5 Men’s Fashion Trends in 2020

Poserfashion.net – The cycles of fashion trends present a style of dress that is always different for each season. It is not uncommon for the trend from the past few years to come back into a fashion bandwagon that is loved by many audiences. After taking note of the Daybook, there are several trends from 2019 that will remain favorites throughout 2020. Let’s check, what kind of outfits will still be hits this year!


1. Cuban Collar Shirt

I don’t think there is any need for a specific reason why Cuban’s shirt will still be a hit this year. With an open collar, short sleeves and with an impression of expanding the upper body, the Cuban shirt is the best casual shirt to have.

Daybooks can recommend going for a neutral Cuban color and pairing it with a pleated ankle. Try your Cuban shirt tucked into the waist of your pants and leave it a little loose. For footwear, Loafers can be an option if you want to look dandy, or a pair of white sneakers can be the final touch.

2. Loose, High-Waisted Ankle

Well, this time, cutting clothes that are slim fit will have a competitor that many fashion activists also like. Pants and clothes that are in baggy, loose, or slightly oversized styles will see their momentum this year.

The key to looking good in loose clothing is the top-bottom proportion. For example, skinny pants won’t look good on a baggy basic tee. Instead, wear loose pants, for example, like an ankle with a loose basic crew tee. You can also add a blazer that is a little off-shoulder or an oversized jacket, or even a trench coat if you want to look extra.

3. Jogger

Lightweight and comfortable, jogger pants are still champions for many men. Although in the early days of jogger pants, they were more oriented towards sporty activities, the comfort of jogger pants can be an important outfit piece in your wardrobe. But nowadays, more modern jogger models with a slimmer cut are also widely available.

Simply put, you can pair jogger pants with a basic crew tee that fits your body, not oversized, not too tight. For those who want to look effortless without losing the sporty impression, you can pair it with a sweatshirt and a pair of sneakers. Finally, you can also wear a classic Oxford shirt with a slim fit jogger.

4. Monochrome

An outfit that is dominated by only one or two colors may sound monotonous, but I don’t think that will happen if you can carefully combine two color pairs. Also, if you don’t want to be too picky about clothes, monochrome colors can be the quickest and safest choice.

You can grab a black workactive chino or ankle pants and pair them with a basic white crew tee (or black too, no problem!). Then, you can use your favorite sneaker or classic white to complete the monochrome look. If that is not enough, you can use your accessories.

5. Chino Slimfit + Knitwear

The knitwear trend for men this year will often be paired with slimfit chinos. But it looks like this trend will be more than just a brief trend because this simple couple duo can become a symbol of modern fashion for men that will last for years to come.

You can try pairing a black chino with a dark gray turtleneck knit top and a pair of white sneakers for a fresh and clean look. You can also combine a v-neck knit sweater, Oxford shirt, a slimfit chino and a pair of Derby or Oxford shoes.

Those are the five men’s fashion trends that will continue to hit this year! So, which one do you have?

Autumn Collection Dress1

Main zip file content (Judy) :

– Poser 5 dynamic cloth pp2

– 3 textures and template

Others characters :

– Poser 5 pp2 only

You should be able to resize the Judy dress for the others characters yourself (if you don’t know how, read my tutorial).
Nevertheless, if you feel a little lazy, the work is already done and you can download their pp2 files too.

The textures are included only in the Judy file.

Making a period peasant dress for judy

In this second tutorial, we will learn how to :

model a long skirt with a simple flat cylinder,

use a shape under a cloth

use primitives as figures in poser to model a cloth

If you succeed, you will know all the basic tips I use to make my dresses. The others are only some variations around which you will find easily. incontri bergamo . incontri arezzo . Fashion Clothes, Designer Clothes

Like in the first tutorial, the modeling part is realised in 3DSMax, but I used only basic tools which are included in any polygonal modeler.

Let’s Go


the dress bodice

If you have already done my previous tutorial (don shirt and pants), you remenber that we had to bend the sleeves for the forearms.

We used as template the original obj file. We need to do this if we make conforming clothing. But with the cloth room, as we can start from any pose and finish to any also, we can use any pose as template, and choose the more suitable for our work.

