Embla - Veronika Evey Ævarsdóttir

There is only a bit left before graduation, and it feels like the semester passed in just a blink of an eye. It is hard to picture where the road will take me next, but it is exciting nonetheless.

Studying here was a lot of fun, and I learned a lot from this course. With my new found knowledge of graphic design, I frequent ly find myself analysing every advertisement and logo I encounter!

A big thank you to the teachers; their en thusiasm and assistance made studying en joyable and considerably increased my con fidence in graphic/web design, photo editing, typography, printing and more.

One of the projects in this course is to cre ate a lifestyle magazine titled “Embla”. Since this is our final project, I wanted to challenge myself by going outside my comfort zone and experimenting with multiple styles. It was a great learning experience, and I had lots of fun working on it. Enjoy! =]

VERONIKA

Hi there, my name is Veronika, I am 19 years old, born on September 4th 2003. When I was about two years old, my family moved to Ice land, and I have lived here ever since. I have always been drawn to creativity and making things, whether it be sewing, baking, video editing, music composition, or anything else that allows me to express my thoughts and feelings through art. What first grabbed my interest in design, in general, was apparel and merchandise. Making merchandise for musi cians, such as t-shirts or posters, sounded so cool and up my alley, definitely something I would like to do as a career in the future. My goal after graduation is to travel. I dream of moving somewhere green and warm but not too far away from home.

IRIS VAN HERPEN

Iris van Herpen, a Dutch fashion designer, was born on June 5th 1984 and is well known for be ing one of the fashion industry’s most innovative thinkers. She constantly pushes the boundaries of fashion design by integrating technology with classic haute couture craftsmanship and incor porating both conventional and unconventional materials and garment construction techniques into her unique perspective. She completed her studies at the ArtEZ University of the Arts in Arnhem in 2006 and interned at Claudy Jong stra in Amsterdam and Alexander McQueen in London. In 2007, Van Herpen established her self-titled brand. At the 2007 Amsterdam Fashion Week, she unveiled her debut Couture collection, “Chemical Crows“.

“If I were to use one word to describe my work, it would be movement as one of the most in fluential things in my life has been my classical ballet practice. Through dance I learned about the seduction of movement, the transformation of the body and the evolution of shape. Those years taught me how to shift shape and were the birth of my interest in fashion. I do not think of fashion as being clothes, or a discipline. I think of it being much more. I see fashion as a dialogue between our inside and our outside. For me, fashion is a form of art that is closely related to me and my body. I see it as a very personal expression of identity combined with desire, mood and culture. Looking around me, I consider what I cannot see as much as what I can see, and that transform ative focus creates freedom in my work. Each garment and every collection is an embodiment to new understanding and discovery, on concep tual level, on the level of materiality and on the level of femininity.“ – Iris van Herpen.

Fall 2018 Couture

© Yannis Vlamos / Indigital.tv

Spring 2017 Couture Collection

With the use of lasers and a combination of Per spex and polyurethane, van Herpen produced a collection of 3D-printed costumes in collaboration with the Berlin artist Esther Stocker. It took six attempts to get this particular garment right be fore the designer was happy with the outcome.

Fall 2018 Couture Collection

Van Herpen drew inspiration for this collection from her prior work as a dancer and the artistry

© 2017 Team Peter Stigter

© Yannis Vlamos / Indigital.tv

folkmore

Taylor Swift is known for her versatility across genres and exceptional songwriting skills. She is a storyteller who uses a range of sounds to convey a variety of tales from her life using vivid imagery, alliteration, rich symbolism, zeugmas, and clever wordplay.

Folkmore is a portmanteau of Taylor’s two surprise albums, Folklore and Evermore, both of which were released in 2020 at the height of COVID-19 when everything was under lock down. The two albums surprised everyone, even Taylor, who composed the lyrics for fun to keep herself occupied during quarantine and had no intention of turning them into actual songs.

The lyrics read like poetry with excellent use of diction and imagery, combined with soothing acoustic arrangements that flow well together. Taylor worked on the albums with producers Jack Antonoff and Aaron Dessner of The National, HAIM, and Justin Vernon of Bon Iver. The lovely piano melodies in the songs “Exile“ and “Evermore“ were composed by Joe Alwyn (credited under the pseudonym William Bowery), who also wrote the verse for “Betty.“ Both albums received widespread recognition and praise from critics and the general public. Folklore won the Grammy Award for Album of the Year in 2020.

