ORBYLINE

Co-fondatore · Moda digitale · Progettazione 3D · Realtà aumentata · Web3 · Identità visiva · Sito web

Milano, Italia · 2022 → 2025

Uno studio ibrido di moda e gioielli. Collezioni digitali, prove virtuali in AR, produzione fisica. Su Vogue Business.

Il Punto di Partenza

La moda digitale nel 2022 era costituita principalmente da rendering. Splendide immagini di capi che nessuno poteva realizzare e che nessuno poteva indossare, vendute a un pubblico che non aveva alcun modo di utilizzarle.

Gli studi che affrontavano la questione con serietà adottavano uno dei due approcci: o completamente virtuale, oppure fisico con un flusso di lavoro 3D a supporto. Abbiamo avviato ORBYLINE partendo dal presupposto che il lavoro interessante si trovasse proprio nel mezzo e che un progetto dovesse poter rimanere virtuale, trasformarsi in un livello di realtà aumentata o passare alla produzione fisica senza dover essere riprogettato tre volte.

Io venivo dal settore della gioielleria e della produzione additiva. Nastaran veniva dal mondo della moda tradizionale. Nessuno di noi due aveva idee vaghe sulla produzione.

Fondata nel 2022 a Milano insieme a Nastaran Hashemi.

Ho progettato e realizzato il sito web dello studio e un parte d'identità visiva del marchio, oltre al logo animato in 3D, che ha sostituito il logo precedente.

Tutto il resto era condiviso. I progetti venivano suddivisi tra di noi. La grafica e l’impaginazione passavano da uno all’altro a seconda delle esigenze di ciascuno.

«Un’opera digitale che non potrà mai essere realizzata è un’immagine. Noi progettavamo per la versione che poteva andare da entrambe le parti.»

NEX, Petroline Earrings

Rock shapes and the motion of waves. Natural forms given a finish that belongs to now.

Two pieces from the look were made physically, through additive manufacturing. Stones. The plainest thing the earth makes, printed and finished to read as something from later.

The project is about the line between natural and artificial, and the one between physical and digital. Both lines are thinner than people think, which is the reason to work on them.

Then the campaign.

There was no shoot. No model, no location, no crew, no permit for a black volcanic coast in bad weather. The earrings exist. Everything around them was built.

Concept, modelling, animation, rendering, AR realisation, and the full campaign.

Hydrobloom x DressX, 2024

A five-piece capsule. Hibiscus dress, Orchid dress, Dicentra top, Daisy earrings, Calla Lily earrings. Each one built from the form study of a single flower.

Chrome, layered reflective glass and metals, in deep lavender blue, mint green and silver. The Daisy earrings shipped with an AR try-on.

The earrings and the AR are mine. Daisy and Calla Lily, modelled and animated, then built as a try-on for DressX.

Glimmer Frost, 2023

Metal against softness. The work was shown at NFC Summit 2024 in Lisbon, by PublicBored and ApeCoin.

The Silver Swirl body piece became an AR filter on Zero10 and Snapchat. Digital, exhibited, then worn. The whole argument of the studio in one object.

Silver Swirl. Snapchat, Zero10.

A luminous face filter where reflective surfaces and icy textures converge. Available on Snapchat and Zero10, this piece reacts subtly to light and motion.

Cosmos Sonata x SYKY, 2025

Three digital pieces on the SYKY platform. Fleur Epanouie 01 in an edition of 20, Fleur Epanouie 02 in an edition of 40, Bloom In Ruin in an edition of 25.

Bloom In Ruin was the one that mattered to me. Flowers growing out of cracks in the body. Made the year before I started breaking my own archive apart.

Built in Rhino, rendered and animated in Blender, editioned on chain.

Liminal Duality, 2024

Shown at Con/Temporary Spaces Torino, curated by Dragonemelone for Artàporter. A work about time, motion and presence, made to exist as digital art in a physical room and as AR on the body.

Two Snapchat pieces came out of it, one for the head, one for the hand. The same object, read three ways depending on where you stood.

→ Liminal Duality, headpiece. Snapchat

→ Liminal Duality, nail. Snapchat

A Silent Shift Into the Future. VORN Academy, 2023

The gap between traditional fashion and the digital side is mostly a gap in infrastructure. So we designed infrastructure. A protocol-driven app where a physical garment and its digital twin are one record. Scan the piece, get its materials, its history, its next life. Built for two people at once: the designer putting technology into the process, and the buyer who wants to know what they actually own.

I did the accessories and the earrings, the circularity concept, and the landing page. And the physical object that carries it: a 3D printed piece holding a QR code, so the transparency is attached to the garment instead of promised on a website somewhere.

Concept and direction were shared.

Mushroom Dreamscape, 2023

Generated by Midjourney AI for the first AI Fashion Week.

Alice in Wonderland by way of Issey Miyake and the Memphis Group. Runway, hats, shoes, bags, earrings, cuffs, necklaces, all of it. The point was not that AI made images. The point was a full collection with a coherent story, which is the part AI does not do for you, specially in 2023.

Quello Che È Successo

Featured in Vogue Business during AI Fashion Week.

Work placed with SYKY and DressX, two of the platforms that actually sell digital fashion rather than talk about it.

Exhibited at NFC Summit Lisbon with PublicBored and ApeCoin, Photo Vogue Festival at BASE Milano through Maison Meta, Milan Fashion Week, Con/Temporary Spaces Torino, and the HGVIS Fashion Metaverse Conference.

Twenty-one projects across three years. Client commissions, platform collaborations, exhibition pieces, and the AR try-on library.

The studio ran until 2025. The work it taught me to do did not stop. If a brand has a piece and needs it to exist as an image before it exists as a product, that is still what I build.