A personal brand, apparel line, and proving ground — built by hand since 2021.
1800Laboratory is my proving ground — a space to build without a client in the room. Some projects turn into concepts I take to clients. Others teach me a new material, a new process, a way into a problem I wouldn't have found otherwise. The best ones I keep for myself — full campaigns, developed and monetized on my own terms. Different projects, different purposes, one standard: design captivating enough to excite.
Every graphic that has been printed or embroidered was designed by me in Illustrator or Photoshop. Each project starts with an inspiration, then a design file — a mark, a pattern, a print — before it's screen printed, embroidered, or laser engraved onto raw or reworked garments by hand. The brand lives across apparel, photography, film, and object design, unified by one recurring symbol: the atom, standing in for the idea that everything, including identity, can be broken down and rebuilt.
Commissioned by Adobe to document a real creative workflow in Firefly Boards. From one raw iPhone photo of the LAB Prep Madras Shorts I built a full studio campaign — lighting, styling, model shots — plus a brand-new apparel piece designed from scratch. The final Instagram carousel walked followers from first prompt to final Photoshop polish.
Creative direction is a skill I've built one shoot at a time. Every time I document 1800Laboratory I learn more about how a shoot comes together — pacing, staging, how to get a model or a set to hold a vision instead of just capture it. Working alongside photographers and videographers has sharpened how I articulate that vision.
Smoke Break started as a cinematography class project but is part of a bigger push to work across mediums and understand what creative direction demands when you're directing someone else's execution. It taught me to get an idea out of my head and onto paper clearly enough that videographers and talent could pull off the vision close to how I saw it.
A handful of videos and motion graphics made to support the brand. Even here I lean into something tactile and vintage — shooting through CRT TVs, recording on old VHS camcorders, or working that texture back in during post when I can't get it in-camera. Click a clip for sound.
This is where ideas become something you can wear. I work in two lanes: simple screen-printed basics anyone can throw on, and bespoke pieces layered with embroidery, hand-brushed stencils, appliqué, and laser engraving that take hours by hand. Both often start from the same raw or reworked vintage garments.
