The launch of the MEMORIA film that will happen on October 14 2019 at 20:11 GMT won’t be any ordinary launch of a fashion brand. Much alike it’s previous guerilla-style approach to promoting the brand revealing more information to the public, the MEMORIA film will be broadcasted live worldwide through a mass hack of digital advertising billboards. The MEMORIA team will launch the film and in turn the philosophy of the brand and what it represents and stands to achieve will finally be made crystal clear to the world. Whether it’s in Times Square, the streets of Tokyo, Piccadilly Circus, or even getting of the Eurostar in Paris or at the airport, MEMORIA will be accessible to all. Although the piece will only go live for the duration of one viewing of the film, it will also be broadcast at the same time on the MEMORIA official website, as well as on the Instagram account whereby the brand’s employees stationed at multiple locations around the world will record footage of the public witnessing it for the first time. The world will experience MEMORIA with no choice, no option, it will be inescapable, with truth and transparency being put on display, unveiling and revisiting issues that desperately need to be addressed that deeply effect today’s society. With the brand being introduced in this manner, talk is inevitable. Thus, leading to more awareness for MEMORIA and the types of issues they raise regarding abuse of political and media power and the manipulation of information that gets fed to the public, or buried completely. This will be highly impactful on raising the profile of MEMORIA and hopefully will inspire a new wave of political standpoints and an expression for accountability and transparency: the start of revolution.
When it came to sourcing music for the MEMORIA film, I quickly knew that I did not want to use any music that had lyrics as it would detract from the message that the film is communicating to the audience. Having the track and the footage work together in great balance and harmony is paramount to the overall aesthetic and representation of the brand. I instantly had two routes that I could go down in order to achieve the effect I desired. The first was to find a classical piece that would start of very calm and soothing only to break out into a dramatic, perhaps even unsettling symphony. I had visons of using Yo-Yo Ma’s ‘Bach: Cello Suite No. 1 in G Major, Prélude’ or Tchaikovsky’s ‘Dance of the Swans’ as they both share that stunning beauty but there is also great darkness that gets explored in the depths of the piece. The second was to focus on the genre of EDM music. After Daft Punk’s revolutionised dance music to give birth to a new wave of electronic dance music (EDM), that is immensely popular amongst my generation and has altered the world of music, I felt it imperative to explore for my work. Therefore, I chose to direct all of my attention to locating EDM tracks with the right sound and energy I wanted. The first track came to me after being an instant fan of the track since its release in 2010 by Skrillex, who also revolutionised this style of music by solely creating the sub-genre known as dubstep, entitled ‘Scary Monsters and Nice Sprites’. The build at the start of the song with its signature riff soon descends into one of the best bassline drops ever, with the track then adopting a much darker and violent energy that is extremely infectious. The other track I looked at was deadmau5’s ‘FML’ which was released in 2009. The track starts with a simple steady drum beat that progressively builds, increasing its speed until the drop into the high energy, chaotic, and occasionally erratic beat with the drum section appearing again to elicit another, and harder, drop. There are also some operatic sections towards the end which work to heighten the drama and intensity of the track. It is for this reason, with the genius touch of the classical, operatic energy combined with the hypnotic, electric EDM beat that deadmuaus5 ‘FML’ is my track of choice for the MEMORIA film.
