Digital Artefact & Contextual Essay (Moriboys)

For my BCM302 digital artefact (DA), I decided to venture away from my music journalism at Eject Music and AUD’$ that I completed earlier in my course. I’ve always wanted to have a clothing brand but it was never something I was passionate or brave enough to start. However, as my final goodbye to BCM and in the iterative spirit of Fail Early, Fail Often (the quicker you learn it, the sooner you’ll succeed), I’d like to present my last DA for the University of Wollongong (Rosman, 2018).

Moriboys is a Wollongong-based brand dedicated to Australia’s streetwear and hip-hop culture. The brand can be found on Instagram, Facebook, Twitter, TikTok, Pinterest and Spotify, as well as on our Squarespace website. From my experiences of interviewing and collaborating with different people in the music industry, the main issues I’ve identified is the lack of high-quality merchandise and alternative income streams for artists.

To create meaningful innovations, I continue to work with AUD’$ as a way of understanding and emphasizing with my users and their audience (Plattner, 2010). My obsession with providing service to Australia’s hip-hop culture is what compelled me to find even more ways I can do that and combined with my passion for creating and experimenting with new skills, this is where the social utility of my DA lies.

Vincō, Street X and No1.Network are three Australian brands that I have taken inspiration from in regards to their contributions to the Hip-hop scene. The three of them support the local culture by hosting events and selling their own products including collaborative pieces with artists. There are a few other brands like this across the country but I’d argue they’re the biggest three for the scene. What I feel sets me apart from these guys is that when I do start collaborative work, it’ll be ideally more consistent and with a wider variety of different artists, designers and creators.

The target audience of Moriboys is largely male-dominated, typically aged between 18-25 with interests in Australia’s unique hip-hop scene and fashion style. I’ve found that the majority of my audience is based in Wollongong and Bathurst, where I currently live and my hometown. However, I am starting to build an organic following from people who have come across my account. Here’s how each social media is tracking:

Instagram: 195 followers

Facebook: 159 followers

Twitter: 31 followers

TikTok: 25 followers

There’s a direct correlation between the social media I was most active on and what platform has become my most engaged. Instagram averages 30 likes per post and has been my primary platform, allowing me to share mock-up designs, samples, stickers and posts about the regularly-updated Spotify playlist, Moriboys Music. The playlist has been an opportunity to showcase the diverse hip-hop/R&B talent from across the country, soundtrack the release of Summer I Collection and network with artists I hope to collaborate with. It also gave me a chance to repurpose content across platforms and maintain a more consistent posting routine, which has been one of the major flaws in growing my DA.

Due to time constraints and being overly posting precious, I haven’t been able to produce the desired quantity of content. In response to the feedback loops from the peer reviews, I have started to solve this issue by:

Refining Brand Aesthetic:


Pinterest was one of the earlier iterations I made to my project and has inspired me with clothing designs, content, aesthetic and brand positioning ideas and brand positioning that will “occupy a distinctive place in the mind of the target market” (Branding Journal, 2016). This was my first time using the platform and I’ve really enjoyed scrolling it even more than Facebook or Instagram. I found Pinterest useful to also routinely do a bit of market research on the brands I’m interested in and the ones I find, and also keep up to date with overseas fashion scenes.

Creating Short-Form Videos:


According to a 2016 study, the average human attention span is now eight seconds and one of the biggest contributors to the decline is the increased consumption of information (Sandikar, 2021). People share videos at twice the rate of any other form of content and 84% of people were convinced to buy a product or service based on the brands’ video (Wyzwol, 2020). With TikTok’s domination over the social media space in the last few years, it’s a no brainer that I should be posting more video content. Since the DA pitch, the number one advice I’ve received from peers has been to start utilising TikTok and Instagram Reels. I had little to no experience in TikTok and was simultaneously wildly inspired and terrified at the thought of prototyping video content. The biggest setback for this has been the postage delays and multiple lockdowns caused by the COVID-19 pandemic but with the right attention to planning and prototyping, I can create a stronger community by posting video content.

