identi-

fying di
r e c - sasqia pristia

t i o n .
L5 IDENTIFYING DIRECTION

MAY/18
Colette Jeffrey
modesty is to

be violated.
 (CONTENTS)

PERSONAL CREATIVE 4 PERSONAL 46

PROJECT DEVELOPMENT PLAN

RESEARCH & IDEAS 37 ONLINE PORTFOLIO 47

FOR L6

MANIFESTO of ME 38 MODULE REFLECTION 49

DISSERTATION 39
PROPOSAL
 (PERSONAL CREATIVE PROJECT)

anticore.
(Brief) (PERSONAL CREATIVE PROJECT)

anticore is
-

To identify my practice is the goal of

this project. The problem I’m solving
is my direction - where I’m going as a
practitioner and to define a platform

an ana-
for it. As this is a very personified
module, the core of my project is my
belief; in the philosophy of creation,
deconstruction, and nonconformity.
Fashion is a great platform.

gram for
Fashion can provide an extensive
range of media to explore, especially
combined with graphic design. Each
element produced in this project will
play its part in harmony to deliver a
message successfully.

My task is to define that relationship

between fashion and graphic design
by creating a clothing line in order to
explore shapes and form in a diverse
range of media.
creation.
(Target audience) (PERSONAL CREATIVE PROJECT)

Initially, the brand was targeted for a higher

end market with the price tag amongst de-
signer clothing.

To fit the philosophy of the brand, I decided

that my brand is to be more affordable for
everyone, as the goal is to create a prudent
and modest society.

I would start with targeting people with

like-minded philosophy, the ones that ap-
preciate modesty not just from attached
embelishment of a brand’s logo to define
and justify who they are

Category: Womenswear & Menswear

To create a world, we must

first create the people.
(Competitor research)
Yohji Yamamoto:
Sleek deconstructive design, easy to
study and recreate
Japanese design influenced
Around GBP 1000 for a pair of trou-
sers
Quite accessible, sold in high end
department store such as Selfridges
(PERSONAL CREATIVE PROJECT)
Thom Krom:
More simple clothing with really
subtle avant-garde aesthetic
More affordable compared to Yo-
hji Yamamoto -- amongst AllSaints
(GBP 85 for a jersey t-shirt/basics)
Not accessible, only sold in small
authentic designers only shops in
big cities such as London, Berlin,
Milan, and is also sold online.
Ann Demeulemeester
Good & sophisticated design, easy
to study and recreate
Amongst or just under Yohji
Yamamoto (GBP 500-1000 for a
pair of trousers)
Not accessible, only sold online (i.
e. Farfetch) and its stores sabroad.
Limited quantity is made, making it
even less accessible.
(Moodboards) (PERSONAL CREATIVE PROJECT)

tone-of-voice

a v a n t - g a r d e
modern grunge
m i n i
m a l i s t i c
edgy .
(Inspirations) (PERSONAL CREATIVE PROJECT)

R i c k
Owens
I r v i n g
Ann
meulemeester
De- P e n n
Yohji Yamamoto
Nick
Sam
Knight
Esmail
Ross Lo-
Madame
G a r e t h
Gres
vegrove
p u g h
(Initial ideas & research) (PERSONAL CREATIVE PROJECT)

10.1

My very first mind map for this project, creating a

movement/a campaign inspired by nonconformity, to
define and be defined and learn how brand establishment
works as part of my research in my practice and my
dissertation.
(Initial ideas & research) (PERSONAL CREATIVE PROJECT)

11.1 11.2
11.1 Rick Owens’ Subhuman Inhuman
Superhuman exhibition in Triennale
Di Milano, Milan, Italy

11.2 Booklet from the exhibition for

me to study the feel of the exhibition
through a printed format

11.3 Layout inside the booklet as an

example for my look book

11.3
(Initial ideas & research) (PERSONAL CREATIVE PROJECT)

12.1 12.2 12.3

12. 1 Fashioned from Nature

exhibition, V&A London

12.2-3 Live sketching exhibits

to help getting used to creating
shapes in no time
(Initial ideas & research) (PERSONAL CREATIVE PROJECT)

13.1 13.2

A/W 20
O r i -
13.3 g i n s
This collection is called ‘Origins’, inspired by Milton’s
Paradise Lost which tells the story of creation in a
very poetic approach, as a point of reference.

Having that as the core to the collection combined

with minimalistic avant-garde aesthetic based on the
brand’s DNA would create a story of a utopia where
gods, titans, angels, and demons were avant-garde en
moda deities.
(Research & experiment) (PERSONAL CREATIVE PROJECT)

14.1 14.2 14.3

13.1 Visualisation of Milton’s Paradise Lost
13.2 William Bouguerau (The Virgin of the Lilies, 1899) and
Pieta (1876)
13.3 William Blake’s depiction of creation of Adam
14.1 Studying form from brush strokes
14.2 Continuing my passion in doing fashion illustration
(MORE ILLUSTRATIONS ARE AVAILABLE AT
SAINTMATTA.COM/ILLUSTRATION)
14.3 Exploring texture with charcoal to help with the brand
identity which nature is grungy.
(Research & experiment)
15.1
15.1 ‘Annihilation’ (2018) directed by Alex Garland
15.2 My attempt at draping
(PERSONAL CREATIVE PROJECT)
15.2 Anni-
hila-
t i o n
Major inspiration from a science fiction film
‘Annihilation’, where it visually philosophically
explores shapes and forms.
Then I applied that concept on to my dummy,
while also looking at a favourite book of mine,
a book of works of Madame Gres, the queen of
draping.
(Ideas development) (PERSONAL CREATIVE PROJECT)

16.1 16.2
.1 Draping on a dummy

.2 My major inspiration
on draping and fashion in
general: Madame Gres.

.3-.4 Draping I managed

to do

Type figures shown are

the example of how
I convert the forms
draped into type forms.

16.3 16.4 Then I scanned the

fabric and the draping
I did and create variety
of visuals from them to
build up a mood for both
campaign and look book.
(Research & experiment) (PERSONAL CREATIVE PROJECT)
(Ideas development: Photoshoot session 1) (PERSONAL CREATIVE PROJECT)

25.1

25.2

25.1-2 Framing & positioning subject

to create a reference of a painting by
Jacques-Louis David “The Death of
Socrates”
(Ideas development: Photoshoot session 1) (PERSONAL CREATIVE PROJECT)

Photoshoot #1

My first attempt on creating and

sculpting shape through garment
and light, as well as an attempt
on storytelling, by using hints of
religious painting references.
(Ideas development) (PERSONAL CREATIVE PROJECT)

I believe in the act of deconstruction of our-

selves to understand and learn better about
ourselves. Fashion is a great platform;
BODY - SKIN - CLOTHES. Fashion should be like
a second skin.
ANTICORE believes in nonconformity and it
appreciates the value of creation and growth.
ANTICORE is an anagram for ‘creation’.

The purpose is to deliver a message and pro-

mote an identity. ANTICORE’s value of modesty
is the infrastructure of its designs. Colours are
very limited - black to white. All is emphasised
on its shape and form, which is the desire of
mine to accentuate the shape of human body,
one of the many forms of nature.
(Ideas development) (PERSONAL CREATIVE PROJECT)

Type play

Inspired by draping, shapes & forms.

(Research & experiment) (PERSONAL CREATIVE PROJECT)

y o u
a r e
invited
-

I created an invitation for the supposed

Autumn Winter 20 show. The invitation
concept is inspired by Roschach test,
and have people write down what they
see. The reason being that this show
is about the people/society I want
to create in coherent to this module
which is about ourselves.
The answers are interestingly in-
theme.
 “an insect” “skull”
“Encompassed”

“a rib cage” “a throne”

“crown”
w h a t “growing”

you see “i see spider”

“intimidating”
defines “mosquito”

“a torture device”
y o u . “space ship”
“barbed wire”
“crucified bug”
“a face”
(Ideas development: Photoshoot session 2)

anticore.
(Ideas development: Photoshoot session 2) (PERSONAL CREATIVE PROJECT)
(Ideas development: Photoshoot session 2) (PERSONAL CREATIVE PROJECT)
(Ideas development: Photoshoot session 2) (PERSONAL CREATIVE PROJECT)
 (IDEAS FOR L6)

1. Continue a major branding project,

ASAKI SYNTEHTICS, which requires
me to learn how to create advanced 3D
graphics.