On November 17 1973, President Richard Nixon made one of the most iconic speeches in history: the infamous “I’m not a crook” speech. Filled comedic levels of irony surrounding this statement as this took place in the midst of the Watergate scandal, whereby Nixon had in fact bugged the Democratic National Committee offices in the Watergate Hotel in the heart of Washington DC in order to obtain government secrets, which later led to Nixon making history as the only President of the United States of America to resign. “Houston, we have a problem”: April 11 1970 marks the launch of Apollo 13 from the Kennedy Space Station. After a successful take-off, two days later, an oxygen tank exploded putting the crew in danger but after working with Mission Control in Houston the mission ended safely but not technically successful. This was due to the fact that Apollo 13 was to be the third mission to land on the Moon, however due to the problems the mission faced, the crew were forced to orbit the Moon and return to Earth without ever landing. On April 17 19070, the crew all returned to Earth safely. On September 17 2002, President George W. Bush delivered a speech before a group of schoolchildren, parents, and teachers in Nashville. It is here where Bush provides the world with a stellar fumble in attempting to recite the well-known aphorism: “Fool me once, shame on you. Fool me twice, shame on me.” Instead of delivering this correctly, in typical Bush fashion this is his rendition: “There’s an old saying in Tennessee. I know it’s in Texas, probably in Tennessee that says, ‘Fool me once, shame on … shame on you. Fool me… You can’t get fooled again!” Firstly, Tennessee is an independent state and is not in Texas, and with Bush serving as the 46th governor of Texas from 1995 to 2000 prior to serving as the 43rd President of the United States of America, I would expect his knowledge of this state to be quite high, however it would seem that’s definitely not the case. My other form of experimentation came with my vision of how I wanted to open the film. I found it vital to instantly display evidence of historic moments in history, which is represented in the launch of Apollo 13 footage. Not only did I want to represent key moments in history but also moments that defined government and highlights the scariness that these are the types of people in charge of the most powerful countries in the world. This of course is demonstrated by both the Nixon, “I’m not a crook” speech and George W. Bush’s interesting take on the ‘Fool me once, shame on you…’ saying. This creates powerful visuals for the audience from the offset, immediately showcasing what MEMORIA is trying to fight against. The Apollo 13 footage also links to the launch of MEMORIA itself and how a new way of communicating information between government, media and the public needs to be established.
Phase 1: Image & Text
The first way in which I contemplated displaying the information in the film was in the form of overlaying text onto the painted mural from The Painted Hall, Old Royal Navy College. As this is the same image that has been used in prior promotional materials for MEMORIA, it would make the brand identity cohesive as this image would become synonymous with the brand communicating with the audience, thus maintaining cohesion and continuity in its brand identity. However, I think there are more interesting and creative ways to present this, as it is quite static and follows the same format as the rest of the film which is not really what I’m looking for aesthetically. I want the footage that I have shot of the model in the locations to contrast and contradict the information revealed in the duration of the MEMORIA film. As the information is different from the other shots, I also want that to be reflected visually and with this people such an integral part of the film, much consideration needs to be taken on this element.
Phase 2: Archive Footage
Abandoning both the painted mural and text, the next phase in my experimentation for how to present the information to the audience was to show video clips on each issue. This introduced a foreign element to the MEMORIA film as before every shot was my own and followed a similar aesthetic and vibe, but this footage brings another level to the film overall, thus bringing great depth to the piece. These are also very powerful visuals that I am displaying here that showcase the issues in a way that will immediately intrigue the viewer to want to seek out further information, not just on these matters but into other areas that the government is trying to keep secret from the public. The primary element that worries me with solely using video footage of these issues is that obviously, if people haven’t already seen these images before they won’t know what it’s related to or what it means, which would go against everything that I envisioned for this particular element of the film and the overall effect of the MEMORIA film itself.
Phase 3: Archive Footage & Text
It is so important that the ultimate message received here is that transparency between the government, media and the public is paramount and that information should be free, not hidden. Therefore, I have combined the clear, bold statement text from Phase 1 and the powerful, striking video clips from Phase 2 to create the ideal way in which to reveal this information. With overlaying the text on the footage, and in keeping with the transparent element of the text, that MEMORIA has branded since its inception, bonds the two elements together as the text looks imbedded and deep rooted into the footage, thus making for an incredibly strong display of these issues. In experimenting in these stages has allowed me to introduce ideas that I think, at that time will work perfectly, but questioning yourself is a vital process of experimentation as it can often lead to far better approaches and outcomes.
Stage 1 – Images
The first step was to visit all of the locations I desired to feature in the MEMORIA film which would later be shot with a model. This was to gage a deeper understanding of the layout of each of the structures and analyse what certain areas need to be used as key focuses, whether it involved fixating on particular details of the building or stunning scenes of nature. Upon returning to the three selected locations after my initial location scouting, involved me solely taking photographs of the spaces in order to have visuals of the structures from multiple viewpoints and be able to refer back to when planning specific shots and thinking of ideas for how the model can interact and exist in the space. At two of the locations, the weather was relatively calm. There was no rain or strong winds and it was also relatively sunny, allowing me to find places in each of the structures that created some interesting shadows and, particularly in St. Mary’s Church given the unpredictable nature of the structure itself given that the church sits in ruins, covered in foliage introduced some stunning and peculiar areas where the natural light could be accessed, thus creating beautiful imagery. In Hampstead Heath Hill Garden & Pergola, it was lightly raining at the time of shooting, however, it was also sunny so, fortunately, the rain did not have the negative effect on shooting as I thought it would.
