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THE RETURN, 2125
A New Carriage Era
The Return, 2125 reimagines Brewster & Co.’s Road Coach #4126 (1891) as both a future ceremonial vehicle and the centerpiece of a renewed urban culture. Rather than treating the coach as a relic, I imagined it returning to the steps of The Metropolitan Museum of Art in 2125 as a symbol of craftsmanship, elegance, and slower public ritual. The piece transforms the original design while also building the world around it, where historic form and future city life meet again.
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Vintage Future Fashion — Archive Style Challenge
My project explores the connection between 19th-century French fashion illustration and contemporary fashion accessories.
Inspired by a historical watercolor illustration from The Metropolitan Museum of Art, I created a cohesive visual style using delicate watercolor textures, ornamental details, and a muted palette of antique cream, rose pink, and sage green.
Using Recraft Studio, I applied this style across six fashion-inspired objects, blending archival elegance with a modern editorial aesthetic.
Archive Reference: https://www.metmuseum.org/art/collection/search/386313
Recraft Project: [https://www.recraft.ai/project/2ef3e3a6-00bc-483a-8bb3-ea0a657c3fcb ]
Social Post: [Paste your published LinkedIn post link]
Costumes Parisiens 2026: George Barbier's Paris fashion plates of 1913, dressed for the way we live now.
In 1913 George Barbier drew the latest Paris fashion for the Journal des Dames et des Modes: flat stencil colour, one elegant figure per plate, and a caption announcing the look, like "Robe d'intérieur" or "Manteau de théâtre". I found his Costumes Parisiens plates at the Rijksmuseum, where they are in the public domain, cropped ten of them down to the bare stencil and built a Recraft V4 Style from them. Costumes Parisiens 2026 keeps his poses and his captions and dresses them for how we actually live now: a silk blouse over pyjama trousers for the video call, a red delivery backpack worn over a fur-trimmed coat, a theatre coat embroidered with 99 unread badges, a necklace of charging cables, earbuds worn as pearl drops, a ring light carried like a parasol. Same magazine, a hundred and thirteen years later; only the accessories have changed.
Encyclopédie 2026: Diderot's plates of the trades, drawn again for the jobs we do now.
Between 1762 and 1772 Diderot and d'Alembert published eleven volumes of engraved plates showing every trade of their day: the workshop scene above, the tools laid out below, each one numbered Fig. 1, Fig. 2. I took eight of those plates from The Met's Open Access collection, where they are in the public domain, cropped them to the bare engraving and built a Recraft V4 Style from them. Encyclopédie 2026 uses the same layout to document the trades we actually do now: the bike courier with his insulated backpack, the phone repairman, the kitchen-table remote worker, the content creator and her ring light, the barista, the data centre technician, the gamer and the e-scooter charger. Three plates come to life with Recraft's video tools, and the frontispiece puts a smartphone where the Enlightenment put the sun. Same encyclopedia, two hundred and sixty years later; the tools changed, the workshop did not.
