When it comes to the world of fashion, there is one artist making his permanent mark on the world and its bodies—literally.

Snuffy is multifaceted, a tattoo artist whose creative enterprises don’t end at the point of contact between a tattoo gun and flesh. The self-made artist has been on the constant rise, accomplishing an impressive list of feats in the two years since he’s been tattooing—alongside an A-list clientele roster with names including Machine Gun Kelly, Pete Davidson, Swae Lee and Kaia Gerber, the man of many trades is also a music producer and designer.

Since designing merch for Machine Gun Kelly and Pete Davidson’s tour and exclusive Coachella apparel with Calvin Klein, Snuffy has turned to building an enterprise of the common denominator of all these successful creative endeavors: himself. His tattoo studio, Morwin Shmookler’s Office, opened in Williamsburg, New York this fall, and now, he’s releasing a capsule collection.

Below, VMAN talks with Snuffy about his tattoo studio, capsule collection, charity, and artistry. Read on for the full interview, and shop the Morwin Shmookler Capsule Collection here.

VMAN: What inspired you to create T-shirts for charity? What does the charity mean to you?

SNUFFY: If I am to pollute the earth with more clothes, then I’d better start off by giving back. I was adamant on the proceeds making a direct visible impact. Little Flower NY, being a local non-profit, suited itself best. Little Flower NY aims to improve the well-being of children in foster care and their families as well as people with developmental disabilities. It (whatever “it” may be) starts with the kids. Many of them are orphaned or not privileged at no fault of their own. Who better to do it for than the kids. So far it has gone quite well, December 2nd is the last day for the charity and the launch date of the capsule.

VM: You’ve designed so many things in addition to your own T-shirts, including Pete Davidson and MGK’s tour merch and album covers and exclusive Coachella and Calvin Klein shirts. Tell me about your design process for the capsule collection?

S: My design process is always story-based. For the capsule, I compartmentalized upcoming events into stories. In other words, each outfit was designed for a specific occasion. For example, in a recent interview I just did, I didn’t want to look like a slouch and I didn’t want to come off too serious. The idea was for the viewer to feel warm when they saw me so I designed the cream waffle vest with trash can buttons, thermal crewneck, and jeans. 

 

VM: What made you want to do a capsule collection?

S: I made the capsule for the same reason I make all my art – fulfillment. In the past, I have run creative for other people and brands. I had a blast but always felt there were limitations. This project is a glimpse at what I’m capable of, in six weeks, when the ball is in my hands. Let me be clear, I didn’t do this shit alone. 

VM: Can you describe the creative concept and execution behind it?

S: The design process and creative concept toggled from inception to completion. Not much different from that answer above. Everything was born out of personal necessity or desire. Beyond that, the layout and art direction stem from my tattoo designing. I find much of my content in vintage magazines. The lookbook concept was a magazine article, then we realized magazines need advertisements… and a cover photo.

I owe the execution to my amazing team. To them, I set unrealistic goals, I move too fast. Luckily, the team moves just as fast and even more efficiently. I tapped Arturo Castañeda for his skill, ethics, and local manufacturing. I sourced from Woolrich USA, re-engineered their parka, and upcycled their wools and fabrics to make the flannel. I wanted the set to be a 60’s accountant hideaway above some shitty deli in SoHo… turns out I made Morwin’s Office exactly that. I hit up David Maietta to photograph the lifestyle with some amazing models and friends and here we are. The dust of the production has settled and as I reflect, I realize that I’m surrounded by shooters. Shooters and divers. We take shots and we dive in the deep end.

VM: What’s your favorite piece in the collection and why?

S: This question is unfair. Which of your kids is your favorite? Every day is different. 

VM: For only two years of tattooing, you’ve already racked up quite the high-profile clientele list, and before that you were in real estate. How did your tattooing career start/how did you transition from real estate to tattoo machines?

S: The founder of a high-end clothing company started a new business. They rented mine and my brother’s space. Right before they moved in, they went bankrupt. This left me with 2 things: Depression and an empty 9,000 square foot warehouse in North Williamsburg. I felt capitalism was consuming the soul of New York and so I opened the doors to anyone that wanted to be creative. Next thing I knew I had all sorts of folks showing up from Trouble Andrew, the A$AP crew, Snt Jhn and the list goes on. The headquarters, as it came to be known, was a cultural hub. I made music while art and shenanigans ensued. But behind the scenes, the depression set in, the well ran dry and winter months approached. Feeling hopeless, I learned to draw and two weeks later I had a tattoo machine, a license, and a slew of people that just wanted their homie to draw on them… forever. We sold the building two years ago – it’s still empty.

VM: How would you describe your unique tattooing style?

S: In short, Black and Grey surrealism. 

VM: Tell me about the tattoo shop you just opened in Williamsburg?

S: My studio is called Morwin Shmooklers Office. It’s my 60’s treehouse oasis in an otherwise bustling city. We make art, have intimate conversations, laugh a lot and just so happen to tattoo here. I’ve been a client who paid a shitload of money for tattoos. And now I’m a tattooer and I’m not cheap. I’ve felt the pain on both ends. Mainly spending hours in spaces that were not built for real connection. Tattoos are therapy and this space allows for just that. My clients tell me some wild shit and that has much to do with the environment I set for them. Morwin’s is an escape for artists and clients alike – even if it’s just for a day. 

VM: Where do you see your tattoo business going from here?

S: This is an easy one. I’ll probably tattoo forever…maybe not. Regarding where Morwin’s is going? I’ll give you an analogy: Morwin’s is like a house full of kids – tattooing is just one of those kids, my guidepost. The other kid is my fine art practice which goes on exhibit in a few months. The rest might be creative direction, set design, sound design, acting… whatever. I’m just looking for the baby mamas.