From blending 90s nostalgia with modern street style to his passion for sneakers, Mert’s unique graphic designs capture the bold energy of pop culture. We sat down with him to talk inspiration, his creative process, and how collaboration fuels his work.

Hey! I’m Mert Osman Celenk, but you might know me better as Mason Reath. I’m a freelance designer who’s all about creating visuals that blend pop culture, street style, and a hit of 90s nostalgia. Being influencd by the 90s gave me a love for bold designs and colors, but it’s not just about nostalgia — I like to reinterpret those aesthetics with a modern twist, making something fresh while nodding to the past.

My work is a way to connect with like-minded people who love that aesthetic and experimenting. I’m always playing with ideas, mixing the familiar with the unexpected, and just having fun with the creative process. It’s all about storytelling and building a community through a shared visual language

I’ve always been captivated by visuals, ever since I was a kid. The 90s left a deep mark on me. I remember being obsessed with the bold ads in magazines, the flashy TV graphics, and the logos of sports brands that were everywhere. There’s something raw and vibrant about 90s design that feels like home to me — it’s like a visual language I instinctively understand.

I started out loving fine art as a kid, always sketching during class and getting lost in it. Over time, I got hooked on digital art, which naturally led me into graphic design. I originally studied computer engineering, but it felt too boring. So I switched to communication design. But honestly, most of what I know came from teaching myself — staying up late to explore Photoshop, experimenting with layouts, and just playing with ideas until they clicked. When I created the sneaker poster series, it was like a turning point.

I was determined to combine my love for sneakers with a more vintage, pop culture-infused aesthetic, and it was also a way of pushing myself to create something every day, and it eventually got featured on Nike’s SNKRS. That project allowed me to connect with a community of people who get excited about the same things I do. It wasn’t just about sneakers; it was about a community and tapping into a sense of nostalgia that I think a lot of people from my generation share.

Pop culture, street style, movies and music are my biggest influences. The 90's are a decade that just felt visually daring — from music videos with crazy colors to streetwear brands that pushed boundaries. There’s a specific energy in big cities, too — like when you’re walking through a crowded street and the visuals are overwhelming in the best way. It’s the graffiti, the billboards, the fashion on the sidewalks — it’s a sensory overload that is a perfect place for inspiration for me. I love to merge different styles — like digital art with grainy textures or adding retro vibes to a modern graphic. The point is to create something that feels like a remix of all these influences, but still feels true to my perspective.

I think I’m a mix of both. I like to start with a loose construct, a rough idea that serves as a guide, but I’m always ready to break it and see where it takes me, as those unexpected turns lead to the most interesting results. My process often involves experimenting and letting things evolve naturally, especially when I'm drawing from unexpected sources. I see it as a kind of visual sampling, where I take elements from different worlds and blend them together. If my original idea shifts into something totally unexpected, that’s part of the fun. My favorite projects are the ones that surprise me by taking a 180-degree turn right before the finish line.

That’s a tough one! There are so many I would like to name, but what comes to my mind right now is the Nike P-6000. I can't exactly describe why, but I’ve always been drawn to its silhouette. There’s just something about its design that has a perfect mix of retro vibes and modern style.

Absolutely — the 90s are my go-to. I think it’s because it’s a decade where design felt more raw and unfiltered, which makes it feel authentic. It wasn’t polished and I love that. I’m drawn to the grainy textures, the bold use of color, and the way ads back then weren’t afraid to be playful. There was a sense of humor in those designs.

I want my work to evoke that same feeling — when you see one of my pieces, I want it to trigger a sense of nostalgia, like you’ve just stepped back into that era, but with a modern twist. It’s why I often use grainy filters, bold graphics, and unexpected color combos. It’s my way of paying tribute to the aesthetics that shaped me while still keeping things fresh.

Collaboration is one of the best parts of what I do, but it’s not without its challenges. The hardest part is making sure that everyone’s vision gets respected, and that requires a lot of open communication. You need to be willing to listen and adapt, which can be tricky when you’re passionate about your ideas. But once you hit that balance, it's like watching magic happen, where ideas click and everything connects.

Working with other creatives pushes you out of your comfort zone, gives you new perspectives, and often leads to ideas you wouldn’t have come up with on your own. That kind of creative exchange is invaluable — it’s about building a collective energy, almost like a tribe, where each contribution adds to the whole.

For me, collaboration is about openness. You don’t need to be a famous designer to bring something valuable to the table. I love working with people from all creative backgrounds because it’s not about status; it’s about shared enthusiasm. Some of the best ideas come from unexpected places, and I want to keep my work accessible. It should be about creating together, not about who has the biggest following or most hype.

I’ve got a few things cooking, but I can’t spill all the details just yet! I’m really focused on pushing my boundaries and experimenting with styles that go beyond what I’ve done before. I want to keep that same sense of boldness but introduce new textures and formats. Let’s just say I’m working on some projects that focus on narrative-driven design, where every visual detail ties back to a bigger story or cultural reference, and I can’t wait to share more soon!