Folklore

Folklore is Taylor’s eighth stu dio album, released on July 24th 2020 and described by Taylor as a collection of songs and stories that flow like a stream of con sciousness. William Wordsworth, one of the most well-known poets of the English Roman tic era, inspired Taylor’s approach to the album. He frequently wrote about the romanticisa tion of life and death, two recurring themes throughout Taylor’s album. In the self-written bonus track “The Lakes“, Taylor cleverly refer ences the poet with the lyric: “In heart-stop ping waves of hurt, I’ve come too far to watch some namedropping sleaze tell me what are my words worth,“

The album is a representation of spring and summer. It explores a range of emotions, such as grief, feminine rage, emotional healing, and inferiority. The lyrics weave elements of Taylor’s personal life into the stories of the fictional characters she created and even historical figures such as American socialite Rebekah Harkness. Taylor explains: “I found myself not only writing my own stories but also writing about or from the perspective of people I’ve never met.“

The songs “Cardigan“, “August“, and “Betty“ explore the unique points of view of each character involved in the fictional love triangle at various points in their lives. “Cardigan“ portrays feelings of betrayal and resentment inflicted upon Betty after learning James had cheated on her despite the history of their re lationship. “August“ is Augustine reminiscing of the summer love she hoped would last, but as days grew colder and the month of august passed, it became clear that she was nothing but a summer fling to James. “Betty“ is an apology from James to Betty in which he comes clean about his summer spent with Augustine and plans to attend Betty’s party in hopes of mending the broken relationship between them.

Evermore

Evermore was released on De cember 11th 2020, around five months after Folklore, making it Taylor’s ninth studio album. She describes Evermore as the freewheeling younger sibling of Folklore. The two albums resemble one another in several ways, but Folklore is primarily a folk album, whereas Evermore has some aspects of other genres. In contrast to Folklore, which has a song men tioning Wordsworth, Evermore includes the song “Ivy“, inspired by the nineteenth-century American poet Emily Dickinson and her rela tionship with Susan Gilbert. ”Ivy“ is regarded by many as Taylor’s most impressively written piece.

Evermore represents autumn and winter; its melodies are more melancholic than Folklore, with lyrics personal to Taylor’s life. One of the songs pays sincere homage to Taylor’s grandmother, Marjorie Finlay, and recounts the advice Taylor received from her. Taylor’s lyrics describe her sorrow for passing up the opportunity to learn more about her grand mother and wishing she had saved something to remember her by, even if it was as trivial as grocery receipts.

The song “Cowboy like me“ stands out com pared to Taylor’s usual detailed storytelling because of its vague and ambiguous lyrics, which leave the story’s ending up to interpre tation. The narrator is initially cautious and stubborn, unwilling to accept anything from the love interest, whom they describe as a cowboy like themselves, implying that they are both hustlers. The narrator keeps switching between what they once thought and believed when they first met the love interest and who they are now, shifting from stubbornness to acceptance. It is a bittersweet story about two misfits who fell for one another after seeing through the masks they put on for everyone else, and it is up to the listener to decide if this resulted in heartbreak or joy.

ROCKBRITISH

The impact British rock groups had on music from the 1960s through the 1990s

British Invasion

Rock music was at its peak in the 1960s and early 1970s, resulting in the rise of numerous rock groups into the global mainstream. The fun damental elements of rock include heavy beats, blues, drums, and electric instruments. The genre has since expanded and created a range of new and unique music subgenres, such as Britpop and shoegaze. In the middle of the 1960s, American audiences began to gravitate toward British rock and pop music, eventually dominating the coun try’s music charts. Bands like the Beatles, Rolling Stones, and Kinks became the faces of rock mu sic and contributed to the cultural phenomenon known as the British Invasion. The phenomenon began in 1964 with the Beatles’ visit to New York following the release of their first-ever hit song in the United States, “I Want to Hold Your Hand.“

Beetlemania

The unwavering devotion people had for the Bea tles was known as Beetlemania. When the group came to the United States in 1964, The Ed Sulli van Show live-broadcast their performances to an estimated 73 million viewers. This was due to the group’s quickly rising fame in the United Kingdom throughout 1963. There, the Beatles immediate success established their status as global icons, dominating the national sales charts in a signifi cant number of other countries.