Upon revisiting these locations after choosing to make them the three primary shoot locations for the MEMORIA film, I got such a stronger gage on how to harness the essence of the spaces. Because, at this stage of the process, this is just for me personally, in terms of thinking about specific areas of the structures I wish to focus on in depth in order to capture the immense detail in the design or framing for a wide-shot to display this spectacular grand yet seemingly modest architecture was incredibly riveting and interesting. I spent approximately two hours at leach location, scanning, studying, and learning the best ways in which each location could be shot and this time taken to fully understand my surroundings and environment meant that thinking about moving on to filming footage at each location became far less daunting of an idea and became something I suddenly looked forward to and was excited about. As I stated on the previous page, at Hampstead Heath Hill Garden & Pergola, the weather conditions were not as good as when I visited the other two locations, although this did not negatively affect shooting as it was solely a photographic shoot this time around. Going forward, however, it is vital that I ensure, as much as I can, that I choose a date in advance that is predicted to have sunny, relatively calm weather. Weather conditions can be very unpredictable, and it is important that I ascertain a time period that allows the best lighting for each location as they all very open structures so I am heavily reliant on nature being on side for the coming shoot dates. As clearly displayed, here I have experimented with a wide range of angles, viewpoints, focused on lighting, and discovering points of shadows that are cast by the natural light at all three of the locations. Documenting and focusing on these types of details are vital to being successful in embodying the true feeling of what it is to experience these spaces. Both the details and the locations in their entirety are equally as important.
Stage 2 – Locations Video Footage – Contact Sheet
The next step was to again, return to the three locations, where I then shot video footage using a digital camera. It was here that I used my prior exploration and further understanding of the spaces as structures as well as the specific details and areas that held a certain charm or included interesting patterns or worked in tandem with the natural light in a certain way that created amazing visuals. This prior knowledge and deeper understanding of the structures and planning of particular things I wanted to capture in order to really encapsulate what the locations evoke and cause the individual to experience once immersed in these spaces. It is vital that the magic and true sense of wonder and importance of these locations is embodied to be absolute best of my ability as they are truly special places and hold such powerful significance, not only in design and architecture but in faith, spirituality, and self-discovery. The next visits were carried out within a week of the first, and the weather conditions were, fortunately, quite sunny, dry days which was amazing as this time it allowed me experience all three of the locations in the same environment. When returning to St. Dunstan in the East, it was slightly cloudier and as I was leaving the location, there was light rain but fortunately that did not affect shooting.
All stills displayed over the next three pages were taken from a selection of the video footage I took upon revisiting the three primary locations that will be featured in the MEMORIA film. The full clips themselves can be found on my blog. As actual video footage was taken at these locations this time around, I have decided to discuss all three of the locations separately, as opposed to previously with the photography shoot whereby I commented on my findings collectively, as I felt that I have now delved even deeper into these spaces thus noticing more details about each of the locations. The primary aspect I tried my best to highlight when shooting at St. Dunstan in the East was to capture the beautiful arched structure for the windows from the ruins as well as the way in which the nature element seeps through the structure, moulding the beauty of both the architecture and the nature together to create a visually stunning space. The ruins themselves cover quite a lot of ground and are still in excellent structural shape and interact with the natural light in the most beautiful ways, so being able to capture that was essential during this shoot. Out of all three of the locations I visited, I gathered the least footage from St. Dunstan in the East. This was predominantly due to how busy the location was. Even though it isn’t considered your typical London tourist destination it is still one of London’s hidden gems so many people seek it out. I found that this was mostly in order to get a picture with themselves in it for their Instagram accounts, which I can’t really blame them for, it’s such a visually stunning space, however once they got their picture most people left without fully taking in the truly spectacular structure they were surrounded by which I felt was such a shame. The sheer volume of people present during my time here also meant that a lot of the types of shot I wanted to do, running along the full length of the wall facing the sun through the arched windows for example became near impossible unless I angled the camera above closer to the top of the structure which proved to look slightly odd when I looked back at the footage. I tried to go at a time I considered wouldn’t be too busy considering it was mid-week at between two and three-thirty in the afternoon, however I only had the place to myself for around five or ten minutes before the next influx of people would enter the space.
