PPP Personal Branding: Collateral Ideas

Self promotional materials
-business card - COMBINATION OF BAYBAYIN AND ENGLISH, QOUTES? ABOUT ME,
-stickers
-stationary? ??
-creative CV
-poster design like publication spread inserts

Methods
-website

appropriate online presence
-instagram
-linkedin

*I think this range of collateral will showcase my personal brand in various ways effectively reflecting the brand that I am trying to portray. It serves both professional and fun purposes highlighting me as a designer but also me as a person.

COP: Project Statement

Basing from the theme of representation of East Asians in High Fashion and its effects in the representation of East Asian cultures and traditions, the practical outcome directly links to one of the strategies to tackle Cultural Appropriation outlined by Stuart Hall in his book about Representation and Culture, which is to substitute ‘negative images’ with ‘positive images’. It also as stated in the rationale, is a visual presentation of the theories and studies that are explored  in the essay.

The practical outcome created which goes alongside the essay, is a publication displaying examples of Cultural Appropriation and Stereotyping, as well as celebrating ways in which it is being tackled by designers who belong to the culture. Mirroring the essay, the publication stands as an educative form of application that informs the target audience with a clear understanding of the message of the publication. As investigated in the essay, High Fashion brands tend to ‘get away’ with appropriation and stereotyping ethnic cultures due to their high prestige and inaccessibility to the mainstream that they avoid major backlash in their adverts. To highlight this, examples such as Chanel’s ‘Gabrielle’ bag editorial campaign showcased the blatant ignorance to race whilst not receiving much criticism on it. However, as this is a key idea in the publication, perhaps if it was accompanied by succinct text to successfully  get the message across rather than leave it to the subjective opinions of the audiences then maybe the images will have more significance and meaning and the audiences will understand more about the idea of Western privilege in the High Fashion industry. 

On the other hand, it can also be seen as ‘suggestive’, therefore the audiences can explore the images and topics in a more subjective way, much like how High Fashion audiences are now more culturally aware of ethnic culture across the world. Furthermore, the engagement of native East Asian fashion designers is also reflected in the publication which will hopefully allow the readers to realise how although the High Fashion industry is quickly progressing economically, it’s cultural progression and acceptance of ethnic culture is only just beginning. 

COP: Practical Final Outcome

This is the final outcome after doing the refinements and changes to the design development created

• The matte Olin regular paper was changed to a smoother and glossier paper stock. The final stock used for the body pages was Cocoon Silk 170 gsm, 
• It’s semi-gloss and effectively highlights the images used. It also has a very smooth texture, similar to the magazine editorials, giving it a satisfactory feel when held by audiences increasing its interactivity due to its familiar feel improving audience engagement, I was intending to use at least 200 gsm for the body page but the glossy paper in this weight couldnt be printed double sided, however James in the print room suggested to use it as a cover instead.
• I used the 270 gsm Gloss paper for the front cover. It also gives the publication a strong impression, along with the Orientalist painting as the background, it sets the tone perfectly for the publication along with the title ‘knowing culture’ intriguing potential target audiences to read through. The dimensions for the book is B5. B5 offers a perfect middle-ground for a comfortable and easily accessible handheld publication, unlike A4. 
• Previously, I found the type themes-selves to work well together and balance the tone and mood of the publication all together however I used the wrong type sizes for them look overwhelming large on the page, therefore I resulted to using these type  sizes according to their importance and hierarchy in the publication, so that the audience will have a clear direction on which information they're going to read in order:
• Titles (headings) *Craw Modern URW(16 pt.) - evokes the more editorial aspect to the publication 
• Body font *Sofia Pro - (12 pt.) - contemporary and clean sans serif 
• Footnotes - Sofia Pro Condensed Regular Italic (10 pt.)
• Quotes - Craw Modern URW Regular Italic (18 pt.)
• Content wise - the images are laid out predominantly full bleed which effectively highlights the focal points of each images which direct the audience to the images itself.
• The images chosen correlates directly to the essay as well as hold subliminal messages provoking the audiences perspective and with the 'footnotes' including key points and directly linking to the images themselves. 
• Though it is subtle, it directs the audiences in a way that gets across the point being made in order for them to understand the stance the publication is taking in relation to Cultural Appropriation, Stereotyping etc. 
• It is also appropriate for the target audiences as well as accessible to everyone wanting to leant about ethnic culture as it’s designed to be familiar and unintimidating as it’s a very sensitive topic to discuss especially in today’s society.

