#RFMP5008FashionFilm

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Logo Analysis

Technicalities and analysis

via https://dipetsa.com/

I think it's worth mentioning that the Brand Guidelines could be found. However, I was able to carry this breakdown after researching and analysing the brand in depth from its diverse content. Also, the logo in a PNG Format image above was saved from Google Images that was automatically found on the main page of the brand's website. Meaning to state that, unfortunately, the image is not provided by the brand on the website - neither the original nor the other colours I could understand the brand uses, such as Blue and different chrome tones.

Technicalities of the logo: 

Di Petsa's logo is a logotype (a font-based logo focused on the brands' name alone with no combination, pictorial marks or symbols). It seems to be custom-designed to the brand specifically, but no typeface can be recognised. Also, it can't be found who exactly created it.

It is a chrome (3d looks) display font. Sans serif, in uppercase letters. With an asymmetric design based on a kind of liquid/bubble form. We can note that it follows a more rectangular shape instead of perfect round forms, and there is almost a consistent stroke thickness. It seems to be a medium font-weight (only bold or light), however it still holds a high contrast. It also appears to be a little condensed.

It is a unique, creative, innovative, modern font. It pushes a certain futuristic side. At the same time it's stronger and mature, it's also funky, playful and informal. It is essential to be readable, which it is, and in a way, it has a clean design. With this analysis I take away that the logo sure has a lot of personality, however, it can be arguable that the logo might not be in order with what the brand concept is, and also it is maybe too trendy for a luxury brand. Since all the major maisons have been doing rebrands to pass a more minimalist image.

Di Petsa’s logo could be found in different colors and positions (sideways). Examples:

Logo in Blue  (social media poster) - via - https://www.facebook.com/dipetsa/photos/1459430657760849

Logo in Blue and Sideways (social media poster) - via https://www.facebook.com/dipetsa/photos/1388697538167495

Logo Sideways  (campaing image) - via https://dipetsa.com/dipetsa-aw20-show/

Logo in a more silver chorme tone (social media poster) - via https://www.facebook.com/dipetsa/photos/1314859812217935

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Heritage, Interests & Inspirations

How her origins inform her work and what inspires Dimitra to create

“From contemporary poetry or early Christian mysticism to ecofeminist theory and the sartorial intricacy of Madame Grès, the spectrum of influences informing the Athens-born designer’s work is wide and ever-expanding.”(1granary)

Dimitra was born and raised in Greece's capital, Athens. We can understand her primarily enormous cultural roots for this reason alone. From the rich history to philosophy and politics, and arts to sports, Greece has a colossal heritage.

Dimitra affirms she is very “interested in exploring antiquity, how it coexists in contemporary culture, and how we communicate a relationship with the past in general.”(nrmagazine) Ancient Greek mythology and practice are visible to be informing a lot of her concepts and designs. Dimitra is also personally involved in esoteric and astrological matters, which are mentioned in Greek mythology (for its healing and mythological properties and used in rituals with spiritual meaning). “I always have crystals with me; I usually have Citrine crystals in my bag, or a Labradorite.”, as she assumes (wmagazine).

Via pinterest 

She is very passionate about Greek traditional craftsmanship, materials and techniques. “I am very moved by the art of traditional Greek craftsmanship; I would love to find a way to preserve it, to interact with it in my designs.” (nrmagazine) And, also “sustainability and textile innovation are very important to me.” (nrmagazine)

Dimitra via twitter 

Growing up in Athens, surrounded by women, caryatids, and other female figures, I'd say Dimitra's work is mostly inspired by feminine experience. She has style icons like Maria Callas, Cher, Madame Grès, Annie Sprinkle, Jade O Belle, Jackie Shuya Tan, and Leila Rahimi. (Wmagazine) However, the concept of a muse is a little different for Dimitra. “My muses are so varied; they are the women I spend time with and then find myself obsessed with! There is something about their beauty and energy that inspires me.”, she says. (paper-journal)

Image via LFW

Dimitra's hometown is next to a harbour, “I could always hear boats leaving the docks from my bedroom.”, she affirms (nrmagazine). The sea has played an essential role on her, growing up. Like many people, Dimitra finds the sea healing. “It feels like home.”

And further it has played a big part in her research and creative practice on her DI PETSA brand.

image via Pinterest

Has seen before Petsa explores Ecofeminist and addresses nonconformist feminist matters. She interested in female archetypes, especially Sigmund Freud’s “Madonna-whore complex - which describes the inability to maintain sexual arousal within a committed, loving relationship. 'Simultaneously you're the virgin, the whore, the mother, the child, the daughter”. From those archetypes, she has focused on the concept of wetness - its meanings and its aesthetics. “human fluids are connected with female sexuality. Women have been sterilised in patriarchic societies: most men believe women are wet only during sex, but actually, the female experience is more fluid than that. Western media because society wants us to be afraid of what our bodies can do,' she states. (showstudio)

Petsa’s work merges both her country’s heritage and her personal history and believes in an authentic and contemporary way.  

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Introduction

I assembled this blog on the 29th of September, during Week1, after the Unit Briefing Lessons, 5006/9 with Elva, 5005/8 and Launch Lecture with Piers.

The purpose of this blog is to show the Research Process for creating a Fashion Film, a Brand Report and a Creative Strategy for a brand of my choice - to be stated.

All research, thoughts, concepts, inspiration, influences, historical context, critical analysis, trials, techniques, ideas, goals, moodboards, links, photos and overall key elements should be posted here, with correct references.

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Chanel Audit - Twitter Analysis

https://twitter.com/DiPetsa

OFFICIAL ACCOUNT @dipetsa

1,280 FOLLOWERS

ANALYSIS

Unfortunatly the brands’ Twitter account is not being used anymore. The last post is dated 06/Sep/2021 - and this is a major Weakness, because  I see Twitter as an opportunity platform, as there is a strong fashion enthusiasts community there. And I must add that of all the brand platforms and social networks, Twitter was the best used, with appropriate content and the most accurate.

They used to post more "exclusive" content, share links and engage with brand supporters.

The Bio is “Fashion & Performance Art”, which from all the platforms this was the one that was more accurate. 

The website is properly linked, and in addiction, the Instagram page is linked as well. 

The pinned tweet is a Manifesto.

NOTE: I only added this platform to the main document because its still linked on the brands’ website, so even if its not being used currently, I would admit and count it as an active network, plus it gives some insides on the brand weaknesses. 

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Chanel Audit - Instagram Analysis

The brands offical instagram account, @dipetsa, is in fact, the only verified social media page of the brand. 

It counts with 69.6K followers, which is considered a small following - fewer followers than a generic Influencer. 

About Instagram, Dimitra said on an interview with I-d Vice that “On one hand, of course, it’s a place where you can make many connections and reach more people than you would with a small-scale exhibition. On the other hand, my photos have been reported and deleted countless times. That’s why I nowadays blur every nipple, both in photos of men and women. (...) The censorship of female nipples is something I will never be able to understand. I think of social media as a reflection of the way the female body is treated in the real world. It feels like the female body has been cut into many different boxes, where one box is allowed to be visible and the other is not. “ (via i-D)

ANALYSIS

The account has little more than 600 posts in total. The page started in 2012, as Dimitra's personal account, she still hasn’t deleted the posts from that time, and for that reason you can understand the developement of the Designer's brand more personally, however is not very professional and so serious having those posts still. 

The page is characterized as a Film business.

The direct link feature on the bio is to an Vogue’s article about the brand, rather than the brand's website - which is instead written. This doesn't convince me that it's any good.

There is a direct link to the email and is again included in the bio. 

The bio is too big and, to my understanding, confusing; the brand named all its collections in the bio. 

Doesn't post daily, but does post frequently.  

The type of posts shared on the brand official Instagram account are: videos and pictures of customers in custom-made pieces, photoshoots where the brands’ pieces where featured, Lookbook content, photos of fittings, videos of the brand's performances at Fashion Weeks, brand videos, and general press – posters.

Features Used: They use Stories, Highlights and Videos. There is no Reels, Filters, IGTV or Guides content yet, nor the store.

No use of Hashtags, only emojis. 

Comments: I don't see the point in many things on the brands Instagram. Instagram is probably the biggest tool nowadays, and overall, social media is a vast marketing and selling system, and the brand is not taking full advantage of it. The brand is definitely keeping up to date with new content, like showing new photoshoots and new products but is not engaging with it and not expanding their target audience or even brand awareness. For example, they could use a Linktree or a LinkinBio to make the experience easier to the followers - bigger luxury brands have adopted this method. They should definitly start using more of Instagram feautures, reels, filters, the store. There should be at least the creation and use of a tailored brand hashtag.