2. Develop skills in image-making, by

combining fashion photography & film
and 3D graphics

3. Further develop art direction skills by

doing self-led & commissioned branding
projects

4. Do more collaborations, within graphics

and outside graphics.
 (MANIFESTO of ME)

I think image-making is the right word for

what I do.
I also like playing hearts with words

I am one cell,
in a vacuum space.

You and I are the same

but different //.::/
what we are and what
we strive for..::/:.:
it is encoded .::..:
you just have to
look into you :.

Nothing stops
nonconformity to
exist, and it
starts from
deconstruction.

Graphics in fashion: How brands build customer
loyalty through the help of brand identity.
Visual communication has a broad spectrum of practice
with an extensive range of media to explore with a
purpose of delivering a message. Fashion is one of its
vast platforms that communicates with its audience in
a passionate connection no matter how it’s interpreted.
It can be considered as a worn art form, or a walking
advertisement. But both interpretations have quite the
same purpose — to communicate visually. Fashion in
many ways can intricately convey a statement, be it in the
garment, embellishments, pointing references towards
the designer’s message, value, and philosophy. But there
is an interesting area still as unclear as a foggy sky that
needs defining, aside from all the literal configuration of
tailoring a message: graphic design in fashion.
This dissertation will act as a magnifying glass to the
relationship between the two major studies — fashion
and graphic design, and it will be pinpointing several
subjects that can help define the blurred line. The area of
fashion that this study will be underlining is the higher end
fashion brands and the journey will start with introducing
readers to the brand image in the fashion industry, the
impression of a brand’s total personality in the mind of the
consumers, according to Business Dictionary and brand
identity on the other hand and brand identity on the other
hand according to Kapferer (2008), is the narrative which
the firm manufactures,
(DISSERTATION PROPOSAL)
the story presented by the corporation to its relevant consumers,
hence it would possibly be the visible elements of a brand
(such as colors, design, logotype, name, symbol) that together
identify and distinguish the brand in the consumers’ mind.
Duncan’s statement (2002) supports this definition as according
to him, identity consists of visual identification cues such as
brand symbols and distinctive typography that collectively
create brand recognition. Consequently, it will analyse the role
of graphic design in fashion, in order to classify the duties or
functions of graphic design in its own vast spectrum to later on
be identified what kind of practice and media of graphics are
used in the fashion industry, most importantly: brand identity.
This dissertation will then thoroughly examine the relationship
between brand image and brand identity.
The journey will switch to a more scientific environment,
specifically on the psychology behind consumer behaviour or
neuromarketing, as to why consumers buy what they buy and the
science behind that decision-making action. This introduction to
neuromarketing will support the study of how a brand image of
a fashion house is established throughout the years or possibly
decades. This will also help with determining how consumers
can possibly be attached to a brand, a hypotheses of a research
that was conducted in 2013 by So, Parsons, and Yap. It will help
answer questions in depth, questions such as how and what
makes consumers intrigued to a brand?