(Key points in some pages in the publication)

• Front Cover - The front cover is an Orientalist painting depicting an 'auction' were women are being displayed and lined up from fairest to darkest in terms of skin colour. This already shows the divide in how Asian women in particular are seen and implies that the fairer you are the more beautiful you are which is also reflected in todays East Asian society.
• Page 11/12 - The image shows the result of Dolce & Gabbana's 'The Great Show' digital advertisement depicting a Chinese model eating pizza and pasta with chopsticks (talked about in the essay). The picture is a protest of the show were citizens displayed their D&G items and are burning the in protest of the brand. This shows how consumers are now taking a stand on what they believe in which in turn changed the brand's move with the show; as well as the consumer's use of medium and global coverage of the show in order for the issue to get noticed. 
• Page 15/16 - Burberry Chinese New Year advertisement, depictiing the tradition as very sinister and way out of context. A mor subtle way of showing stereotype and cultural appropriation but just demonstrates how brands feel entitled to take context out of traditon form East Asian cultures and 'put their twist' to it, undermining it's meaning to the people of that culture and their consumers. In a way it alos lets the readers know that not all stereotypes are visual (looks) but do also include traditions and cultural aspects of the ethnicity.
• Page 17/22 - Similar to the Burberry example, these are images from Dole & Gabbana's summer campaigns depicting 'Chinese tourists mingling with locals;, perpetuating the Chinese stereotypes of being 'naive' and 'happy go lucky' tourists in foreign countries. Also makes the readers think of the images differently when they see the Burberry image then these images as they may think there's nothing wrong with it, but as they look closer there are underlying concepts which trivialises Chinese people and their mannerisms in the images e.g. taking selfies.
• Page 23/24 - Gucci rnaway show displaying cultural appropriation of headpieces e..g turban and aspects of what they deem 'asian' or 'exotic' on their models (who are Caucasians). Very straight forward and automatically sets the tone and direction of this part of the publication. It also clearly directs the readers onto the the meaning of cultural appropriation with the help of the summarised text. 
• Pages 27/28 & 30 - Little Mix and Karlie Kloss appropriating Chinese garments and whitewashing Japanese culture. Shows the readers that appropriating also applied to celebrities and being influential people it also illustrates that their depiction of these east Asian culture will have significant impact to popular medias perception of these cultures, thus clouding pop culture with more 'negative images' even more. 
• Pages 31-40 - Images from case studies discussed in the essay about countering stereotypes (Carl Jan Cruz, Prabal Gurung and Claudia Li) Clearly demonstrates to the audiences the line between Appropriation and appreciation by discussing these designers and their garments. HOweve,r it could be more effective if they were put in context more e.g. Carl Jan Cruz' garments as it is not very well-known and a more conceptual and personal approach which won't be appreciated as much by the readers without much context behind it. 

COP: Practical Sources

I didn't want to included these sources in the final outcome as I thought it would really just f=ruined the  look of the publication, however as I  am using images that aren't mine, it's still right for me to reference and credit the owners. I a not selling the publication and not using it for commercial use therefore I am still abiding by the ethic code.

Front Cover (no date) Women in auction. Available at: http://ssn.nationalgallery.org.uk/news/2019/6/19/call-for-papers (Accessed/ downloaded: 1 December 2019)

Page 1 (1870) "The Snake Charmer". Available at: https://www.nybooks.com/daily/2019/05/20/orientalism-then-and-now/ (Accessed/ downloaded: 1 December 2019)

Page 4 (no date) "

Page 5 Women in auction. (no date) Available at: http://ssn.nationalgallery.org.uk/news/2019/6/19/call-for-papers (Accessed/ downloaded: 1 December 2019)

Page 6 Orientalist painting  (no date) Available at: https://www.pinterest.de/pin/46584177376218244/?lp=true (Accessed/downloaded: 1 December 2019) 

Page 7 Chinese woman  (no date) Available at: https://leszek.piotrowski.net-galeria.eu/?orientalist-paintings (Accessed/downloaded: 1 December 2019) 

PAge 8 Asian woman  (no date) Available at: https://wooarts.com/orientalism-art/  (Accessed/downloaded: 1 December 2019) 

Page 9 Greek Odalisque (no date) Available at: http://myartblogcollection.blogspot.com/2016/12/26-paintings-by-orientalist-artists-in.html (Accessed/downloaded: 1 December 2019) 

Page 10 "Asian woman in throne"  (no date) Available at: https://www.pinterest.co.uk/pin/411868328400628689/?lp=true (Accessed/downloaded: 1 December 2019) 