Prints via https://www.instagram.com/dipetsa/ at 10/01/2022

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Near Competitors - disclaimer

Doing the Market Analysis, which included creating Brand Position Graphs, locating the closest competitors, and conducting a SWOT analysis on them, was really challenging for me.

It was difficult to identify a brand that could be considered a near direct competitor. I didn't (and still don't) know of any other brand on the market with a similar particular customer, core values, or aesthetic that could compete directly with Di Petsa. It's not that the brand is extraordinary and unlike anything else we've seen; it's that the brand has discovered its niche and is so well positioned while still being a smaller label that I can't think of anything even quite analogous...

It was also hard to identify a group of competitors to compare the brand with on the Brand Positioning Graph,

Taking into account that the brand is: 

Recent, still a small label. It’s positioned in the luxury market, although it has slow fashion practices. Is fresh and current, follows trends, however is quite conceptual and interdiscipliary. Works with their own fashion calender; developed their own original material tecniques and added other traditional techniques to the collections, showing the Greek heritage. It has ready to wear collection on the website, capsule collections, lifestyle products and a workshop. Works with sustainable sales strategies, there biggest audience is the made-to-order pieces, for performances, photoshoots and bridal. 

Some brands that I was able to identify as perhaps direct competitors were, and I'll explain why:

Mugler, Jean Paul Gautier, and  Balmain -  I would say these are the most well-known luxury brand that are somehow more similar to the Di Petsa label than any other. 

Alexander Mcqueen - iconic brand legacie, very conceptual, luxury

Margiela - I would only consider this one because actually Margiela’s FW20 Couture collection was called out of plagiarism of Di Petsa’s work, with a similar Wet Look design. 

Nensi Dojaka - Albanian roots, London-based, namesake brand, Central Saint Martins MA graduate, Womenswear Emerging Designer, Luxury level, a lot of press and A-list celebraties wearing the brand, declared one of the freshest forces in Fashion right now, celebrates the female body in nuances of reveal and conceal with evolving dressing, everything exactly like Di Petsa. However, the aesthetic is definitly not the same. Its more sober, the colours used are darker, its classic, elegant and romantic in a different way. Overall the trend that Nensi is inserd is not the same where Di Petsa is. 

Sinéad O'Dwyer - I don’t really know much about the brand, it was a friend who recommended it as a possible competition. I couldn't find out much about the brand, there isn't much press, and the website is still in construction. However, I was able to see that it is a recent RCA graduated and London based womenswear brand. By the designs you can see on the brand's Instagram I realized that, like DiPetsa, is part of the trend Body Cult - Corporeal Sculptures, which explored the way in which we perceive our body. It also uses a lot of materials technology to create its designs, like Di Petsa. Also featured in Dazed 100.

Syndical Chamber (aka Sergio Castaño Peña) - Spanish designer, based in Barcelona. Conceptual dresses, made-to-order only. His concept and aesthetic is much more darker and heavy comparing it directly to Di Petsa. However, is comparable in the way that it also has a very strong signature style, the designs and prints are also like a cult to the female body, is sexy and provocative, how is made-to-order to fit exactly how it should...Also, I found the consumer audience to be very similar. 

Iris Van Herpen -  Also a very well-known luxury brand, I only added it because of its practice with materials technology. 

Simone Rocha - Womenswear designer, also graduated from MA at Central Saint Martins, known for her signature sense of subversive femininity, often incorporates clean colour palettes and experimental fabrics. 

As a result of this struggle, in order to position my selected brand in the brand position graphs, I opted to include some of the brands picked by some of my classmates, for reasonable comparisons. Namely the ones I think are best known to the masses, such as Chloe, Acne, Blumarine, Cos, Dior, H&M, Urban Outfitters, Palace, Off-White...