In this day and age, the internet
has become a necessity in our daily
lives, particularly social media and
knowing this fact, it has become
a major platform for marketing
and advertising, competing with
conventional billboards and TV
advertisements and interactions
are varied from a massive audience
as much as millions, to a one-to-
one messaging, unlike traditional
advertising that scopes over a
huge market to have marketers
sit down and wait. Social media
is a user-friendly communication
platform, therefore any platform
we use is catered to our needs
and identities. Marketing becomes
more strategic, more effective, and
brands are also able to determine
the digital marketing ROI (Return On
Investment) which means it is less
expensive to do. This eases brands
to market their products to a more
targeted audience — consumers
that have interest (or even would
(DISSERTATION PROPOSAL)
be interested) in what said brand has to
offer so not only it interacts with current
consumers while likely building loyalty,
but it will also be an investment to
approach and fetch future consumers.
The aims of my research is to discover
how fashion brands establish their
image, building an atmosphere of sense
of art, with a philosophy and purpose as
its substructure, cultivating likeminded
Figure 1
audience-slash-consumers. It will
also be interesting to look how image
establishment was done before internet
came.
The language of visual communication
in the fashion industry will be dissected
in this study to further prove how
graphic design plays a powerful role in
creating and changing perceptions in
society, particularly through fashion as
a platform. It is also with purpose for
this study to determine whether brand
image built by its visual language —
brand identity, can influence consumers’
behaviour.
Therefore, I will be providing a couple
of case studies of unique fashion
brands and their strategies, to support
my theories and insights.
Brands such as Supreme, known in
the high end streetwear industry who
has received an undying loyalty from
its fans and has built infamous massive
hype for every release. Another unique
case is the avant-garde, high-fashion
name Rick Owens and his devotees who
would only wear the brand from head
to toe.
 (DISSERTATION PROPOSAL)
Brands such as Supreme, known
in the high end streetwear industry
who has received an undying loyalty
from its fans and has built infamous
massive hype for every release.
Another unique case is the avant-
garde, high-fashion name Rick
Owens and his devotees who would
only wear the brand from head to
toe.
Figure 2
Figure 3
Here are the chapters that will be included in
the dissertation:
Introduction
Brand Image: Creating a philosophy
Graphic Design Role in Fashion
The relationship between brand image &
brand identity
Consumers behaviour: Behind
the decision-making
The age of social marketing
Case studies:
Supreme: Streetwear’s unruly
legacy
Rick Owens: Tribal devotees
Yohji Yamamoto: Loyalty to philosophy
Gucci: Creative direction to the
rescue
Conclusion
 (DISSERTATION PROPOSAL)

Over the course of summer, there are a couple of research that will
be conducted to provide this study further with depth and context.

Interview several practitioners relevant to the practice (graph-

ic design and fashion); including one of the authors of Graphic
Design for Fashion (Jay Hess)

Visual research: Identify several fashion brands’ branding identi-

ty through its visual language, philosophy, packaging design alto-
gether and compare them one another to thoroughly distinguish
the difference.
Figure 4
Applied research: Apply, develop and advance my own skill as a
practitioner who is interested in fashion and graphic design, try-
ing to tie the two by an extensive session of experimentation and
learn from the journey.

Figure 5
 (DISSERTATION PROPOSAL)

REFERENCES

Duncan, T. (2002), IMC: Using advertising & promotion to build Figure 1: Example of Louis Vuitton visual branding
brands, New York: McGraw-Hill. Available at: http://editorial.designtaxi.com/news-fash1603/10.jpg

Kapferer, J. N. (2008). The New Strategic Brand Management:
Creating and Sustaining Brand Equity
Long Term 4th edition (4, Illustrated, Reprint.). London, United
Kingdom: Kogan Page Publishers.
Rodriguez, V. (2015) ‘Social Media vs. Traditional Media – Make
the Transition to Digital Marketing’. Uhuru Network. Available at:
https://uhurunetwork.com/social-media-vs-traditional-media/
[Accessed: 21 May 2018]
Clifton, J. (2016) ‘Why Are So Many People Obsessed With
Supreme?’. Vice. Available at: https://www.vice.com/en_uk/
article/5gq393/supreme-and-the-psychology-of-brand-devotion
[Accessed: 22 May 2018]
Foley, Text. G (2017) Meeting the Tribe – the devotees who only
wear Rick Owens. Dazed. Available at: http://www.dazeddigital.
com/fashion/article/38418/1/meeting-the-tribe-the-devotees-
who-only-wear-rick-owens [last accessed 22 May 2018]
Figure 2: Supreme fans queuing for a drop outside a store
Available at: https://hommes.my/wp-content/uploads/2017/07/lv-
x-supreme-jae-sung.jpg
Figure 3: Rick Owens head to toe
Available at: https://static.highsnobiety.com/wp-content/
uploads/2016/09/30164101/rick-owens-ss17-street-style-8-
320x213.jpg
Figure 4: Gucci Hallucination 2018 campaign
Available at: http://dazedimg.dazedgroup.netdna-cdn.com/320/0-
52-1500-1000/azure/dazed-prod/1220/9/1229035.jpg
Figure 5: Yohji Yamamoto Fall Winter 2017
Available at: http://www.backstagetales.com/wp-content/
uploads/2017/03/collage1.jpg

So, J. T; Parsons, A. G; Yap, S. F. (2013) ‘Corporate branding,

emotional attachment and brand loyalty: the case of
luxury fashion branding’, Journal of Fashion Marketing and
Management: An International Journal, Vol. 17 Issue: 4, pp.403-
423.

