Holy Chic: On Working With Fashionistas

Fashion: it’s a nonchalant self-investment that we all undoubtedly make. There’s a never-ending list of the reasons why we do it, some may even profess it’s therapeutic. Even if you’re reading this and thinking that you can’t relate, trust me, you’re in it.

Fashion design is one of the highest forms of self-representation. 

All roles aside, it’s pretty obvious that I’m a consumer, so this crossover was pretty interesting for me. I can’t say that I’m an avid follower of the fashion industry and its trends, but I won’t refuse a sale at good ol’ Zara- because that brand for me represents the way I present myself as a woman- a lil discreet, a lil quirk, mixed with a lil badass, that’s my flavour. 

But it’s not just in the clothes. Many times I seek inspiration from Zara’s visual content that is sent to me as a consumer- emailers, instagram posts, website layout, app notifications… They have ensured that without basic branding, you KNOW it’s Zara. 

This was my mission for all these wonderful micro/macro projects. They belong to women that craft, style, appreciate, and produce fashion design, so it was of utmost importance that I channeled their vigour for what they do, into the pieces of communication that represent them. 


The work: 

Meiling’s “Into the Night” 2018 ~ Invitation Design 

Safia Elena ~ Business Card Design 

Secrets Mas ~ Logo and Mini-Campaign Design 

Food, Fashion, Finance ~ Invitation Design 

Thank you x 100000 to Meiling, Safia Ali, Secrets Mas, and Food, Fashion, Finance (Nyssa Pierre). I loved every minute of working on these pieces with you guys! 

P.S. If you’re stuck, lost, demotivated and need a quick chat to sort your business’ visual communication out, feel free to holla at me! I would be happy to help! 


Hood Magazine : Process

Living in a country that you've never even visited before can bring a world wind of motions- especially when you've been there for a year. Berlin holds a special place in my heart; it was the love I never knew I would have. It was there I decided to highlight this prominent city as a (potentially progressive) zine. Auguststraße, one of my FAVOURITE streets in Berlin (Mitte), was the main feature mostly because it’s this long strip of art galleries and museums (and if you know me well, you know how these places get me). 


HOOD is a magazine geared toward collecting and commemorating all things ordinarily wonderful. The most random discoveries: bazaar drawings, cheeky messages, you name it. Ausgustraße, a street in Mitte, is well known for its plethora of art galleries and institutions. Rightfully so, this street particularly mirrors this role in itself; showcasing the overlooked, the amateur, and the extraordinary moments. This CONCEPT transcends through each page of the magazine; binding the importance of what is being exposed.


Visiting art museums and galleries has to be one of my favourite things to do in my spare time. They are a great source of inspiration to during my times of mental blocks. My experience going to various museums/galleries served as a prominent foundation for the layout and conceptual birth of this magazine, particularly my most recent visits to the MOMA (New York, USA), The Maurithuis (The Hague, Netherlands), and The Stedelijk Museum (Amsterdam, Netherlands).


The LOGO DESIGN stems from the magazine’s content. Each letter relics “frames” such as those of an exhibition or art gallery, thereby highlighting the artistic nature of Augustraße.


Similar to the logo identity, the LAYOUT mirrors the conceptual idea of frames, yet interacts with both the text and the images. The choices of typeface(s), grids and overall layout decisions thereby culminate as a united system for reader. The contrast between weight, colour, black vs white, space, all allude to the gallery setting: every detail counts, to create a rhythm, or rather, a reading experience.

I won't lie, I totally underestimated the time in which it takes to design a magazine (and this one is only 42 pages long). I do hope, in the near future, that I can continue with this magazine into other cities/places that have made a huge impact on me (don't worry Berlin, you're still my doux-doux). 



Curate[d] : Process

In search for the context for my project, I started at home base. I was taking hundreds of images of unorthodox “spaces” that involved any form of spacial planning. 

My refrigerator was, ironically, the most interesting space regarding the content of The Curator’s Handbook. In my mindmany of Adrian’s guidelines were immediately visualised and applicable to the fridge. I started experimenting with different ways of communicating the information and applying it to the layout of the fridge to show how curatorial practice can be adhered to indifferent realms.

Over time, I realised that though this seemed like a good approach at first, my visuals were not as relevant to the concept as I’d hoped. Thereafter, I had a discussion with many peers and ultimately considered the possibility a more infographic approach.

Of course, not having any experience with information design, I felt a bit intimidated at the thought of risking the execution of an interesting concept. Subsequently, I borrowed the book, Mapping Graphic Navigational Systems by Roger Fawcett-Tang & William Owen which showcases a collection of various works by a multitude of designers/design agencies. Of the many I had favoured, the absolute winner was HOEKVANHOLLAND by Lust (see below)


I was then inspired to relay a selection of guidelines from The Curator’s Handbook, apply them to the operations of the fridge, and display the data and visually present it in a map-like format; very much like the maps you get at a museum to guide visitors throughout exhibition spaces.

Following the mapping section of The Curator’s Handbook, I tried to make a map which represented the construction of my fridge, whilst witholding a sense of abstraction; connoting that, though this is a fridge, it is in fact an exhibtion.

From this point, everything just fell into place. I soon after gathered data on the fridge and recorded my findings of the space in relation to some of the components of the Curator’s Handbook ( such as, health and safety, lighting, shipping, frequency of change, etc.).