ARTKULT. AN EXPLORATION OF POLISH CULTURAL HERITAGE
Katarzyna Kowalczyk
‘Connect your work with your culture and you will manage to get your own unique vision of the world which will be reflected in your work.’
- Carol Morgan, Fashion Communication and Promotion lecturer at Central Saint Martins, n.d.
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PREFACE
At the age of 18, I went to London to attend Fashion Communication Summer School. It was probably the first time in my life, I found myself in such a diverse community. We were all excited to expand our cultural knowledge and share our own experiences with the others. This was also the time, when I understood how we all should be proud of the place we come from and derive inspiration from it. I consider that moment as a breakthrough in my way of thinking, as up until that summer, I had never perceived my local surroundings as a factor that could make me stand out in the fashion world. Recently, some of the cultural and political events that happened in Poland over the past few years, have moved me again towards a deeper reflection on my background, and the culture I was raised in. As a result, this report was developed as my further exploration of this truly personal topic.
fig. 1 - Kowalczyk, K., 2019. Wozzeck by Jan Lenica inspired photo shoot
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fig. 2 - Wasiuchnik, Y., 2018 Misbhv Polish Jazz fashion show backstage
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INTRODUCTION
In recent years, the attention paid to the Eastern European fashion scene has grown enormously, thanks to the success of designers like Gosha Rubchinskiy and Demna Gvasalia (Fedorova, 2017). They created the desire for the aesthetics of people from the post-communist countries, who actually at that time were experiencing the same emotions but towards the Western look (Anaya, 2016). Their success has proved that in the age of globalisation, locality still matters and is a driving force to make us stand out from the crowd. This report analyses the phenomenon of the so-called postSoviet trend in relation to the opportunities it has more recently created for the Eastern European market, particularly in Poland. It also highlights the importance of rethinking cultural identity as an ‘authentic way of bringing diversity into the fashion narrative’ (Fedorova, 2018) since it has become a serious matter for modern consumers (Sala, 2019) The investigation considers whether Polish people are ready to have an open and more daring conversation about their identity. Given the controversy behind the release of the first issue of Vogue Polska, a big part of the society might still not be prepared for bolder and more unconventional solutions within the creative industries (Pyzik and Murawski, 2018). Additionally, taking into consideration the low number of art classes at Polish schools, this report explores how it is affecting creativity, experimentation and confidence within the fashion industry. Consequently, its aim is to highlight the importance of being proud of your culture and deriving creative inspiration from it, in order to share it with others to create a sense of community.
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CONTENTS
8
30
The New East
Polish Fashion Scene
64
72
Artkult.
The New Gen
50
61
The Importance of Art Education
The Big Idea
76
88
The Creative Concept
The Route to Consumer
THE NEW EAST
fig. 3 - Weir, H., 2017. Balenciaga Summer 17
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fig. 4- Chokoshvili, B., 2019. Georgian fashion designer Aleksandre Akhalkatsivili Fall 2019
THE RISE OF
GOSHA,
DEMNA
AND LOTTA
fig. 5- Maggio, C., 2018. Balenciaga Story for Re-Edition Magazine
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In 2008, Russian designer Gosha Runchinsiy showed his first runway collection in his native Moscow (see fig. 7). It was titled ‘Evil Empire’ which was a nod to Ronald Reagan’s infamous 1983 speech about the Soviet Union’ (Fedorova, 2018). This moment is considered as a starting point for the spread of the so-called post-Soviet trend in fashion.
Together with Russian stylist Lotta Volkova, who is responsible for the creative vision behind the labels of both designers, they opposed the ‘Western fashion norms’ (Sebastian, 2017) and made the rest of the world follow in their footsteps. What was so different with their approach towards fashion was ‘the strange, openly antagonistic new idea’ (Sebastian, 2017) that provoked the audience to question what beauty means today. Especially, when we look at Vetements collections (see fig. 10-11), it seems like ugliness is the medium that makes their story flow through every season (Sebastian, 2017). However, Demna Gvasalia himself said ‘I don’t like ugly things… I maybe try to see beauty in other things that are not conventionally considered as beautiful today’ (Givhan, 2019). His achievements including CFDA International Award from 2017 (see fig. 6) and 3 Fashion Awards since 2016, as well as the appearance of both Vetements and Balenciaga in the rankings for the most popular brands in the world (Hanbury, 2019) proclaim that his unique vision has become widely desired all over the globe.
fig. 7 - Rubchinskiy, G., 2008. Evil Empire by Gosha Rubchinskiy
fig. 6- Prutting, D., 2017. Demna Gvasalia CFDA International Award 2017
Demna Gvasalia, the Georgian head designer of his brand Vetements and the creative director at Balenciaga, is another key figure famous for the popularisation of this new ‘cynical realist aesthetics’ (Sebastian, 2017). He completely transformed our perception of what luxury means, by his ironic approach towards garments that not so long ago were far from being associated as desirable.
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What is it that makes this trio so attractive to the worldwide audience? Perhaps it is the feeling of rebellion against established norms within the fashion industry. This connects with consumers’ strong affection for nostalgic trends (Billig, 2018), and in this sense Gvasalia, Rubchinskiy and Volkova might seem like ‘the present-day incarnation of ‘80s punk contrarianism’ (Sebastian, 2017). To some extent this comparison is right, as punk is about freedom of expression and ‘creation of your own rules’ (Muggleton, 2000). By staying true to their identity and background, they have proved that in the age of globalisation, rethinking local influences that shaped your character, could actually be influential to a wider audience. The post-Soviet trend that has resulted from deconstructing their roots not only has highlighted “the importance of opening-up to different cultures in a major creative industry” (Reeds, 2017), but also encouraged other creatives from this region to proudly embrace their cultural references.
fig. 9 - Anon., 2018. Gosha Rubchinskiy Fall 2018
fig. 8 - Rubchinskiy, G., 2018. Gosha Rubchinskiy The Paccbet and Carhartt WIP collection
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fig. 11 - Anon., 2018. Vetements Elephant in the Room Collection
fig. 10 - Anon., 2018. Vetements Fall Winter 2019
THE PHENOMENON OF THE POST-SOVIET TREND
fig. 12 - Poly, J., 2018. Ukrzaliznytsia photography project
fig. 13 -Dufort, J., 2017. Styling by Lotta Volkova for Re-Edition Magazine
‘The boundaries of luxury and street, tasteless and appropriate, high and low were merging – and the controversial myth of the postSoviet space was just the right fit.’
- Anastasiia Fedorova, - journalist, 2018
fig. 14-Gordienko, A., 2017. Misbhv F/W 17 Campaign
Consumers adore the mystery behind the new and unknown, and the idea of discovery of how the life looked like behind the Iron Curtain, has appealed to the curiosity of many, which later drove their desire for being a part of it (Fedorova, 2018). The result has been clearly visible in the streets all over the world with teenagers dressed as Eastern European youth in the 90s. What used to be considered as ‘edgy and underground’ (Fedorova, 2018) now has gone mainstream with high-street brands like Topshop and Urban Outfitters adopting the look. What differs this trend from the others is its complex political context that for many who actually lived in that era, it is something they would rather move on from (Fedorova, 2017). However, it also stands for freedom of expression, which plays an essential part in a designer’s work. Limiting it would result in the lack of authenticity, and as the rise of this trend has proved, it became an important asset for modern consumers (Fedorova, 2018).
fig. 15 - Wasiuchnik, Y., 2018 Misbhv Polish Jazz fashion show backstage
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fig. 16- Devejiev, G., 2019. Mercedrz Benz Fahsion Week Tbilisi
‘Gosha Rubchinskiy has shown the world how national background can be transformed into the code for a new global aesthetics’ - Anastasia Fedorova,
fig. 17- Chokoshvili, B., 2019. Georgian fashion designer Aleksandre Akhalkatsivili Fall 2019
fig. 18- Chokoshvili, B., 2019. Georgian fashion designer Aleksandre Akhalkatsivili Fall 2019
journalist, 2018
Even if for some people who come from Eastern European countries, the post-Soviet trend might seem inappropriate and disrespectful, it is hard to deny that it has brought a very positive change to the fashion industry of this region (Fedorova, 2017). We witnessed the rise of careers of designers and brands like Anton Belinksy, George Keburia or Misbhv (see fig. 14-15). However, what is sometimes forgotten is that they all come from different countries, and have different stories to tell (Fedorova, 2017). The collective of Eastern European fashion was very impactful to the growth of the post-Soviet trend, but now while their recognition is getting bigger and bigger, there is time to focus on the unique aspects of each culture. All of them have incredible heritage that for a long period was cut off from the rest of the world, and now is the right time to share it. Additionally, the traumatic past and uncertain political future of all of these countries, both can have a huge impact in boosting creativity.
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VETEMENTS SPRING 2019
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fig. 20 - Anon., 2018. Vetements Spring 2019
fig. 21 - Anon., 2018. Vetements Spring 2019
fig. 19 - Anon., 2018. Vetements Spring 2019
Within the context of cultural references, worth mentioning is the Spring 2019 collection designed by Demna Gvasalia for his brand Vetements (see fig. 19-21). It was dedicated to his home country Georgia, which he had to escape due to the civil war that was happening at that time (Mower, 2018). After the fashion show he said in an interview that, ‘it was like dressing a documentary of my life’ (Fedorova, 2018). Those events were so traumatic to him, that it was not an easy decision to translate them into his creative work, and share it with the rest of the world. However, he felt it was actually essential in order to release the emotions he had smothered for so long (Fedorova, 2018).
‘I dedicated this collection to Georgia, the Georgia where my brother Guram and I grew up together in the ’90s, and the war that happened where we lived. I tried to face this angst and fear and pain in this show. I didn’t want to remember before, I didn’t want to go that far.’
-Demna Gvasalia, head designer at Vetements and creative director at Balenciaga, 2018
‘In Ukraine, the country blew up talent-wise in 2014, right when it was going through the Euromaidan protests.’
