Wasted Paris

I worked as an illustrator and textile graphic designer on multiple Wasted Paris collections, developing designs that lived across t-shirts, hoodies, jackets and other garments. The challenge wasn't just creating compelling visual work, but understanding how each design would translate through different production methods: screen printing, embroidery, direct-to-garment printing. Every design had to account for technical reality. Color separation for screen printing meant limiting palettes and thinking about layering. Embroidery required understanding stitch density, thread limits, and how organic forms hold up when stitched at scale. Small chest prints needed different composition than full back prints. Material behavior mattered: how ink sat on cotton versus nylon, how embroidery thread caught light. The aesthetic stayed consistent across pieces, though not formulaic. Dark, organic forms dominated, with typography that felt intentional and typified. Each piece was designed to work as worn, not as an illustration moved onto fabric. The work required moving between two modes constantly: pure illustration, then textile problem-solving.