So, load judy in poser. As usual uncheck everything in Figure > Use inverse kinematics. Select the body and using Window > Joint editor, click on zero figure. With the parameter dials, set the forearm bend to 21 for the left and -21 for the right.

Now export your object template : File > Export > Wavefront obj. Select single frame in the first window. In the second, check figure 1 only. Save as judy.obj in your work directory. Uncheck all options in the last windows.


Now load the judy.obj in your modeler (vertex scale 100 at least)..
The steps are now exactly the same than in the don shirt tutorial so I show you on the left only the extrusion plan to guide you.

I use only box faces extrusion. For the sleeves, the height and depth are those of the biceps. For the chest, the width is the waist one.

Delete the faces at the end of the arms, at collar and at bottom.


Now add a meshsmooth modifier with 3 iterations in subdivision amount.

Add a UVWmap modifier and map the mesh planar.

Collapse the stack. Affect a material and export the bodice as bodice.obj in your work directory (don’t forget to rescale for poser)..


Back in poser. Import the bodice obj using File > Import > Wavefront obj. Uncheck all the options.
On frame 1, select Judy’s body. With the parameters dials, set xScale to 75%, yScale to 90% and zScale to 10%. Move slightly to put the arms in the sleeves (yTran = 0,103).

(Because of the size of your own mesh, your values can be a little different)

Don’t worry is like me you see a little part of shoulders : the collision depth will correct this.


Create a new 30 frames simulation. Check self collision. Clothify the bodice. In collide against, check figure 1. Uncheck start draping and check the 3 ignore boxes.
Ignore hands is very important as we start with a pose where hands are inside the sleeves.

Run the simulation. I got a little problem with the nipple. This will be corrected in the modeler.

Now, on frame 30, use Figure > Export > Wavefront obj to export bodice1.obj. Always uncheck all the options.


Load the Bodice1.obj (vertex scale 100).

If you had, like me, the nipples going through the cloth, just move sightly the verticies to the front


We will make a square neck using a boolean tool.

Well, we could have shaped it during extrusion, or after, or made the boolean operation before the poser modeling, but I think now is the easiest way for a beginner (I know, all this is an horror for a good modeler, but we have to learn).

In the front view, draw a cube sized on the collar sides. In the side view, move your cube : the cube side must be at the middle of the bodice collar.

Select the bodice and go in compound objects, boolean. Click on pick operand B and after click on the cube to select it.

Choose a substraction A – B (we substract the cube from the bodice).

Done. Now save your bodice2.obj (don’t forget again to rescale for poser).

End of this step. We will now make the skirt part.

The dress skirt

Before drawing the skirt we will have to create a shape. Yes : Judy wears one (or more) petticoat under the dress, which give these wide hips. We will use this shape as a collision object for the skirt. Otherwise, you would get something like a long evening gown.

In your rmodeler, create a box around the waist, just under the bodice. Convert it to editable mesh. Select the faces at the bottom and extrude four times. Then, in the front and side views, move the verticies to draw the petticoat shape.


Select the faces at the top and delete. Do the same for the faces at the bottom.
Apply a meshsmooth modifier with 3 iterations.

Go back and modify the verticies if you are not satisfied with the result.

When you get the right shape, collapse the stack and export the shape as shape.obj (poser scale).


The skirt part itself will be a simple plane.
Choose the resolution you want here : the higher the density will be, more folds you will get. Have a look here if you don’t remenber this. But the higher the density will be, the more difficult ( long) the simulation will be in poser.

Convert to editable mesh.

Apply an UVWmap planar now and affect a material. So you will further texture a plane and will not have to use any complicated map.

Then bend on x axis with a 360° angle. Move to set the cylinder around the shape. Collapse the stack.


But our mesh is always a plane. To get the cylinder we need, select in the back view the verticies at the middle and weld them.

You can now export as skirt.obj.


Now we need the shape which will “draw” our skirt around the waist. It will be a torus.
Draw a thin torus, scale and move it as shown on the left : it should have the size of the cylinder and be set at the top. Name the torus object hip (this will be very important in the next step).

Export as torus.obj


In poser, import :

  • the shape obj file,
  • the skirt obj files,
  • the torus obj file,
  • the bodice obj file (the last one you saved)
    Now, we will have to constrain the cylinder top to the torus. The torus will be scaled down to fit to the bodice waist.