- Liana Satenstein, Vogue.com Editor, 2017
fig. 22 - Anon., 2018. Ukrainan brand Ienki Ienki Spring 2019
UKRAINIAN FASHION SCENE fig. 23 - Kowalczyk, K., 2019. Ukrainian Fashion mood board
Despite the tragedy of an on-going civil war that broke out in 2014, the creative scene in Ukraine became stronger then ever before. All of the cumulated emotions became an incentive for an outstanding work of growing number of designers, from whom many are showcasing during the Ukrainian Fashion Week if not in the main fashion capitals. The proof for that have been also 5 nominations for Ukrainians for the prestigious LVMH Prize since 2014. Up until this moment, from the whole Eastern Europe, it is the biggest number of nominees in this competition. Taking into consideration the crisis in which the country has found itself, it heavily emphasises the success of it. Despite the bleak-looking future, people found the opportunities to unleash their creative visons and soon they became appreciated within and outside the country’s borders. As the designer Lili Litkovskaya admits, if it had not been due to the support of the consumers and media from abroad, the locals would not have found this courage to pursue their creative visions and feel the pride of their culture (Berezhna, 2019). This statement highlights the positive impact of globalisation and how it actually can help to create local communities. 23
‘Today, ‘Made in Ukraine’ needs to be written in an extra-large font because it sells.’ - Ivan Frolov, fashion designer, 2019
fig. 24 - Wzorek, J., 2018. Masha Popova’s Graduate Collection
fig. 25 - Wzorek, J., 2018. Masha Popova’s Graduate Collection
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fig. 26 - Wzorek, J., 2018. Masha Popova’s Graduate Collection
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fig. 27 - Saladrigas, A., 2018. Vogue Ukraine January 2018 cover
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VOGUE UKRAINE
fig. 29 - Poly, J., 2016. Vogue Ukraine Kids story
fig. 28 - Gallagher, R., 2019 Vogue Ukraine April 2019 cover
While discussing Ukrainian fashion, it is impossible to omit Vogue Ukraine, which nowadays is considered as one of the most progressive editions. Its unique creative vision has been admired by many industry experts, with editorials like the one with Alex Wek from the January 2018 issue shot by Alexander Saladrigas (see fig. 27). The magazine’s launch in 2013 was only the second one in Eastern Europe after the Russian edition (O’Connor, 2017). With every new cover, they manage to establish their unique aesthetics with such a distinct approach to their neighbouring Russia, ‘which has relied on a brand of aspirational, overly Photoshopped, commercial imagery’ (Fedorova, 2018). What also differs these two editions is their approach towards promoting national fashion. While Vogue Russia is surprisingly indifferent to the astonishing success of Gosha Rubchinskiy and the whole collective of young Russian creatives, Vogue Ukraine is actively supporting the Kiev scene (Fedorova, 2018). On the same January 2018 cover (see fig. 27) the model is wearing a puffer jacket by Ukrainian brand Ienki Ienki that was contrasted with famous ‘pantashoes’ (trousers combined with shoes) by Balenciaga (Balenciaga, n.d.). This is an amazing example of how a commercial magazine can stay authentic and true to the local identity, and still ‘meet global industry standards’ (Fedorova, 2018), whilst also subverting the cultural stereotypes.
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‘I think that in the increasingly globalised world, national identity becomes very powerful creative resource.’
fig. 30 - Wasiuchnik, J., 2019. Sofia Lvovna Studio
- Anastasia Fedorova, journalist, 2019
KEY INSIGNTS
- The rise of Demna Gvasalia, Gosha Rubchinskiy and the hype created around the post-Soviet trend have given a perfect opportunity for other designers from Eastern Europe to share their creative visions. - As now there is a lot of interest coming from international press and consumers, there have probably never been a better chance to make yourself herd in this region. - Fashion and other creative areas can be a perfect medium to deal with political insecurities and personal traumas. - Brand’s authentic message is an important asset for new generations.
fig. 31 - Wzorek, J., 2017. Polish brand Dramat Europe for Sicky Mag
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POLISH FASHION SCENE
fig. 32 - Wasiuchnik, J., 2019. editorial for Sezon Mag featuring Polish designers
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The following chapter will focus on the Polish fashion market and the influence that the previously mentioned post-Soviet trend had on it. It will analyse the response of Polish creatives to their culture and how some of their actions were perceived by the audience.
fig. 33 - Krajewska, Z., 2018. Vogue Polska October 2018 issue
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POLISH
FASHION
MARKET fig. 34 - Kasprzyk, K., 2018. Vogue Polska Art Issue
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The launch of Vogue Polska has put Poland in the spotlight, as it was only the third edition, after Russian and Ukrainian, appearing on the Eastern European market. This decision made by Condé Nast proves that the country’s economy is growing fast, and as provided by KPMG data, its luxury fashion market is valued at $584 million, with foreseen growth of 28% by 2020 (O’Connor, 2017). Poland’s wealthy class still falls behind most of the Western European Countries, although it ‘makes it stand out from its Eastern European neighbours’ (O’Connor, 2017). Additionally, Poland’s craftsmanship has been attracting more and more European brands, as the associations with it, have been predominantly positive (Bishop and Houghton, 2018). Even if it the country has never been strongly associated with luxury fashion, many of the well-established brands like Hugo Boss or Prada produce some of their designs in Poland (Paton, 2017).
According to KPMG report, around half of the population is interested in fashion, although what is really surprising is that Polish people do not pay lots of attention to bloggers or influencers. Those who are interested in fashion get their inspiration mostly from brands’ websites, digital and physical magazines or advertisements (KPMG, 2018) (see fig. 35). It is unsure if the same data applies to younger generations, though still it can indicate that there is a space in the market for more independent fashion-related publications. According to the carried-out primary research, young people are the ones who are mostly interested in exploring the independent magazine market in Poland (see appendix 2.3 b1).
Where do Polish people get their fashion inspiration from?
brand’s websites
48%
online and physical magazines
34%
28%
advertisements celebrities
22%
influencers, bloggers, social media
22%
fig. 35 - Kowalczyk, K., 2019. Where do Polish people get their inspiration from? Primary Research
THE INFLUENCE OF THE POST-SOVIET TREND ON POLISH FASHION
Since the world has become obsessed with the post-Soviet aesthetics, Eastern European countries, including Poland, were suddenly put in the spotlight. Poland has experienced growing fame of brands and designers like Misbhv, Magda Butrym, Marta Jakubowski, UEG and Kreist. Although some of them like Marta Jakubowski and Kreist were burnishing their talents in the UK at the Royal College of Art (Jakubowski) and Central Saint Martins (Kreist), the first one ‘has received a lot of support from Polish fashion magazines’ (Fedorova, 2018), and Krzysztof Stróżyna, the designer behind Kreist decided to return to his home country (Poniatowska, 2017).
fig. 36 - Van der Hagen J., 2016. Magda Butrym Spring-Summer 2016
The post-Soviet trend has definitely helped to boost a brand like Misbhv, which has very street style influenced aesthetics. In spite of pursuing their individual creative vision, the comparisons to Vetements and Gosha Rubchinskiy can still be heard (Murray, 2017). The international success of Magda Butrym’s brand might not be directly connected to the trend (see fig. 36), however the designer herself admitted in an interview for Vogue that her origins are deeply inherited in her designs (Kim, 2019).
fig. 37 - Kowalczyk, K., 2019. Polish fashion mood board
fig. 38 - Kowalczyk, K., 2019. Marta Jakubowski Mood board
THE LVMH PRIZE
Year 2018 was especially successful for Polish fashion, as for the first time two Polish designers, Magda Butrym (see fig. 39) and Marta Jakubowski (see fig. 38), were shortlisted for the LVMH Prize. The rise of the new generations of creatives has seen a breakthrough in the Polish fashion industry, and it definitely has reached another level with its international presence. The atmosphere has changed and consumers feel stronger desire for a breath of fresh air and further experimentations.
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fig. 39 - Sean and Seng, 2018. Magda Butrym Autumn-Winter 2018
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‘Rethinking national and personal histories today is an allencompassing trend.’
-
-Anastasiia Fedorova, - journalist, 2018
fig. 40 - Wieczorek, B., 2019. Charlotte Tomas in Antonina Poppy for Sezon Mag
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POLISH DESIGNERS EXPLORING NATIONAL IDENTITY
After analysing how this personal approach towards fashion helped to boost the careers of Demna Gvasalia or Gosha Rubchinskiy, and how it brought attention to Ukrainian fashion market, it is necessary to explore how the topic of locality was drawn out in Poland. There is no doubt that the phenomenon of the earlier mentioned post-Soviet trend has sparked the courage to explore more aspects of Polish culture and history, that before where not so eagerly treated as potential inspirations. As a result, the creatives became bolder in telling their personal narratives and pressured the audience to do the same. There are few particular examples worth mentioning in relation to this subject matter. fig. 41 - Kowalczyk, K., 2019 Antonina Poppy for Sezon Mag mood board
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NATALIA SIEBUŁA
fig. 42 - Kowalczyk, K., 2019 Natalia Siebuła Mood Board
Fashion designer, Natalia Siebuła set herself a mission to combine her artistic vision with a social cause, which lays in showing the beauty of Polish modernist architecture. In her campaigns, along with her designs, she captures the unnoticeable sides of these very often neglected and underrated buildings. Unfortunately, in few cases her photo shoots are now the only marks we are exposed to, as the places were swept away. Hearing news like that were both ‘saddening as well as irritating to her’ (see appendix 2.3 b2), but in the end became an incentive to release her emotions in a form of creative output. Thanks to her actions, everyone can take one more glimpse into these pearls of Polish architecture while admiring her sophisticated designs that very often take their main inspiration from these locations.
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‘I decided to show these places to my audience to act in any way I can to show things that are truly beautiful and worth keeping in memory’.
- Natalia Siebuła, fashion designer, 2019
fig. 43 - Czyż, P., 2017. Natalia Siebuła Molecule Collection
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ANTONINA POPPY
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fig. 46 -Stitger P., 2018. Antonina Poppy graduate collection
fig. 45 - Stitger P., 2018. Antonina Poppy graduate collection
fig. 44 - Stitger P., 2018. Antonina Poppy graduate collection
When she left Poland to study fashion design at Gerrit Rietveld Acadamie, Antonina started to reflect more on her cultural identity and belonging. This led to a further exploration of her Polish origins for her graduate collection (see appendix 2.3 b6). She wanted to translate the tradition into contemporary aesthetics that could appeal to a much wider audience. Her work ended up being focused on the context of a shirt that had been an important element of Polish folk attire. However, this aspect was not the only one she drew inspiration from. Her designs had connotations of the much beloved Eastern European streetwear aesthetics, which for her were less about the buzz created around the post-Soviet trend and more about her childhood story.