Recently, I posted a first look at the embroidered logo tees and posted it to Tik Tok and Reels. While Tik Tok felt like a bit of a void and didn’t gain much momentum, the same Reel reached an unexpected amount of potential users and in a couple of days after, I gained 30 new followers.

Plan, Prototype & Post:
For past digital artefacts, planning a production timeline has been pretty straightforward with the weekly job of curating, writing and posting an article. This semester has been more chaotic than most with Moriboys easily being my most labour-intensive and least FIST (Fast, Inexpensive, Simple & Tiny) implemented DA. While I had anticipated this would be the case, I’m only just now starting to receive the final products and properly plan content in the lead up to the release of Moriboys’ Summer I Collection. If you can’t tell already, I’ll be continuing my DA past the end of the semester so I’ve recently created a weekly schedule, along with an ideation list of various content. According to Instagram chief Adam Mosseri, posting 2 feed posts per week and 2 stories each day is ideal for building a following on the app (McLachlan, 2021). This is what I’m going to start working towards and when orders are shipped out it will allow me to repost people sharing their deliveries. So before the end of the year, I’d like to be adhering to this and if not, exceeding it.

One of the recent iterations I’ve made to my content has been the introduction of my Friends & Family list. Using the ‘close friends’ option on Instagram, I’ve decided I’ll share an early access link and discount code with my close friends and biggest supporters prior to the collection’s official launch. This creates a deeper and exclusive relationship with the Moriboys community that allows the brand to grow in demand before even the first collection.

Now, back to what I was saying regarding my DA’s biggest setbacks. Due to the postage delays and multiple lockdowns caused by the COVID-19 pandemic, saving for, ordering and awaiting the arrival of the blanks has taken almost the whole semester. The main objective for my DA has been to release the first collection that includes the embroidered logo tee in black and purple colourways and a screen-printed matching tee and shorts set.

While delivering artists with an alternative income stream through high-quality merchandise is a key objective for Moriboys, it wasn’t achievable during the BCM302 semester. I wanted to release an exclusively Moriboys collection before beginning to work with someone else as it would help establish my brand identity and build my confidence in the production process before committing to a Moriboys collaboration. That being said, I’d like the collaborations and contributions to the Australian hip-hop culture to be the salience of the brand. I have spoken with a handful of different artists about potential collaborations and there’s one Melbourne artist in particular that I’m looking to work with next year.

Salience involves making a piece of information more noticeable, meaningful, or memorable to audiences. An increase in salience enhances the probability that receivers will perceive the information, discern meaning and thus process it, and store it in memory,” (Entman, 1993).

I’m not limiting my collaborations solely to artists but also just general collaborators that I’m interested in. For example, I’d like the Winter I Collection to include a collaboration with my Opa, Benedictus Mirande, a revered and retired Dutch artist who worked at C&A as the Art Director and freelanced through his company, Kangaroo Productions.

I’ve brought the idea forward to him and he’s finished up a couple of other projects so he’s itching for something else. This is something deeply personal to me and will test my photoshop skills but I’m excited to have more free time over the Christmas break to develop these further. Regardless, I’m getting ahead of myself because I still need to complete the website.

I have prototyped a range of different Squarespace templates before arriving at the current final iteration. The website features a clean white aesthetic with three tabs titled About, Shop and Sizing. The About page was initially only a couple of sentences about the brand’s conception and objectives but has evolved to include more context, a ‘Contact Us’ form and interactable social media widgets. The Shop needs the most attention as I have to take product shots and make the clothes available on the website. Lastly, the Sizing tab has been updated to include in-depth details regarding the products. Recently, I added a password screen over the website so I can add the finishing touches before officially launching the website. I’ve also created a discount code for free shipping on all orders over $100 and I’ll reveal the password on the F&F story as exclusive early access to the Summer I Collection.

