Don’t produce new jerseys. Print empty!
Urgent creation of football jerseys without consequences.
Choose the remaining sports equipment in a second-hand store. Multiple cuts and colors.
Zico, Zidane, Bergkamp… be a number 10! Cut out and stick the numbers 10 on the back of the jerseys. Print an entire silkscreen frame in vibrant green. No need to attach content, just stamp empty. Remove the stencil. The number 10 fades away, revealing the original fabric. The rectangle creates unity.

Typography as the writing of absence, or the attempted erasure of a form by its double.
Want to annul the information on your T-shirts? Apply a layer of silkscreen in a color as close as possible to that of the fabric. Urgent, tools need to be reactive. Use stencils!
The support becomes the place where two fragments of identity coexist and challenge each other.
Watch out for the resurgence of the pre-existing sign. Its disappearance is always visible, perhaps even more visible than it once was.

Just as Tetsuya Ishida portrayed Japan’s lost decade, contemporary Chinese youth have opted for passive resistance, adopting a laid-back approach in the face of existential anxiety. They are reluctant to immerse themselves in work, eschew romantic pursuits, encounter challenges in acquiring homes, and harbor little hope for starting families. Modern anxiety permeates every aspect of life, intensifying as the challenges of existence become increasingly daunting.

The knitted piece was created on the knitting machine and was the visual identity of the University of the Arts Bremen 2023. The typography on the knitted poster is interwoven like the wool it is made of and also just like the disciplines taught at the HfK. In addition to the poster, a trailer was created in which the model wears the knitted piece. In this way, the graphics become wearable and combine classic graphic design with fashion.

To celebrate the opening of Carhartt WIP Kuala Lumpur TRX in January 2024, a set of limited editions was designed, including a T-shirt and a sweatshirt. Both items feature a reworked Carhartt WIP ‘C’ logo and graphic artwork using typography and abstract elements.

Wage against the machine is a hybrid project between typographic & artistic research practice enhanced by Ismahane Poussin.
When she began her project, her desire was to hijack the tools of fashion, and more specifically knitting, to turn them into a space for typographic and protest questioning, exploring the border between patterns and letters with messages against fast fashion. She works with hacked machine (brother kh910 + arduino connected to an open source software, Ayab).

Rites is where garments and threads hold hidden narratives, blending sustainability with artistic expression. Deadstock fabrics become limited-edition collections, weaving sustainability into style. Our canvas transcends fabric, becoming a tapestry for the mind. Hand-illustrated graphics and cryptic messages blend with traditional typesetting, crafting a visual language inspired by Renaissance codes, long Los Angeles nights, and the spirit of individuality.

“And That’s Fine Too” is a typography-driven project that embodies a nonchalant acceptance of any situation as fate and encourages living in the moment. The design features a serif typeface, hand-drawn onto a canvas tote.

Soft Type is a collection of typefaces designed for knitting color-work. Each typeface has a “Regular” and “Charted” version and some include multiple scales so you can fit type on your knits, no matter the project’s size.

These typefaces were designed with machine knitting in mind, but could be used for hand knitting, needlework, bedazzling, or many other textile crafts.

All fonts are available through Google Fonts.

People are entrusting the future to the virtual world, but the real world is very much ravaged by war and injustice, while women’s rights are in regression.

It’s time to shift our attention back to the world around us, pick up our spears in this never ending battle for equality and liberation.

The dress consists of excerpts From “Wið færstice”, and “For a Swarm of Bees”. Two charms that described valkyries.

Garment Design by Xixi Tong
Variable Typeface “Spears” by Knife Knife

Custom font Grotteccini for Gaia Segattini Knotwear, an artisanal knitwear brand founded and directed by Gaia Segattini. The brand is made in Italy, is sustainable, innovative, and produced in synergy with a manufacturing company of excellence from Le Marche region. Unisex clothes and accessories made from Italian fine-quality leftover yarns, with creative and contemporary design.
PEOPLE – Knitted scarf, 50% wool, 50% PL / 200cm x 25 cm

it’s a digital artwork focused on the interior labels of our clothing usually printed on a white nylon tag in a simple black font as is also the case for most fashion brand names. they’re the passport to our clothes giving information on where they are made and how to preserve them. designed to be understood by all of us, the universality of laundry symbols helps give them a timeless quality. clothes definitely have a long history before arriving in our hands and become part of our identity

From 2020-2022, Marie Lécrivain started a research project at the Atelier national de recherche typographique in Nancy, entitled “Banane Bleue: matrix-based writings & post-industrial stories”, which led her to develop a type family, embroidered typespecimens & typographic samplers as homages to textile designer and publisher Thérèse de Dillmont.

Do we fill clothes with our bodies or do clothes envelop our bodies?

KODAMA is a grotesque, experimental Far-East writing system based, latin typeface with more than thousands ligature combinations with sharp strokes and strong contrast. Designed for Pinetime’s AW22-23 collectionand is influenced
by the Japanese alphabet and writing systems. Retaining its characteristics and traits where a kanji sign means a word, it’s transformed into a Latin system and made a contemporary, all caps, sans-serif typeface.

Clothing always has a shape.It can emphasize the silhouette, it can also hide it, it can be official or casual, it can be comfortable or restrict movement.How the shape of clothing can change in motion, in the absence of a person, in a crumpled state, flying, taken off by a person?What is the relationship between body and clothing?What happens to a piece of clothing when it loses its body?What does a disembodied dress tell us?Do we fill clothes with our bodies or do clothes envelop our bodies?

The Balaclava transcends its role as a mere accessory. It becomes a powerful tool of communication. It provides a voice for individuals seeking anonymity, empowering them to creatively express their thoughts and emotions with customizable letter placement.

Transitions
We use clothes carelessly every day.
Just as we use language as a matter of course and carelessly.
What if language is not just a tool, but becomes a major work?

We question things and can free ourselves from commercial patterns and fast fashion.

It’s about a piece of clothing that is always wearable, always fits. Like the sweater in all seasons.
Why not take a playful approach to language and clothing.

An increasing number of people – mostly men – have felt threatened by critical voices questioning the conventional concept of the term. ‘Make masculinity great again’ is often used as their slogan – an unmistakable homage to the former US president Donald Trump, a man who arguably embodies the conventions more than anyone else. This work is a comment on this phenomenon. The message is not just to question the concept of masculinity but rather to argue that we should get rid of it completely.

Paul Troppmair created a unique lettering design for the Viennese Music-Duo Laikka’s album »Bleach.« The experiment involved transferring these letters onto fabric using a solution of bleach and water. By employing different sprays, the outcome showcased vibrant results with intricate details. The process allowed for every piece of merchandise to be unique.