All of the folk connotations were interestingly juxtaposed with another source of reference, the propagandist posters from the times of communist Poland. She added a completely new meaning to classic, flowery prints by contrasting them with very modern and constructive designs of her shirts. As she explained in her interview for Vogue Polska, these differences of styles and how the mix of the contrary creates a fresh perspective, is what interests her in her work (Koszek, 2018). Summing up, her collection was a beautiful reminder for Polish people to appreciate the beauty of their own culture and treat it more often as a source of inspiration.
fig. 47 - Kowalczyk K., 2019 Antonina Poppy mood board
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MISBHV Misbhv is probably the most recognised Polish brand at the moment, with 237k followers on Instagram and growing celebrity appreciation. For the past seasons, their collections were showcased at both NYFW and PFW. However, for SS19 they decided to go back to their roots and organise their first fashion show in Warsaw. This choice could have seemed risky, as the date was outside of the official fashion calendar, although as later was revealed, it was an essential complement to the story behind it. The show was a beautiful tribute to their home country and ‘a love letter to the golden age of Polish culture’ (George, 2018), which according to them are the decades of the 60s and 70s. They referenced the internationally acclaimed Polish School of Posters and collaborated with its member, Rosław Szaybo, who among others was the chief artistic director at CBS Records and designed album covers for many artists including Elton John, Janis Joplin and The Clash. fig. 48 - Kowalczyk, K., 2019. Misbhv Polish Jazz Mood Board
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ROSŁAW SZAYBO
fig. 49 - Kowalczyk, K., 2019. Rosław Szaybo Mood Board
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THE FIRST ISSUE OF VOGUE POLSKA The first issue of Vogue Polska brought out opposing reactions in the society, including “hurt aesthetic feelings and wounded national pride” (Pyzik and Murawski, 2018)). The reason for that was mainly its set design with the Palace of Culture and Science and a Volga car in the background. As these two are for many Polish people the symbols of Soviet oppression, the reaction was quite predictable, especially taking into consideration the conservative and nationalist notions that unfortunately a big part of the society has. It seems like in Poland the concept of artistic freedom of expression is still not fully understood and probably many would forbid using anything that in their opinions is shocking and unrespectable. However, the editors of Vogue Polska decided for a brave move which might be perceived as “their rejection of the current regime’s paranoid attitudes to history, sex and national identity” (Pyzik and Murawski, 2018).
fig. 50 - Kowalczyk, K., 2019. Vogue Polska First Cover Mood Board
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fig. 51 - Teller, J., 2018. Vogue Polska First Cover
WHAT IS POLISH FASHION SCENE STILL LACKING? Despite the fact that for the last 2 years Polish fashion has been gaining worldwide attention, there are still many gaps to fill.
The fashion week First would be probably the lack of an official, internationally recognised fashion week. According to Janusz Noniewicz, the founder of the fashion department at The Academy of Fine Arts in Warsaw, there are plenty of events in Poland that have the word ‘fashion’ in its name, though most of them, do not have high value (Noniewicz, 2014) due to the lack of buyers and broader recognition (Butrym, 2017). It is actually surprising, as Polish fashion market is more prospective than in other former EasternBloc nations due to its higher economy, and the launch of Vogue Polska has proved that (O’Connor, 2017). As many cities like Kiev, Tbilisi, Prague or Riga have showed, it is possible to run a successful event that builds up local markets and attracts international press and audience.
fig. 52 - Fangor, W., 1969. M82
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The cultural pride within the society However, the main problem may actually lay beyond fashion, in the conservative mentality of Polish society. Alicja Biała is a visual artist, currently studying at Royal College of Art in London. For one of her projects, she produced a series of collages with different aspects of Polishness (see fig. 49). Her main research question was ‘What can you not imagine Poland without?’ (Biała, 2018). As many of the responses to her work have showed, Polish people are very prickly when it comes to having an open conversation about their nationality (Mączewski, 2018). It can be very easy to wound their pride by just thinking outside the box, and this attitude can be also observed in Polish fashion. Additionally, this might lead to the lack of experimentation, as the society is still not very open to unconventional ideas. Those who dare to be different, might unfortunately not meet with the support they deserve for their courage.
fig. 53 - Biała, A., 2019. Wojna Polsko-Ruska
fig. 54 - Wzorek, J., 2018. Dramat Europe SS18 campaign
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KEY INSIGHTS
- Polish fashion market is growing which means there is a place for bringing new ideas. - There is a bolder approach in Polish fashion and more designers are taking up personal topics in order to express themselves creatively and provoke the audience to have more open conversations. - A big part of the society is still not fully ready to challenge their perceptions and introduce different narratives. - Fashion magazines are one of the most inspirational sources for Polish people and especially younger generations are interested in the independent market.
fig. 55 - Wzorek, J., 2018. Woman’s Work inspired by A.Szapocznikow and I.Wenzel
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THE IMPORTANCE OF ART EDUCATION Taking as an example Filip Springer’s analysis of the relationship between Polish architecture and the lack of solid art education in the country (Springer, 2013), this chapter will provide an exploration of the importance of art and cultural education in the development of human creativity as well as its influence on Polish fashion scene.
fig. 56 - Anon. 1957. Alina Szapocznikow’s exhibition at Zachęta National Gallery of Art in Warsaw
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‘Studying art is empowering weather one becomes an artist or not.’
- Herbert Kohl, educator, 2012
fig. 57 -Szapocznikow, A., 1966. Kroczące Usta
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The debate on why art remains neglected by so many educational systems is still going on without any progressive changes being undertaken. It feels like the politicians are provided with so much evidence regarding the advantages it brings in, but still continue to stay indifferent to the issue. It is not considered as a prospective subject, but many do not realise that plenty of multipurpose skills can be obtained through the study and practice of art. Those who think in that way are actually the ones who are most affected by the lack of art education. A person for whom art is an integral part of their life, understands the importance of freedom of expression, and is not scared to use it. It is crucial in one’s self-discovery and enables one to reach the deepest recesses of the soul. It shapes the way people think and how they respond to sharing it with others (Kohl, 2012). Art unites communities and is a medium of sharing a story. By studying art, children ‘develop imaginative problem-solving skills, boldness and an understanding of the planning and execution’ (Kohl, 2012). Today, you have to be creative in every field, no matter if it is directly connected with artistic work. That is why, children should be familiarised with the idea of building something on their own and having the courage to fulfil it.
fig. 58 - Fangor, W., n.d. Optical vibrations
ART EDUCATION IN POLAND
Polish kids have 255 hours of art classes in 9 years of school. In Lichtenstein, only in the second class of primary school, children are exposed to 263 hours of creative activities. In a total of 9 years, the educational system provides them with 2304 hours of art (Springer, 2013). It is an enormous difference, especially for a young person, whose character is in an intensive process of development. It is incredibly poignant that very often children do not have a chance to choose what they would like to learn. The decision made by politicians does not question if this is actually needed for them but is based on their own personal believes. It is important to highlight that not every kid can attend extra classes and be financially supported by their parents. Not everyone has the same chances and is surrounded by people who want them to pursue their dreams. That is why politicians should understand how important it is to provide children with a personal choice, and support them with accomplishing it (Biedroń, 2018).
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However, as a result, students in Poland have catechism twice a week, for at least 12 years of education. Nobody seems to think what happens to those who have different religious beliefs or are professed atheists. Usually there is no alternative subject, and still even if they decide to opt out from these classes, they often have to justify why did they not attend catholic events that were organised during the school time. However, the biggest problem is discrimination that usually is initiated by teachers or parents of other kids (Kim, 2018). It is very sad, that catechism does not apply to everyone, and is treated as a subject with more diligence than art. It is truly frustrating how art is being neglected in Polish schools, and that not many are eager to challenge this. Fillip Springer, a Polish reporter collaborating with Vogue Polska, points out that most of the Polish citizens do not have any contact with art after lower secondary school, unless they choose a creative course at university or decide to study the history of art. This has an impact not only on their personal development, but also on their surroundings. How buildings are designed, and in what style are they built (see fig. 55). These decisions are very often being made by people, who are not familiar with basic art theory (Springer, 2013). With every year these resolutions affect more and more people and yet no changes are enacted.
fig. 59 - Kowalczyk, K., 2019 Polish architectural mess mood board
THE CONVERSATION ON CULTURAL IDENTITY Recently a decision has been made to remove two internationally acclaimed art works of 2 Polish female artists from the public display at the National Museum in Warsaw (see fig. 57). The reason for that was their shocking nature that apparently was depraving young visitors (Murawska, 2019). This is just one of many examples how the conservative politics of the country is affecting Polish culture and the freedom of expression. These actions remind the censorship from the communist times with the only difference that now Poland is a democratic country (Schofield, 2019).
fig. 60 - Biała, A., 2018 Wycinanki polskie
Even if positive changes might be supported by many, there are plenty of people who have the power to restrict them. A famous Polish art critic, Anda Rottenberg in her book ‘Berlin Depression: A Journal’ is stating the fact that a dotation has been made to the Amber Museum instead of The Museum of Modern Art. With this comment she is asking the readers what is the cultural heritage that really should be cherished and preserved for other generations (Rottenberg, 2018). Without educating young people about the importance of art and culture, there will not be any drastic changes made in the future, as these areas will remain misunderstood and underestimated by too many.
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fig. 61 - Lach-Lachowicz, N., 1971. Sztuka konsumpcyjna
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HOW IS IT AFFECTING POLISH FASHION?
fig. 62 -Wzorek, J., 2018. The Sun Doesn’t want To Look Me In The Eyes project
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Apart from the fact that there is no place for fashion in the curriculum of Polish schools, and it is not a respected subject, children do not have any opportunity to catch up on cultural knowledge. Even information about their local or national heritage is shared very selectively, and many of the creative areas are ignored. They might never have a chance to explore the work of so many great artists, who have been contributing to the culture of the country they live in. This is perhaps one reason why there are still so many ideas appearing in Polish fashion that are simply copycats of something that has already been done somewhere else. As Herbert Kohl acknowledges throughout his book called ‘The muses go to school: inspiring stories about the importance of art education’ (2012), art education makes for young people’s willingness to revitalise the conversations about their personal and communal cultural identity (Kohl, 2012). It helps to ‘connect with the past and history and to honour the traditions that have contributed to our common development’ (Kohl, 2012) It indicates that if children are not exposed to the beauty and importance of their cultural heritage, they might not develop the pride of the place they come from. They will not feel obliged to share it with the world, and rather hide it. This also suggests why the postSoviet trend might have been an awakening for the Polish creative scene. What Demna, Gosha and Lotta have done with reshaping the harsh times of their countries’ past, has proven that the new generations are able to give completely new meanings to what has come before them.