In Dan Ward’s ‘Simplicity Cycle’, he states “the journey of design involves both learning and unlearning.” This has been the most challenging part of my digital artefact – to forget what I thought I knew about online marketing, social media presences and creating experiences for users (Plattner, 2010). I feel as though I’m stuck in the Region of Complicated where I’ve added unnecessary complexity caused by non-value-added parts (Ward, 2010). Not everything has been void of value because a lot of the work I’ve done this semester was behind the scenes work of starting my own company and clothing brand. Now that I’ve spent the semester getting everything ready and prototyping different designs, I’m now ready to start transitioning Moriboys into the Region of the Simple. By reducing the complexity of my DA, the reliability and simplicity of it will grow and further adhere to the FIST elements (Ward, 2010).

INSTAGRAMFACEBOOK
TWITTERTIKTOK

The best is yet to come – I’m excited for the future of Moriboys and Australia’s hip-hop culture so if you’d like to stay connected, all the socials have been littered throughout with hyperlinks, but here are they are one last time because I’m trying to get this word count up and repetition encourages and reminds users of the call to action (Assemblo, 2017).

Frank Tremain.

References:

Assemblo, 2017, ‘Repetition is Key: Why Frequency Makes Your Marketing Effective’, Assemblo, accessed 27 October 2021, available at <https://assemblo.com/blog/repetition-is-key-why-frequency-makes-your-marketing-effective/>.

Entman, R M. 1993, ‘Framing: Toward Clarification of a Fractured Paradigm, Northwestern University, accessed 30 October 2021, available at <https://commsociety.files.wordpress.com/2011/01/entman_framing.pdf>.

Marion, 2016, ‘Brand Positioning Definition’, The Branding Journal, accessed 27 October 2021, available at <https://www.thebrandingjournal.com/2016/11/brand-positioning-definition/>.

McLachlan, S. 2021, ‘How Often to Post to Social Media in 2021’, Hootsuite, accessed 28 October 2021, available at <https://blog.hootsuite.com/how-often-to-post-on-social-media/>.

Plattner, H. 2010, ‘An Introduction to Design Thinking – Process Guide’, Stanford University, accessed 27 October 2021, available at <https://web.stanford.edu/~mshanks/MichaelShanks/files/509554.pdf>.

Rosman, M. 2021, ‘Fail Fast, Fail Often: What It Really Means’, RevelX, accessed 27 October 2021, available at <https://www.revelx.co/blog/fail-fast-fail-often/>.

Sandikar, A. 2021, ‘Why are reels and Tik Toks so addictive?’, The Bridge Chronicle, accessed 30 October 2021, available at <https://www.thebridgechronicle.com/tech/apps/why-are-reels-and-tik-toks-so-addictive>.

Ward, D. 2010, ‘The FIST Manifesto’, Defense AT&L, accessed 30 October 2021, available at <https://www.acqnotes.com/Attachments/The%20FIST%20Manifesto.pdf>.

Ward, D. 2005, ‘The Simplicity Cycle’, Defence AT&L, accessed 30 October 2021, available at <https://www.dau.edu/library/defense-atl/DATLFiles/2005_11_12/war_nd05.pdf>.

Wyzowl 2020, ‘Report: State of Video Marketing 2020, Wyzowl, accessed 30 October, available at <https://www.wyzowl.com/state-of-video-marketing-2020-report/>.

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Peer Review 2

MUGG SPORT

James’ digital artefact Mugg Sport consists of interviewing and writing features on Australian athletes across a range of sports including rugby league, football and cricket. In his last year of university, Mugg Sport has allowed James to build a strong journalistic portfolio and develop his writing and design skills.

Originally, James repurposed content from previous semesters and wrote articles on well-known athletes and teams like basketball player Patty Mills and NRL team Melbourne Storm. On his Instagram, he would post an episode of his podcast ‘Tackling Mental Health At Its Roots’ then a preview to the upcoming article of the week followed by the article itself. Showcasing his design skills, the Mugg Sport Instagram and Wix website follow a white format that allows each interviewee’s team colours to direct the aesthetic. While other projects restrict themselves to a particular aesthetic that can lack appeal or draw attention away from the content itself, James has successfully found the middle ground and crafted a cohesive and visually engaging digital artefact.

