The job of … Taskin Goec, Mixed Reality Designer

Taskin Goec is a fashion designer from Berlin who focuses on integrating traditional fashion production with digital technologies such as 3D modeling and AI. After his Master of Arts in fashion at the Weißensee Kunsthochschule Berlin in 2021, Goec continued his studies at the London College of Fashion. Driven by his interest in the rapid technological developments in the fashion industry, he has positioned himself as a pioneer in the field of mixed reality fashion design.

“Digital technology helps me to work more creatively and more efficiently,” says Goec. His way of working is both research and results-oriented. He focuses on continuous research and use of new tools to improve and optimize fashion production.

At Berlin Fashion Week, Goec will present a knitting project on Sunday that crosses the boundaries between digital and physical creations. Fashionunited spoke to him about his work process, his modern approach to digital fashion and the effects of his work on the future of the industry.

Can you explain your role as a mixed reality fashion designer?

The definition of digital fashion is constantly changing, and terms such as ‘digital’, ‘hybrid’, ‘intangible’ and ‘virtual’ are in constant development. Therefore, there is no official job title for what I do. Ultimately, I chose ‘mixed reality fashion designer’.

When people ask what exactly my work includes, I explain that I design both fashion collections and work processes. Basically, I try to bridge the gap between digital and physical fashion by combining traditional fashion with experimental work methods.

How do you combine traditional fashion with digital technologies in your work?

I work out of my studio in the east of Berlin, which has both sewing machines and powerful computers for rendering, CGI (digital animation) and AI. I constantly move between physical and digital work. Digital technology makes my work more creative and more efficient. It helps me create faster prototypes and to design more sustainably. It also enables me to share ideas faster and more precisely.

Sometimes I start physically, for example by trying out a technology, developing it and developing it digitally. Other times I start digitally, design patterns, print them out and adapt them physically. This reduces the number of prototypes that I have to create.

My focus is not on a completely digital wardrobe, but on using all available technologies to create fashion in a modern way. For every project, I add new technologies, such as AI models that I program myself, or real-time simulations. Therefore, I describe my work as the design of work processes – not a defined method, but a dynamic process that is constantly in motion.

Which software and tools do you use in the design of digital fashion?

There are a few solid tools that I use constantly, such as Blender and Cinema 4D. But if we look at the latest and latest tools, Stable diffusion is an important thing. This is a AI tool that is comparable to Midjourney that many people know from the generative image position.

The difference is that the Stable diffusion program offers much more freedom. Instead of working with standard AI models, you can design and adapt your own models. This makes it a powerful tool for digital fashion design. “

How does the work process work in the development of a fashion project?

My work process with a stable diffusion feels like I am working with my own design team. I program the AI ​​model so that it understands my style and design DNA. Then I give a briefing and let the model work for a few hours to generate as many versions of an idea as necessary.

For example, I make a rough sketch of a silhouette and give the order to design a denim jacket in my style. At the end of the day I have hundreds of variants from which I can be inspired. It works like creative cooperation – as if a creative director is heading a team.

In addition, I not only use AI for inspiration, but also to create blueprints. Sometimes these are so detailed that they serve as a specific starting point for a new product.

What are the biggest challenges when creating digital fashion?

The biggest challenge is to keep up with the rapidly changing technologies. There are an incredible number of tools and they constantly develop. For me it is an integral part of my work to stay up to date, but that takes a lot of time – sometimes it feels like a full -time job itself.

For fashion designers: inside who already have a strenuous job, it is a challenge to know which tools work best. For example: Which software does a tech pack create faster, or which AI tool helps to create a seamless pattern? The continuous pursuit of new developments and AI tools remains a complex but necessary task.

How do you stay up to date with the latest developments and trends in both fashion and technology.

I will stay up to date by constantly researching, doing experiments and staying in conversation with others. Many tools are not specially intended for fashion production, so I have to judge again and again whether and how they can be relevant for my work. This requires technical creativity – finding new ways to integrate existing technologies into fashion design.

Do you have tips for people who have a career as a mixed reality designer: considering?

Both traditional and technical skills are important for students or people who are considering a career as a mixed reality designer: in consideration. Basic knowledge of patterns and in the clothing construction remain essential. In addition, a passion for innovation and the ability to combine different digital tools is crucial.

To be able to work well with AI – also called ‘prompt engineering’ – is a valuable ability these days. This means that you give the AI ​​effective instructions and learn how to achieve the best results. For example, many people do not use Chatgpt optimally, simply because they do not know how to ask more specific questions. ”

How can people work best with AI?

The best way to learn this? Try and make mistakes. By experimenting and viewing the results critically, you learn how to better speak the AI. We are all in a transition phase in which we learn to communicate again – but now with AI.

How do you see the future of digital fashion and the role of mixed reality in the fashion industry?

Digital fashion continues to develop, but the future looks different than we thought during the pandemic. At that time we dreamed of digital wardrobes and a life in metaverse, but that has not become a reality for most people. The demand for completely digital outfits therefore remains an open discussion.

At the same time, the advent of AI tools flooded the Internet with impressive digital visuals, which makes the need for further digital images less urgent. That is why I see the future of digital fashion as something practical and hopeful: the improvement of physical fashion production.

More and more fashion designers: Inside and large brands will use digital tools – just as Photoshop and Illustrator once became standard. Software such as Clo3D and Blender is now being used to design more efficiently and sustainably. This can lead to better prototypes, less overproduction and innovative pre-order models in which clothing is only physically produced after a digital sale. My hope is that these technologies will make the industry more sustainable and efficient. ”

Are there misunderstandings or prejudices about your work you want to correct?

Yes, there is a lot of confusion about how 3D images are created, especially now that AI is used more and more often. People often confuse 3D work and AI generated pictures. On social media I regularly get comments from people who think that my 3D work was created by AI, although this is not the case. This is partly due to the fact that people look at digital content more and more critically and doubt what is real and what is not.

The difference between 3D and AI is that 3D images have existed for years, for example in games and films. They are modeled, animated and edited by hand with specialized software such as blenders – a process that requires a lot of manual work. AI, on the other hand, generates images based on text commands (prompt) without the necessary manual modeling.

Nevertheless, it is not always black and white: AI and 3D are increasingly combined. For example, I use AI tools within my 3D designs, but I still have full control over the process. In the case of AI generated content, the result is much more unpredictable; In the traditional 3D design, I determine every detail itself, from modeling to textures to animation. That remains an important difference.

Is there anything else you want to tell about your work?

I design tailor -made work processes for designers: inside and brands, but also for workshops, tutoring and consulting. I notice that there is a great demand for personalized work processes because fashion can be very specific. All designers: inside and brands have different needs, and there is no standard solution.

A recently carried out project was, for example, the visualization of two-colored brioche knitted goods, which I will present during the Berlin Fashion Week and for which no existing tool was suitable. We had to combine various programs such as Photoshop and CLO3D to achieve the right result. This type of technical challenges makes it necessary to develop adapted work processes.

As far as sharing knowledge is concerned, this results from my own experience: it takes a lot of time and technical knowledge to create these processes. It is a way to help others who do not always have access to tutorials that are specific enough for their situation.

I not only give these tutorials at universities, but also on brands and on digital fashion platforms like Syky. This work takes place worldwide because the advantage of digital tools is that we can work together from anywhere in the world.