FEMFRESH: Development

I then starting to apply the vector as a campaign using colours and techniques to create a current kitsch vintage feel.

I tried using there brands blue to bring hierarchy to the tagline

This I felt was to busy with the pokadot inside the bubble. I had purposely put the logo in the bottom left beneath the speech bubble subtly suggesting it's femfresh's voice in the advert.

Alternatively I tried using the blue for the entire background. However, I chose to stick with the pink as I felt that colour scheme fitted better for the vintage look and works well with the image.

These were the end results showing how it can be used portrait and landscape.

I was really pleased with the end result as I felt it had communicated all the things I was after through the choices in design atheistic and copy.

FEMFRESH: Illustration

I began to look for images that would work with the pop art atheistic. I wanted to get a vintage photograph of someone with a shocked expression. The vintage style of the 1950s I felt would work best with the atheistic.

This photo of marilyn monroe had the characteristics that was after such as the glasses and the hair.

I used this picture as my main inspiration for vectoring the photograph, drawing the colour palette to get  the most authentic visual.

The final vector

FEMFRESH: Visual Research

As I was brainstorming initial ideas I collected visuals to aid my thought process.

 When thinking of copy and tag lines that could say exactly what the brand needed to say I remembered this range by anatomicals. It uses funny phrases to describe the function of the product. It creates a friendly and light hearted tone of voice with the audience.

 I also thought of body paint as a way to apply a message to the area of the body through a visual such as flowers making it a more attractive and less striking.

 Other visuals that helped visual ideas such as the males looking away in shame.

I really liked the idea of applying the pop art atheistic to which ever idea I chose. This I felt was appropriate to the audience and to delivering the message to remove the stigma because it's more 'cool' and appealing.

I found this campaign in my research. It wasn't once used but it was interesting to see how other people had chosen to communicate femfresh.

This is there recent campaign where they tried to start targeting a young audience. It uses urban vocabulary and bold colours. The models are styled to appear trendy and current. 

They use there strong blue as there brand colour giving the campaign impact by applying it to the background.

COP BOOK: The Brief

I didn't quite understand this when it was originally mentioned at the beginning of the year. However, this talk from Ben Freeman at Ditto and Amber briefing us helped explain the possibilities and the expectations.

 I actually felt surprisingly enthusiastic about this brief after this talk especially when linking it with my research for IKEA. I started noting down initial thoughts, ideas and mediums I could display this information. 

I think due to the brand it meant I could do something a bit more interesting in displaying the information such as using wood or furniture. 

FEMFRESH: Initial Ideas

The brief:

 The key points:

What do you want to say:

- expert skincare for down there

Who are you talking to:

women 18-24 yrs old
more time looking after themselves
actively look for beauty messages

How do you want to say it:

- viral campaign

Negative: 

- brand - embarrassment stigma attachment
- 'old, smelly women'

Unique characteristic:

- for private parts only

Negative characteristic:

- brand suggests you have smelly private parts

Turn it into positive:

- good smelling private parts - not what people think - instantly think negative smell not positive smell but it keeps them fresh

How would you sell it to men:

- take pride?
- hunky guy - like old spice ad

'smell like a woman, man.'

'now who's embarrassed'

either

- be embarrassed if a man thought you weren't clean and fresh

or

- he'd be embarrassed because you were and he wasn't

use female body for visuals?

stand out - get rid of the embarrassment of it being 'down there'

Don't reveal - imply

Use visual metaphor - literal into lateral

Symbols:

vagina

- flower

- purse
- peach

(bit of a typical approach)

Language:

the product works when its wet
sexual reference
'works just the same as you, best when wet'
'works in harmony with your body'
'works best when wet.'
'GET WET. Expert skincare for down there'

(doesn't communicate - convince them to try femfresh and make it part of routine without feeling embarrassed)


Now who's embarrassed.

visual representation of this:
male model looking away - initial thought is making the product sexy by using attractive men
then shows women handing femfresh to the man - he's the one who needs it

humorous - light hearted
uses sex appeal to sell - appropriate for the audience
women vs men spin - feminist - girl power
stigma only matters because of males opinion 

other representation:
copy that flips the negative to a positive at the end
'god you stink so fresh'

unexpected to be open about the negative stigma
friendly tone
not embarrassed anymore because you smell better


KEY - THE BRAND NEEDS TO BECOME COOL TO GET RID OF NEGATIVE ASSOCIATIONS AND NOT BE EMBARRASSED TO USE IT

not cool at the moment because it's for your 'down there' and associated with being unclean/smelly

embarrassed people:
- hide
- go red
- put hands over face
- close eyes

relate to bottom:
- put hands over front bum
- blushing bottom cheeks
- put pants over bottom


Sketches:

Other ideas/thoughts:

girls allowed

- your allowed to buy it, its not embarrassing

- don't be ashamed

don't get in a flap

- don't get embarrassed when buying it

- don't get in a mess about caring for down there

don't get in a flap, jack

- aim it at guys

- educate them about what it is to remove the stigma

don't be shy just give it a try

- not much of a statement

- doesn't stand out

nominate people to try it

- encourages a trail
- viral campaign
- don't think it'll catch on

it shouldn't smell
- doesn't have  scent to the product
- not using it should be seen as bad not using it

these I didn't feel answered both aspects of the brief, they either worked on the embarrassing side or the trying it side

therefore I tried putting it out straight and to the point

Screw the taboo, use bum shampoo

this i feel was light hearted and said what needed to be said
i also felt it had longevity as a campaign
now i want to put this into a visual

FASHION: Campaign Idea

I decided to brainstorm the word 'timeless':

- eternal

- immortal

- classic

- not affected by time or change

This led me to categories:

PEOPLE - Audrey Hepburn / James Dean / Marilyn Manroe

OBJECTS - Classic car / martini glass / glasses

CLOTHING - LBD/ Pearls / Stilletto

FAMOUS - breakfast at tiffanies / marilyn wind dress

BRANDS - Chanel

Diamonds

I decided on the tagline 'It's time to be timeless.' as I feel it summed the brands ethos and concept. 

This led me to create a simple and stripped campaign board.

I'm going to ask for feedback on these new images in order to establish how effective they are

D&AD: Finals

The Concept explained:

Driven by technological advances in image making, the huge expansion of the internet and it’s capability for viewing video, a new medium of creative promotion has taken hold: Fashion Film. The new medium has grown and developed in parallel to dominant contemporary media platforms, giving instant access to a global networked audience and market.

The concept behind the identity of the exhibition is based on the parallel of growth of these two factors: Fashion Film and contemporary media. Therefore the diagram associated with  parallel lines in geometry was the main inspiration for the exhibition identity. We assigned an aspect of the exhibition to each of the three lines in the diagram. The two parallel lines stand for Fashion Film and contemporary media as the run along side each other in growth. The diagonal line that strikes through both is the featured artists. This diagonal line is key and stands for collaboration as theses three aspects join forces to form the exhibition as well as a new medium.

Final Boards for D&AD:

D&AD: Design Development

After now deciding on the identity of the exhibition that evening I did some rough sketches of some ideas of how this could apply to format and different mediums. 

I also came up with ideas of how the text captions and signage could have a functional system in place that meant it would work with the moving and bilingual exhibition. 

The next day we started by writing down the things we needed to produce from the brief.

Now that we had decided on the logo we started applying the same brand athestic across all the different deliverables. We wanted to maintain using parallels and the diagonal line. For title we did the same as the logo,  creating a separation. We used the parallels by displaying things in two lines as physical objects or two paragraphs showing two languages.

We decided on white on black for the whole exhibition identity to keep it as a set.
The idea behind the film captions was that there would be two plaques alongside the work parallel to each other. I chose plaques as they were adaptable and transferable as the exhibition is constantly moving location and the languages will always be changing.

For the way finding I wanted a similar idea so that it could be easily transported and adapted depending on where the location was.

We experimented with various layouts and shapes trying to keep the parallel concept key in the design.

Front Cover Catalogue:

Our initial idea of having a black box over one of the images that would be augmented and give a digital moving aspect of the cover led to us creating this shape. Using the diagonal line we sliced off the corners to create a bespoke shape for the exhibition. This then influenced the rest of our design.

The Invite:

Seb came up with the idea of having all the people invited to the private viewing on the front of the invite which the one persons name highlighted.

This was our starting point:

 We used the slashes in-between all the names as the diagonal line represented the collaboration.

We tried adding imagery provided and the sample text they wanted on the invite:

 We felt the imagery really improved the overall look of the invite and made it intriguing, dramatic and mysterious.

Using the shape from the front cover we cropped the text to keep a strong atheistic identity throughout.

We decided to make the text a lot fainter so the name and dashes stood out more.

Final invite front and back:
The parallel line maintains throughout the design using two columns for both languages.

From this we adapted the text captions to the bespoke shape.

Cover Front and back:

We then started to adapt the initial way finding idea into the design we were following through the other formats.

We played around with a few ideas but we were finding it hard to make the arrows work as the using the diagonal used throughout meant that the arrow head was off with the rest of design.

Eventually after finalising the information on the two sides of the way finding we were able adapt the design to visually represent the exhibition as well as be functional.

Poster development:

We played around with various layout of the information considering what they said in the brief about british council branding and the sponsors. We tried different photography it ensure that the design could work across different imagery so the campaign could be varied and show different aspects of the exhibition.

Finals:

Catalogue layouts:

We sketched out loads of different layouts for the two catalogue sample pages. We wanted to carry the design throughout so we used the shape to crop the images.

In the overall final design after playing around with the layout we maintained the two text columns showing the two languages.

Mock ups:

 End credits:

For the end credits we wanted to adapt our concept to work in motion. We thought the way our logo looked also looked like movement so we went with this for the ruling credits. We did still images of how it would work like a story board. The title and name of the person would disappear into the line and the next person would come back out and go out of shot.

For the larger bits of text we had two parallel columns scrolling up the screen, simple but effective to the concept.

Mock up of text captions next to a piece of work: