual Story
01 / THE PREMISE

A body caught between solid and virtual.

The project began with physical and virtual life starting to overlap. I was less interested in illustrating technology than in finding its physical sensations: transparency, distortion, weightlessness, and forms that seem to hover around the body.

A tailored base keeps the body readable. Translucent organza, curved boning, open cutwork, and inflated volume pull the silhouette past it. The final look stays wearable while never feeling completely fixed.

CONCEPTFORMTESTRESOLVE
02 / CONCEPT + ATMOSPHERE

Make the virtual feel physical.

Pale blue, lilac, silver, and washed neutrals came from rendered light and reflective surfaces. Curved lines repeat through the research as a signal moving between two spaces.

Metaverse concept board with virtual imagery and translucent formsConcept board Open full size ↗Metaverse material, color, and atmosphere boardColor + material atmosphere Open full size ↗
03 / SILHOUETTE LANGUAGE
DRAWING THE VOLUME

The line had to move around the body, not sit on it.

Early silhouettes borrowed from protective shells, irregular loops, and inflated structures. I sketched the volume first, then looked for familiar garment pieces that could hold it: a vest, a simple underlayer, and trousers with a controlled flare.

Silhouette research, draping references, and early sketchesSilhouette research Open full size ↗
Pastel fashion sketches exploring translucent sculptural volumeForm studies 01 Open full size ↗Fashion sketches developing asymmetrical volume and layered formsForm studies 02 Open full size ↗
04 / DRAPING + PROTOTYPES

Let the material disagree.

Paper made it fast to test scale. Boning gave the curves memory. Organza softened the structure without hiding it. Each fitting changed where the volume began, how far it sat from the body, and which negative spaces needed to remain open.

Paper draping and structural volume prototypes on a dress formPaper volume tests Open full size ↗Organza and boning garment iterations on a dress formBoning + organza iterations Open full size ↗Laser-cut trouser development and full-look fitting notesCutwork + trouser development Open full size ↗
05 / TECHNICAL RESOLUTION
STRUCTURE WITHOUT THE WEIGHT

The support had to disappear.

The final look depends on internal control. Boning holds the sheer volume away from the body, while a clean tailored layer gives it an anchor. Repeated cut lines continue into the trousers so the upper and lower halves read as one system from every angle.

Technical flats and final design drawing for the Metaverse lookTechnical resolution Open full size ↗
Final Metaverse look from front, side, and backFinal look / multiple views Open full size ↗
06 / FINAL IMAGE

The garment keeps one foot in each world.

The final images return the finished look to the atmosphere that shaped it: cold light, reflective surfaces, suspended curves, and a body that remains visible inside the distortion.

Metaverse fashion editorial with three views of the final lookEditorial 01 Open full size ↗Metaverse editorial portrait with sculptural transparent layersEditorial 02 Open full size ↗Metaverse editorial details and full look against reflective formsEditorial 03 Open full size ↗
07 / REFLECTION

Digital clothing does not need to look like a screen.

By the end of the semester, the strongest idea was also the simplest: the virtual can enter clothing by changing how fabric occupies space around a real body. The result is light, structured, and slightly unsettled — exactly the tension the project began with.