KEY INSIGHTS
fig. 63 - Biała, A., 2018. Wycinanki Polskie
• There is a need to inform people about the highly positive impact art education has on their children. • Polish conservative government is blocking the development of the art and cultural scene in Poland with the lack of fair support for the diversity within these areas. • The lack of solid art education might be one of the reasons behind the lack of courageous experimentation in fashion.
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THE PROBLEM
According to the carried out primary research, 84.8% of respondents are not happy with Polish art and cultural education. 92.4% believe that the emphasis put on creativity in Polish schools is not big enough. Additionally, 77.3 % would say that they do not or did not feel comfortable to share their interpretations of the topics discussed during the class (see appendix 2.3 c). It is clear that students in most Polish schools do not have enough space for art and cultural education, or even development of their creative skills (Eurydice, 2010). It is neglected how helpful and useful it can be in their future life, no matter what career they decide to pursue (Kohl, 2012). Many of them, do not even have a chance to discover if they are interested in taking up a creative career, as they have never been exposed to the variety of its options. There is no doubt, that this problem may have its roots in the complicated history of Poland. However, in comparison to some other post-communist countries, the number of art classes in Poland evidently falls behind (Springer, 2013). As a result, the lack of art and cultural education might be affecting Polish fashion scene. It might be one of the hidden factors contributing to the limited experimentation and the lack of courage to take creative risks. Very often what is seen in Polish fashion is a tedious reflection of what has already happened somewhere else in the world. Nevertheless, the modern consumer is more demanding and seeking new, disruptive ideas, as well as more personal solutions (Fromm, 2018).
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THE BIG IDEA To create a magazine with an intend to fill the lack of art education at Polish schools, and start the missing conversation about Polish cultural identity, in order to empower young people to freely express their creative visions.
The Aims - To make people proud of their culture and encourage them to derive creative inspiration from it. - To create a publication that will explore Polish culture in an unconventional way.
The Objectives - To provide a space for young people to freely share their works and opinions. - To create a community. - To start a conversation about Polish culture. - To inspire the consumer to look from a different perspective at their culture. - To promote Polish culture and its creative scene.
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WHO?
16-25 young creatives and art enthusiasts, who are interested in extending their knowledge of Polish cultural heritage, and are seeking opportunities to promote their work. They are in a process of discovering and shaping their identity.
WHAT?
A magazine that will provide interesting information about different aspects of Polish cultural heritage. The aim will be to invite young creatives to interpret chosen topics, so it will make the educational process more unconventional, and engaging. It will create a sense of community.
WHY?
To inspire as well as empower young people to freely share their voice and their creative output. To expose them to the beauty and richness of Polish culture that they might have not fully explored at schools. To encourage them to use their cultural heritage as a medium of breaking from the conventional meanings in order to shape new and exciting future.
WHEN?
The launch of the physical and online magazine will be on the 24th of April which is the World Creativity and Innovation Day.
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ARTKULT.
Artkult is an independent quarterly publication that takes a modern approach towards Polish cultural heritage. The name comes from a combination of two words ‘Art’ and ‘Kultura’ which means culture in Polish. This way it was highlighted that the publication is fully written in English and Polish. Its aim is to familiarise young people with various specific topics, that they might have not explored at school. Each area of focus will be limited to a specific artist, art movement, term etc. in order to provide its readers with an in-depth analysis. It also offers a completely different approach to gaining knowledge by giving voice to its readers. The word respect is in the core of Artkult’s values, and it wants to highlight that everybody can be heard and freely share their interpretations and opinions. It is peoplecentred and creates a sense of community. In every issue, there will be space provided for various creatives in order to curate their unique vision for the explored topic. They will play an important role in shaping Artkult’s identity.
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Additionally, Artkult will eagerly promote young talents with an aim to expand Polish creative scenes. It will encourage young people to look for inspiration in the most unexpected places, which they might have perceived before as ordinary and not worth exploring. It will be there to help them to start looking at things from a different perspective and start appreciating their close surroundings in order to discover their own unique style. Artkult’s price point in Poland will be £5 which is comparable to other publications on the market. It will increase to £8 for sales abroad due to the costs of international shipping.
encourage conversations about Polish culture
educate about Polish cultural heritage
creative
progressive
authenticity
independent
culture
heritage
To inspire and empower young creatives community
youthful
collaborate with artists
knowledge inquisitive
open-minded
create space for everybody to freely share their opinions
promote young creatives
fig. 64 - Kowalczyk, K., 2019. Brand Onion
WHY A MAGAZINE? It is undisputable that online media dominates our lives, defining the age we live in as ‘digital’. As a result of that, many print publications are incessantly struggling to financially maintain their production (Cleeton and Deighton, 2018). Although, what might have shocked many, has been the rise of independent magazines which does not appear to be declining anytime soon. There might be various reasons behind this phenomenon, though what is unanimous is the strong and genuine message that all these publications convey (Davidson, 2019). As the studies have showed, Generation Z, the main consumer of Artkult, is believed to rely more on print media, than web publishing (Brown, 2017). Despite the fact that most of the members of this generation have been familiarised with technology since their early childhood, they tend to question the truth of their digital sources more frequently. As a generation that is being exposed to an enormous quantity of information gained from online platforms, they treat print as something refreshing and more experiential. They admire the effort and passion that were put into the production of a physical magazine. The narrowed area of focus of these publications together with their niche market, appeal to them additionally because of the underground and alternative connotations they carry. A similar phenomenon can be observed with the thriving comeback of analogue photography and vinyls (O’Donnell, 2017). What might drive these interests are both nostalgia and the exotic, or the not so familiar nature. These independent magazines very often offer a space for those who for a long time were misunderstood and felt excluded from mainstream society. Their bold and straightforward message appeals to people who are looking for different and refreshing narratives (Nendick, 2019). All of these attributes match Artkult’s values and that is why it will be created in a form of a physical magazine.
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‘Gen Z may breathe new life into print — preferring to use newspapers and magazines [without] interruption and trusting these publications over other media to deliver credible information.’
- Heather Fletcher, editor at Target Magazine, n.d.
THE COMPETITORS The independent magazine market in Poland would not be ranked among the biggest (see appendix 2.3 b3), however as young people are showing interest in exploring new titles (see appendix 2.3 b1), it indicates there is a place for more publications to appear. There are some key magazines that cover the topic of art, and one of them, Szum is specifically focused on Polish modern art (see fig. 61). The rest usually has a broader spectrum of explored areas. What differentiates Artkult from its competitors, is its close integration with the readers that allows them to actively participate in the formation of every new issue. It is also specifically focused on Polish culture, what makes it stand out in the category of cultural publications. Additionally, Artkult is targeting predominantly people from the generation Z, with and intend to expand their knowledge and develop creative skills.
fig. 65 - Kowalczyk, K., 2019. Szum Magazine Mood board
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fig. 66 - Kowalczyk, K., 2019. Competitors Mood board
focused on broader cultural topics
dedicated to Polish modern art
focused on broader cultural topics
fashion magazine exploring various cultural topics
focused on art
THE FIRST ISSUE POLISH SCHOOL OF POSTERS
The first issue of Artkult will be focused on the Polish School of Posters, a movement that shaped the history of Polish graphic design, and widely influenced artists globally. It was established in the 1950s in the times of communist Poland, when art was restricted by the government and the rules of Socialist Realism style. The artists who belonged to the movement were not able to express their creative vision through paintings, and that is why a poster became the medium to freely share their voice (Konorowski, 2016). Their film posters were much different to what people were familiar with. They were truly metaphoric and abandoned the use of film characters, as their creators were “working outside the commercial constraints of a capitalist economy� (Austoni, 2010). As a result, they became a medium of your own interpretation, not restricted by any rules. Their message was nor simple or obvious and involved bigger engagement from their viewers. In the communist times, these colourful posters were adding a bit of joy to Polish streets and became a medium to familiarise people with art and also to shape their tastes, which is opposite to what is currently happening with the great amount of ubiquitous and tasteless commercials that cover the streets. As Polish School of Posters stands for freedom of expression and personal interpretation, it makes sense to dedicate the first issue of Artkult. to this phenomenon.
fig. 67 - Lenica, J., 1981. Plakat Film
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fig. 68 - Kowalczyk, K., 2019. Polish Film of Posters Mood Board
THE NEW GEN Artkult is a magazine that is predominantly targeting members of the Generation Z. The decision for that is based on the fact that most of them are still educating and forming their future career decisions. Additionally, according to the primary research, 85% of the respondents who were interested in developing their knowledge of Polish culture, were part of this generation (see appendix 2.3 c). Their level of art and cultural knowledge differs, according to the profession, they would like to go into after accomplishing their studies. However, what connects them all, is the hunger for new knowledge, and in this case, the eagerness to explore their cultural heritage. They are inquisitive about what is happening around them and want to play an active role in the society. They love learning about new cultures however locality is something that is equally important for them. They have strong community values and tend to support the initiatives they believe in. These qualities lie similarly in the centre of Artkult’s beliefs. The aim is to bring these young people together in a cause of breaking the stereotyping of Polish culture and building a different perception of it. It is there to empower these people, as well as to inspire them.
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Within this group, two different consumers were identified. According to The Diffusion of Innovation by Everett M. Rogers, one of them (The Creative Visionary) has been classified as an Early Adopter, and the second one (The Cultural Enthusiast) as an Early Majority (Posner, 2015). The Creative Visionary is an Early Adopter as she is eagerly exploring new ideas and mixing them in order to discover her unique vision. The Cultural Enthusiast is an Early Majority as she is actively following her favourite influencers and is highly influenced by their actions. However, she has a strong opinion and would never adopt a trend that she does not associate herself with.
