BLUESVILLE
Type of Work
Art Direction, Apparel, Branding & Identity
Type of Client
Fashion
Task
Rebranding
Role
Art Director & Lead Designer
Team – Collaborators
* IMG - Maika Collective Studio (Agency) —
Dekza Arlingga, Phelia Amadea, Shannon Joycelyn. Prisella Emmanuela, Dewi Ruhita
Project Status
Completed
Project Length - Year
5 Months - 2021 - 2022
Website
Instagram
Art Direction, Apparel, Branding & Identity
Type of Client
Fashion
Task
Rebranding
Role
Art Director & Lead Designer
Team – Collaborators
* IMG - Maika Collective Studio (Agency) —
Dekza Arlingga, Phelia Amadea, Shannon Joycelyn. Prisella Emmanuela, Dewi Ruhita
Project Status
Completed
Project Length - Year
5 Months - 2021 - 2022
Website
THE LEGACY OF BLUESVILLE IDENTITY
IN SEARCH OF A CONSCIOUS SYMBIOSIS
Early 2022, the rebranding project of Bluesville was embarked — redefining their 10-year identity as the most recognisable indigo-based Indonesian menswear brands.The key objective of the project was how to expand the brand, with the inclusion of sustainability discourse & ethics in cloth-making, reiterating their pioneering use of traditional approach as part of their genealogy.
This project serves to solve communication issues; and ultimately in how to portray the expansion of Bluesville as a brand; and the inclusion of sustainability issues & ethics — how the brand is one of the pioneers in full-control of its production, from the plantation to retail; which became more urgent in their mission statement moving forward. Bluesville wanted to be more inclusive in terms of pushing the traditional methods and mindful approach in cloth-making — reiterating existing values & recontextualizing them in contemporary settings. Through this project, Bluesville’s identity experienced a major revamp, from its original form, expanding the mythology — allowing more stories to be told from from their signature perspective.
THE NEW BLUESVILLE MANIFESTO
MANIFESTO
THE NEW BLUESVILLE
Living an unconscious carefree lifestyle is fast becoming an outmoded way of living. With the ever-expanding knowledge and insights from our pasts, indigenous customs where humanity coexisted with nature -- or rather coalesced with nature -- seem to be the only way that makes sense. Alas, we cannot simply go back to all of our old practices with how much our surroundings have been molded to fit our modern ways. But we can still learn from it, adopt what we can, and do better when possible.
In the past 5 years, this is the approach Bluesville has been taking. Looking back in order to connect the future to our past and searching for ways to re-establish a symbiotic relationship with nature. Our founders’ urbanist roots have shaped our approach to designing each article while our natural methods of textile production came from studying the ways of our Indonesian ancestors.
This delicate play between modern, traditional, and natural is an uncompleted process (possibly a never-ending one) and it is one that can be described by three core ideas: (symbiotic), (sympodial), and (totemic).
The identification of these ideas is not meant to compartmentalize aspects of Bluesville’s identity, but instead, recognize how they relate and complete each other. For instance, totemic leads to a profound appreciation of the traditional techniques and natural materials involved which leads to achieving symbiosis. While sympodial acknowledges the responsibility that falls upon us to manage ourselves and our community which leads to social symbiosis that circles back to an ever-growing community. These core ideas and their relationships act as frameworks on how we could learn from our pasts and navigate our actions in the future, all the while keeping every element of the system in agreement.
In the past 5 years, this is the approach Bluesville has been taking. Looking back in order to connect the future to our past and searching for ways to re-establish a symbiotic relationship with nature. Our founders’ urbanist roots have shaped our approach to designing each article while our natural methods of textile production came from studying the ways of our Indonesian ancestors.
This delicate play between modern, traditional, and natural is an uncompleted process (possibly a never-ending one) and it is one that can be described by three core ideas: (symbiotic), (sympodial), and (totemic).
The identification of these ideas is not meant to compartmentalize aspects of Bluesville’s identity, but instead, recognize how they relate and complete each other. For instance, totemic leads to a profound appreciation of the traditional techniques and natural materials involved which leads to achieving symbiosis. While sympodial acknowledges the responsibility that falls upon us to manage ourselves and our community which leads to social symbiosis that circles back to an ever-growing community. These core ideas and their relationships act as frameworks on how we could learn from our pasts and navigate our actions in the future, all the while keeping every element of the system in agreement.
THE NEW BLUESVILLE LOGOTYPE, BRANDMARK & WORDMARK
THE NEW IDENTITY
AN EXPANSIVE, CINEMATIC BRAND IDENTITYThe inspiration for the new identity of Bluesville is based on the cinematic approach; specifically the rich gallery of Southeast Asian cinema. The notion of attaining symbiosis, viewing human as a part of nature, a cyclical bond of which one cannot exist without the other.
The adoption of the cinematic language continues through its more intangible aspects, the visceral scale of the wide lens of the silver screen is how the branding architecture approached. To better envision and represent the widening scale, scope and overall experience that Bluesville will offer.
TYPES OF IDENTITY
LOGOTYPE
The logotype itself is a representation of an expansive identity that is attuned to a more cinematic appearance and scale, to better represent the widening experience and scope of Bluesville’s visions of the future. The logotype represents the main sign of communication; it is the umbrella that sheds all forms of visual communication. The logotype appears in almost every design & communication collaterals of the brand.
