Loading...
Using Artificial Intelligence (AI) on ASTM standards and related intellectual property is prohibited. Violations will result in suspension of access.
By Kathy Hunt
Jan 05, 2026
Whether you follow the hottest trends, shop primarily for special occasions, or buy clothing just to keep yourself warm and dry, you have had some experience with fashion. The concept of a prevailing style of dress has existed since prehistoric times, when our ancestors covered themselves in animal skins and furs to protect themselves from the elements. In ancient times, Romans draped long pieces of white, woolen fabric known as togas over their shoulders, while Greeks donned natural wool or linen cloaks and tunics. In both lands, additional adornments, such as stripes or dyed borders, were worn to signify one’s social standing. The clothing, though, remained relatively simple.
Through the 2nd century and the introduction of the Silk Road trade routes, sumptuous Chinese silks and decorative designs became part of global elite fashion. By the late Middle Ages, apparel in Europe had become considerably more elaborate and time-consuming, featuring luxurious textiles from the East, and multiple layers of hand-sewn clothing, including stockings and undergarments. Near the end of the Renaissance period, around the 17th century, bespoke clothing became all the rage. These made-to-measure clothes were designed and then cut and sewn by skilled tailors for individual wearers. Garments underwent multiple fittings and alterations so that each piece fit the customer perfectly. The process was slow, costly, and, when factoring in discarded fabrics and patterns, somewhat wasteful.
The introduction of sewing machines in the mid 1800s saw hand-tailored items largely replaced by ready-to-wear suits, shirts, coats, and more. However, a few famous holdouts to mass-produced clothing still exist, including London’s Savile Row, which is considered “the cradle” of men’s tailoring, and certain designers in Milan, Naples, and Rome, Italy, where bespoke tailoring continues to this day. Likewise, Data for India noted that in 2024, the country possessed over 12 million custom tailors.
A common thread running through the past and present of the fashion industry is its gradual embrace of technological change. Over the past three decades, the industry has been quietly innovating, making itself more efficient and sustainable through the use of 3D digital fabrics. Ushered into the textiles industry with the introduction of 3D computer-aided design (CAD) beginning in the 1990s, digital fabrics have been used by designers to streamline and speed up their workflows, replacing fabric samples and hand-drawn designs with virtual versions.
Fifty years ago, the notion that clothing could be designed and fitted without tangible textiles or live models would have seemed preposterous. Yet, this is exactly what 3D digital fabrics can accomplish. Note that 3D digital fabrics are not to be confused with 3D-printed fabrics, which are created through the layering of 3D-printed materials. Digital fabrics are realistic, three-dimensional, digital renderings of fabric. Sometimes referred to as a “digital twin,” they capture the surface texture and patterns, drape and stretch, weight and thickness, and color and light reflectivity of a textile. When paired with design software, digital fabrics simulate how a physical fabric behaves in a garment and on an array of body types.
To create 3D digital fabric, a physical sample is scanned by a structured light, stationary photogrammetry, or laser scanner. The resulting scan possesses texture files as well as the physics of the material, measurements that include the fabric’s elongation, thickness, bend, weight, and bias. Using this information and a 3D fashion design software program, a designer can produce a realistic digital twin that possesses the same characteristics as the physical swatch. With 3D digital fabrics, designers craft designs, adjust colors and other elements, and test directly from their desktops. Designs are created, submitted, reviewed, and edited virtually.
To assist the fashion industry with the ins and outs of this technology, ASTM International recently established the subcommittee on 3D digital fabrics (D13.67). Part of the committee on textiles (D13), it will focus on writing standards for the characteristics, properties, nomenclature, and uses of 3D digital fabrics, including physics.
“The digital fabrics subcommittee was established to create efficiencies and strengthen confidence in 3D fabric physics,” says Michelle Greenhouse, subcommittee chair. “As emerging tools such as artificial intelligence begin to influence the development of digital materials, it’s essential that the validation of 3D fabrics is firmly grounded in science. Building this foundation will ensure the accuracy and reliability of future AI-driven fabric simulations.”
Standards for 3D digital fabrics promise to make the industry more efficient and sustainable.
Greenhouse also chairs the 3D Retail Coalition’s (3DRC) digital fabric interoperability committee. A consortium of more than 200 global brands and retailers, 3DRC aims to advance 3D technology in retail and apparel in a pre-competitive, standards-based environment. The industry group provides guidance, resources, and networking opportunities. It also helps to create standards and best practices for the implementation of 3D design, product visualization, and digital workflows. In 2025, it partnered with the Institute of Electrical and Electronics Engineers (IEEE) and the digital consultant company Kalypso on its seventh annual Grand Challenge for start-ups and academic institutions. This year’s challenge was to harness “the transformative power of data-driven AI and 3D technology to revolutionize the product-development lifecycle.”
Over the centuries, the fashion industry has experienced game-changing innovations that have boosted productivity and lessened the amount of time and labor expended. Prior to the Middle Ages, yarn had been created by hand, using a spindle and a stick known as a distaff. A slow, laborious task, it could take up to a week to spin 1 pound (0.45 kilograms) of wool into yarn. The emergence of the spinning wheel in the 13th century sped up yarn production and reduced the amount of physical labor involved.
