ORBYLINE

Co-founded · Digital Fashion · 3D Design · AR · Web3 · Visual Identity · Website

Milano, Italia · 2022 → 2025

A hybrid fashion and jewelry studio. Digital collections, AR try-ons, physical production. Featured in Vogue Business.

The Challenge

Digital fashion in 2022 was mostly renders. Beautiful images of clothes nobody could make and nobody could wear, sold to an audience that had no way to use them.

The studios treating it seriously were doing one thing or the other. Fully virtual, or physical with a 3D workflow behind it. We started ORBYLINE on the argument that the interesting work was in between, and that a piece should be able to stay virtual, become an AR layer, or go into physical production without being designed three times.

I came from jewelry and additive manufacturing. Nastaran came from physical fashion. Neither of us was guessing about production.

Co-founded in 2022 in Milan with Nastaran Hashemi.

I designed and built the studio’s website and its full brand presence, and the 3D animated logo, replacing the earlier mark.

Everything else was shared. Projects were divided between us. Graphics and layout moved between our hands depending on what each one needed.

“A digital piece that can never be made is a picture. We built for the version that could go either way.”

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.

What Happened

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.