The Cultural Enthusiast
The Creative Visionary
2.5 % Innovators
13.5 % Early Adopters
34 % Early Majority
34 % Late Majority
16 % Laggards
fig. 69 - Kowalczyk, K., 2019. The Diffusion of Innovation
THE CREATIVE VISIONARY fig. 70 - Klamka, Z., n.d. 1Czas7
- Zosia, 21
fig. 71 - Kowalczyk, K., 2019. The Creative Visionary photo shoot
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Zosia is a young artist, currently studying graphic design at the Academy of Fine Arts in Warsaw. She is passionate about what she is doing, and in her free time she is mostly preoccupied with her art. She derives her inspirations mostly from personal experiences however, she is keen on looking at art books in order to explore the works of the greatest artists. From time to time, she likes to read art magazines like Szum or Arteon, but also enjoys exploring Vogue Polska, mostly from its visual side. She also uses them as a medium to create her collages and cut outs the pieces that mostly inspire her. Since she was a kid, her mum and Leonardo Da Vinci have been her favourite artists, and it has not changed. However, she also adores works by David Hockney and would love to see them live. Her favourite art galleries are Zachęta National Gallery of Art in Warsaw and Museum of Polish Sculpture in Orońsko. Her recent trip to Rome has really inspired her. She loved the collections showcased at Villa Doria Pamphili and Villa Borghese, especially the paintings by Caravaggio and sculptures by Bernini. One of her favourite spots to meet with friends is the Łazienki Park, as whenever she can, she loves to spend her time outside, somewhere close to water. She uses Instagram and Facebook in order to share her art works, but also to find new exciting creators and be upto-date with what is happening in the art world. Zosia would be interested in Artkult, as it would be a perfect space for her to showcase her work in order to gain recognition, but also to get inspired by other artists.
fig. 72 - Kowalczyk, K., 2019. The Creative Visionary Mood board
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THE CULTURAL ENTHUSIAST
fig. 73 - Kowalczyk, K., 2019. The Cultural Enthusiast photo shoot
fig. 74 - Kowalczyk, K., 2019. The Cultural Enthusiast photo shoot
- Zuzia, 21
Zuzia is a veterinary student with a broad interest in art and culture. She is a very inquisitive person and loves to expand her knowledge. She is really keen on discovering new Polish musicians and attending concerts with her friends. Last summer, her dream came true, and she saw Beyonce live, who is her lifetime favourite. She wants to be up to date with what is happening culturally in the world, especially in Poland. Whenever she can, she goes to the cinema or theatre and also visits exhibitions. Warsaw is her favourite city, and she tries to visit it at least once a month in order to catch up on its cultural offer, mainly in her favourite exhibition space which is Zachęta National Gallery of Art. Her free evenings she spends with an unfinished book, or one of her favourite magazines, which are G’rls Room, Pismo, and Zwykłe Życie. As she is vegan, she really likes to discover new vegan places and Warsaw has the biggest variety of them in Poland. She mostly buys her clothes in second-hand stores, due to the fact that sustainability is a crucial aspect of her life. Supporting local brands is also key to her, especially when she can associate with their values. She is socially active and takes part in public manifestations whenever she truly believes in the cause. Zuzia would be interested in purchasing Artkult as she loves to find out new information and support local creatives. 78
fig. 75 - Kowalczyk, K., 2019. The Cultural Enthusiast mood board
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As Artkult’s consumer is a member of the generation Z, the magazine’s aim is to create a more youthful and subversive approach towards art and cultural education. The inspiration for the overall aesthetics was obtained from various sources, however what really influenced its visual narrative was the Adobe 2019 trend for brutalist typography designs (Adobe Design Team, 2019) and techno culture. Recently, there has been a shift in attitudes of many young Polish people who by contrast to their parents and grandparents have developed an affection towards brutalist architecture (Kapur, 2018). As Artkult’s aim is to explore various aspects of Polish culture, even those less popular among the society, it felt challenging to bring this style back to life in the magazine. The reason for choosing techno culture as another main inspiration were the strong associations of 90s Poland with this music genre that were brought back in the new documentary “140 Beats per Minute” recently screened at Tate Modern. According to an artist Piotr Wyrzykowski ‘Raves at that time were a kind of hub for establishing new creative connections, coming with new ideas about how to release them’ (Finamore, 2019). Artkult’s aim is to bring this spirit into the modern age.
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vibrant colours
strong images
minimal layout
techno culture
ARTKULT. fig. 76 - Kowalczyk, K., 2019 The Creative Concept mood board
youthful
brutalism
techno
COLOUR PALETTE
vivacious
vibrant
fig. 77- Kowalczyk, K., 2019 The Colour Palette mood board
THE DESIGN RECIPE main colours
acid
blurple
lust
the font MONUMENT EXTENDED Supply Mono
Tone of voice:
PT Serif
the logo
authentic encouraging incentive passionate youthful
ARTKULT. fig. 78 - Kowalczyk, K., 2019 Design Recipe mood board
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THE LOGO INSPIRATIONS
techno aesthetics brutalist
compact
minimal fig. 79 - Kowalczyk, K., 2019 The Logo Inspirations mood board
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ARTKULT. fig. 80 - Kowalczyk, K., 2019 Artkult. Logo
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minimal design
strong title
strong images
clean layout
fig. 81 - Kowalczyk, K., 2019 Magazine Inspirations mood board
fig. 82 - Kowalczyk, K., 2019 Artkult. Cover
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fig. 83 - Kowalczyk, K., 2019 Artkult. contents visualisation
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fig. 84 - Kowalczyk, K., 2019 Artkult. contents visualisation
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fig. 85 - Kowalczyk, K., 2019 photo shott published in Artkult.
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fig. 86 - Kowalczyk, K., 2019 photo shott published in Artkult.
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THE ROUTE TO CONSUMER
Aims of the campaign - To effectively reach Artkult’s potential consumers. - To precisely choose influencers that match Artkult’s values so they will create an authentic feeling about the brand. - To make sure that people will feel the sense of community and would like to be a part of it. - To intrigue the audience with Artkult’s different approach towards art and cultural education.
THE MEDIA
Owned Media
Bought Media
Earned Media
- website
- posters and banners
- customer reviews
- Instagram sponsored posts
- content shares
- Facebook - YouTube
To expand awareness of the brand to a wider audience and bring attention to its actions.
- Facebook ads - paid influencer promotion
To engage the audience with thoroughly created content and visually pleasing feed.
- word of mouth - influencer/blogger relations - likes and comments
To make sure that the campaign will generate positive responses and will be shared with a wider audience. fig. 87 - Kowalczyk, K., 2019. Media Infographics
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TIMELINE
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January
January
January
The social media will be created, and the magazine will be promoted by chosen influencers and contributors on their channels.
Print ads will be displayed in main Polish cities announcing the launch of Artkult.
An open call will be announced for the audience to submit their work related to the first issue of Artkult. It will be promoted by influencers and contributors.
June
May
A whole-day event including panel discussions, talks from invited guests and workshops will be organised in Warsaw.
A whole-day event will be announced on Artkult.’s social media, as well as influencers and contributors. Depending on the activity, the spaces might be limited.
February
March
April
Deadline for the audience to submit their works.
Announcing chosen works that will be published in the first issue.
Promotion of the launch event and the exhibition that will be open on the same day in Warsaw at Mysia 3. Facebook event will be created.
April
April
April
The exhibition will be open in the morning on the day of the launch event. The entry will be free. In the evening the space will be open only for those who have registered for the launch event. Chosen influencers, artists and contributors will be invited.
The launch of the physical and online magazine. Sold in selected shops, and on Artkult.’s website.
Opening the registration for the launch event that will be run through Artkult’s website. The entry will be free, however the space will be limited.
fig. 88 - Kowalczyk, K., 2019. Timeline Infographics
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DAY IN THE LIFE OF THE CREATIVE VISIONARY
8 am
9 am
- wakes up and drinks coffee
- catches a bus to university
- makes herself boiled eggs for breakfast
- checks Instagram and Facebook on her way
11 pm
9 pm
- comes back home
- leaves university
- cooks late dinner - spends time with her flatmates - checks Instagram and Facebook - reads a book or a magazine
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- goes out with her friends to Bar Studio at the Palace of Culture
11 am
1 pm
- attends various creative workshops
- has a break between classes
- drinks second coffee at a cafĂŠ at university
- goes out for lunch with friends to one of her favourite restaurants in Warsaw - VegDeli that is located near her university
6 pm
3 pm
- goes to the studio to work on her paintings or drawings
- comes back to university - attends lectures on various art related topics
fig. 89 - Kowalczyk, K., 2019. Day in the life of the Creative Visionary Infographics
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DAY IN THE LIFE OF THE CULTURAL ENTHUSIAST 7 am
9 am
- wakes up and does yoga
- walks to university
- eats cuscus with fruits and nuts for breakfast
- attends lectures
- checks Instagram
10 pm - comes back home - makes herself a tea and chats with her flatmate - comes back to reading a magazine - checks Instagram, Facebook and Youtube
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8 pm - meets with her friends to go to their favourite independent cinema in Olsztyn (the city she studies in) called Awangarda
11 am
1 pm
- meets with her friends
- goes out for lunch with her friend to her favourite restaurant called Parowar
- attends seminars
-posts a picture on her Insta stories - comes back to university for her last lecture
6 pm
4 pm
- prepares a vegan meal from her favourite cookbook
- comes back home
- reads one of her favourite magazines and checks the news
- scrolls through Instagram - revises for upcoming exams
fig. 90 - Kowalczyk, K., 2019. Day in the life of the Cultural Enthusiast Infographics
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THE PRE-LAUNCH Media - The first step for the promotion of Artkult will be the launch of its social media. The magazine will be present on Instagram, Facebook and YouTube, as these are the most popular platforms among the consumer age range in Poland (Pasterniak, 2018). Instagram and Facebook will have visually curated feed that will reflect Artkult’s aesthetics. It will be filled with inspirational images as well as the teasers of the work that will be published in the physical magazine. Through that, the topic of the first issue and its contributors will be introduced. YouTube will be used as a platform to share publication’s authorial video content with an aim to promote its actions, as well as the video works of its contributors. Additionally, a branded hashtag #Artkultmag will be used throughout the campaign. The reason for that is to increase Artkult’s social media presence (Ryan, n.d.). - Artkult will use Instagram sponsored posts and Facebook ads in order to reach a wider audience.
fig. 91 -Kowalczyk, K., 2019. Artkult. Facebook post mock-up
- Posters promoting the magazine will be distributed in main Polish cities at the most popular social and cultural places among the consumer. They will be also displayed in the most-common areas and at the central points of the public transport.
fig. 93 - Kowalczyk, K., 2019. Artkult.’ Website mock-up
fig. 92 - Kowalczyk, K., 2019. Artkult. Instagram mock-up
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fig. 94 - Kowalczyk, K., 2019. Mood board with Artkult.’s promotional posters all over Poland
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‘Authenticity in partnerships is of great importance to Gen Z consumers.’
- Nicholas Miachon, CMO of Upfluence, an influencer marketing software, 2018
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The Influencers
fig. 95 - Kowalczyk, K., 2019. Influencer’s Insta Story mock-up
fig. 96 - Kowalczyk, K., 2019. Contributor’s Instagram post mock-up
In order to preserve its authentic message, Artkult will selectively choose influencers that will be invited to promote the launch of the magazine and its further actions. Those people will have to be either connected with creative industries or be truly passionate about it (Thorsen, n.d.). They will also support the later announced open call for Artkult’s audience in order to spread the excitement about it.