BRANDMARK
The brandmark is made of separate elements that represent the respective components of the monograms (B, L, V). This is the initial approach taken to create a basis familiarity & legibility for the brandmark. The brandmark serves as a secondary form of identity that serves the ‘totemic’ expression of Bluesville.
WORDMARK
The wordmark variations stand lower in hierarchy than the main wordmark (The Triangular BLV). These wordmark variations can be used in product/article designs; its serves as kind of a ‘differentiation’/’stylization’ towards the signature stenciled B, L & V glyphs.
LOGOTYPE
The logotype itself is a representation of an expansive identity that is attuned to a more cinematic appearance and scale, to better represent the widening experience and scope of Bluesville’s visions of the future. The logotype represents the main sign of communication; it is the umbrella that sheds all forms of visual communication. The logotype appears in almost every design & communication collaterals of the brand.
BRANDMARK
The brandmark is made of separate elements that represent the respective components of the monograms (B, L, V). This is the initial approach taken to create a basis familiarity & legibility for the brandmark. The brandmark serves as a secondary form of identity that serves the ‘totemic’ expression of Bluesville.
WORDMARK
The wordmark variations stand lower in hierarchy than the main wordmark (The Triangular BLV). These wordmark variations can be used in product/article designs; its serves as kind of a ‘differentiation’/’stylization’ towards the signature stenciled B, L & V glyphs.
BRAND ARTWORKS
THE NEW BLUESVILLE IDENTITY
TYPOGRAPHY
THE INSCRIBED INDIGOPHILOSOPHY & APPROACH
Different forms of logographic writing systems were studied as well as traditional scripts in order to create a type of communication that codifies certain terms related to Bluesville’s past and future approaches. The inspiration of the typeface comes from the sympodic look of Javanese script, totemic placements of the Buginese script, and the symbiotic interaction of the Sundanese script. These characteristics combined visually represents the core ideas of Bluesville's narrative. Batik canting strokes are applied to the typeface as an homage to Bluesville's batik patterns, and to balance the maturity of the new logo and identity. By doing this, Bluesville is creating its own shared language; a mythology based on consensus that recognized the entity’s 11 years of legacy.
NAMING
The definition of inscribe -- to write, engrave, or print characters upon -- summarizes Bluesville's journey and legacy from the beginning until now. Bluesville has engraved its identity to local fashion as the pioneer of sustainability and natural dyeing clothing, using Indigo as its main cultural keystone.
THE INSCRIBED INDIGO
THE INSCRIBED INDIGO GLYPHS
INDIGO ARTWORKS
BLUESVILLE IN PRINT
STATIONERIES, COLLATERALS & PUBLICATIONSThe Bluesville printed matter utilizes a more mindful approach in a very simplistic & evokes an identity that prioritizes craftsmanship look & image. Visibility in communicating sustainability is crucial in how Bluesville focuses on craftsmanship, the information regarding materials & techniques in every object produced is key in brand communication. The printed collaterals is inspired by the use of negative space; to evoke clarity & the cinematic quality of which the project was influenced from; a more mindful Bluesville, moving on.
HARDWARE PACKAGING & PRINTED MATERIALS
LABELS OF BLUESVILLE
The labels opted to evoke a more cinematic design; focusing on negative space, the wide scale of the logotype. The design of the care label also use an ivory-toned cotton; simulating a more organic; natural feel in certain warm lighting. The visual of the neck label is based on the new identity — to better represent the scale and scope of Bluesville’s visions of the future.
BLUESVILLE IN PRINT
WAYFINDING TOTEMS & SIGNAGESThe notion of making wayfinding and signage to act as nodeand landmark. They should be easily differed from theenvironment, as in shape and color; enticing, seeking abit of attention.For the wayfinding and signage should become nodes. People experiencing the Bluesville compound—stopping at one point o search for another.
This gesture could be a “startingpoint” to develop these two items. Bluesville Wayfinding Totems our way to create landmark—to celebrate tropical outdoor space while building a firm atmosphere that imminently detach to Bluesville’s spatial builds.
WAYFINDING TOTEMS
WAYFINDING & SIGNAGES GRAPHICS FOR SPATIAL DEVELOPMENT
SOCIAL MEDIA
APPENDIX & PRESS
The first appearance of the new identity in public — both past, present & new audiences; the new brand philosophy and identity were utilized in Bluesville’s new SS 22/23 collection “SIM-BIOTIC” in Jakarta Fashion Week 2023. In which they won the Fashion Force Awards for Best Ready-to-Wear.
ENTIRE WORLDS BY MARIO PEGAS IS A CREATIVE & DESIGN PRACTICE THAT FOCUSES ON SOLVING PROBLEMS THROUGH FORMING NARRATIVES & VISUAL STORYTELLING AS CARRIERS OF VOICES. OFFERING NEW EXPERIENCES & LANDSCAPES, THROUGH IDENTITIES, MYTHOLOGIES & EVENTUALLY, ENTIRE WORLDS; AS CREATIVE STRATEGIES TO CARRY LEGACIES & LEAVE A MARK.
CONTACT@MARIOPEGAS.INFO
(+62) x TEBET, JAKARTA
CONTACT@MARIOPEGAS.INFO
(+62) x TEBET, JAKARTA
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©2024 MARIO PEGAS. ALL RIGHTS RESERVED.
©2024 MARIO PEGAS. ALL RIGHTS RESERVED.