Hampstead Heath Hill Garden and Pergola grounds are about three times larger than that of St. Dunstan in the East with so many different and interesting elements to it and so many ways in which to view the space in terms of vantage points and experiencing different sections of the location from different perspectives. This aspect of the space was incredible for me in terms of gathering amazing material and in quite a high volume, as after the first photographic shoot, I got a sense of the specific areas I wanted to capture and the variations of how I wanted to capture it. For example, it was imperative that the details of the nature element and the dome-like wooden structures that created the most amazing strong, solid lines and interacted beautifully with the natural light shining through to cast the most spectacular shadows on the concrete. So, it was paramount that I considered both the pure grand nature of the structure in terms of size, and how to capture the pure wonder and powerful presence that this location emulates, in both wide-shots of the space as well as using tight and close-up shots of particular details that I thought important to highlight and focus on in order to get a balanced view of the space. I was fortunate enough to be blessed with in shooting at this location with only a few people around, which surprised me considering it was around Sunday lunch time. This provided me the freedom to gather footage with myself being the sole being in the space for most of the duration of my time there which I was very grateful for. Another positive aspect of this shoot was that the weather was significantly better than my previous visit as it was a sunny, calm day, thus allowing me to observe and experience the location with the best possible conditions to shoot with my model. At this location, it was imperative for me to find ways in which I thought would be quite unorthodox and different in terms of how to interact with the space and how I could possibly introduce quite a chaotic feel to such a stunning place of solitude and self-discovery. Therefore, I chose to experiment with pace. For example, when shooting most of the detailed, close-up nature shots I would go very slowly and follow the lines of the nature and how a tree branch would bend to the shape of the pillar it was snaking up surrounded by beautiful bright green leaves, then when I would sprint up the stairs with a uniform row of pillars either side of me and through to another area of the structure where I would abruptly stop and turn, trying to assert a feeling of urgency and potential fear and uncertainty which proved very interesting as this has the potential to be quite an eerie space in the right circumstances. So, by showing a combination of displaying the quiet, calming nature of the space and the potential fear presented in how hidden and secluded it is was so satisfying to play around with as displacing the location in this way allowed me to see ways in which I could experiment with inserting the model into these types of shots going forward.
Although the ruins of St. Mary’s Church are quite small, particularly compared to the other two locations, there is definitely not a shortage of opportunities to gather some truly mesmerizing footage. Much like at Hampstead Heath Hill Garden and Pergola, the importance on focusing on shooting both wide-shots of the full exterior of the space as well as the small, intricate details present throughout the structure was paramount in seeing how I thought about what I wanted to highlight with the model present in the location. The shoot day for this location could not have been more perfect. I arrived at the space on a weekday at around two in the afternoon and stayed for over two hours. I just simply got lost in the space – I have never experienced a location like it. The ruins have such a formidable and powerful presence and you can feel the religious and spiritual essence radiating throughout the space. With the way that the sun invaded through the window spaces in the structure and through broken gaps in the walls created the most spectacular visuals and cast some of the most amazing shadows. There are so many interesting and intriguing elements of this space that it is impossible not to become fully immersed in the pure wonder of it – pure admiration is what I experienced here. Hopefully, the footage I have gathered relays that as I have pursued to convey so much attention to every inch of this location because it is such a special place. There is one specific area of the ruins that is one of the best paradoxes I have ever observed in a space like this. There is a tower and nave located at the west of the structure that is a small square grid that is enclosed except for its entrance and empty window space. At least that’s what it appears to be. Upon setting foot inside the square space, I was instantly struck with how it felt simultaneously entrapping and freeing but when I looked up: magic. At the peak of the tower lies an open space covered in nature that, when the sun shines through, creates the most mind-blowing views – it is absolutely breath-taking. Filming both from the main space inside the walls of the ruins looking into the tower as well as filming from inside the tower itself looking out into the rest of the ruins and above to the sky proved to be some of the best shots I produced from the footage at this visit. It is vital that I plan meticulously my next visits to this particular location as the way in which the weather conditions effect the standard of lighting, specifically, at this location is paramount in achieving the most visually dynamic footage. I am excited most to shoot at this location with my model as I feel that I can use the various camera angles, vantage points, and specific details that I have experimented with here and apply them to guide her through the space and see how a live presence effects the aesthetic and essence of the location itself as it has such a rich spiritual energy.