But we can contrain verticies only to a figure. So we will make a figure from our torus.


Select the torus and go to the setup room.
Choose a very simple item like the P4 bikini bottom and apply this library preset.

You can go back to the pose room : our torus is now a figure (you understand now why the torus part had to be named hip ? otherwise, this step will not work ; if you forgot to name it, you can also do this in the joint editor before going in the setup room.)


Because of the P4 bikini bottom specificities, our torus moved a little. On frame 1, move and scale it to set it to the cylinder top.

On frame 15, move and scale again to fit it as well as you can to the bodice bottom.


Now, go in the cloth room.
Create a 30 frames simulation. Check cloth self-collision.

Clothify the skirt. In collide against, add our torus hip then the shape and the bodice. Uncheck start draping and check the 3 ignore boxes.

In edit constraint group, select the skirt cylinder top verticies (don’t forget to turn around the shape for the sides and the back).

Run the simulation. When done, and being on frame 30, export your new skirt as wavefont obj (uncheck all options).


Now import the bodice and the skirt parts in you modeler and attach them. Then save as dress.obj.
Yes, our dress has two parts (even if they are attached). You will surely learn further how to weld carefully the verticies to get a perfect one piece dress. But we are only beginners, so we will cheat a little.


We will find the same steps than the skirt, so I will explain quicker.

We will use the same torus than for the skirt part.

Draw a plane. Add an UVWmap and affect a material. Move the plane in front ahead of the dress) and the torus at the top of the plane.

Bend the plane on the x axis until it get the torus curvature.

You can delete if you want the torus faces not needed (perhaps you will see better in poser).

Export the plane and the torus as obj files.


Import in poser the full dress, the apron and the torus part.

In the setup room, make a figure with the torus as in the skirt step.

On frame 1 set the torus exactly at the apron top. On frame 5 move the torus toward the dress waist (just under the sirt part). On frame 10 Xscale the torus near 60% to set it around the waist.

Run a 30 frame simulation with the apron top verticies contrained to the torus.

Export the result on frame 30.


Now we will test our work with a walk.
In poser, load Judy. Uncheck everything in use inverse kinematics. Select the body and zero the figure in the joint editor. Set the forearms bend at -21 (right) and 21 (left).

Import the petticoat shape.

Import the full dress.


Set the last movie frame to 40.

On frame 11, load the 30 frames of the walk movie in the walkdesigner pose directory. Increase the shoulders bend, otherwise the hands will go through the dress (it’s easier to do this in the graph display (edit keyframes window).


Our dress will have to collide with the shape. The first idea would be to parent the shape to judy’s hip. Simple but this will not work : poser will get confused with body parts going through the shape and you will see that your dress will enter inside the shape. In fact we have to create a collision with 2 figures ; the shape will be a “conforming cloth” (why to name it hip, mmmmmm……).
You are used to this work now : select the shape, enter the setup room, but this time choose in Clothes-P5 female a bikini (we have to conform to Judy and we are sure that this one will work).

Back in the pose room, conform you new figure to Judy.


n the cloth room, create a 40 frames simulation. Check cloth self collision.

Clothify the dress. In collide against, add Judy and the hip part of our shape (figure 2). Uncheck start draping for the 2 figures, check ignore hands and head for figure 1 and check the 3 ignore boxes for figure2.

Now define the constrained group as shown on the left. Hear we will cheat (a little) : as our dress have 2 parts, we will select the bodice bottom and the skirt top verticies as a constrained group. So the two parts will be held together. 

Run the simulation……


We can render now (don’t forget to hide the shape).

Well, not too bad for a firt test. But as we want a loop, the next time we will use a 70 frames movie, and import the walk at frames 11 and 41 : the first and last frame of the loop will be near if they are generated by the same figure movement (we will keep only the 30 last frames).

For the apron, we need to create a second simulation Sim_2.

Import the apron obj file if not already done.

In the cloth room, set your new simulation end fame to the same value than in Sim_1, and check cloth self-collision. Clothify the apron, and in collide against, check the dress and the figure1 (judy) hip only. This last one will be used by the constraint.

Build a constrained group with the apron top verticies.

Launch the simulation.


Finished. Try to make better yourself : you can see that the constraints I choosed for the collar are not good : the cloth movement is not natural.