Page 11 & 12 Dolce & Gabbana protest shrine"  (no date) Available at: https://www.nytimes.com/2018/11/23/fashion/dolce-gabbana-china-disaster-backlash.html (Accessed/downloaded: 1 December 2019) 

Page 13 Kid, B. (2017) Coco Served Hot Available at: https://jingdaily.com/fashion-photographers-chanel-photoshoot-regarded-as-racist/ (Accessed/ downloaded: 1 December 2019)
Page 15 & 16 VCG. (2019)Burberry Chinese New Year Advertisement Available at: https://jingdaily.com/burberrys-chinese-new-year/ (Accessed/downloaded: 1 December 2019)
Page 17 Dolce & Gabbana ad (no date) Available at: https://supchina.com/2017/04/21/dolce-gabbanas-ad-campaign-feature-an-underdeveloped-china/ (Accessed/downloaded: 1 December 2019)
Page 18 Dolce & Gabbana ad (no date) Available at: https://www.marketing-interactive.com/dolce-gabbana-ad-campaign-upsets-chinese-netizens/  (Accessed/downloaded: 1 December 2019)
Page 19 & 20 Dolce & Gabbana. (2016) Dolce and Gabbana Summer 2016 Campaign Available at: https://fashionista.com/2016/01/dolce-gabbana-summer-2016-campaign (Accessed/downloaded: 1 December 2019)
Page 21 & 22 Dolce & Gabbana. (2016) Dolce and Gabbana Summer 2016 Campaign Available at: https://fashionista.com/2016/01/dolce-gabbana-summer-2016-campaign (Accessed/downloaded: 1 December 2019)
Page 23 Getty Images. (2018) Gucci A/W 2018 Available at: https://www.huffingtonpost.co.uk/entry/gucci-autumn-winter-2018-show_uk_5a8e996be4b0161d4318dfdc (Accessed/downloaded: 1 December 2019)
Page 24 Getty Images. (2018) Gucci A/W 2018 Available at: https://www.huffingtonpost.co.uk/entry/gucci-autumn-winter-2018-show_uk_5a8e996be4b0161d4318dfdc (Accessed/downloaded: 1 December 2019)
Page 26 Yves Saint Laurent 'Dreams of the Orient' (no date) Available at: https://museeyslparis.com/en/exhibitions/asie-revee-yves-saint-laurent (Accessed/downloaded: 1 December 2019)
Page 27 & 28 Little Mix Pretty Little Thing Campaign (no date) Available at: https://thetab.com/uk/edinburgh/2019/11/13/little-mixs-oriental-prettylittlething-collection-is-outright-offensive-61669 (Accessed/downloaded: 1 December 2019)
Page 29 D'Aprano, P. (2017) Gucci 2017 Show Available at: https://www.refinery29.com/en-us/2017/02/142209/gucci-political-correctness-fall-2017 (Accessed/downloaded: 1 December 2019)
Page 30 Vogue (2017) Karlie Kloss for Vogue US Available at: https://www.refinery29.com/en-gb/2017/02/140982/karlie-kloss-vogue-geisha-cultural-appropriation (Accessed/downloaded: 1 December 2019)
Page 31 & 32 Jin & Dan (2018) Available at: https://www.huffingtonpost.co.uk/entry/fashion-designer-prabal-gurung-asian-models_n_5bbfa6e2e4b01a01d688b4ff?ri18n=true Accessed/downloaded: 1 December 2019)
Page 33 & 34 ­– Jin & Dana. (2018) Still from Prabal Gurung’s Fall 2018 ‘Stronger in Colour’ digital campaign. Available at: https://fashionista.com/2018/10/prabal-gurung-fall-2018-ad-campaign (Accessed/ downloaded: 1 December 2019)
Page 35 – Look 83 Kudah Basahan Dress. (no date) Available at: http://www.carljancruz.com/83-93/ (Accessed/ downloaded: 1 December 2019)
Page 36 Arboleda, K. (2018) Pag alis 2018 Available at: https://statusmagonline.com/filipino-brands-campaigns-2018/ (Accessed/ downloaded: 1 December 2019)
Page 37 Arboleda, K. (2018) Pag alis 2018 Available at: http://fuckingyoung.es/carl-jan-cruz/ (Accessed/ downloaded: 1 December 2019)
Page 38 Arboleda, K. (2018) Pag alis 2018 Available at: https://medium.com/@phfashionmovers/carl-jan-cruz-and-his-collection-of-visual-autobiographies-83b2b38a83cc (Accessed/ downloaded: 1 December 2019)
Page 39 & 40 MVC. (2018) Available at: https://www.refinery29.com/en-gb/2018/09/209559/claudia-li-spring-summer-2019-runway-asian-models (Accessed/downloaded: 1 December 2019) 