The contributors Artkult will keep inviting various Polish creatives to contribute to each issue. It will be key in establishing the brand’s name and enhancing the interest around the magazine. It will also motivate young creatives to share their work, as the magazine will be publishing it next to its collaborators with already established names. The contributors will be asked before the launch of Artkult to show the teasers of their work on their platforms. This way their fans and followers will be intrigued by the new project they have been working on.
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fig. 97 - Kowalczyk, K., 2019. Moodboard with mock-ups of cultural institutions spread all over Poland
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The cultural institutions In order to establish a respected place on the market, Artkult will partner with chosen cultural institutions that are commonly attended by its consumers. The Magazine will be promoted on their social media and posters will be displayed inside or outside their buildings, depending on their authority. Additionally, the publication will be distributed at venues like museums and galleries that have their own shops.
fig. 99 - Kowalczyk, K., 2019. Mock-up of an influencer’s Insta story promoting Artkult.’s open call
fig. 98 - Kowalczyk, K., 2019. Artkult.’s open call post mock
The Open Call The idea of the public being actively engaged in the making of Artkult is an important detail of the magazine’s concept. Moreover, it is a great way to enhance the engagement of the followers (Ryan, n.d.). That is why, after 2 weeks of actively promoting the publication, an open call for young creatives will be announced with the use of #Artkultopencall hashtag on social media. This way, by publishing their work with the hashtag, bigger awareness about the brand will be generated (Ryan, n.d.). Those who will be interested in participating, will be asked to show through their work what Polish School of Posters means to them, or interpret a chosen piece of work from this movement. There will be no restrictions on the method of their work, and anything from paintings, poems, fashion designs will be accepted. The winners will be published in the magazine, both physical and online, depending on the form of work they choose. They will be also showcased, alongside the previously announced contributors, at the gallery space of the launch event.
ARTKULT. OPEN CALL WE ARE INVITING CREATIVE SOULS TO JOIN OUR COMMUNITY. SUBMIT YOUR WORK TO BE FEATURED IN THE FIRST ISSUE OF ARTKULT. THE TOPIC IS POLISH SCHOOL OF POSTERS. MORE INFO COMING SOON
fig. 100 - Kowalczyk, K., 2019. Artkult.’s open call Instagram post
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THE LAUNCH - Artkult will be launched on the 24th of April which is World Creativity and Innovation Day. The reason for choosing this date is to highlight that creativity is in the core of Artkult’s values. The aim is to show how important it has been for Poland and that it is needed in every sector of our lives. Artkult will be there to cherish those who were shaping Polish culture in the past as well as these who are doing it now. - Artkult’s contributors together with chosen influencers and cultural institutions will continue to actively promote the publication and its actions. - The magazine will be sold through its own online shop that will be open on its website on the 24th of April. Additionally, it will be distributed at independent magazine shops and bookstores. In order to reach a wider consumer audience, Artkult will be sold in biggest Polish chain bookshops like Empik. - As Artkult’s aim has been also to promote Polish culture abroad, the magazine will be distributed in selected stockists in various countries, and according to the sales it might be expanded to more locations. It will be also available on Stack website, which is ‘the subscription service for independent magazines’ (Somerset House, n.d.) - Artkult will start sharing articles and all of its online content on Instagram and Facebook.
fig. 102 - Kowalczyk, K., 2019. Artkult. on a shelve at the magazine shop in Warsaw mock-up
fig. 101 - Kowalczyk, K., 2019. Artkult. on a display at the magazine shop in Warsaw mock-up
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ARTKULT. issue no. 1
POLSKA SZKOŁA PLAKATU POLISH SCHOOL OF POSTERS
Subscribe to Stack From £7
Artkult. issue 1 £8.00
Buffalo Zine issue 9 £15.00
fig. 103 - Kowalczyk, K., 2019 Mood board of Artkul.’s retailers mock-up
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ARTKULT.
ARTKULT.
free entry www.artkult.com
artkult.magazine
POLSKA SZKOŁA PLAKATU POLISH SCHOOL OF POSTERS
25 t h Ap r i l - 3 rd May Mys i a 3 f ree ent ry www.artkult.com
The launch event The launch event will take place on the 24th of April at Mysia 3, which is one of the most popular social venues in the city. It is a unique department store with selectively chosen brands ranging from apparel to furniture, like Cos, Muji or Tom Dixon. However, besides its retail purpose, it is also one of the most common meeting places with a photography gallery and an event space upstairs. It hosts various happenings ranging from flower and vegan markets to fairs promoting independent Polish brands or various workshops and press releases.
fig. 106 - Kowalczyk, K., 2019 Artkult.’s launch event and exhibition space mock-up
The decision of choosing Mysia 3 was also influenced by its simple and minimal interior, as the event is going to be supported by an exhibition showcasing the work of Artkult’s contributors. The entry will be free however a prior registration will be required as tickets have to be limited to the allowed number of participants in the venue. In order to enable more people to see the exhibition, there will be a free entry for everyone from the 25th of April until the 3rd of May.
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artkult.magazine
fig. 105 - Kowalczyk, K., 2019 Artkult.’s exhibition poster mock-up
25th April - 3rd May Mysia 3
fig. 104 - Kowalczyk, K., 2019 Artkult.’s exhibition poster mock-up
issue no. 1
fig. 107 -Kowalczyk, K., 2019 Artkult.’s launch event and exhibition space plan mock-up fig. 108 -Kowalczyk, K., 2019 Artkult.’s launch event and exhibition space mock-up
fig. 109 -Kowalczyk, K., 2019 Artkult.’s launch event and exhibition space mock-up
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THE POST-LAUNCH Few weeks after the launch of the magazine a wholeday event in Warsaw will be announced with a variety of talks and workshops focused around the subject matter discussed in the first issue. Contributors and previously engaged influencers will be present, and before the date, they will be encouraging on their social media to participate in it. The event will be free however, the spaces will be limited, and the registration will be announced on Artkult’s social media. The organisers and invited guests will make sure to create relaxed and friendly attitude in order to encourage everyone to freely share their voice. The purpose of that is to make Artkult more personal and create true community values.
fig. 110 - Kowalczyk, K., 2019 Artkult.’s post-launch event mock-up
fig. 112 - Kowalczyk, K., 2019 Artkult.’s post-launch event mock-up
fig. 111 - Kowalczyk, K., 2019 Artkult.’s post-launch event mock-up
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THE FUTURE According to the success of the whole-day event of talks and workshops, it will be considered if the series should continue happening 4 times a year, after the release of every new issue. Each event would be focused around the subject matter discussed in the preceding edition of the magazine. As Artkult does not intend to be Warsaw-centric, the events would be organised in various cities, depending on the level of interest. The reason for that is the fact that Artkult wants young people from various parts of the country to have a chance to be part of its actions and does not want to create a feeling of exclusivity. In order to extend the scale of these events Artkult could possibly partner with various cultural institutions. According to the sales, the distribution of Artkult might be expanded in Poland as well as abroad.
MEASURING THE SUCCESS Sales revenue
Social media analysis
To estimate the profit in order to control the expenses.
To measure the effectiveness of the actions and determine gained impressions.
Google Analytics
To get insights from the website and its visitors.
fig. 113 - Kowalczyk, K., 2019 Measuring of Success infographics
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Kim, R. (2018). W „Newsweeku”: Jak polska szkoła przestała być świecka. [online] Newsweek. pl. Available at: https://www.newsweek.pl/polska/ spoleczenstwo/religia-w-szkole-jak-polska-szkolaprzestala-byc-swiecka/e39w2pc [Accessed 11 Nov. 2018]. Miachon, N. (2018). Council Post: Reaching Gen Z With Influencer Marketing: Four Trends For Success. [online] Forbes.com. Available at: https://www.forbes.com/sites/ forbescommunicationscouncil/2018/10/09/reachinggen-z-with-inf luencer-marketing-four-trends-forsuccess/#19564b925050 [Accessed 7 Apr. 2019]. Mower, S. (2018). Vetements Spring 2019 Ready-to-Wear Fashion Show. [online] Vogue. Available at: https://www. vogue.com/fashion-shows/spring-2019-ready-to-wear/ vetements [Accessed 12 Nov. 2018]. Murawska, M. (2019). Prace Natalii LL i Katarzyny Kozyry usunięte z Muzeum Narodowego. [online] Vogue Polska. Available at: https://www.vogue.pl/a/prace-natalii-lli-katarzyny-kozyry-usuniete-z-muzeum-narodowego [Accessed 27 Apr. 2019]. Murawski, M. and Pyzik, A. (2018). Vogue Poland: why the iconic magazine’s first Polish cover has proven so controversial. [online] The Calvert Journal. Available at: https://www.calvertjournal.com/features/show/9656/voguepoland-jurgen-teller [Accessed 24 Oct. 2018]. Murray, G. (2017). Meet MISBHV, Your New Favourite Streetwear Brand. [online] Refinery29.com. Available at: https://www.refinery29.com/en-gb/2017/12/184866/misbhvpolish-streetwear-brand [Accessed 7 Nov. 2018]. Nendick, J. (2019). How media and entertainment leaders are responding to Gen Z. [online] Ey.com. Available at: https:// www.ey.com/en_gl/media-entertainment/how-media-andentertainment-leaders-are-responding-to-gen-z [Accessed 13 Apr. 2019]. Newbold, A. (2017). Introducing Reserved: The Polish HighStreet Brand Kate Moss Is Backing. [online] Vogue.co.uk. Available at: https://www.vogue.co.uk/gallery/reservedkate-moss-polish-brand [Accessed 7 Nov. 2018]. O’connor, T. (2017). BoF Exclusive | Condé Nast to Launch Vogue Poland. [online] The Business of Fashion. Available at: https://www.businessoffashion.com/articles/news-analysis/ vogue-poland-launch- conde-nast-to-launch-international [Accessed 12 Nov. 2018]. O’Donnell, B. (2017). The Hidden Value of Analog. [online] Tech.pinions. Available at: https://techpinions.com/thehidden-value-of-analog/49923 [Accessed 8 Mar. 2019].