Making a shirt and pants for Don

This tutorial goal is to learn how to use simultaneously traditional modelling and the poser cloth room.

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What is the most difficult when you begin clothes modelling is to carve the body shape . We will only trace a global shape of clothing (with very basic functions) and we will let poser complete the work for us.

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The example is carried out under 3DSMax (3.1), but I voluntarily used only very simple functions of extrusion and smoothing which should be found in any 3D polygonal software.

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Do not imagine that you will obtain models as perfect as those of a professional, but this technique can be very useful:

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  • for the beginners, while waiting to learn how to do better,
  • for all, as it is unbeatable for the simulation of some clothing parts, in particular to simulate the folds.

P4 to P5 Conversion

The first question which comes to mind to a Poser 4 user coming to Poser 5 is surely : can I use all that conforming clothes which I have already ?
The answer is yes, mainly, after some work. It is advisable however to understand the simulator to know when it is possible or not.

When I do say possible, I mean using poser only. If you own a modeler, any object can be reworked, but it will not be our purpose here.
A cloth simulator works with objects in the form of triangle meshes. Each vertex of a mesh is considered as a particle. There are various forces acting on partices – wind and gravity, as well as forces resulting from interaction with other particles and objects. In general, forces can be divided in three groups – general forces like wind and gravity, forces between the particles themselves, and forces resulting from interaction with other objects. Very often (if not always) these three groups of forces contradict each other. General forces and collisions with other objects try to pull the cloth apart, while interparticle forces try to keep it together. Where can to buy hunter quietflo air purifier?

Finding the balance between the forces is what cloth simulation is all about.

In poser, the collision objects are those with which a cloth interacts. They try to push the cloth back so that it cannot move through them. When an intersection already occurs, it is often too late to do anything about it. The simulator will tries to prevent intersections between objects as much as it can, but sometimes it may fail. Using the checkboxes “object vertex against cloth polygon”, “object polygon against cloth polygon”, “cloth self-collision” solves most problems. play free racing games

Before starting, you must control the following points:


1) The cloth can’t go “through” your character.
Some clothes were made like a solid, we say they have “caps”. These parts are hidden by the character in conforming clothing. These items can’t work in the cloth room and it’s easy to understand : you can’t calculate any collision between two objets if one of them crosses the other. Calculate your loans – mortgage calculator online.

You can control this easily if you look at the cloth in wireframe mode :



2) The cloth can’t intersect with itself

Intersections with the collision objects are forbidden but, for the same reasons, intersections within the cloth itself are too.

I made the dress which you see on the left for the preteen girl some times ago and I am not very proud of myself !

As it was made with the help of a cloth simulator, this is the proof they can sometimes fail !


3) The cloth must be all of a piece
Like real clothing, cloth room clothing must be like a second skin around the character and of only one part.

This is the main problem we will encounter with conforming clothes. For those who are not used with the conforming technics, the cloth is cut out into different part reproducing those of the character


Also, complex items can be made with several parts
You can see on the left one of my conforming period dresses and all its parts. The skirt has 5 parts which are grouped but not joined (the verticies are not welded). If you try to clothify it, each part will fall apart on the ground.

So you will have to take care to all the clothes ornaments like buttons, pockets, laces, belts, buckles, jewels, which can be included in the cloth as different parts.

Again, you should be able to see this in wireframe mode. Otherwise, just try. If your cloth explode, you will have the answer.

Others possible problems
Cloth simulators work best with objects which are essentially planar or zero units thick (i.e. an infinitesimally thin shell). So take care to the clothes extruded to give them the appearance of thickness.
Look for any ornament extruded from the cloth itself (often pockets and belts). “essaywritingnotes “

There are other cases which are difficult to detail because they are very specific and difficult to see. They are generally design defects in the model . The list is not exhaustive :

flipping normals
isolated vertices
long, thin triangles in the mesh

You can’t correct these ones without the help of a modeler.

Also if you use a prop as collision object, avoid objets with sharp edges or spikes.

Tutorial content
We will learn at the same time :

how to import in poser a conforming cloth to use it in the cloth room,
how to fit it to a different character than the one it was made for.

The clothes are generally carved around a model. Resizing is insufficient (think about the breast and hip of female characters : their place and size are too much different).