COP: List of Illustrations (sources and with captions)

List of Illustrations

Figure 1 – The Metropolitan Museum of Art. (2015) Imperial China. Available at: https://www.washingtonpost.com/news/arts-and-entertainment/wp/2015/05/05/the-fantasy-of-china-why-the-new-met-exhibition-is-a-big-beautiful-lie/ (Accessed/ downloaded/: 05 November 2019)

Figure 2 ­– Platon. (no date) “Quiproquo” cocktail dress. Available at: https://languagelog.ldc.upenn.edu/nll/?p=19331 (Accessed/ downloaded: 05 November 2019)

Figure 3 ­– Special Collections. (no date) 19^th-century rubbing from a 10^th-century stele describing a sudden illness, a stomach ache Rubel Collection C-74. Available at: https://languagelog.ldc.upenn.edu/nll/?p=19331 (Accessed/ downloaded: 05 November 2019)

Figure 4 –Kid, B. (2017) Coco Served Hot. Available at: https://jingdaily.com/fashion-photographers-chanel-photoshoot-regarded-as-racist/ (Accessed/ downloaded: 05 November 2019)

Figure 5 – Kid, B. (2017) Coco Served Hot. Available at: https://www.streeters.com/news/interview-august-2017-coco-served-hot (Accessed/ downloaded: 05 November 2019)

Figure 6 – Maconochie Photography. (no date) Yves Saint Laurent: Dreams of the Orient. Available at: https://museeyslparis.com/en/exhibitions/asie-revee-yves-saint-laurent (Accessed/ downloaded: 26 November 2019)

Figure 7 ­– Saint Laurent’s Opium illustrations. (no date) Available at: https://www.theguardian.com/fashion/2018/oct/02/saint-laurents-dreams-of-the-orient-when-you-know-a-culture-you-cant-make-mistakes (Accessed/ downloaded: 26 November 2019)

Figure 8 – Yves Saint Laurent Opium for Women. (no date) Available at: https://www.fragrancex.com/products/_cid_perfume-am-lid_o-am-pid_1011w__products.html (Accessed/ downloaded: 26 November 2019)

Figure 9 – Look 83 Kudah Basahan Dress. (no date) Available at: http://www.carljancruz.com/83-93/ (Accessed/ downloaded: 21 November 2019)

Figure 10 – Basahan (Rag). (no date) Available at: http://www.buyandsellplus.com/Classifieds/182382/BASAHAN-NA-BILOG (Accessed/ downloaded: 21 November 2019)

Figure 11 – Dolce & Gabbana ‘The Great Show’ Advertisement. (no date) Available at: https://edition.cnn.com/style/article/dolce-gabbana-shanghai-controversy/index.html (Accessed/ downloaded: 21 November 2019)

Figure 12 – Dolce & Gabbana ‘The Great Show’ Advertisement. (no date) Available at: https://jingdaily.com/dolce-gabbana-racism/ (Accessed/ downloaded: 21 November 2019)

Figure 13 – Dolce & Gabbana ‘The Great Show’ Advertisement Instagram Post by @Diet_Prada. (no date) Available at: https://www.instagram.com/p/BqXYtsZl6D5/ (Accessed/ downloaded: 21 November 2019)

Figure 14 – Harrison F. (2018) Claudia Li Spring 2019 Collection Runway Show. Available at: https://www.insider.com/claudia-li-all-asian-models-new-york-fashion-week-show-2018-9 (Accessed/ downloaded: 21 November 2019)

Figure 15 – Prabal Gurung ‘Stronger in Colour’ Pre-Fall 2019 Collection Looks. (no date) Available at: https://prabalgurung.com/pages/pre-fall-2019 (Accessed/ downloaded: 21 November 2019)

Figure 16 ­– Jin & Dana. (2018) Still from Prabal Gurung’s Fall 2018 ‘Stronger in Colour’ digital campaign. Available at: https://fashionista.com/2018/10/prabal-gurung-fall-2018-ad-campaign (Accessed/ downloaded: 21 November 2019)

Figure 17 – Mosuo tribe in China. (no date) Available at: https://twitter.com/bbcwomanshour/status/846361988896829440 (Accessed/ downloaded: 21 November 2019)

Figure 18 – DOK.fest München. (no date) Gulabi Gang in protest in India. Available at: https://www.dw.com/en/indias-pink-warriors-take-on-injustice/a-17665865 (Accessed/ downloaded: 21 November 2019)