Paton, E. (2017). A New Fashion Hub? Eastern Europe. [online] Nytimes.com. Available at: https:// www.nytimes. com/2017/11/12/fashion/designers-poland-hungaryromania.html [Accessed 14 Nov. 2018]. Poniatowska, E. (2017). 7 Polish fashion brands you should know. [online] Sleek-mag.com. Available at: https://www. sleek-mag.com/article/7-polish-fashion-brands-know/ [Accessed 7 Nov. 2018]. Reeds, A. (2017). ‘Post-Soviet’ Fashion: Changing Perceptions. [online] Varsity Online. Available at: https://www.varsity. co.uk/fashion/13144 [Accessed 18 Apr. 2019]. Ryan, O. (n.d.). Hashtag Marketing: How to Use Hashtags for Better Marketing Campaigns. [Blog] Mention. Available at: https://mention.com/blog/hashtag-marketing-how-to-usehashtags-for-better-marketing-campaigns/ [Accessed 2 May 2019]. Sala, J. (2019). What Consumers Want From Brands In 2019. [online] Davidson Branding. Available at: https:// davidsonbranding.com.au/consumer-trends-2019/ [Accessed 26 Apr. 2019]. Schofield, D. (2019). People in Poland are protesting art censorship with banana selfies. [online] Dazed. Available at: https://www.dazeddigital.com/life-culture/article/44288/1/ people-in-poland-protest-art-censorship-banana-selfiesnatalia-ll-cosumer-art?fbclid=IwAR1a2KXVMC05Ek6iJCQy rcwQtgmimBEtNq0sefQhR4a0tZsYF0t7A3PoR-I [Accessed 1 May 2019]. Sebastian, J. (2017). Op-Ed | The Cynical Realism of Demna, Gosha and Lotta. [online] The Business of Fashion. Available at: https://www.businessoffashion.com/articles/ opinion/gosha-rubchinskiy-demna- gvasalia-lotta-volkovavetements-pseudo-cultural-fad [Accessed 13 Nov. 2018]. Somerset House. (2018). Stack Magazine Takeover: Refresh Your Reading. [online] Available at: https://www. somersethouse.org.uk/whats-on/east-wing-edit/stackmagazines-takeover-refresh-your-reading [Accessed 17 Apr. 2019]. Springer, F. (2013). Lekcja plastyki. [online] Res Publica Nowa. Available at: http://publica.pl/teksty/ lekcja-plastyki-39164. html [Accessed 1 Nov. 2018]. Wrona, T. (n.d.). Everything what surrounds fashion. [online] SEZON MAG. Available at: http:// sezonmag.com/everythingwhat-surrounds-fashion/ [Accessed 17 Nov. 2018].
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LIST OF ILLUSTRATIONS fig. 1 – Kowalczyk, K., 2019. Wozzeck by Jan Lenica inspired photo shoot [Own Image] fig. 2 – Wasiuchnik, Y., 2018 Misbhv Polish Jazz fashion show backstage [digital image] Available at: https://www.instagram. com/p/Bjw3Jh1hrPH/ [Accessed 01 May 2019] fig. 3 – Weir, H., 2017. Balenciaga Summer 17 [digital image] Available at: https://www.balenciaga.com/us/women/collections/campaign_ landscape_section [Accessed 20 November 2018] fig. 4 – Chokoshvili, B., 2019. Georgian fashion designer Aleksandre Akhalkatsivili Fall 2019 [digital image] Available at: https://www. instagram.com/p/BxFxVLKg_sX/ [Accessed 29 March 2019] fig. 5 – Maggio, C., 2018. Balenciaga Story for Re-Edition Magazine [digital image] Available at: https://www.pamelaandersonfoundation. org/news/2018/9/28/re-edition-magazine [Accessed 2 May 2019] fig. 6 – Prutting, D., 2017. Demna Gvasalia CFDA International Award 2017 [digital image] Available at: https://www.vogue.com/article/ vogue-forces-of-fashion-demna-gvasalia-vetements-balenciaga [Accessed 10 May 2019] fig. 7 – Rubchinskiy, G., 2008. Evil Empire by Gosha Rubchinskiy [digital image] Available at: http://nullandull.blogspot.com/2012/04/ gosha-rubchinsky.html [Accessed 23 November 2018] fig. 8 – Rubchinskiy, G., 2018. Gosha Rubchinskiy The Paccbet and Carhartt WIP collection [digital image] Available at: https:// www.vogue.com/article/gosha-rubchinskiy-paccbet-carharttcollaboration#3 [Accessed 10 November 2018] fig. 9 – Anon., 2018. Gosha Rubchinskiy Fall 2018 [digital image] Available at: https://www.vogue.com/fashion-shows/fall-2018menswear/gosha-rubchinskiy [Accessed 20 December 2018] fig. 10 – Anon., 2018. Vetements Fall Winter 2019 [digital image] Available at: https://www.instagram.com/p/BjwgVXyFdzc/ [Accessed 23 March 2019] fig. 11 – Anon., 2018. Vetements Elephant in the Room Collection Available at: https://www.instagram.com/p/BjugUDpHwaT/ [Accessed 23 March 2019] fig. 12 – Poly, J., 2018. Ukrzaliznytsia photography project [digital image] Available at: https://www.vogue.com/article/photographerjulie-poly-ukrzaliznytsia-exhibit-commuter-style [Accessed 20 April 2019] fig. 13 – Dufort, J., 2017. Styling by Lotta Volkova for ReEdition Magazine [digital image] Available at: https://www. managementartists.com/news/johnny-dufort-photographs-thesnake-is-gold-skinned-as-it-should-always-be-styled-by-lottavolkova-f [Accessed 17 April 2019] fig. 14 – Gordienko, A., 2017. Misbhv F/W 17 Campaign [digital image] Available at https://misbhv.com/archive [Accessed 29 November 2018]
fig. 15 – Wasiuchnik, Y., 2018 Misbhv Polish Jazz fashion show backstage [digital image] Available at https://www.instagram. com/p/Bjzfmx4hkyf/ [Accessed 3 May 2019]
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fig. 16 – Devejiev, G., 2019. Mercedrz Benz Fahsion Week Tbilisi [digital image] Available at: https://www.instagram.com/p/ BwLr9X4B5w6/ [Accessed 20 April 2019] fig. 17 - Chokoshvili, B., 2019. Georgian fashion designer Aleksandre Akhalkatsivili Fall 2019 [digital image] Available at: https:// www.instagram.com/p/BuWRKNvhQtC/ [Accessed 29 March 2019] fig. 18 - Chokoshvili, B., 2019. Georgian fashion designer Aleksandre Akhalkatsivili Fall 2019 [digital image] Available at: https:// www.instagram.com/p/BubZ3knBzFm/ [Accessed 29 March 2019] fig. 19 – Anon., 2018. Vetements Spring 2019 [digital image] Available at: https://www.vogue.com/fashion-shows/spring-2019-ready-to-wear/vetements/slideshow/collection#36 [Accessed 24 November 2018] fig. 20 – Anon., 2018. Vetements Spring 2019 [digital image] Availavle at: https://www.vogue.com/fashion-shows/spring-2019-ready-to-wear/vetements/slideshow/collection#14 [Accessed 24 November 2018] fig. 21 – Anon., 2018. Vetements Spring 2019 [digital image] Available at: https://www.vogue.com/fashion-shows/spring-2019-ready-to-wear/vetements/slideshow/collection#66 [Accessed 24 November 2018] fig. 22 – Anon., 2018. Ukrainian brand Ienki Ienki Spring 2019 [digital image] Available at: https://www.vogue.com/fashion-shows/ kiev-spring-2019/ienki-ienki [Accessed 17 March 2019] fig. 23 – Kowalczyk, K., 2019. Ukrainian Fashion mood board [Own Image] fig. 24 – Wzorek, J., 2018. Masha Popova’s Graduate Collection [digital image] Available at: https://www.calvertjournal.com/features/ show/11029/london-emerging-fashion-talent-central-saint-martins [Accessed 12 April 2019] fig. 25 - Wzorek, J., 2018. Masha Popova’s Graduate Collection [digital image] Available at: https://www.calvertjournal.com/features/ show/11029/london-emerging-fashion-talent-central-saint-martins [Accessed 12 April 2019] fig. 26 - Wzorek, J., 2018. Masha Popova’s Graduate Collection [digital image] Available at: https://www.instagram.com/p/BkdcueijJJs/ [Accessed 12 April 2019] fig. 27 – Saladrigas, A., 2018. Vogue Ukraine January 2018 cover [digital image] Available at: https://www.alexandersaladrigas.com/#/ vogue-ua-cover/ [Accessed 19 November 2018] fig. 28 – Gallagher, R., 2019 Vogue Ukraine April 2019 cover [digital image] Available at: https://www.instagram.com/p/BvQ7oxnAv98/ [Accessed 1 May 2019] fig. 29 – Poly, J., 2016. Vogue Ukraine Kids story [digital image] Available at: https://www.google.com/search?q=julie+poly+kids+vogue+ukraine&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjJ24H0yZfiAhUqXRUIHZjlC2MQ_AUIDigB&biw=1525&bih=872#imgrc=-yZ5nk99_fwxOM: [Accessed 29 March 2019]
fig. 30 – Wasiuchnik, J., 2019. Sofia Lvovna Studio [digital image] Available at: https://www.instagram.com/p/BuZbM4KlFlC/ [Accessed 29 March 2019]
fig. 51 – Teller, J., 2018. Vogue Polska First Cover [digital image] Available at: https://www.x-man.pl/2018/02/14/vogue-polska-byc-lepszym-niz-juergen-teller/ [Accessed 23 November 2018]
fig. 31 – Wzorek, J., 2017. Dramat Europe for Sicky Mag [digital image] Available at: https://www.instagram.com/p/BXfg-lenU8k/ [Accessed 3 May 2019]
fig. 52 – Fangor, W., 1969. M82. Muzeum Narodowe, Kraków [online] Available at: https://www.google.com/search?biw=1525&bih=872&tbm=isch&sa=1&ei=aPHYXPKwNI67gwei46CACA&q=M+82+fangor&oq=M+82+fangor&gs_l=img.3..0i1 0i24.3219.5252..5421...1.0..0.59.378.8......1....1..gws-wiz-img.......0i 30j0i5i10i30j0i5i30j0i8i30.cJPGpgf1HiM#imgrc=434l7XyPxMR_2M: [Accessed 20 April 2018]