Over five centuries later, in 1763, British inventor James Hargreaves introduced a multiple-spindle machine known as a “Spinning Jenny,” which drastically cut the amount of time and effort required to make yarn. The spinning jenny played a major role in the Industrial Revolution and the establishment of large-scale textile factories. So, too, did the sewing machine, which, by the mid 1800s, became not only a factory staple but also a coveted household tool. By automating the stitching process, sewing machines further increased the speed of production and the volume and consistency of clothing being made. Together, these two devices spurred the ready-to-wear clothing market that still thrives today.
In recent years, the buzz around 3D digital fabrics and their benefits has been growing. Brands such as Ralph Lauren, Old Navy, and Urban Outfitters are among those currently utilizing digital fabrics.
Josh Scott has worked with 3D digital fabrics for 18 years and is a member of 3DRC.
“Basically, every major retailer now has a team or a set of individuals working on doing things digitally,” he says. “The speed with which digital fabrics let us do our work is a pretty powerful motivator for adoption. A physical product has to be cut, sewn, and flown across the world, so certainly, sustainability is a factor. Plus, it’s a creative industry, and that sample, by the time it gets to an office, may already be obsolete and get tossed in a bin. The faster we can get to market, the better.” Scott is a senior manager of digitization and 3D technical design at Old Navy. His comments are his own.
In February 2025, the United Nations Environment Programme noted that 92 million metric tons (101 million tons) of textile waste are generated globally each year. The production of fabrics themselves is a resource-heavy undertaking. With digital fabrics, there is no production, shipping, discarding, and remaking of physical samples to impact the environment. The work is done virtually.
Little to no waste and a reduction in shipping mean a lower carbon footprint for the fashion industry. According to a 2024 report from Textile World, in comparison to a physical garment, a digital garment creates 97% less carbon dioxide and no microfiber shedding or soil degradation.
In November 2025, the 3D digital fabrics subcommittee held its first meeting, at which time its members discussed a standard test method for 3D fabric physics drape validation, comparing the behavior of digital fabrics to their physical counterparts. The proposed standard aims to address ongoing industry challenges in replicating the tactile qualities (or hand-feel) and the visual nuances that require the eye to be attuned to digital interpretation. This work will provide an empirical basis for evaluating how a virtual fabric drapes or hangs under its own weight when compared to a physical sample.
“We’re all familiar with the tactile qualities—the hand-feel—of physical materials, but it takes training and experience to evaluate those same characteristics visually in a digital format,” says Greenhouse. “Because digital fabric represents roughly 80 percent of a garment’s visual identity, discrepancies between digital and physical representations can undermine confidence in 3D workflows. That’s why we need a scientifically grounded standard to validate digital fabric behavior with the same rigor we apply to physical textiles.”
Scott notes that the ASTM standard would aid with digital fluency, or a deeper understanding of 3D technology, and the way a digital sample may seem different but still possess the same properties.
“To be able to say we have a rigorous testing standard and methodology and that the fabric you’re looking at has gone through this process will be a big unlock from educational and peace-of-mind standpoints,” he says. “It enables us to quickly answer the question of whether a digital sample looks and behaves the same as a physical one.”
Greenhouse notes that the proposed standard represents the first known benchmark for digital fabrics and could inspire the development of additional standards addressing related areas such as textures. She also views it as a foundation not only for future technologies but for enabling brands and retailers to establish their own digital tolerances.
“Once the fabric physics validation standard is defined – including parameters such as the avatar, specimen, and methodology (for example, counting flares) – brands will be able to establish their own digital tolerances,” she says. “For instance, flare count refers to the number of flares or nodes formed as a fabric drapes over an avatar. Brand A might define an acceptable variation of one to two flares, while Brand B might require no variation at all.”
By introducing a common scientific framework for digital fabric validation, Greenhouse says the subcommittee’s work will help create a shared foundation for interoperability, AI integration, and cross-brand consistency—driving greater trust and efficiency across the digital product creation ecosystem.
Terminology will be another area covered by the subcommittee. As in many fields, multiple terms, such as flare and node, exist for the same fabric attribute. Having a common vocabulary would improve communication, understanding, efficiency, and credibility around digital fabrics.
Another aspect of digital fabrics that warrants standardization is texture. In 3D digital fabrics, texture simulates the look and feel of different fabrics such as cotton, silk, and denim. It adds depth and realism to the digital image.
“Establishing industry-wide standards could significantly improve supply-chain efficiency for 3D fabrics,” says Greenhouse. “Suppliers often have to recreate the same digital material multiple times to meet different brand specifications. For example, one brand may require a 300 dpi texture while another demands 600 dpi. If we can define consistent standards for both texture and physics, it will reduce duplication, streamline workflows, and accelerate adoption of 3D materials across the industry.”
Through standards, the subcommittee aims to establish trust and confidence in the digital material. This, in turn, may prompt more businesses to sign on to this innovative tool.
Brands, retailers, suppliers, labs, vendors, standards writers, and all other interested parties are welcome to join the subcommittee on 3D digital fabrics (D13.67). For additional information or to become part of the subcommittee’s work, please contact staff manager Nora Nimmerichter at:
nnimmerichter@astm.org. ●
January / February 2026
