Collective Design Fair
Collective.1
Collective.2
Two months before opening, I became part of the Collective Team jumping feet first into the deep end from day one. I quickly proved myself a team player and jack-of-all trades asset; moving from copy-writing social media posts, organizing shipping among exhibitors and vendors alike, and laying out email designs. Just days before we were set to open our doors to the public, I remember sitting in the back of a yellow cab, laptop open, frantically designing our wayfinding and fair maps. Even under such circumstances the founder, Steven Learner appreciated my willingness to get the job, speed and composure to meet the frantic deadline without breaking a sweat.
Year two a new layout in New York’s Moynihan Station was greeted with the challenge of creating an intimate yet open exhibition. Improvising under limited time had given way to meticulous planning over the course of a year. I cherished the opportunity to become more involved in the spatial designing of the fair working closer with our 32 exhibitors and vendors. Rather than the lofty and industrial feel the Pier gave us, a stripped down minimal interior allowed for exhibitors utilize the space much like their own galleries spaces. Following this trend, I carried this feeling throughout marketing and print campaigns, minimizing the royal blue, keeping a somber pallet that was fresh clean, and above all else worthy of Collective’s Brand.
Digital and Print Marketing
Wayfinding and Signage
Fair layout and Interior Wayfinding
Digital and Print Marketing
Wayfinding and Signage
Fair layout and Interior Wayfinding
Collective.3
Collective.4
Reacting to the prior years, we moved away from branding ourselves based on the location distilling what made Collective the talk about town. For our marketing and brand guidelines, we over-saturated our channels with Collective’s signature blue. Reading the zeitgeist proved effective and serendipitous as many of our exhibitors opted for blue palettes themselves. In addition to launching a new collaborative approach to Collective’s brand identity with exhibitors and design up-and-comers, I pivioted into a more outward facing role, helping spearhead several sponsorship special projects such as an on-going partnership with the Noguchi Design Museum and Cadillac. These collaborations allowed me to think more about curating while merging Collective’s brand with their distinct aesthetics.
For my last year with Collective, my role continued in a part-time practice while finishing graduate school, focusing on our brand’s innovative eye. As the first design fair in New York’s history, we proved we were a welcomed entity breathing fresh life into design cultural. No longer tethered to the formal qualities we began to take larger risks, from programming, collaborations and ambitious special projects that delighted audiences year round. Collective.4 was a year of telling our brand’s story through a more relaxed, youthful perspective to design today. The shift away from branding around architectural space meant a larger investment in graphic design output and social media narratives on object d’art. I appreciated the leeway the team gave me, allowing for new explorations,approaches towards design making; seeing my concurrent education interests for brand development having tangible outcomes through the fair.
Digital and Print Marketing
Wayfinding and Signage
Fair layout and Interior Wayfinding
Digital and Print Marketing
Wayfinding and Signage
Fair layout and Interior Wayfinding