A SCENERY SHOWING MYSELF IN DIFFERENT ANGELES, PRESENTING MY HAND SEWN CLOTHING MADE OUT OF A RECYCLED LEATHER JACKET. THE LETTERING IS MADE OUT OF
SELF-MADE COTTON BASED FIBRES.

TRASH recycles routine. The concept of the jewelry brand lies in reimagining trash. The brand identity is rooted in reimagined utilitarian design: technical information and marking aesthetics combined with a bright color scheme which is closely linked to what people see daily on the street. The monospaced font upholds the utilitarian aesthetic of technical information. The barcode as a marking element complements the brand’s visuals, with numbers on the barcode encoding the word “trash”.

These text works were made through an experimental process, including plaster castings, embossment and collage.
Utilising texture and light primarily, words, against the prompt of FASHION, try to make themselves visable in playful arrangements.

Fashion is more than just clothes; it’s a form of communication. Outfits reflect inner values and the own perception of oneself.
Phrases were created to summarise what thoughts could result in a person with this attitude, and can be read individually or by reconstructing them. The Photography displays this aspect visually, capturing the model in unconventional angles, initially appearing as a combination of objects but recognisable as a person upon closer examination.

Custom type and kit design for an amateur basketball team KK Joonis. The typeface is an interpretation of technical lettering instructions compiled by E. Targo (1974).

Isn’t it totally crazy that there are still fashion labels working with real fur these days? We live in 2024 and this is the harsh reality. It seems so far-fetched, but it’s so real.
There are many great organizations that fight against fur production every day and are often successful in doing so. That’s why we can’t raise awareness enough about how horrible fur production is to hopefully reach every fashion designer one day and abolish fur production.

Influenced by social and cultural tensions, the topic of prejudice regarding Arabic/Persian typography remains as important as ever. To counteract these biases, we aimed to expose Persian typography on garments, offering people the opportunity to experience the beauty and detail of Arabic typography in a playful context.

This project is the outcome of a workshop with Golnar Kat Rahmani at the State Academy of Fine Arts in Stuttgart.”

This collection of scarves is inspired by a meme which states: “if you see this [object] in your neighborhood your rent is about to increase”.
This series of scarves aims to humorously expose the fact that the work of designers in Western societies benefits from a strong value of authenticity. Design pieces are most often accessible to those who have sufficient financial and/or cultural capital to acquire them, thus creating an element of exclusivity.

Accidental typeface research, initiated within the framework of the international evening school for working and studying youth ‘BAUHAUS/VKHUTEMAS’ in 2021.
Subsequently, the study of the Constructivist era through the font developed into an author’s project in which the font acts as a basis for further design.

In this project, the font is at the heart of a jewellery ring. The word ‘RING’ girdles the finger closes in on itself. The ring is made of sterling silver with subsequent blackening.

My works is a symbol of the devaluation of language and words in the modern world. Inspired by Picasso’s painting “Guernica” and posters by Petar Bankov, my graphics convey the experience of war, where the language of visual expression becomes more powerful than words. These works do not contain phrases or inscriptions.
The graphics are printed on plastic clothes, creating the effect of a transparent layer. This symbolizes the imprint of chaos and suffering on our daily lives.

Accidental typeface research, initiated within the framework of the international evening school for working and studying youth ‘BAUHAUS/VKHUTEMAS’ in 2021.
Subsequently, the study of the Constructivist era through the font developed into an author’s project in which the font acts as a basis for further design.

In this project, the font is the basis for the pattern of the scarf. On one side is the word Bauhaus, on the other side is VHUTEMAS.

The soles of our feet are an intimate spot – grounding us while holding us. They are rarely public, covered by socks and tights and shoes. Here, fragile words are stored, born out of doubt, insecurity, vulnerability, frustration and anger, hidden away from peeking eyes, allowing to only be seen by those closest to us. Printed on white tennis socks with anti-slip ink, the words carry the one who wears them without slipping away.

This work is part of a series that draws a parallel between the screen and knitting. Through a set of typographic experiments, the project questions the effect produced by using one or the other. Each piece is the occasion for the evocation or transposition of images from one media to the other. This piece plays with the double-sided nature of knitting. An ambigram was designed so that both the word ‘recto’ (front) and the word ‘verso’ (back) can be read depending on the side of the fabric.

This work is part of a series that draws a parallel between the screen and knitting. Through a set of typographic experiments, the project questions the effect produced by using one or the other. Each piece is the occasion for the evocation or transposition of images from one media to the other. This piece takes its inspiration in the LCD screen and its subpixels. Vertical stripes of bright colors create optical vibrations giving an overall sense of motion to the piece.

This work is part of a series that draws a parallel between the screen and knitting. Through a set of typographic experiments, the project questions the effect produced by using one or the other. Each piece is the occasion for the evocation or transposition of images from one media to the other. This piece explores relief knitting. A technique used in sock making is employed to form 3d pixels, thus taking advantage of some of the possibilities offered by the knitted fabric.

This work is part of a series that draws a parallel between the screen and knitting. Through a set of typographic experiments, the project questions the effect produced by using one or the other. Each piece is the occasion for the evocation or transposition of images from one media to the other. Here the fabric mimics the aspect of LED displays such as commonly found in buses. The piece takes the shape of a very long ribbon echoing the scrolling of the text on this kind of displays.

This limited edition cap was designed for the students of Studio for Immediate Spaces at Sandberg Institute. Their graduation show, The Great Interior, went in search of “a new type of interior that includes rather than excludes; an interior which contains the whole landscape and our lives within.” The cap functions as a way to carry the great interior with them wherever they go.

The typography project delves into the fusion of fashion and typography, juxtaposing the voluminous nature of fashion with the rigid, unyielding structures of typography. Through the exploration of a classic sans serif font, the project aims to transcend norms, breathing life and depth into a sans-serif structure. This endeavor is not merely about aesthetics but a profound investigation, seeking to merge two seemingly disparate realms into a harmonious synergy of form and expression.

MORF FORM is a physical animation piece. It shows the word “morf” transforms to “form” at three different phases. It was knitted on a hacked Brother knitting machine and the knitting pattern was generated from a knitting. The work was on display at ARTECHOUSE Miami during Art Basel Miami 2023.

The series of photographs is presented shrouded in darkness, with only one or almost only one source of light, the verses of poems projected directly on the bodies of the posing models. This combination combines the worlds of typography and fashion, creating a unique visual experience.

The fashion industry is a master of weaving narratives that sell not just garments, but ideals—promising us a slice of originality, authenticity, and even concepts like peace, love, and sustainability. Slogans on clothing collections serve as powerful marketing tools, luring consumers with the allure of social responsibility and moral virtue. Yet, beneath the surface, questions linger about the tangible impact of these messages and the authenticity of mass-produced fashion.

JUAN VG is not just a brand, it’s a statement. It’s for those who dare to stand out, who embrace their individuality with pride. These pieces are a expressions of freedom, creativity, and rebellion. From edgy hand-painted designs to bold airbrush creations, each garment tells a story of defiance and authenticity. Born in Valladolid, the designs draw inspiration from the raw energy of the grunge scene in contrast with the Spanish “pijo” style. creating a style that is both distinctive and daring.