How it's worn
A flatlay never says whether the shirt is meant to hang off the shoulder or sit on it, and it never says who it is cut for. The house reads both off the photograph as the piece lands, writes them on the piece rather than the job, and spends its magenta only where it had to guess.
A photograph of a garment laid flat tells you its colour, its print and its trim. It does not tell you how it is meant to hang. A boxy tee and a tailored tee are the same silhouette in a badly lit flatlay, and until now the house had no way to know which one you sent — so it guessed, differently, in every frame.
You could say it once, for one job. Try-on asked "worn how?" on every submission and forgot the answer the moment the frame landed. The lookbook — the one place a garment actually meets a model across a whole collection — never asked at all.
How it's worn →Two facts, and they belong to the piece
How it's worn — as it falls, fitted, true to size, loose, oversized.
Who it's cut for — women, men, unisex.
Both hang on the piece, not on a job. Say it once and it rides every frame that piece is ever in: this season's lookbook, next season's try-on, the packshot you develop in March. You are not answering the same question again.
The house reads it before you open the tab
Every image you upload is already read as it lands — that is where its plain-English name comes from. The same read now returns how the garment is cut, in the same breath, for the same zero tokens. Nothing new is charged, and there is no button.
Open a piece and the card already says what the house decided:
Worn oversized · Cut for women
That is an answer, not a form. What you correct is the one word carrying a magenta hairline — the mark the house puts on what it had to guess rather than what it saw.
What it will not pretend to know
A fitted blazer and an oversized tee have unmistakable silhouettes, and the house says so without hedging. The middle of the axis is honestly harder: a shirt cut with two extra inches of ease is true to size to one buyer and loose to another, and on a flatlay it is one photograph. Every middle read is marked as a guess.
So is anything read off a photograph of the piece already on a body — what you are looking at there may be the stylist's choice rather than the garment's cut.
And the house never guesses unisex. Button side, shoulder proportion, neckline and darts are visible facts; unisex is a decision your merchandising team made and no photograph contains it. That one is yours to say.
A model, a ground, your brand mark and a set piece are never asked. Nobody wears a backdrop.
Where it changes the frames
In a lookbook, the piece's cut goes into the sentence the model reads:
The model wears the cropped white tee shown in reference image 1, a men's cut worn oversized.
Nothing invented, nothing padded. A piece nobody has read adds no words at all — a look whose pieces are all unread compiles exactly the prompt it compiled before this shipped.
Because the instruction is now in the brief, the judge grades against it for free: a frame briefed oversized and rendered skin-tight is a frame that ignored what it was told, which is already something the judge reports.
Packshots inherit it too. The ghost form is built for the body the garment is cut for, without you setting anything.
Correcting it, and saying it out loud
Change either chip on the piece card and the magenta goes with it — your word is not the house's guess.
You can also just say it. In the chat:
the linen shirt is meant to be worn loose
and the house writes it on the piece. It does not send you to find a screen.
A per-job choice stays a per-job choice. If you set try-on to fitted for one shot because the stylist belted it, that is this shot's styling — it does not rewrite what the garment is.
What this is not
It is not a size. An XS and an XXL of the same tee are the same photograph without a scale reference. The house reads no size and stores none; a real size lives in your PIM, and the road in is the SKU.
It is not a gate. A men's jacket on a female model is a real styling choice and it develops. Who a piece is cut for is guidance to the model, never a refusal.
It is not a backfill. Pieces already in your library stay unread and render exactly as they do today. Set one when you next open it, or leave it.
The look's props
The necklace in frame 7 is the necklace you sent. Accessories, jewellery and now your own furniture ride every frame of a look under their own names, the judge is shown them before it is asked about them, and a swapped piece comes back described as a piece rather than a sleeve.
Before you spend, and after
The house reads your references before a token moves and names what will show up in the result — free, and it never blocks. When it marks a frame, it asks you in one click whether it called that right.