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Cinematographic Reference 1

Starring Anita Ekberg, La Dolce Vita, 1960 

La dolce vita ("the sweet life" or "the good life") is a 1960 comedy-drama film by Federico Fellini. The film follows Marcello Rubini, a journalist over seven days and nights on his journey through the "sweet life" of Rome in a fruitless search for love and happiness. La dolce vita won the Palme d'Or at the 1960 Cannes Film Festival and the Oscar for Best Costumes. The film was a worldwide box-office success and a critical success, and is now frequently regarded as one of the greatest films in world cinema.

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Dimitra's Insights on Performance

It's no wonder that fashion attracts Dimitra, since performance is at the core of Dimitra’s design process.

Di Petsa’s autumn/winter 2020 presentation at London Fashion Week, image via Vogue

(Some of these concepts have already been analysed in other posts)

Dimitra said, "I knew I loved fashion but I was also very interested in performance art, theatre and film. I wanted to acquire skills that would develop my artistic practice and bring new viewpoints and inspiration to my fashion education." (via Hypebae). 

Dimitra loves performance "because it's so profoundly based in experience" (1Granary)

“Both performance and art are so important to my work and creative practice.”, She also states that she is interested in the "performative element of both creating and wearing clothes", “I feel like often, designers create clothes without putting much of themselves in them, there’s hardly any physical vulnerability that they are willing to display,” she argues. (1Granary)

“I am very involved in my work: it is something very personal to me. The relationship between model, designer and viewer is very interconnected, that's why I always take part amongst the performers in my shows, exploring my vulnerability and body expression, alongside their exploration. Through these intimate moments, and the overcoming of shame, I can really tap into my creative side, and create work that comes from a deeper place. Work that is authentic to me and my experience. For us, a garment worn with intention and connection to a deeper emotional message, is one that will resonate and last with the consumer. “(nrmagazine) 

For her MA, Dimitra elevated her performative side and developed her garments based on her previous performance practices she did for her BA. The ideas were channeled to make it a continuation of those performance, leading to the ultimate performance experience she could do.

“Performance art is something everybody should have the opportunity to engage in. It is one of the best ways to let go of shame, because it’s all about you and your own self-pleasure.” she says, “When we perform, we don’t perform for the audience, we perform for us—our self-indulgence and our own healing. We’re just allowing people to look at the temporary parts of it in that way.” (WMagazine) This format is important for everyone since it makes you create unique storylines and shows different narratives in your own life. 

Her work really penetrates the realm of performance, Petsa includes the movement and the physicality of performance into her work process.  Dimitra says “I find the concept I’m interested in and it becomes a script for a performance. From these performances, I find the shapes that then inspire the designs.”(paper-journal) 

For most designers, the fashion show is the first time their collection will take on a performative role, however for Dimitra the performance never ends. The collection starts with the performance and ends with a performance. This is because Dimitra believes those who wear her designs are ‘taking part in performance art.’ (paper-journal)

When it comes to present and showcase her collections, Dimitra seeks to question “what a presentation is” and “what is performance” and in this context for Dimitra there is “a lot to play with.” (paper-journal)

“There is this intimate connection with the viewer which is something that is always very present in my work.” (via 1Granary).

Di Petsa’s autumn/winter 2020 presentation at London Fashion Week Image via dstngr

This element of performance starts in her consciousness and culminates with the ultimate consumer of her designs; going through the design process, garment construction, collection presentation, audio-visual experience, the marketplaces and her buying strategy.In my opinion, she takes the relationship between fashion and performance one step further. Not only does she put her training into practice, as she also gives an insight into this interconnected relationship between Performance X Individual Experience X Reality X Feminist Theory X The Viewer X Garments X Fashion X Film. She successfully interconnects everything, which once you understand it, it’s impressive to see the parallels.

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- water movements, reflections, color

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Dimitra’s Fashion Approach

Research and Analysis

For me, Dimitra's work approach goes further than simple designer work. Knowing perfectly well that the role of a Fashion Designer has also faced changes, I believe Dimitra's approach resembles more an artist work than a Designers, putting her far away from the "post-Designer brand" trend (when a brand is neither associated with the workers nor the designers). Apart from a fully developed creative sensibility, she merges a theoretical investigation, a conceptual exploration, and an interpersonal and emotional sensitivity to her work.

Dimitra by Xtos via twitter

It is common for fashion designers to use their creations as a form of commentary on social issues; however, addressing an unconventional subject matter while making people uncomfortable (if they still consider it is taboo) and still captivating with the intention of creating something inclusive, wearable and beautiful is impressive. To combat the intense oppression she felt from the society to the female experience, Dimitra's solution was to create clothing that celebrated bodily fluids in all of their forms.