For the last 3 articles, James adjusted his Instagram layout to a hint of who he’ll be interviewing, the announcement of the article and then the feature image of the article. James was able to make multiple posts despite it being based around one particular piece of content. In order to maintain and enhance the user experience of his audience, James outlined in his beta that he will start using more video content. This was one of my main suggestions along with posting excerpts from the interview to encourage his audience to visit his website and read the full article.

I’ve followed James project closely throughout the semester and was able to help connect him with his latest interviewee, Luke Bain. Based on his analytics, the rugby league related articles garnered the most interactions and while I could suggest to focus on this and hone in on a particular audience, the primary goal of his digital artefact is to build and broaden his journalistic portfolio. By prototyping a range of different sport athletes, James has been able to improve his overall writing skills and sport knowledge as well as creating a feedback loop to specifically determine his audiences interests.

With lockdown restrictions beginning to ease, James is looking to start posting podcasts and potentially video interviews which will add a valuable multimedia aspect to his digital artefact and strengthen his video editing and live production skills. As James is utilising his digital artefact as a portfolio of his work, I can understand why he chose Instagram as his main platform other than the website. However, in the next couple of articles I’d love to see him prototype different hashtags to increase his reach and gain a better understanding of his target audience. Mugg Sport has exceeded its semester goals already so in the final weeks of BCM302 and for the rest of 2021, I encourage James to put his portfolio to practice and begin freelancing his work to various sport publications.

SOUL SOCIALS

Laura’s digital artefact was originally Sainted Souls, an embroidery business targeting the market of sentimental and personalised gift-giving. After realising her initial project didn’t meet the FIST principles, she changed her digital artefact to a social media management business, Soul Socials.

Soul Socials exists on her Instagram where she’s made 5 posts and her Wix website where you can find her resume/CV. In her beta, Laura shared that the website was time consuming in its prototyping stage which hindered her activity on the Instagram account. Laura’s website is a clear example of her talent in marketing and design with the resume/CV being the primary focus. While I’m not sure how many clients Laura has had so far, it could be a useful addition to the website as a portfolio of some of your latest and best work.

With the website finished for now, the biggest challenge for Laura is now increasing engagement, activity and feedback loops on her Instagram. Currently, she’s made 5 posts with content ranging from quotes, mood boards and marketing/branding tips. Although she has a following of almost 300 people, each post averages one like and no comments. The iterations that Laura has made to her project included the use of ‘call to actions’ and posting unique stories that are important in catching the attention of her audience and encouraging engagement.

In my opinion, her best piece of content has been her ‘How To Choose The Right Colours For Your Brand‘ post that utilised Instagram’s carousel tool to share her three key tips. While content variety is valuable for any digital artefact, I think Laura should continue exploring these tips and tricks type of posts as it aligns with audience’s needs and her project’s sense of community building. Furthermore, she could even develop this into video content for Reels and TikTok which may give her the opportunity to better become the face of her digital artefact and personal brand.

Heading into the final weeks of BCM302, I’d love to see Laura dedicate some time to scheduling her content like she did earlier in the semester. This is something I’m also looking to do as it creates a larger and regular online presence for the digital artefact that inevitably updates basic feedback loops like what content her audience values more, when the recommend posting times are and how her following has grown. Despite the setbacks from changing project direction to time-consuming website designing, Laura has created a professional and appealing resume and is now turning her attention to expanding her following and content on Instagram.

Good luck to James, Laura and the rest of the BCM302 cohort as we complete the final weeks of the semester. Almost there, phew.

Frank Tremain.

Moriboys (Digital Artefact Beta)

In previous digital artefacts, I often tailored them to benefit my journalism career and work at AUD’$, Australia’s Hip-hop connect. As this is my final semester at university, I decided to do something different and focus on my clothing brand, Moriboys. I started the brand back in November of 2020 with the purpose of capturing Australia’s Hip-hop culture through streetwear fashion and collaborative merchandise for artists. Working within the music industry, I’ve developed a plethora of contacts and niche understanding of my target audience and consumer needs.

