ABOUT ME
Hi, I’m Karlo. I’m a designer who brings ideas to life through textile CAD, graphic design, and 3D visualization. With over 20 years of NYC fashion industry experience, I approach every project with a sensitivity to concept and each project’s unique needs — whether I’m developing an original toile print for a client’s seasonal collection or helping visualize material finishes for an interior space. My role is to shape visual direction and help bring that vision into focus.
My work combines original hand drawing and painting, CAD development, and AI tools like Midjourney to develop concept-driven print collections — all with a focus on translating ideas into thoughtful visual experiences. Fluent in fashion industry software like NedGraphics, I’ve designed prints across womenswear and menswear for brands including SOMA, Victoria’s Secret, LOFT, Old Navy, Urban Outfitters, and DKNY Jeans. My studio work has also contributed to collections for Eyedazzler Textile Studio, Go Design Studio, KENZO, A.D.A.M., and Printfresh.
I studied fine art at the Maryland Institute College of Art and completed advanced textile design training at FIT in NYC and Central Saint Martins in London. I later expanded into interior design through Parsons’ Interior Design Certificate Program, supporting firms like Averylily Design Studio with both print and 3D visualization work.
Now based in Hawai‘i, my home state, I continue to evolve my studio practice through concept collections that explore color, mood, and narrative — building thoughtful visual stories through collaborations in fashion, interiors, and beyond.
some notes on ai in my textile design process:
In fashion, the CAD process is often seen as an afterthought or technical phase to support concept development, but I believe there’s an art to textile CAD design that can transform a concept from just an idea to a best selling print. Having worked on so many different kinds of prints throughout my time as a textile print designer, I’ve developed an understanding of how to create in a breadth of styles. Since I’m a one-person studio, I like to use all the tools I have available to design something that feels like time and intention went into every inch.
As RuPaul says, “The whole point is to have fun, and to use all the crayons in the crayon box.”
For me, that’s what AI offers: the ability to have fun and visualize ideas, and then use my own hands, edits, and production and analog skills to shape it into something cohesive, and intentional. To turn the raw generated material into something completely new, which has always been the CAD artists job. I’m there from beginning to end, making sure the final project looks—and exists—the way it was intended to.
After years of working in print and pattern, I’ve learned that the strength of a design isn’t only about how it begins — it’s also about how it’s shaped. Whether a motif starts by hand, by scan, or by AI, what matters most is how it all comes together: the intention, the eye, the edits, and the ability to make something full, beautiful, and complete.