The leper jacket
This jacket draws inspiration from the story of Jesus touching the leper in Luke 5:12–16, a moment where healing occurs not through distance or spectacle, but through human contact. Though Jesus could have healed the man with a word, he instead chose to touch him publicly, confronting the social stigma surrounding leprosy and overturning the belief that the unclean could contaminate the holy. In this moment, holiness moves in the opposite direction: the purity of compassion restores dignity to the marginalized. The garment translates that narrative into a contemporary context, reflecting how people experiencing homelessness are often treated as modern “untouchables,” ignored, avoided, or perceived as unclean due to visible hardship and lack of access to hygiene or safety. Constructed from a distressed leather jacket layered with flannel patchwork and thick doubling of fabric, the piece echoes the functional layering common in survival dressing while avoiding caricature or exploitation. Scrap fabric as grime and surface distress allude to both physical hardship and the historical imagery of leprosy without directly reproducing it. Integrated thermochromic fabric activated heat allows the hood and shoulders to change color when touched, visibly recording warmth transferred from one body to another. In doing so, the garment makes connection visible, transforming touch into a moment of acknowledgment. What was once hidden, ignored, or stigmatized is brought to the surface, reminding viewers that the act of recognizing another person’s humanity can itself rewrite social narratives.
Breadhead snapback and af1
The Breadhead Snapback and Air Force 1 are rooted in Jesus' declaration, “I am the bread of life” (John 6:35). “I AM the Bread of Life” translates divine provision into wearable sculpture. Constructed from natural cane webbing, the basket hat and AF1 references both harvest labor and the feeding of the multitude. Its empty interior symbolizes the spiritual nourishment Jesus brings as metaphysical and sustaining. The absence inside the vessel invites faith over consumption. In isolation, the hat serves as a basket from which we can pull an eternal harvest, never going hungry physically or spiritually. Though when flipped and placed on your head, you are arming yourself with the body of Christ, engaging with the world as a representation of him. The same thinking applies to the Air Force 1 and having your “ feet shod with the preparation of the gospel of peace”.
lazarus jacket and timb coat
The Lazarus Jacket and the Lazarus Timberland Boot Coat are rooted in Jesus’s declaration, “I am the resurrection and the life” (John 11:25). This statement is not a metaphor but a claim of divine authority over death itself. In the story of Lazarus, Jesus does not merely restore breath to a body. He reveals his power to make all things new, beyond human limitation, beyond decay, beyond time. Denim and patchwork are central to both garments because they embody repair, renewal, and revival. In workwear, torn fabric was never discarded. It was mended, layered, reinforced, and returned stronger than before. The repair was visible. It was imperfect. But it was new. This process mirrors the way Christ restores humanity. Not by erasing wounds, but by transforming them into testimony. What was once broken becomes proof of renewal.
process
FINAL PRODUCT
FOR THE LOVE OF GOD FLIGHT BELTS
This handcrafted belt was inspired by my series FOR THE LOVE OF GOD and other spiritual artwork I created about breaking free from bondage and generational curses. Etched on the leather are angels inspired by break dancers and Krumpers, the very expressive form of dance, which often acted as an escape from the hardships of inner city life. Theoretically, these figures are alleviated of their worldly pain and are freed from the bondage of death as they shift form into an eternal celestial being, all by THE LOVE OF GOD.
process
Final product
the acts of concealment
“The Act of Concealment” was inspired by the life and legacy of George Herriman—creator of the famed comic strip Krazy Kat, who “passed as white” for most of his life. I made a mock editorial where I illustrated a collection of hats to investigate the performed nature of identity. Each hat is a confrontation with visibility, whiteness, and racialization. I constructed an oversized fitted cap directly inspired by my illustrations/designs.
process
Final product
for the love of God
taking up space
inkings + drawings
let us settle on a price
behind the scenes
social commentary

