While content creators on Second Life care working to understand whether and how you can take advantage of the mesh from a few weeks have made their appearance in Second Life (with the release of Linden Lab Viewer 3) but still seem to present some drawbacks (does not seem possible, for example, to adapt to a shape different from that on the basis of which was “designed” an outfit through an external program as Blender in collada format and then imported, which could limit the use of meshes in shoes and accessories rather than whole outfits), even in the current offert of clothing and accessories, when not full avatars through which users of Californian virtual worlds can customize their user experience, there are interesting proposals, as if to dispel that virtual fashion is merely areproduction of the real one.
Wandering around SL, I happened to bump into ZigZag, a shopping land full of freebies and dollarbies designed by Merlino Mayo in which I saw, among others, some “old” outfits of a friend of ours, Patrizia Blessed (aka Patrizia Nofi, owner of Ardigraf). Intrigued, I looked better and I’ve discovered? One of the most interesting collections seen in recent years, one of the three “creatures” of Patrizia: Gmork, Yturi e Direction to those are flanked by, in the “mainstore” inworld (i.e. a forest near the sea at Utopia Isles) as well as in the store of Patrizia on Marketplace, even Fairy Forest, Celsey, Kendhal and MoonLight.
Patrizia, in these last few months committed close to Maxi Lane (aka Marina Bellini) in ant activity in support of Musei in Comune Roma 2.0 initiatives taking place near the island of MiC, contacted by Mondivirtuali.it, confirmed that “the “creatures”were born earlier this year and are on sale at 1,500 Linden package, also with skin, eyes and feet for some of them also sculpt” and have had some nice success, even though, at least on Marketplace, designer’s “best seller” seems to be a more “classic” Spanish-style dress, Flamenco (which costs a little more of “creatures”, 2,000 linden dollars).
In short, the virtual fashion is not always the mere reproduction of things already seen in real life, yet it seems that many users, especially but not only Italian, labor in particular to appreciate outfits “whimsical” and prefer to purchase more reassuring reproductions of costumes and clothes already seen in the real world, perhaps failing to exploit fully the spirit of“your world, your immagination” that led to the birth of many hopes in 2006-2007, when the media hype of Second Life and virtual worlds. Having done which are perhaps still to make their users, even in the fashion industry.