How to Launch A Brand from Scratch Using 3D Printing

Interview with SCRY co-founder. SCRY: https://www.instagram.com/scry_lab/?hl=en

Esteban: Thank you for taking the time to chat—I'm excited about our conversation.

Olivia: Thank you, Esteban. We're really happy to have this talk with you.

Esteban: Likewise! Let's dive right in. I know SCRY has done multiple interviews before, so if people want to get deep into the details, they can find those. But just for some context, could you give us a brief overview of the brand and its story in about 30 to 60 seconds?

Olivia: Sure! So, we started exploring how to create footwear designs digitally and bring them into the real world back in 2018. The traditional footwear production process is time-consuming and costly, which makes innovation difficult. We wanted to find an alternative pathway, so we began experimenting with 3D printing shoes—fully printed, not just partially like using traditional methods. By 2020, we developed what we call the “Digital Embryo” framework, a process that allows us to create comfortable, fully wearable 3D printed shoes. We patented this one-piece 3D printed shoe structure and co-founded SCRY Lab.

Esteban: That’s fascinating! Was the initial idea more creatively driven, like you wanted to express specific designs that existing technologies couldn't support? Or was it more about the technological opportunity itself, with the creative vision coming afterward?

Olivia: Great question. For us, design and technology are symbiotic—they work hand in hand. When we started designing digitally, the technology wasn't there to support what we wanted to create. 3D printing was mainly used for prototyping and wasn’t durable or practical for actual footwear. Our goal was to make these digital designs wearable in the real world, which led us to innovate. It wasn’t just about expressing creativity or developing technology—it was about finding a more efficient, cost-effective way to bring digital designs to life.

Esteban: So, it’s been a continuous process of developing both the creative vision and the production technology simultaneously?

Olivia: Exactly. We also wanted to address sustainability. Traditional footwear production involves multiple materials and parts, making recycling difficult. Our one-piece manufacturing method simplifies this, allowing for easier upcycling at the end of the product’s life. This symbiosis between the virtual and real worlds is key to our approach.

Esteban: An approach that is both innovative and challenging. What was the learning process like for you? I imagine you didn’t start with a background in something as specific as 3D footwear development.

Olivia: It was definitely a learning curve. Our process is what we call a transdisciplinary innovative method. Zixiong, my partner, graduated from the China Central Academy of Fine Arts’ Innovation Design program, where the focus is on interdisciplinary creation rather than a single medium. He’s always been passionate about footwear, which gave him a deep understanding of traditional shoes. When we decided to move into 3D printing, it wasn’t just about having a creative idea; it was about figuring out how to make that idea a reality through trial and error.

Esteban: So how did you translate that passion into actual products? The gap between an idea and its execution, especially in such a new field, must have been huge.

Olivia: Absolutely. It started with passion and a lot of digital experimentation. Zixiong would create conceptual designs and wasn’t satisfied with them just existing digitally—he wanted them in the real world. We reached out to various manufacturers to explore possibilities. After many prototypes and iterations, we collaborated with a company that became our strategic partner. They helped us develop the materials and techniques needed to bring our designs to life. It took two years of constant testing, but by 2020, we had figured out a process that worked.

Esteban: That’s impressive. It sounds like finding the right partner was crucial. How did you manage the negotiations with manufacturers, especially when it came to prototyping and order volumes?

Olivia: That was one of the biggest advantages of using 3D printing—we didn’t need to create molds, which are costly in traditional footwear production. We could print one pair at a time, making it affordable even for a small team like ours. This allowed us to experiment without the pressure of mass production. However, this also means there’s no significant cost benefit in producing large quantities, which is a challenge when it comes to scaling the business.

Esteban: So the challenges are the opposite of traditional footwear manufacturing—easier and cheaper to start, but more difficult to scale?

Olivia: Exactly. We’ve had to adapt our business model to this reality. We focus on direct-to-consumer sales with a made-on-demand approach. This way, we can control costs while still offering unique products. We’re also exploring wholesale partnerships, but it’s tricky because we can’t produce at the same scale or price as traditional manufacturers.

Esteban: Is this the biggest challenge for SCRY right now?

Olivia: Yes, controlling costs while maintaining the quality and uniqueness of our products is our biggest challenge. Even though we’ve made great strides, the process remains expensive, both in terms of material and time. We’re constantly trying to balance these factors while exploring new ways to optimize our production.

Esteban: It sounds like SCRY has had to innovate at every level—from design to manufacturing to business strategy. If you could go back, is there anything you’d tell yourself at the start of this journey? Any advice on what to focus on or avoid?

Olivia: I’d emphasize the importance of process innovation. It was tough figuring out our current method, but now we can design and manufacture in just three days. This efficiency allows us to focus on creativity and collaboration. I’d also advise against letting the technology limit the brand. We started with 3D printed shoes, but we’re exploring other products and manufacturing methods to avoid being pigeonholed.

Esteban: That makes sense. It’s about keeping the innovation going while staying flexible. You mentioned earlier that you’re positioning SCRY as more than just a footwear brand—what does that look like?

Olivia: We’re positioning SCRY as an innovative lab that uses footwear as a research object. We’ve expanded into accessories, body armor, and even home appliances like lights and sculptures. Our goal is to become a lifestyle brand that extends beyond shoes, offering products that reflect our design philosophy and creativity.

Esteban: So, moving forward, what’s the strategy? How do you plan to balance the creative and commercial aspects?

Olivia: We believe in a long-term strategy, focusing on creating value through continuous innovation. We’re not interested in short-term gains. While the current economic climate is challenging, we’re committed to pushing the boundaries of design and technology. We’re also exploring new materials and processes, including bio-materials and bio-printing. Our goal is to keep SCRY at the forefront of innovation while staying connected to our customers and adapting to their needs.

Esteban: One last question—how do you balance that need for innovation with the need to connect with your audience?

Olivia: That’s crucial for us. We constantly share our latest designs on social media, even the ones that aren’t fully developed yet. This allows us to get feedback from our audience and involve them in the process. We don’t want to just create in isolation—we want to interact with the world and let that interaction influence our work. It’s about balancing innovation with real-world feedback.

Esteban: Gloria, this has been an incredibly insightful conversation. I’m really impressed with everything you and SCRY are doing.

Olivia: Thank you so much, Esteban. It’s been a pleasure talking with you.