Ripe Pu-erh Paste
11 prints to choose from — each on a tee or hoodie, made to order.
Browse stylesFavorites
Minimal & avant-garde
1 stylesDeconstruction, blank labels, four white stitches, and numbered tags. Industrial typography, concrete greys, and hi-vis, nothing extra. Tea as an object, served with cold conceptual precision.
House & hype
2 stylesHuge lockups, quote marks, diagonal stripes, and runway irony over corporate. Prints that shout from the chest and know their worth. Tea as a luxury object of desire.
Archive & resale
1 stylesLookbook grids, museum tags, price-tag overlays, and curatorial watermarks. The aesthetic of archival hunting and resale culture, where an item is a find. Tea served like a rare grail from a catalog.
Corporate modernism
2 stylesThe mark as an idea, a brandbook on a grid, and a unified system from logo to letterhead. The golden age of identity — a concise symbol, precise color, engineering discipline. Tea as an object of corporate culture.
Editorial & postmodern
1 stylesTorn grids, typography-as-image, and magazine provocation. Blown kerning, slanted layers, and wordplay against Swiss purity. Intellectual noise with tea in the frame.
Poster & illustration
1 stylesCut-out silhouette, Art Deco airbrush, and one-line drawing. Kinetic title, psychedelic humanism, and graphics that tell a story frame by frame. Tea as the hero of a poster.
Digital 3D & motion
1 stylesLiquid chrome, generative data painting, and glossy renders. The post-internet era, where matter flows and the pixel hallucinates. Tea as a scene in the infinite digital sublime.
Cyrillic & constructivism
1 stylesConstructivist typesetting, living Cyrillic, and faded propaganda. Soviet school and post-Soviet typography — diagonal, agit-plakat, and film grain. Tea as a warm memory.
Eastern modernism
1 stylesA geisha on a Helvetica grid, the aesthetic of emptiness, and deconstructed Hangul. Japan, Korea, and China, where calligraphy meets the modernist grid. Tea at home — slowly and precisely.