Originally in my pitch, I outlined that I would be posting 3-4 times a week across my network of social medias including Instagram, Facebook, TikTok and Twitter. Unfortunately, this was a little over confident on my behalf and I underestimated the amount of BTS work that goes into starting up an independent clothing brand.

A lot of the successes that my digital artefact has experienced so far is not seen by the masses but to me they are of equal importance – things like finding a place to print and embroider my tees, teaching myself design and marketing skills, and beating the postage delay odds to receive the stock. Heading into the final weeks of BCM302, I should be able to produce more content as I’ll get the final product of my Moriboys clothing and will be heading out of lockdown. This will mean I’ll be able to do photoshoots and start video content for Reels and TikTok as they seem to hold the most value in today’s digital age.

Responding to Instagram’s analytics and feedback loops, I created Moriboys Music as it directly aligns with my brand’s purpose of platforming local artists while being a source of discovery for fans. This type of content increased my audience engagement and helped me reach an average of 30 likes per post on Instagram. This was one of my favourite iterations made to my project as it has helped me build the ‘world’ of Moriboys and received support from some of the featured artists too. Pinterest has also been useful in prototyping what my brand positioning may look like on other platforms.

In regards to my main goal of releasing the first Moriboys collection, I predict I’m on track for an early November release but beforehand there are a few tasks that need attending to. Firstly, I need to redesign my prototype Squarespace website to include more personality and functionality for it to be the monetary platform for my project. This is something I’m really excited for as it will be my first directly monetizable digital artefact.

Secondly, I’m committed to creating a bigger social media presence especially in the lead up to the clothing’s release. This will give me a greater opportunity for valuable feedback loops and I’ll be able to better cater to my audience’s digital habits and hopefully, increase sales.

If you’d like to support my Digital Artefact, you can follow Moriboys on Instagram, Facebook, Twitter, TikTok & Spotify.

Frank Tremain.

Moriboys (Digital Artefact Pitch)

For my digital artefact (DA) this semester, I decided to focus on my Hip-hop focused streetwear clothing brand, Moriboys. The long-term goal of my DA is to be able to create alternative income streams for artists and service audiences with high-quality merchandise.

Content is the trigger of customer interaction (Rahal, 2021). This is why my project will consist of posting frequent content across Instagram, Facebook, Twitter, TikTok and Spotify. The type of content I will produce will include BTS of a clothing brand, prototyping designs, photoshoots, relevant starter pack targeted content and Spotify playlist updates (primarily of local acts to promote Australia’s Hip-hop scene). This is subject to change depending on the feedback loops and my further research into what content is suited to what platform and what content is worth repurposing. FEFO will come into play a lot here, as well as the prototyping and testing of designs and materials. There are also FIST elements in my DA but I’m hoping to increase its presence throughout the semester.

The target audience of my project includes fans of streetwear culture and Australian hip-hop, typically aged between 18-24. While it’s mainly male dominated (70%), I do consider my products unisex so I hope to see this gender disparity level out throughout the semester.

As I have little experience in graphic design, I am working with a Brisbane-based designer as well as my local manufacturer to create the logo and product designs. This is something I’m hoping to have less dependency on later on in the semester to give myself more creative control and be more independent as a brand. From working in the Australian music industry, I have a well-versed understanding of my primary audience and what gaps are needed to be filled by a clothing brand. However, over the next couple of weeks, I will be focusing my research on marketing as a fashion brand and graphic design.

Moriboys was created before this semester, and I plan to continue it afterwards, so this will be a great opportunity to begin laying the foundation of content and building my audience.


If you’d like to support my Digital Artefact, you can follow Moriboys on Instagram, Facebook, Twitter, TikTok and Spotify.

Frank Tremain.

Digital Artefact Contextual Report

Introduction

For my BCM325 Digital Artefact, we were required to frame our topic with consideration to the future in the next 5, 10, 25 or 50 years. I wanted to create something of value for me following my graduation at the end of 2021. As I’ve already begun working in the Australian music industry, I decided to craft a five-year career plan that considered the short and long-term implications and the changing landscape of the Australian music industry.