The Beatles arriving in New York City in 1964

Date Position Weeks Song

1964-01-25

The Beatles, „I Want to Hold Your Hand“

The Beatles, „I Saw Her Standing There“

The Beatles, „She Loves You“

1964-02-22

1964-03-21

1964-03-21

The Beatles, „Please Please Me“ -- recorded 1962-11

The Beatles, „Twist and Shout“ -- recorded 1961

The Beatles, „Twist and Shout“ -- recorded 1961

Britpop Grunge, a genre of rock music, gained popu larity in the 1990s due to the American band Nirvana and dominated the charts because of its recognisable, loud, distorted sound. But its success was short-lived as a different gui tar-driven genre known as Britpop emerged from the British music scene and into the mainstream. Britpop’s source of inspiration came from the 1980s and 1990s songs by the Beatles, the Kinks and the Smiths. Opposed to grunge, Britpop utilised lighter-sounding and extremely melodic hooks and choruses, and British references and political remarks incorporated into the songs.

Start of Blur

In 1988, the English Britpop band, Blur, was formed in London, originally under the name “Seymour”. The band consists of lead singer and keyboardist Damon Albarn, guitarist Gra ham Coxon, drummer Dave Rowntree and bassist Alex James. On August 26th 1991, the band released their debut album Leisure. Al though the album got mixed reviews from the British music press, their second single, “There’s No Other Way,“ peaked at number 8 on the UK Singles charts.

Background

Polly Jean Harvey, an English singer-songwriter and rock musician, was born on October 9th 1969. She was raised on a farm in a musical environment by her music-fanatic parents, who exposed her to a variety of artists who later influ enced her work. She took guitar lessons from the musician Steve Knightley when she was a young girl and later she began learning how to play the saxophone during her teenage years. Polly was a member of four bands: Bologna, Polekats, Stoned Weaklings, and Automatic Dlamini. When she joined Automatic Dlamini in 1988, her career really took off, and it was there that she developed her skills in complex ensemble playing.

PJ HARVEY

Blur: Britpop years

Creating the group’s second album, Modern Life Is Rubbish, published on May 10th 1993, Damon Albarn took charge of the project, plan ning a musical counterattack against American grunge and reinforcing the fundamentals of classic British pop/rock. The ideology, image, and music were all highly British-focused and unlike anything else at the time. Despite the album receiving harsh criticism and outrage after its release, as opposed to their commer cially successful debut album, Leisure, the abrupt musical and lyrical switch immediate ly captured people’s attention and curiosity, which helped their career take off.

The Battle of Britpop: Oasis Vs Blur Oasis, Blur, Suede, and Pulp make up the “big four“ of Britpop. However, in 1995, Blur and Oasis competed in a chart battle known as “The Battle of Britpop,“ which made them the faces of Britpop and brought it to the at tention of the British press. Initially, the two bands had mutual respect and affection, but as time passed, their tension grew and was fueled by the media, earning them the title of the greatest musical rivalry since the Beatles and the Rolling Stones.

MOOMINVALLeY

Background

The Moomins are fictional characters from a se ries written and illustrated by Finnish author and artist Tove Jansson in 1948. Tove was raised in Helsinki by her Finnish father, a sculptor, and her Swedish mother, an illustrator. During Tove’s child hood, she and her brother were by a hut discuss ing literary philosophy, which led to Tove sketching “the ugliest creature imaginable“ On the hut’s wall. Although she gave it the name “Snork“, that was the first-ever illustration of the Moomins.

Finn Family Moomintroll

Tove’s third book, Finn Family Moomintroll, was published in 1948, and in 1950, it was translated into English, marking the beginning of her world wide breakthrough. Compared to her first two books, Finn Family Moomintroll is much different. Tove wrote the book during a peaceful period after the war, making the plot less focused on disasters endangering Moominvalley and more on the characters’ relationships and what is right and wrong.

