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Fashion as furniture. Furniture as manifesto.
A sofa concept born from one Schiaparelli collection
the one that treated circuit boards, tangled wires,
iPods, CD drives and microchips as couture material.
The upholstery IS the collection. Every component
pulled directly from the runway: green PCB boards,
exposed wiring cascading to the floor, obsolete
technology as surface texture.
Placed inside a curved mirror room the object
multiplies infinitely, becoming both singular
and endless. Shot with the model in the matching
Schiaparelli look so the furniture and the body
become one visual system.
A collaboration that never happened.
But should have.
Concept Design · 3D Visualization · Fashion × Interior
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A few highlights from part of my fav projects I’ve worked on over the past few years. Some of them are brand identity, some websites+brand identity products.
Different industries and different stages, but the goal was always the same: build crispy, flexible visual systems that scale cleanly from screens to physical materials.
Watching the best design of the day.
Been working on my portfolio for the past 10 days.
From designing everything in Figma to bringing it all to life in Framer it’s taken a lot of time, but seeing it come together has been worth it.
Still a work in progress, but I’m getting very close to wrapping it up.
Here’s a look at some of the pages so far. 👀
Great work but I have a question that designing everything in figma and then going to framer works better or just do all together in the framer from the start. I learning framer do let me know if thats hard or easy?
I built the Smooch brand from the ground up, strategy, identity, wordmark, colour world. The can was the last piece, the moment it finally became something real.
The brief: a packaging system that scales. One hero flavour today, a full range tomorrow, no rebuild required.
First problem, the logo. Smooch's bold wordmark has a curve underneath it that dies at full width on a can, and angling it across felt gimmicky, not confident. So I turned it vertical instead, running the full height, full scale.
Colour had to carry the brand and split the flavours at once. Deep burgundy anchors it, red punches through the wordmark, and each flavour gets its own accent, blush, gold, peach.
No fruit photography. Instead, a graphic starburst holding a simple illustrated fruit, ownable and ready for whatever flavour comes next.
The back label carried ingredients, actives, and every mandatory without losing the premium tone.
Going vertical also quietly solved the shelf problem: cans sit in a fridge door at a slight angle and a horizontal wordmark rotates out of legibility, whereas a full-height one still reads from either side. Curious whether the starburst has a fixed point count across flavours or...