READING LIST
Barnard, M. (2013) Graphic design as communication.
Routledge.
Chailan, C. 2018. ‘Art as a means to recreate luxury
brands’ rarity and value’, Journal of Business Research,
Volume 85, pp 414-423.
Felix, R. ; Rauschnabe, P. A. ; Hisnch, C. (2017) ‘Elements
of strategic social media marketing: A holistic
framework’, Journal of Business Research, Vol. 70, pp.
18-126.
Guillet de Monthoux, P. (2004) The art firm. Stanford,
California: Stanford Business Books.
Hameide, Kaled. K (2011) Fashion branding unraveled.
New York: Fairchild Books.
Hess, J. and Pasztorek, S. (2015) Graphic design for
fashion. Johanneshov: MTM.
Kim, A. J and Ko, E. (2012) ‘Do social media marketing
activities enhance customer equity? An empirical study
of luxury fashion brand’, Journal of Business Research,
Vol. 65 Issue 10, pp. 1480-1486.
(DISSERTATION PROPOSAL)
Kim, A. J and Ko, E. (2012) ‘Do social media marketing activities
enhance customer equity? An empirical study of luxury fashion
brand’, Journal of Business Research, Vol. 65 Issue 10, pp. 1480-
1486.
Ko, E. and Megehee, C. M. (2012) ‘Fashion marketing of luxury
brands: Recent research issues and contributions’, Journal of
Business Research, Vol. 65, pp. 1395-1398.
Lester, P.M. 2000, Visual communication: images with messages,
2nd edn, Wadsworth, London.
Mink, D. and Bippus, E. (2007) Fashion body cult = mode körper
kult. Stuttgart: Arnoldsche.
Okonkwo, U. (2016) Luxury fashion branding: trends, tactics,
techniques. Springer.
Peirson-Smith, A. ; Hancock, J. ; Manlow, V. ; Muratovski, G. (2014)
Global fashion brands: style, luxury & history. Bristol: Intellect.
Roberts, K. 2005, The lovemarks effect: winning in the consumer
revolution, PowerHouse, New York.
 (DISSERTATION PROPOSAL)

Ross, J. and Harradine, R. (2011) ‘Fashion value brands:

the relationship between identity and image’, Journal of
Fashion Marketing and Management: An International
Journal, Vol. 15 Issue: 3, pp.306-325.

Sethna, Z. and Blythe, J. (2016) Consumer behaviour, Los

Angeles: SAGE.

So, J. T; Parsons, A. G; Yap, S. F. (2013) ‘Corporate

branding, emotional attachment and brand loyalty: the
case of luxury fashion branding’, Journal of Fashion
Marketing and Management: An International Journal,
Vol. 17 Issue: 4, pp.403-423.

Toth, M. & D’Amato, J. 2003, Fashion icon: the power and

influence of graphic design, Rockport, Hove;Gloucester,
Mass;.

Wolbers, Mariane F. (2008) Uncovering fashion: fashion

communications across the media. New York: Fairchild.
 (PERSONAL DEVELOPMENT PLAN)

p l a c e s
f u -
SHOWstudio (London)
SEA Design (London)
ILL Studio (Paris)
ture
PLUSMURS (Paris)
Studio1212 (Jakarta) plans
Studio Skato (Jakarta)
 (ONLINE PORTFOLIO) h i t
me up
o n -
line
Instagram page: @saintmatta Website: /saintmatta.com/
 (ONLINE PORTFOLIO)