The first example will use a one piece mesh (a dress) and two chrarcters not too far from each other : DAZ stephanie and judy (don’t worry if you don’t have stephanie, you don’t need it/her).

In the second example, more difficult, we will use a piece with several parts and very different characters : the DAZ nude young woman and penny (don’t worry again about the NYW ; like for stephanie, this is only because we will use for the purpose clothes I already made for these characters).



First, download the file flag.zip here (151Ko).
Extract the two obj files, pole.obj and flag.obj in a temporary directory.


Using File>Import>Wavefront obj, import the two obj files in poser.
Don’t forget to uncheck all the options in the prop import options window.


Create a wind force (Object>Create wind force)


Select the force field and in the parameter dials windows, set the parameters like in the image on the side.
We put the force field at some distance from our flag, rotate it as it is facing the flag, and as we want a fierce wind blowing, we set the amplitude to 20 Мембрана ПВХ Bauder (Баудер) из Германии

Then we move the spread angle and range dials to put the flag in the force influence field (see the image above) . купить медсправку

Now before using the cloth room, we have first to transform the pole prop in a figure, as we need to create constraints to maintain the flag near the pole. It seems that poser accept only constraints over a figure.
Select the pole and go to the set up room.

Choose a very simple item, like the P4 female bikini bottom, and click on “Apply library preset”.

Now, our pole has 4 body parts we don’t need, but it’s a figure.

Go to the cloth room.


Create a new 60 frames simulation.
Check the cloth self-collision (our flag will move a lot in the wind).


Clothify the flag.
Then click “Collide against”, add your new figure (the pole).

Check the 3 “ignore” boxes


Click on “Edit constrained group”
Create 3 verticies groups which will simulate the ties which attach the flag to the pole.


Back to the main cloth room window, set the fold resistance to 20.
Then launch the simulation with a click on “Calculate simulation”.

“Et voila”

The 2 main parameters to set are the wind amplitude and the fold resistance. The values I gave you work well for me.With the default fold resistance value, the flag bend too much the simulation is not realistic (my mesh bend very easily).

You can play with this 2 parameters to see the changes, and even add some wind turbulence (take care, it’s a very sensitive parameter).

Tip : If your flag remains static in the scene, you can leave the pole as a prop and use choreographed groups in place of constrained group (they are not parented). But if you wish to move your flag (the pole part), the only mean I found is to transform the prop into figure as indicated.

A Table Cloth

You need to download first the file tablecloth.zip (711K) and unzip it to get the 3 obj files needed for this tutorial.


Use menu file > import > wavefront obj to import first the table.obj file.

Deselect first all options.
Then import the file cloth1.obj
Select the cloth room.

We are ready.


Step 1 : in the cloth simulation part, click on New simulation.

In the popup window, name your simulation Tablecloth ; let the others parameters as they are and click OK.


Step 2 : select the object cloth.

Then in the Cloth part, click on clothify.

The popup window show the cloth object selected.

Click on Clothify.


Click on the button “Collide Against…”.

In the popup window, click on Add/Remove, and in the second popup window, check the table object.

Click OK twice.

We will not use the cloth groups this time so go to the dynamic controls.


Step 3 : click on “Calculate Simulation” (let the parameters keep their default values)


When the simulation is finished, we can see :

some holes on the top
cloth to cloth intersections
that 30 frames are not sufficient to stabilize the cloth

So go back to the “1.Cloth simulation” screen part and click on “Simulation settings”.

In the simulation range, set end frame to 100 ; then check “object polygon against cloth polygon” and “cloth self-collision”.

Click on “Clear Simulation” then on “Calculate Simulation” again.

Slower, isn’t it ?


But better.

Now, we will play a little with the dynamic controls.We would like more folds.

Fold resistance is set to 5. It’s normally something like cotton. Set it to 1 (like silk).

Set also shear resistance to 30.

Again “Clear Simulation” then “Calculate simulation”

A little different but not much.

Well, delete the simulation and the object cloth.

Import the object cloth 2, and use the same steps as before to build a new simulation. Launch.

(You have all your time to prepare the coffee.)

Very different render this time !

Question : where is the difference between our two clothes ?