Stage 3 – Locations/Model Video Footage – Contact Sheet
Returning to the three locations with my model was the third and final step in this process. From having at least two prior visits to each location and understanding my surroundings and interesting ways to capture the spaces, as well as ascertaining specific areas of focus in each location and whether that spot had particularly good access to the natural light, because although they are buildings they are all open structures. This aspect can be a curse or a blessing, all dependent upon the type of weather conditions you experience. So, after planning the ways in which I thought would be interesting and visually dynamic for the model to interact with the space, I travelled to each location with the model in wardrobe and the first thing I did was let her just wander through the entire space, immerse herself in it, really let her feel like she was “in it” and she was experiencing emotions and was feeling whatever energy the spaces were feeding her. As I have previously expressed, these locations are all incredibly special and unless you have experienced them it is incredibly hard to articulate just how emotionally charged they all are. They make you feel such strong and powerful emotions that you didn’t think possible, just sole imagery and video footage do not do justice for the experience itself.
Carrying out a test shoot with the model in the three primary locations was the final stage before capturing the final video footage for the MEMORIA film. Ensuring that the styling I paired with each location looked aesthetically pleasing and was a combination of alien and compatible with the environment was key in creating that feeling of loss and discovery simultaneously that is paramount to the essence of what the film stands to represent. After three prior visits of each location, at this stage, having such an in-depth knowledge of these environments meant that knowing how I wanted to incorporate the model came quite easily to me – I just didn’t know how it was going to turn out with left me feeling a mixture of excitement and nervousness. Experimenting again with camera angles, viewpoints as well as pace in terms of following the model as well as the nature elements that curve and bend, snaking around the ruins of St. Dunstan in the East were vital in furthering my understanding in what worked well factoring in both the space and the model. Establishing this relationship between the two elements is detrimental to evoking the types of feeling I hope that this footage creates. These are ultimately feelings of freedom, escapism as well as contradictory emotions of displacement and loss. Staging a combination of static, natural poses as well as sequences whereby the camera journeys either through the structure to later include the model or to follow the model at the start of the sequence through different areas of the space. The outfit for this location is a pair of straight leg vintage Adidas track pants with the iconic three stripe side detail and bright blue poppers lining all the way down the side of the leg. This was paired with a bright white high neck long-sleeved cropped top. With the sleeves and bottom hem of the top being elasticated and very tight fitted to the skin, along with the metal poppers that started at the neck and staggered down halfway down the length of the arm introduces a feeling of entrapment and struggle, as the top itself emulates the silhouette and structure of a straitjacket which I thought brought an interesting element to the look. This is juxtaposed with the floaty blouse-esque effect of the fabric used produces a feeling of being free. The popper element present in both the top and trousers of the outfit were interesting to experiment with in terms of getting shots of the model un-popping them and then fastening the clothes back into place. This disruption of the original silhouette of garments created some interesting visuals and is footage that will work well when it comes to editing to the beat of the track I will use for the film. Completing the look with some classic Nike Air Max 95s makes the overall feel of the look casual and relaxing but also stylish and on-trend.
