Most F1 fans stop at the merch store. Sanjivani Rana went further, translating the engineering-driven aesthetics of six Formula 1 teams into a 12-look CLO collection built on color theory, garment ergonomics, and modular construction. We sat down with her to find out how a fashion student turns racewear technology into something you'd actually want to wear.
Q: Could you briefly introduce yourself and share a little bit about your background?
Hi, I'm Sanjivani Rana, a fashion design student based in India who recently completed her bachelor's degree. I thrive on creative exploration and hands-on experimentation. I don't confine myself to a single style or medium. I'm a proud jack of all trades, constantly learning, evolving, and discovering new ways to express ideas. Lately, I've been deep into digital design, especially CLO, where I get to merge fashion-forward concepts with technology.
Q: What sparked your interest in 3D fashion, and how did you transition from traditional to digital design?
Semester 7 was the turning point. I was introduced to 3D design through one of my modules, and it completely changed how I thought about fashion. The transition from traditional to digital wasn't overnight. It started with basic garment sketches, but once I got comfortable with CLO, I realized I could visualize designs faster, adjust patterns in real time, and experiment without waste. That shift gave me so much more freedom to iterate. It also made me see how digital fashion could break boundaries, not just in design but in production and sustainability too.
Q: Where does your passion for Formula 1 come from, and how does it influence your creative work?
It started with Netflix's "Drive to Survive." I was completely hooked from the first episode and binge-watched everything. The more I followed the sport, the more I became captivated by the precision, speed, and dedication behind each team. How a single turn can define a team's entire season. So when I got an assignment to create a collection of 12 pieces, Formula 1 was the only answer. I crafted two outfits for each of six teams: Ferrari, Red Bull, McLaren, Mercedes AMG Petronas, Williams Racing, and Aston Martin, letting their distinct identities and aesthetics come to life through the designs.
Q: Your F1 Runway project feels like engineering brought into fashion. What inspired this concept?
After getting into F1, I started noticing how much merchandise was out there, and it was almost always just oversized jerseys or basic vests. That gap sparked something in me. If I was going to use F1 as a theme, I had to push further. I wanted pieces that actually embodied the energy, precision, and innovation of the sport. Fashion-forward, not just fan pieces.
Q: How did you approach turning the mechanical aesthetics of race cars into wearable designs while staying true to each team's identity?
I started by dissecting what makes each team visually distinct: the aerodynamic lines, modular structures, color systems. Then I translated those elements into silhouettes and tailoring. The designs aren't overly technical, but each look is built so that at a glance, you know exactly which team it belongs to. Color choices, graphic details, the overall energy. I wanted the team identity to be unmistakable even without needing to read a label.
Q: You've spoken about how digital fashion can outpace traditional methods. How did that show up in your CLO workflow?
The biggest difference was not needing physical samples. I could iterate on fits, adjust patterns, and fine-tune details digitally without any material waste. CLO's simulation also let me see exactly how the fabric would drape and move on the body before committing to anything. That level of realism meant I could move faster without guessing. Every seam, every drape was exactly as I envisioned it.
Q: You mentioned your mentor was like a "pit crew" during this process. How did their guidance help?
Just like a driver needs a pit crew to get back on track after a rough patch, she was there at every step. Whenever I hit a creative wall or needed a fresh perspective, her guidance was steady. She wasn't just a mentor. She was a real partner in the process: always kind, always present, always helping me fine-tune the details. Like a pit crew pushing a driver toward their best lap.
Q: Young GenZ designers in India are moving beyond traditional styles and experimenting with global concepts like sportswear or gaming-inspired designs. Have you seen that shift?
Definitely. The silhouettes coming out of young designers in India right now are bold, dramatic, almost futuristic. Sculptural, daring, avatar-like. It doesn't feel like fashion following a trend anymore. It feels like a whole new era taking shape. And I think we're just at the beginning of it.
Q: Looking ahead, what direction do you see your career in digital fashion taking? And what would you say to students just starting out with CLO?
I want to keep moving toward more immersive, concept-driven work where fashion and technology genuinely coexist. I'm especially drawn to collections that feel emotionally impactful and still functional. CLO is a big part of that vision.
For students starting out: the technical side is less scary than it looks. The more you experiment, the more the software becomes a natural part of how you think. Treat it as a tool for your imagination, not a wall between you and your ideas. Be patient, stay curious, and let the mistakes teach you. Digital fashion is moving fast, and this is a genuinely exciting time to be in it.