Aiyo Archive

Nike Sportswear launched its Mexico City campaign by inviting eight international artists, including 123Klan, Bigfoot, Carlos Ramos, Jason Maloney, Jesse Reno, Joe Ledbetter, Tixinda, and Yurievi, to create artwork for the opening of the first Nike Sportswear store on August 15, 2008. Each artist produced a piece in just one day, drawing from Mexican cultural themes such as chicano style, luchador imagery, and tattoo‑influenced skull motifs. The resulting posters were installed throughout the city and carried the campaign line “This is Sportswear,” with additional exclusive pieces created for the store’s inauguration.

MTV Asia was founded in 1999 in Singapore and began shaping its identity through collaborations with regional creatives. One of the most significant and long lasting partnerships was with Singapore’s PHUNK studio, a collective formed by Alvin Tan, Melvin Chee, Jackson Tan and William Chan. Known for their mix of Neo Pop Art, illustration and experimental design, PHUNK produced indents, bumpers, award show openings and teasers that gave MTV Asia its own look across the region. Many of these videos were directed by William Chan, one of the four co founders, whose vision translated the studio’s bold graphic language into motion and performance art. This collaboration defined MTV Asia’s on air, online and print personality throughout the 2000s and established PHUNK as one of the most influential design collectives in Asia. You can see more work on Vimeo account TMRRW and more recent work at phunkstudio.com

Jens Magnus Karlsson invited digital artists to submit their own desktop wallpapers to his site while also sharing the pieces he created himself. The project lived on under the name Desktop Imperium, which began as his personal gallery before growing into a small community space where artists could submit their work.

Vanity 9 was an early 2000s project that blended French house with raw freestyle performance. The videos were built around dancers improvising in front of the camera while Seb Janiak shot everything in single takes, then added simple post effects that gave each clip its own texture. You can still find pieces of it on YouTube, including the Vanity Girls dancing to tracks by DJ artists like Thomas Bangalter, Alan Braxe, DJ Mehdi and Le Knight Club. The captures here are from their website back in 2001, which promoted the DVD, announced events, posted casting calls and acted as the main hub for everything they were doing. https://www.youtube.com/watch?v=HfRO5ED4x-I&list=RDHfRO5ED4x-I&start_radio=1

Here are some of the T shirt designs created by the artists who worked with Derush. The left and right images are likely interchangeable as the front and back of each shirt. Screen captures taken from 2002.

Through the early 2000s he expanded that work into a wide range of album campaigns, shaping visuals for artists like David Bowie, Grace Jones, Nick Cave, and Robbie Williams. In parallel he developed projects for Dior and contributed to Aesir – Tænker Edition 001, applying the same precise, image‑led sensibility to fashion and editorial design.

Club ’01 Flash Website (2001) Club ’01 was a Flash 5 microsite created by 2Advanced Studios for One Entertainment, a Los Angeles promoter launching a new Sunset Strip nightclub in 2001. The site used the early‑2000s tech aesthetic with metallic panels, animated navigation, and interactive sections for rooms, and DJs. 

Infiniti Collection: Juan Atkins, Design by Mainartery

Attik was founded in 1986 by James Sommerville and Simon Needham, two young designers who started the studio in the attic of Sommerville’s grandmother’s house in Huddersfield, England. They grew it from a small setup into a globally recognized creative force, reaching a peak of more than two hundred employees across multiple offices and producing work for major clients including Coca‑Cola, Sony PlayStation, Adidas, Toyota, and MTV. They became known for an experimental visual language that mixed texture, type, and early digital tools, and the Noise series documented that process and the ideas behind it. Here are scans from the first few pages of Noise Four, published in 2001.

Saturn V Moon Rocket, Scale 1:18

Prate is a browser native project by Jemma Hostetler, launched in 1999 as her personal testbed for digital aesthetics. It lived at prate.com as a calendar, a command line, a vector file dump, and an open directory, part interface experiment and part visual diary. Stripped down and modular, it felt closer to a terminal than a homepage, carrying early web energy into something raw, iterative, and quietly expressive. Prate continues to work as a signal that treats design as an ongoing process rather than a finished product, and you can still explore the archived versions online. Here are some captures from the 2001 version of the site.

His work during this period earned wide recognition in design and advertising circles. Juxt projects appeared in Communication Arts, I.D. Magazine, HOW, PDN PIX, and other major publications. The studio received honors that included Clio Awards, the HOW International Design Competition, IPPA StudioONE, DesignONE, and Communication Arts Web Site of the Week.

Back in 2009, Microsoft’s Office team released the Productivity Vision video also known as the “Office 2019” video because it tried to imagine what everyday technology might look like ten years later. The video moves through a series of scenes that each highlight a different idea about the future.

In 2001 he founded Studio Build, a studio built on the idea of doing great work with great people. That philosophy shows up in the consistency of the studio’s output and the way his work has continued to evolve without losing its core identity. 

As tobyHK, he focused on character‑driven projects rooted in Hong Kong culture and everyday observation. He produced series such as the ice‑cream figures, the angelhoods, the Dumb Dummies, and SPUNKY, and he participated in workshops and local creative events that supported younger designers. His work from this time centered on accessible forms, direct concepts, and character systems that translated across prints, apparel, and vinyl figures. This period established the visual language and project structure that shaped his presence in the Hong Kong creative community. https://cargocollective.com/tobyhk

JIM BOTRON portfolio site (2001)

JAVAD POSITIONING SYSTEM: Global positioning system, 1997,PC/ABS, elastometric paint, aluminum die castings