Answer : the two objects have the same world size, but the object cloth 1 has 2597 verticies and the object cloth 2 has 5373.

We have learned how to use the main steps of the cloth room, and some options and parameters.

But the main lesson of this tutorial is that the folds details will be first limited by your mesh density. The simulator will move your verticies, differently according to the parameters you choose, but it will not divide your polygons to have a better detail level.

Remenber this if you want to build clothes yourself : you will have to adapt the mesh density to the folds detail level you need, and settle between the detail level of your dreams and the power needed to simulate with high density objects.

About cloth simulation

With poser 5, you , poser users have discovered cloth simulation.

First, you should understand that what is new in poser is not new at all for a lot of 3D modellers, as cloth simulation in included since a long time in MAYA, and exist also as plugins for 3DSMax, Lightwave, Softimage or Cinema4D.

These simulators are the results of all the physical models research, especially particle based methods. If you are interested in this mathematical part, you have a good tutorial written by P S Karthikeyan.

The interest is that, if the poser 5 tips database for the cloth room is poor at the moment, as cloth simulators have very neat features, you will surely (as I have done) find interest to read manuals, tutorials, tips in the others 3D communities.

First, you should have a look to the UCL Virtual Clothing page to get the basis, and especially consult the links page.

I am sorry for the poor part of the manual dedicated to the cloth room. The maya cloth manual part is bigger than the whole poser manual (well, it’s a joke as maya cloth do more than the poser cloth room as it’s also a cloth maker). But you will surely learn from it. This manual is on line here.

As I use 3DSMax for modelling, I know better the existing plugins for it than for others 3D software. The 3D modelling parts that I will write will be for Max, but should be easily translated for others modellers having the same capabilities.

So you could find useful to download the demos of these plugins, even if you don’t use Max, only to get and read the manuals :



About cloth modelling for simulators

The mesh type incidence

I will first try to explain shortly my own story and how and why most of my clothes were made in poser4. We will then discuss how Poser 5 will change my usage.

My first clothes were made using polygonal traditional modeling and I was unsatisfied because :

  • the folds were quite hard to make to seem natural
  • the mapping was really a lot of work (planar mapping with traditional modeling doesn’t give good results for clothes)

I found my first idea when Reyes Infografica offered its plugin clothreyes for free (it’s always free for 3DSMax3).

The manual says “it’s a good idea to use simple, rounded shapes, and then let clothreyes create the cloth like bends and folds”. And also “to make tightly-fitting clothing create an animation where your character mesh starts scaled down, and then expands to its normal size”.

I made some tests with simple meshes (cylinders for sleeves, closed cylinder for torso, cylinder for skirt…) and all this was working quite well, but the folds were always sometimes strange because of the quadrangular areas ; the mapping problem was not solved.

One day, I found the maya cloth tutorial . They explain that to simulate cloth movement, you need special meshes with varying sizes of triangles that are randomly distributed, with no regularity or stress lines. With polygonal objects, you will always get artificial stress lines caused by the regular tesselation.

At the same time, I heared about a free cloth simulator plugin named simcloth .On the download page was a little plugin named cloth mesh to produce planar triangulated meshes to simulate clothes. I found also that Reyes Infografica had something called hexamesh which had similar results.

And digimation released stitch. Much too expensive, but a look verified that the method was the same, : working on planar triangulated meshes. Triangulated to render as well as possible the cloth folds, planar to avoid any mapping work.

See more on this subject here.

A new modelling way

In fact you find two sorts of software in cloth simulation: simulators only like the poser cloth room ( for Max simcloth, clothreyes and reactor) and software including also “garment makers”, able to model a cloth from a planar pattern (Maya cloth and stitch for Max).

So if you have a 3D modeller with a cloth simulator only, here is a way to get what are doing garment makers :

  • using your character as template, draw your patterns ( 2 planar meshes, front and back) with one of these special plugins. Don’t forget to map them planar now.
  • make a movie where your character goes from flat (scale y to 1%) to its normal size.
  • put your planar meshes on each size of your character (they shoud be very near) and weld the vertices which will be the “seams” on borders.
  • let the plugin do the work…..

Click here to have an example.

And if you have a 3D modeller without a cloth simulator, study the possiblities to import and export meshes to use the best of your modeller and the poser cloth room (I will explain more later).