+ more

Behance: behance.net/sasqia Talenthouse: talenthouse.com/sasqia

LinkedIn: linkedin.com/in/sasqia/

In this module I have managed to explore more about
myself artistically.
This module gave me endless freedom for me to do what
I needed and wanted to do. It started with when I realized
that I should stop forcing myself to want or do things I
don’t want to do. It was the generic graphic design, the very
commercial non-artistic side of graphic design that I don’t
admire. I do love graphic design but my love for graphic
design isn’t as intense as the love I have for fashion, and
so I started embracing myself to fashion – I started letting
myself to have and let out opinions I have towards fashion.
What’s trending, what I like, what I despise or cringe at. I
developed my feelings for fashion intensely through this
journey.
Deciding the theme for this project wasn’t hard. I knew
what I wanted to do right away but I was having a major
dilemma on what to do with that idea. I love the story of
creation and the many interpretations of the story. From
the greeks to the biblical poems of John Milton’s.
I knew at that time I wanted to continue doing fashion
illustration and to develop my skill further in fashion
photography, something that I’ve been doing in my spare
time for the past 2 modules, around January this year.
Even though I’ve created a couple of look books in the past
in my first year, I thought of it as a warm up, and so I
decided to create another one. This time, with a purpose
and a stronger foundation.
(MODULE REFLECTION)
I did 2 sessions of photoshoot.
The first one went really well but even going back from the
set and looking through the pictures, something felt wrong and
bland. Then I realised one of my biggest mistakes I’ve done while
learning fashion photography: doing the same thing over and
over again. A retrospective slapped me in the face to when I did
an interview with a digital art director and photographer who
previously worked at SHOWstudio, Jon Emmony. I remember
him giving me an advice not to do the same thing and to always
try different things. Come on set knowing exactly what you want
but also to embrace mistakes. This can be applied to almost all
practice. I was lucky because I booked the studio twice for that
week.
Prior to coming to second photoshoot, I’d made a list of what to
be reminded, what to do and not to do. I couldn’t stress myself
enough to come to set knowing exactly what I wanted and to
experiment with lights as much as I could.
The second photoshoot was possibly the best photoshoot I’ve
directed in my learning months. The photographs turned out to
be sublime, just how I wanted it. They were 200% better.
Apart from the fashion photography, I really did enjoy illustrating
fashion. I learned a lot about capturing shapes on to paper and
that gradually developed to drawing shapes in no time.
Creating the look book was the easiest part, because I’ve done
it before. It was starting the branding identity that I was quite
struggling with.
 (MODULE REFLECTION)

Because I wanted to get it right and I was really trying to I’d like to thank these people for their contribution in making
communicate what the brand is all about and what kind of these sublime imagery that I’m proud of:
utopia the brand wants to offer. But I think the outcome
looks authentic, it’s as if my instagram (Saint Matta) Joshua Cutts (L5 Graphics)
aesthetic was developed into a further and advanced
direction, and looking through the visuals makes me happy. Pavandeep Kailey (L5 Graphics)
If there’s anything that I wish I could’ve done better, I wish
would’ve done more with the branding identity and I really Dylan Roberts (L5 Graphics)
wish I had done more experimentations with the visuals.
I wish I had more time to do proper advertising for the Emily Aloli (L5 Graphics)
campaign, I had an idea to use AR (Augmented Reality) as
a platform for me to explore and I think that’s what I’d dive Precious Salazar (L6 Film & Animation)
in for L6.
I had a big vision for the upcoming L6, which was to direct a Abhishek Pandeya (L6 Film & Animation)
runway. There are so many aspects of conducting a fashion
runway. The visual/imagery, event design, conceptual Spencer Mo (L5 Fashion Design)
design, music, and obviously the garments. A collaboration
between the graphic communication, TPE, fashion design, Anna Teece (L5 English Literature)
and BCU Conservatoire – I think that would be a beautiful
piece of art. But I was also wondering to do a runway in Leo Lobrev (L6 Music Technology)
VR, to experience sitting in fashion week in virtual reality
and I’ve talked to one of the tutors who’s known for his VR
expertise, Jonny Griffith.
There are a lot of projects I’m dying to try to do, such as
learning 3D sculpting softwares and 3D rendering, I think
that’d be a great asset as I aspire to be an art director.