The Moomins and the Great Flood

During the 1939–1940 war between the Soviet Union and Finland (the Winter War), Tove believed she had to write a tale with a happy ending to help her cope with the horrors happening around her. Her friends encouraged her to write a chil dren’s book, so in 1939, she began writing the first Moomin book titled The Moomins and the Great Flood, Published in 1945. The plot centres on Moominmamma and Moomintroll’s search for Moominpappa, who went missing.

LGBT+ themes

Discussions of gender identity and same-sex relationships were frowned upon and considered “taboo,“ during the period the books and comics were published. However, Tove has always been open about her sexuality and has incorporated diverse gender roles and LGBT+ themes into her works. Particularly noteworthy are the two androgynous elf-like creatures Thingumy and Bob, whom she based on her former girlfriend Vivica Bandler and herself.

Moomintroll

Moomintroll is the main character of the Moomin franchise. He is outgoing, enthusiastic and a good friend to all citizens of Moominvalley. He is fond of the sea and loves nature, showing an interest in collecting rocks and shells. Despite his tendency to worry, he has an adventurous and curious spirit that makes him a dreamer who longs to travel beyond the secure confines of the Moominval ley and encounter new creatures on the way. Moomintroll was overly reliant on others in the earlier comics and books but eventually learned the value of independence and not relying too heavily on others after enduring a brutal winter alone without his family.

Little My

Little My is a small mymble (a troll species creat ed by Tove) with green eyes and ginger hair tied into a ponytail resembling an onion top. She is a quick-tempered, strong-willed trickster who is often up to mischief around Moominvalley. She is a debater who uses logic and personal attacks to win arguments and finding joy in causing chaos and thriving in danger. Despite this, she is pro tective of her friends and spends most of her time with the Moomins, whom she views as her own family.

Snufkin

Snufkin, the younger half-brother of Little My and Moomintroll’s beloved friend, is a kind-hearted, philosophical adventurer admired by many in Moominvalley. Every winter, he travels south and returns to Moominvalley in the spring, where Moomintroll excitedly waits for his arrival each day. Snufkin appreciates the small things in life, like fishing, night walks and playing instruments, particularly the harmonica. He has an easygo ing personality but enjoys challenging authority figures such as parkkeepers. Although he likes Moomintroll’s company, his introverted person ality makes him prefer to be alone. Snufkin, and his relationship with Moomintroll, are based on Tove’s partner of three years, philosopher and journalist Atos Wirtanen.

Star mythology

Stars have a long history in human history, spanning back 5,500 years. Stories about the stars have been passed down from gener ation to generation, including zodiac signs and the origin of the “star-crossed lovers“ trope. The importance of stars in history goes beyond storytelling; in prehistoric times, they functioned as a compass for travellers and helped people keep track of the passage of the seasons.

Starlore is a type of mythology and folklore based on the stars and star patterns such as constellations. Star lore is also defined as the use of the stars to explain religious ideas or actual historical occurrences.

According to the legend, Altair and Vega first encountered each other while the former sat under an oak tree playing a melody on his flute, sparking Vega’s curiosity about Altair. When Vega saw Altair startled, she apologised, identified herself as the princess of the ce lestial heavens, and said she had to come down to listen to the music because it was so enchanting. Altair greeted the princess, introducing himself as a cowherd, and started playing the flute once again for the princess.

Altair and Vega Chinese mythology concerning the stars Altair and Vega, found in the constellations Aquila and Lyra, is the source of the phrase “starcrossed lovers“. On July 7th of every year, Vega, a princess, and Altair, a cowherd, cross the Milky Way bridge to reunite after being separated by the stars. The Qixi Festival is an occasion where this is honoured.

When Vega’s mother became suspicious of her whereabouts, she sent a messenger to find the princess. Upon discovery that Vega had been spending all this time with a mortal, the mother was furious and dragged her back home. While looking for Vega, Altair heard a strange voice calling for him. He turned around to see his bull. Altair questioned if Vega had cast a spell on him giving him the capac ity to speak. The bull nodded and instructed Altair to climb onto his back, allowing them to voyage together to Vega in the celestial heavens. The Lady of the Sky noticed Altair and used her magic to transform the path into a river (the Milky Way galaxy) to stop them. As Altair approached the river’s edge, he exchanged one last glance with Vega before parting ways.

ENGIN HUGMYND ER OF STÓR EÐA OF LÍTIL

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