Then my last problem was that I was unable to get long skirts with folds conforming. Making a thin hip part falling to the ground can work with straight skirts or dresses but is unusable when you have folds as they are distorted and don’t look natural at all. So I limited the skirt part to hip and I used morphing. I got better cloth simulation but the poses were limited.

With poser 5 and the cloth room, this is the past. But keep the same ideas and try to forget usual polygonal or nurbs modelling rules to become a 3D tailor. Learn how real cloth patterns are made and try to mix this knowledge with your modelling possibilities. See here how a long skirt can be made with a cloth simulator.

For those who like period clothes, you can find patterns at La couturiere Parisienne to understand how they were made.

About previous clothes

Can we use in the cloth room the poser 4 clothes ? Well, sometimes.

You can uderstand now that the cloth should have a regular and sufficient verticies density. Just look at it as wireframe and imagine it is a real cloth where your faces would be iron plates like some armor coat ; and imagine how it could bend.

So some clothes will not work properly because the verticies density is unsufficient or too irregular. You must understand that for poser 4 modellers the joints parts were very important, but the parts between the joints less, and the best modellers always tried to have a mesh as light as possible. This was perfect for P4 conforming, but don’t work well with the cloth room.

For the same reason, you will not have good results with clothes where static folds are already included during modelling.

A second reason is that the cloth must not intersect with itself, or with the collision mesh (the character).

Some clothes were build as a solid volumes (they have “caps” at the ends) . Again no problem with poser 4 as the “caps” were hidden by the character but they will not work in the cloth room as they intersect with the character.

Some clothes are self-intersected ; it’s often an error of the modeller (you push a vertex too much). You don’t see it in the render and it’s OK with conforming, but the cloth simulator will refuse to work.

Also, most of the conforming clothes are cut in parts to conform. If you don’t want a cloth where all parts will fall to the ground in a different way, you will have to weld the vertices in your modeller to get a “one piece” mesh (have a thought for the poor modeller who spent a lot of time to cut it and have perfect joints).

About the fabric parameters

This is one of the most difficult part of cloth simulators.

After a few trials, you will be disappointed as you discover that your folds are not really as you would like, and begin to play with the dynamic parameters.

Most of the simulators include examples to help you with the most common fabrics, but it seems it’s not the case of the poser cloth room. You will find here examples of Maya Cloth and Stitch libraries. Even if the parameters range is not exactly the same, this can give you a good idea by comparison of the values of each fabric.

To help you again, I adapted some clothreyes examples to the poser room words :

Rough Canvas / Potato Sack:

Canvas has its fibers set far apart, so it doesn’t catch the wind very well : Lower Air Damping

Canvas has a rougher surface than clothing fabrics: High friction

Canvas does not bend as easily as finer fabrics: Higher Fold resistance

Canvas, after bending, does not wobble around for long, it displays stiff behavior: High Shear resistance

Canvas does not stretch easily, and cannot stretch very far: High Stretch resistance

After stretching, a piece of Canvas will pull back quickly: High Stretch Damping

Canvas is quite heavy: High cloth density

Rubber Mat

A rubber mat is much heavier than most fabrics: Very high Mass

It is much harder to crease a rubber mat than it is to crease most fabrics: Much higher Fold resistance

A rubber mat is porous, wind gets through it easily: Much lower Air damping

After bending, a rubber mat will jiggle around for a while: Lower Shear resistance

A rubber mat can stretch somewhat easily, but only over a short distance: Medium Stretch resistance, low Stretch damping

A rubber mat is something people use as a slip-guard, it’s hard to slide something across it: vey high friction


Silk is a very finely woven fabric, it does not let much wind through. Highest Air damping

Silk is very light. Lowest Cloth density

Silk can stretch very easily, but only over a very short distance: Low Stretch resistance

After stretching, silk pulls back immediately: Very high Stretch damping

Silk slips very easily across other objects. Very low friction

Silk can fold and bend very easily: Much lower Fold resistance

But always remenber that : parameters should always be mentioned as “higher” and “lower” as opposed to giving absolute values, because a cloth simulator behavior largely depends on the cloth object’s size, its vertex count, as well as other factors (see topic about mesh types and triangulation above). Read more about size here.