fig. 32 – Wasiuchnik, J., 2019. editorial for Sezon Mag featuring Polish designers [digital image] Available at: http://sezonmag.com/ antonina/ [Accessed 3 May 2019] fig. 33 – Krajewska, Z., 2018. Vogue Polska October 2018 issue [digital image] Available at: https://www.instagram.com/p/BoeA3dTnAWO/ [Accessed 2 December 2018] fig. 34 – Kasprzyk, K., 2018. Vogue Polska Art Issue [digital image] Available at: http://kacperkasprzyk.com/queen-bona-vogue-poland-artissue-aw18 [Accessed 4 December 2018] fig. 35 – Kowalczyk, K., 2019. Where do Polish people get their inspiration from? Primary Research [Own Image] fig. 36 – Van der Hagen J., 2016. Magda Butrym Spring-Summer 2016 [digital image] Available at: https://www.magdabutrym.com/ lookbooks/1753 [Accessed 7 January 2019] fig. 37 – Kowalczyk, K., 2019. Polish fashion mood board [Own Image] fig. 38 – Kowalczyk, K., 2019. Marta Jakubowski Mood board [Own Image] fig. 39 – Sean and Seng, 2018. Magda Butrym Autumn-Winter 2018 [digital image] Available at: https://www.magdabutrym.com/lookbooks/1797 [Accessed 7 January 2019] fig. 40 – Wieczorek, B., 2019. Charlotte Tomas in Antonina Poppy for Sezon Mag [digital image] Available at: https://www.nevamodels.pl/news-604 [Accessed 7 May 2019] fig. 41 – Kowalczyk, K., 2019 Antonina Poppy for Sezon Mag Mood Board [digital image] fig. 42 – Kowalczyk, K., 2019 Natalia Siebuła Mood Board [digital image] fig. 43 – Czyż, P., 2017. Natalia Siebuła Molecule Collection [digital image] Available at: https://www.nataliasiebula.com.pl [Accessed 27 February 2019] fig. 44 – Stitger P., 2018. Antonina Poppy graduate collection [digital image] Available at: https://www.vogue.pl/a/analiza-koszuli [Accessed 15 April 2019] fig. 45 – Stitger P., 2018. Antonina Poppy graduate collection [digital image] Available at: https://www.vogue.pl/a/analiza-koszuli [Accessed 15 April 2019] fig. 46 – Stitger P., 2018. Antonina Poppy graduate collection [digital image] Available at: https://www.vogue.pl/a/analiza-koszuli [Accessed 15 April 2019] fig. 47 – Kowalczyk K., 2019 Antonina Poppy mood board [Own Image] fig. 48 – Kowalczyk, K., 2019. Misbhv Polish Jazz Mood Board [Own Image] fig. 49 – Kowalczyk, K., 2019. Rosław Szaybo Mood Board [Own Image] fig. 50 – Kowalczyk, K., 2019. Vogue Polska First Cover Mood Board [Own Image]
fig. 53 – Biała, A., 2019. Wojna Polsko-Ruska [online] Available at: https://www.instagram.com/p/BtnMdcdCi1I/ fig. 54 – Wzorek, J., 2018. Dramat Europe SS18 campaign [digital image] Available at: https://www.instagram.com/p/BhwFgHKloEA/ [Accessed 4 May 2019] fig. 55 – Wzorek, J., 2018. Woman’s Work inspired by A.Szapocznikow and I.Wenzel. [digital image] Available at: https://www.instagram.com/p/BhgpSDkFMfI/ [Accessed 10 May 2019] fig. 56 – Anon. 1957. Alina Szapocznikow’s exhibition at Zachęta National Gallery of Art in Warsaw [digital image] Available at: https://artmuseum.pl/pl/archiwum/archiwum-aliny-szapocznikow/1/3879 [Accessed 10 May 2019] fig. 57 – Szapocznikow, A., 1966. Kroczące Usta [sculpture] Available at: https://contemporarylynx.co.uk/it-makes-me-shudder-when-i-think-of-my-imperfections-in-drawing-alina-szapocznikow-1929-1973/b-alina-szapocznikow-kroczace-usta-1966-dzieki-uprzejmosci-piotra-stanislawskiego [Accessed 10 May 2019] fig. 58 – Fangor, W., n.d. Optical vibrations [online] Available at: http://www.propertydesign.pl/dossier/132/obrazy_ikony_wojciecha_fangora,18281.html [Accessed 10 May 2019] fig. 59 – Kowalczyk, K., 2019 Polish architectural mess mood board [Own Image] fig. 60 – Biała, A., 2018 Wycinanki polskie [online] Availabe at: https://www.mocak.pl/wernisaz-wystawy-wycinanki-polskie-alicji-bialej [Accessed 12 November 2018] fig. 61 – Lach-Lachowicz, N., 1971. Sztuka konsumpcyjna [digital image]. National Museum in Warsaw. Available at https://www. wprost.pl/kraj/10211948/narodowe-jedzenie-bananow-gwiazdy-staja-w-obronie-sztuki-polacy-zapowiadaja-protest.html [Accessed 10 May 2019] fig. 62 – Wzorek, J., 2018. The Sun Doesn’t want To Look Me In The Eyes project [digital image] Available at https://www.whiteliesmagazine.com/blog/2018/3/26/the-sun-doesnt-want-to-look-me-in-the-eyes [Accessed 10 May 2019] fig. 63 – Biała, A., 2018. Wycinanki Polskie [online] Availabe at: http://www.alicjabiala.com/news [Acessed 18 November 2018] fig. 64 – Kowalczyk, K., 2019. Brand Onion [Own Image] fig. 65 – Kowalczyk, K., 2019. Szum Magazine Mood board [Own Image] fig. 66 – Kowalczyk, K., 2019. Competitors Mood board [Own Image] fig. 67 – Lenica, J., 1981. Plakat Film [online]. Poster Museum in Essen. Available at: https://galeriaplakatu.com.pl/4032.html [Accessed 12 May 2019] fig. 68 – Kowalczyk, K., 2019. Polish Film of Posters Mood Board [Own Image]
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fig. 69 – Kowalczyk, K., 2019. The Diffusion of Innovation [Own Image]
fig. 96 – Kowalczyk, K., 2019. Contributor’s Instagram post mock-up [Own Image]
fig. 70 – Klamka, Z., n.d. 1Czas7 [digital] Available at: https://zosiaklamka5902.portfoliobox.net/1czas7 [Accesed 1 April 2019]
fig. 97 – Kowalczyk, K., 2019. Moodboard with mock-ups of cultural institutions spread all over Poland [Own Image]
fig. 71 – Kowalczyk, K., 2019. The Creative Visionary photo shoot [Own Image]
fig. 98 – Kowalczyk, K., 2019. Artkult.’s open call post mock-up [Own Image]
fig. 72 – Kowalczyk, K., 2019. The Creative Visionary Mood board [Own Image]
fig. 99 – Kowalczyk, K., 2019. Mock-up of an influencer’s Insta story promoting Artkult.’s open call [Own Image]
fig. 73 – Kowalczyk, K., 2019. The Cultural Enthusiast photo shoot [Own Image]
fig. 100 – Kowalczyk, K., 2019. Artkult.’s open call Instagram post [Own image]
fig. 74 – Kowalczyk, K., 2019. The Cultural Enthusiast photo shoot [Own Image]
fig. 101 – Kowalczyk, K., 2019. Artkult. on a display at the magazine shop in Warsaw mock-up [Own Image]
fig. 75 – Kowalczyk, K., 2019. The Cultural ENthusiast mood board [Own Image]
fig. 102 – Kowalczyk, K., 2019. Artkult. on a shelve at the magazine shop in Warsaw mock-up [Own Image]
fig. 76 – Kowalczyk, K., 2019. The Creative Concept mood board [Own Image]
fig. 103 – Kowalczyk, K., 2019 Mood board of Artkul.’s retailers mock-up [Own Image]
fig. 77 – Kowalczyk, K., 2019. The Colour Palette mood board [Own Image]
fig. 104 – Kowalczyk, K., 2019 Artkult.’s exhibition poster mock-up [Own Image]
fig. 78 – Kowalczyk, K., 2019. Design Recipe mood board [Own Image]
fig. 105 – Kowalczyk, K., 2019 Artkult.’s exhibition poster mock-up [Own Image]
fig. 79 – Kowalczyk, K., 2019. The Logo Inspirations mood board [Own Image]
fig. 106 – Kowalczyk, K., 2019 Artkult.’s launch event and exhibition space mock-up [Own Image]
fig. 80 – Kowalczyk, K., 2019. Artkult. Logo [Own Image]
fig. 107 – Kowalczyk, K., 2019 Artkult.’s launch event and exhibition space plan mock-up [Own Image]
fig. 81 – Kowalczyk, K., 2019. Magazine Inspirations mood board [Own Image] fig. 82 – Kowalczyk, K., 2019. Artkult. Cover [Own Image] fig. 83 – Kowalczyk, K., 2019 Artkult. Contents visualisation [Own Image] fig. 84 – Kowalczyk, K., 2019 Artkult. Contents visualization [Own Image] fig. 85 – Kowalczyk, K., 2019 photo shoot published in Artkult. fig. 86 – Kowalczyk, K., 2019 photo shoot published in Artkult. fig. 87 – Kowalczyk, K., 2019. Media Infographics [Own Image] fig. 88 – Kowalczyk, K., 2019. Timeline Infographics [Own Image] fig. 89 – Kowalczyk, K., 2019. Day in the life of the Creative Visionary Infographics [Own Image] fig. 90 – Kowalczyk, K., 2019. Day in the life of the Cultural Enthusiast Infographics [Own Image] fig. 91 – Kowalczyk, K., 2019. Artkult. Facebook post mock-up [Own Image] fig. 92 – Kowalczyk, K., 2019. Artkult. Instagram mock-up [Own Image] fig. 93 – Kowalczyk, K., 2019. Artkult.’ Website mock-up [Own Image] fig. 94 – Kowalczyk, K., 2019. Mood board with Artkult.’s promotional posters all over Poland [Own Image] fig. 95 – Kowalczyk, K., 2019. Influencer’s Insta Story mock-up [Own Image]
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fig. 108 – Kowalczyk, K., 2019 Artkult.’s launch event and exhibition space mock-up [Own Image] fig. 109 – Kowalczyk, K., 2019 Artkult.’s launch event and exhibition space mock-up [Own Image] fig. 110 – Kowalczyk, K., 2019 Artkult.’s post-launch event mock-up [Own Image] fig. 111 – Kowalczyk, K., 2019 Artkult.’s post-launch event mock-up [Own Image] fig. 112 – Kowalczyk, K., 2019 Artkult.’s post-launch event mock-up [Own Image] fig. 113 – Kowalczyk, K., 2019 Measuring of Success infographics [Own Image]
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