ABOUT ME
Karlo Bueno Bello is a textile print designer with a passion for learning. With over two decades of experience in textile + cad design for fashion, his work spans original hand drawing and painting, CAD development, concept-driven print collections, and 3D visualization, with a focus on storytelling through prints.
Fluent in industry software such as NedGraphics, Karlo has designed prints for brands across womenswear, menswear, and loungewear, including for SOMA, Victoria’s Secret, LOFT, Old Navy, Urban Outfitters, and DKNY Jeans. His studio work has also contributed to collections by KENZO, A.D.A.M., and Printfresh, among others.
With a background in fine art (Maryland Institute College of Art) and advanced studies in textile design (FIT NYC, Central Saint Martins), his practice combines a strong visual point of view with strong technical knowledge. He has also expanded into interior and spatial design through Parsons’ Interior Design Certificate Program, lending print and 3D rendering services to firms such as Averylily Design Studio.
Currently based in Hawai‘i, Karlo is focused on the development of concept collections that explore color, feeling and storytelling. He continues to evolve his studio practice through collaborations in fashion, interiors, and beyond.
some notes on ai in my process:
I believe there’s an art to textile CAD design, and 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.” And like Whitney once said about Aretha, “I really appreciate when an artist can do what they want to do with their instrument.”
For me, that’s what AI offers: the ability to have fun and visualize ideas, and then use my own hands, edits, and production skills to shape it into something cohesive, and intentional. I’m there from beginning to end, making sure it looks—and exists—the way it wants 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 viable, beautiful, and complete