At Hampstead Heath Hill Garden and Pergola, I took the same approach as the previous location. The three clips I have selected to display serve as great examples for the vast variety of footage that I gathered upon revisiting this location with my model. The first showcasing the ways in which I have experimented with vantage points and camera angles in how I capture the model in this beautiful landscape. Placing the camera on the floor, fixed to the same spot as the model crosses the camera, to capture this shot enables me to get an interesting wide-shot, keeping the model’s whole body in shot for the maximum amount of time before she exits the shot. This also creates the feeling of the nature present in the space fully enveloping the model, paired with the stunning shadows that are generated through the blazing sun and the wooden panels that sit in a grid-like structure running continuously over the pillars that outline the space. The second clip I selected, mirrors that of the clip I chose for the previous shoot at this location, whereby the camera adopts a hand-held erratic feeling as it navigates through the space at a fast pace. This time the camera follows directly behind the model as she sprints through the vast, empty column until she reaches the very edge, even going as far to lean over as if she will fall. This was successful in achieving the effect I predicted it would in the previous video shoot here, with the model the feeling of escapism and experiences a potential sense of fear, displacement and sense of not belonging here is apparent and there is great intensity in a clip of this style illustrated by the way in which the camera follows behind her, thus bringing great depth to the shot. I will definitely experiment further with this particular type of shot as I think it creates an interesting juxtaposition with some of the more static shots I have also produced as well as maximises the conflict presented by the film itself of freedom and the fear that lies with the unknown. The third clip is a great example of the kind of static shots I experimented with at this location. Holding on a shot, ensuring that it has an interesting composition and maintains balance and harmony is key to producing enticing and aesthetically pleasing footage. I loved the wide-shot photographs I took of the exterior of the structure and felt that by incorporating the model into the shot in this way, experimenting with an over-the-shoulder shot that marries the two elements together in a way that emphasises their equal importance and clearly establishes the connection they share.
These clips were selected in direct response to the chosen footage taken to showcase some of the important focal points from the previous visit to St. Mary’s Church. Focusing on the external attributes of the ruins, as well as heavily close-up details of the stone walls and the spectacular tower and nave that introduce such an enthralling and hypnotic element to the footage. Usually, I refrain from using shots whereby the focal point is framed in the centre of the shot, however, in this case, the shots that capture the model smoking looking head-on into the camera lens are stunning shots that I will definitely feature prominently in the MEMORIA film as they are just so powerful. The way the light beams down through the open section of the top of the tower bathes the model in such soft, beautiful light, almost like a spotlight, highlighting the presence of an unfamiliar element existing in this forgotten space, thus illuminating the connection between the two elements. After realising just how special the tower footage was, from the vantage points of shooting from both the outside looking in and the inside looking out into the rest of the ruined structure, I mirrored the frame set-up exactly to the shot captured on my presence visit and shot the model slowly walking into the shot. A strong sense of calm, exploration and wonder are present in this shot and as she turns in the centre of the frame to approach the camera, getting closer and closer worked wonderfully. The shot remaining static and in place with the model interacting solely with the structure and not paying any attention to the camera, only on her surroundings made it so much more intimate and delicate, almost fragile. I wanted to split up the visits to the three locations in this way, (solely photographic, video footage of just the space, then inserting the model before final filming) as my thoughts and ideas on the project evolved. It was vital that my constant and frequent interactions with the locations to inform my vision as I delved further into this process of experimentation until I was certain about specific shots that I knew had to be captured.
Including a mission statement that covers the aims for both MEMORIA and the MEMORIA film, which launches the brand to the world, is vital in ensuring that the audience are aware of the company’s philosophy and goals for playing a part in achieving transparency and accountability from our governments. The mission statement also briefly explains how MEMORIA came to be, inspiration and ideas that formed the core ethos behind the brand. This, I think, allows the audience members to have a deeper insight into MEMORIA and an understanding as to how we can be prompted to go down certain paths. Alerting a new generation to issues that have either come before them or are still ongoing but not made as public as they should is paramount for the brand, so that we shine a light on key issues that need to be resolved by government powers that seem to have been left behind. The mind is a mysterious and vulnerable thing, manipulating it is easier than we may think, and MEMORIA wants to give these memories back, the ones that the government and the media are so good at editing and erasing.
