A young costume and fashion agency from Chatou near Paris shows how digital manufacturing is becoming established in a traditionally craft-driven trade. Martian Agency was founded in 2023 by Marine Arnoul, president and artistic director with couture training, and 3D specialist James Whittall.
The duo develops made-to-measure costumes and masks for entertainment and audiovisual productions, using 3D scanning technology from Artec 3D. As references, the agency cites productions and clients such as TF1, Netflix, Sony Music, Eurovision, and the Cannes Film Festival.
“The accuracy of the scan to within a tenth of a millimeter and the quality of the model have proven the effectiveness of this technology. We have seen a 50% reduction in time and savings amounting to thousands of euros,” explains Marine Arnoul.
According to James Whittall, “this technology is essential for custom-made pieces. Our technique requires half as many fittings with artists as that of our colleagues, for a similar result.”
In mask-making, conventional workflows are often shaped by silicone molds, manual measurements, and multiple fittings. That takes time, puts performers through long sessions, and creates logistical effort when fragile parts have to be transported. Martian Agency looked for a way to shorten the process without giving up the handcrafted surface finish and final detailing. The team found what it needed in the Artec Space Spider, which, according to its specifications, captures complex geometries with up to 0.1 mm accuracy and is therefore suitable for faces and finely textured surfaces.
The workflow combines several software and manufacturing steps: after 3D scanning, data preparation happens in Artec Studio, form design in ZBrush, and precise cutting or digital pattern-making in Clo3D. Components are then additively manufactured and finally refined by hand. The method was used, among other projects, for the last three seasons of “Mask Singer” on TF1. As an example, the agency cites the “Geishamouraï” costume from season six, for which two masks were made—one of them a variant precisely adapted to Florent Mothes’ facial features based on scan data.
“3D technologies are another way of looking at art. 3D scanning saves entire days of work,” concludes Marine Arnoul.
Also practically relevant is file-based reproduction: from STL data, parts can be reprinted locally, reducing transport risks. Following its experience in TV productions, Martian Agency wants to extend the approach into art and advertising and is considering a second scanner.
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