"The Latest Fashions, Expressly Designed and Prepared for Le Moniteur de la Mode"

THE CORE IDEA: "TIME" AS THE VARIABLE

My reimagining doesn't change the idea of the piece, it changes the century. Same two women. Same gestures, same silhouette-language of the bustle dresses translated into 2125 couture.

This project takes Jules David's 1887 fashion plate, a candid, staged moment for Le Moniteur de la Mode, and asks what that same magazine would be staging in the year 2137. The two women keep their exact poses, their exact positions, the fan and parasol raised at the same angles, even the same masthead and caption text but everything they wear and everything around them has been carried forward two and a half centuries: a fitted liquid-lamé gown standing in for Victorian tailoring, a ruby-beaded illusion gown in place of polka-dot silk, a modern folding fan and a transparent bubble umbrella replacing their antique counterparts.

Pulling the frame back reveals the world this future fashion actually lives in a Champ de Mars where the Eiffel Tower can be seen, "the soul of Paris", its ironwork intact but laced with soft bioluminescent light, overlooking a Paris that has evolved rather than been replaced.

And finally, the piece imagines the artwork's own origin: a behind-the-scenes glimpse of a future Jules David, seated at his easel on that same terrace, the canvas still half-finished, painting these two women as they hold their pose for him showing not just the reimagined fashion plate, but the living moment it might have been made from.

Link to original "The Met Art": https://www.metmuseum.org/art/collection/search/919442

I love it Tom!! 🚀

I recently created Klaar, a self-initiated brand concept for ready-to-drink classic cocktails with a Scandinavian twist.

There is plenty I could share about the project, but I wanted to focus on the thinking behind the design.

Growing up in Scandinavia, I have always been drawn to the design language here. It is clean, restrained, and quietly luxurious. Nothing feels overstated.

For Klaar, I wanted to preserve that sense of Scandinavian restraint while introducing something more playful. Cocktail making is rooted in experimentation, creativity, and fun, so the identity needed to express both sides.

The name Klaar is a play on klar, the Swedish word for ready or clear. It refers to the ready-to-drink format, as well as the visual clarity of the cocktails themselves. I wanted each drink to appear transparent rather than cloudy, giving the product a more elegant, refined character.

The two As in the logo form a pair of Scandinavian mountain peaks. The mark is slightly whimsical, which brings personality to an otherwise minimal design. It also gives the brand a distinctive shape that is easy to recognise and remember.

That was the thinking behind Klaar. Does it come through in the final design?

the bottle looks great on that hill. nice label