Petsa says that her project has been a self-healing journey: "It was an eco-feminist research project about (…) wetness and the futile strive for dryness is so integral to the female experience, these (…) has been a big part of my artistic practice for many years and my changing attitude towards them represents a personal journey of self-healing." (Dazed)

For Dimitra, working with customers is somewhere between fashion design and therapy. This is a trait she inherited from her grandmother as she grew up watching her work. She recalls a powerful connection of her grandmother with both the tactile material and her clients. "It's about a human connection; a seamstress is also a bit like a psychologist", Petsa says (vogue). "I learned so much about women and about the deep connection they can have with clothes". Understanding the value of intimacy in a context of vulnerability and nakedness and the affective link between the human psyche and the physically clothed state formed the basis of her creative process.(1Granary)

Dimitra appreciates the importance of the personal component of the work. While playfulness and experimentation are key, femininity and vulnerability are prioritised in her work. She finds herself forming close relationships with those she collaborates with along the way. “When you are collaborating on a project, people get to know you more profoundly, you form these incredibly deep relationships.” (via paperjournal)

Her working method is very unorthodox. Her work really penetrates the realm of performance. When explaining how she develops her garments, Dimitra says "all my models were naked most of the time in the studio dancing, screaming, laughing and then the next moment they would be crying, or I would be crying… and they were all very involved in my work, it always felt very personal." This prompted an ongoing process of creative deconstruction and exploration for Petsa ‒ one she remains deeply immersed into this day. (1Granary)

"Both performance and art are so important to my work and creative practice."(nrmagazine)

"I feel like often, designers create clothes without putting much of themselves in them, there's hardly any physical vulnerability that they are willing to display", she argues. (1Granary). "I am very involved in my work: it is something very personal to me. The relationship between model, designer and viewer is very interconnected, that's why I always take part amongst the performers in my shows, exploring my vulnerability and body expression, alongside their exploration. Through these intimate moments, and the overcoming of shame, I can really tap into my creative side, and create work that comes from a deeper place. Work that is authentic to me and my experience. For us, a garment worn with intention and connection to a deeper emotional message, is one that will resonate and last with the consumer. "(nrmagazine)

As I explained in the previous post, Dimitra's uses specific materials to guarantee that the wearer feels right in their own body and ultimately happy when wearing her garments, almost as a freedom feeling. It is crucial to Dimitra that her work please the body's forms, and not the other way around. "This is really important because, growing up, I remember times when I have been made to feel bad because I need to fit into certain clothes, rather than have those clothes fit me," she says. "I remember thinking if I don't fit into this size in this brand, then my body is wrong.", "the garment will follow the body as opposed to the body having to conform to the garment. If you put on weight or lose weight, they're still going to fit you. If you are someone who menstruates, you can go up one size, two sizes just in one month. I think that's something that the fashion industry doesn't really care to." she debates. (vogue) Body shame is something she’d like to challenge. However, she accepts it’s an “ongoing journey to go towards self-acceptance” for most women but that creating “a new narrative, accepting your body has its own language and beauty” is empowering. (theface)

"For Petsa, women designing for women in a sexually liberated way is something that's missing in the fashion industry. 'If you have a conceptual fashion brand, it means that the body is covered, whereas in a more 'fun' brand, you're allowed to show more skin. I always found this very weird and has something to do with how patriarchic society sees women. I am very interested in new designers showing what nakedness means in a woman's identity because sometimes I'm a bit disappointed by how men design for women,' she confesses." (Showstudio) Dimitra also challenges the fashion itinerary and consumption by utilising slow fashion practices. Meaning, rather than surrender to industry-imposed expectations to start from scratch every six months, she pushes the horizons of her practice developing her signatures. “When you're trying so hard to create a whole new concept, you don't delve as deep as you should in the concepts, and it promotes this process of creating something and throwing it away, which I'm really not attracted to”, she says  (i-D). 

Key: Conceptual; body-conscious; nonconformist feminist issues; performative; emotionally sensitive; personal; from a woman to woman; sexual liberation;

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About Dimitra Petsa - the founder and designer of the namesake label Di Petsa

The beginning. 