The MEMORIA website will go live on August 14 2019, two months before the launch date. This will coincide with the global poster campaign, allowing plenty of time for the public to get intrigued and spread the word about MEMORIA, whatever it may be. Upon discovering the official website, the individual will see this homepage (displayed above), whereby they will be presented with the following riddle: “MOST ASK FOR ME, YET SOME HATE TO FACE ME. FOR SOME I AM AGONY AND FOR OTHERS, I AM RELIEF. WHAT AM I?” with a box for people to enter their answer. When the individual enters the correct answer, which is “TRUTH”, this will act as a password to advance further into the site which will reveal a countdown to the launch date of October 14 2019. Two weeks before the launch date, the riddle aspect of the site will be removed and simply be replaced with the countdown that was only visible prior to those who entered the correct answer, thus making it visible to all that initially enters the site. The design for the website is cohesive to the rest of the visuals and structure of how MEMORIA is presented to the public, thus maintaining a strong brand identity, that is quite a paradox given that the true nature of the brand still remains a somewhat of a mystery and a secret to the public. However, the purpose of this is that when MEMORIA does launch, all will be revealed in sheer transparency. The message and mission behind MEMORIA is made undoubtedly clear through their promotion. The promotional materials highlight MEMORIA’s urgency for truth and transparency and to stand against and injustice, and to ultimately make people remember. When the countdown winds down to “00:00:00:00:00” the MEMORIA film will start to play, and after its debut, it will remain permanently available to view on the homepage.
As MEMORIA is taking quite a mysterious and guerrilla-style approach in terms of promotional strategy, and with it being a fashion brand, I felt that the only essential social media account is Instagram. This outlines MEMORIA’s first four posts on their Instagram account. The first simply displays the brand’s logo, giving the audience a taste and aesthetic of the brand and a brief insight into a key theme. The brand name itself will also conjure up a few thoughts and theories as to what the brand could be trying to communicate. The second will be the series of the eight poster images that were scattered around the world in quite unsolicited ways in order to get to the eyes of the public. This again, further showcases some of the locations that are important going forward, as three of them are the locations for the MEMROIA film footage. The quotes that overlay these stunning images, serve as the first main insight as to what lies at the forefront of MEMORIA: truth and transparency. The third post will correlate to what lies on the MEMORIA website. As will be revealed on the next page, the brand’s website will present the viewer with a riddle and below it will be this text with a box for the individual to place their answer. If correct, it will unveil further information about what MEMORIA is preparing to share with the world. The fourth post will be posted just two weeks before the launch date of the MEMORIA film, with the previous ones being posted from August. As this post showcases, the launch date is October 14 2019 at 20:11 GMT. I chose a powerful still from the image to appear as a backdrop for this information as it introduces the audience’s very first glimpse at what they can expect to see from the film. The launch date has been set on this precise day, month and time as, it is again another nod to the TV show, ‘The Leftovers’ which has been my main source of inspiration throughout this brief. In the show, the day of the “departure” (or the “rapture” as some would say) was October 14 2011. Therefore, I set the month and day the same but as the year was in the past I chose to split the year in half and make it the time that the film will launch. The launch date will not be in the bio from the date the Instagram account launches on August 14 2019, two months prior to the film’s launch, so when the fourth post is up the rest of the bio will read, “COMING 14.10.19 @ 20:11 GMT”, as it will have previously just read, “COMING SOON”.
For each of the Instagram posts, I have created GIFs for them also . For the first post of the MEMORIA logo, I created GIF whereby the text and image receive a glitch effect which is something that I had never learned how to do previously, so was a great skill for me to acquire. I felt that it was very powerful and went deeper into what MEMORIA represents and how it is not a clean-cut brand, its risky, and its radical. For the third post, I made the text appear as if it would when someone would type it out on a keyboard as the text is very synonymous with coding and hacking which again, elevates that tone of mystery and sense of intrigue for the audience. For the fourth image, I played with the opacity of the text, starting at 100% then with every frame slowly fading to nothing just as the model blows smoke into the camera, then reverses to progress back up to 100%. This symbolises how memories fade and it becomes harder and harder for us to recall events or information that is so important.
Marketing for the film will be done with guerrilla style tactics, maintaining the ambiguity of the event with the sole offline promotion being a poster campaign. This campaign will feature the posters I’ve created, showcased in the previous pages, including shots from the locations that will be used in the film, paired with quotes from influential individuals that focus on truth, memory, and power. These posters will be put up on over the top of bus stop and tube station advertisements, as well as being flyered in and around major cities, – but not in the normal way. MEMORIA will not pay for these ads. They will be put up to cover your average capitalist advertisements all over the world, with the MEMORIA brand/organisation (although being small) having people based worldwide, serving to implement their radical approach to merging fashion with politics, who believe that information should be transparent and free and that we should remember events that have impacted the lives of billions. What these posters are promoting will be unknown to the audience.