Image Via ifema

Dimitra Petsa, born in August 1994, native from Athens, is a performer and designer. She is the founder, creative director, and designer of the namesake label Di Petsa.

Her interest in fashion emerged early in her life, under her grandmother's influence - a seamstress who ran her own tailoring school. Dimitra confessed she learned how to sew and construct a dress from a very young age, and it's not surprising that she ended up becoming a designer and having her own brand. However, she had a unique journey, graduating from prestigious Central Saint Martins in London, with a Bachelor's Degree in Performance Design and Practice and a Masters in Fashion Design Womenswear.

Dimitra said, "I knew I loved fashion but I was also very interested in performance art, theatre and film. I wanted to acquire skills that would develop my artistic practice and bring new viewpoints and inspiration to my fashion education." (via Hypebae).

DiPetsa's art InTRANSITFest, Image via Twitter

It was still during her BA that Dimitra started looking into feminist theory and started her long-term Ecofeminist Research, which is something she engages a lot with. Dimitra loves performance "because it's so profoundly based in experience" (via 1Granary). Based on her research, for one of her performance practices, Dimitra peed her pants – the ultimate metaphor for letting go (both her bodily fluids and of shame), in public, in a crowded subway in Athens. Further, in a series of performances, she had a woman dressed in water walk across Athens. The latter was the ultimate inspiration and reference to start her MA Graduate Collection. (via MetalMagazine)

She also states that she is interested in the "performative element of both creating and wearing clothes" (via 1Granary). I believe, this is sparked by the craft's cultural impact and psychological implications. Meaning that, Dimitra grew up watching her grandmother work, and she recalls a powerful connection of her grandmother with both the tactile material and her clients. She says, "I learned so much about women, and about the deep connection they can have with clothes" (via 1Granary), "I admired her deep connection with her clients. While the fabric was pinned to the body there were secrets, tears, laughter" (via NRMagazine).  Understanding the value of intimacy in a context of vulnerability and nakedness, and the affective link between the human psyche and the physically clothed state formed the basis of her creative process.

During her master's Dimitra really consolidated her interests and skills into one practice, combining all: her background, her performance side, couture fashion, textile development with sustainability and film.

Continuing her Ecofeminist Research, she developed her work around The Wetness Theory creating 'The Wetness Collection' – her Graduation Collection, leading to the Wetness Project and the foundation of her homonymous brand.

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Brand Choice - Introduction

For this year's unit, my brand choice is Di Petsa.

 Di Petsa is a womenswear Designer Label, founded in 2019 by the Greek designer Dimitra Petsa. Dimitra's own investigation project and graduate collection - 'The Wet Collection', have evolved into the brand. Dimitra graduated from Central Saint Martins with a BA in performance art and a MA in Fashion Womenswear in 2018. Dimitra has explained that her investment in her designs is “not only as a brand- but as an ongoing art project”.

What led me to choose this brand was its outstanding unique and stunning pieces. With a strong sense of Greek heritage combined with a contemporary ecofeminist concept, beautiful original materials, that ultimately create her signature style - the Wet look, which is already a big trend, and it seems that it will continue to be as Vogue reports. Despite its quite recent induction into the market, Di Petsa has a notable footprint in the press, with Custom-Made pieces for A-list personalities and various features in Magazines, which shows a very sharp instantly understanding of their target audience, and a consistent launch position in the market. The brand combines slow fashion couture practices with interdisciplinary arts. For Dimitra the pieces and collection start with the performance. “From these performances, I find the shapes that then inspire the designs.” Petsa also believes those who wear her designs are ‘taking part in performance art.’ There is something about the performative part of the brand that fascinates me. If anyone still had any doubts on the outdated questions regarding Fashion being Art or between Fashion and Performance, Di Petsa is for me a fresh solid study case. Di Petsa has been distinctly crafting its version of female identity. On their own terms, the brand investigates themes such as identity, sexuality and politics. Dimitra has a poetic umbrella term for acts of self-care, self-love and self-healing. Dimitra reports that “the brand is all about accepting your body", “It’s important to have this community and make clothes that empower people to accept yourself through finding your sexuality and your beauty.”As I have the same ideals on this matter, I appreciated her ideas, and that is my creative starting point.