I used Twitter to promote my articles and Canva to format the two YouTube videos that were embedded in Episode 1 and 2. The multi-media element added to both these episodes didn’t regurgitate the information in my blog but instead added an alternative angle to the topic. Due to time constraints, I wasn’t able to include a video for the third episode, but here’s a brief overview of the three WordPress blog posts:

  • Blog Post 1 used the SMART method of career planning to map out my future at AUD’$ as a music journalist.
  • Blog Post 2 ideated what role my clothing brand Moriboys will play in my career and investigated the relationship between streetwear fashion and Hip-hop.
  • Blog Post 3 examined the future technologies and trends in the Australian music industry.

Background Research

For the background research, I studied some of the work of my peers within the field including Ben Madden and Parry Tritsiniotis. These are two creatives in the industry whose work has demonstrated a strong public utility and who I think, are key players in elevating the Australian music industry through their journalistic work. In addition to examining my peers and their approaches, I also found three of the subject materials to be particularly useful for my project.

After the Singularity: A Talk with Ray Kurzweil (2002)

In Ray Kurzweil’s Singularity, he describes a new era of society that is a “merger between human intelligence and machine intelligence that is going to create something bigger than itself.” Although my DA doesn’t directly focus on this thought, there is a quote in his reflection of Singularity where he states, “We’re kind of like the pattern that water makes in a stream; you put a rock in there and you’ll see a little pattern. The water is changing every few milliseconds; if you come a second later, it’s completely different water molecules, but the pattern persists. Patterns are what have resonance. Ideas are patterns, technology is patterns. Even our basic existence as people is nothing but a pattern. Pattern recognition is the heart of human intelligence. Ninety-nine percent of our intelligence is our ability to recognise patterns.”

The notion of pattern recognition was incredibly useful to my DA that focused on Australian Hip-hop and career plans. By understanding the patterns of Hip-hop’s development in other countries, I was able to make educated predictions on the future of the scene. Similarly, it led me to research the SMART method of goal planning that followed a structured pattern in accomplishing my ideal career.

The Ecstasy of Communication – Jean Baudrillard (1987)

Jean Baudrillard’s The Ecstasy of Communication argues that society’s gaze is changing into an ecstasy of promiscuity, from the world of the object to the start of the hyper-reality, described as “the space of simulation.” Though my DA focuses on the medium-range future, I also detailed plans for both the short and long term. This paper, in particular, allowed me to reflect on the content that I produce for my career and how I should be aiming to create an immersive experience with my work. By doing so, my short-range future will benefit from consistent and quality content, my medium-range goals will hopefully be achieved quicker and the long-range future will feature a hyper-realistic niche of Hip-hop in Australia with a more active and international fanbase.

Making People Responsible – Wendell Bell (1997)

Wendell Bell’s Making People Responsible challenged the opinion I gained from After the Singularity and gave an important perspective on futurists’ roles and responsibilities. Although my DA is a career plan, it also attempted to predict the future of Hip-hop in Australia and its growing appeal to global audiences. Bell states, “futurists not only study images of the future held by various people in an effort to understand and explain their behaviour, they also investigate the process of image-making itself, encourage people to rigorously explore alternative images of the future, and construct images of the future themselves. In so doing, futurists aim to help people become more competent, effective, and responsible actors, both in their personal lives and in their organisational and societal roles.”

This resonated strongly and provided me with a stronger public utility as I began the DA to better understand my career trajectory in order to make more educated predictions on the future of the industry. By embodying Bell’s perception of a futurist, I hope to, for lack of a better phrase, ‘stay ahead of the competition’ and play a key role in the globalisation of Australian Hip-hop music.

Public Utility

Reflecting on my production timeline, I was able to accurately follow the actions accordingly. If I had the chance to re-do this DA, I would have created a more comprehensive production timeline with details on additional content that I should have made. This could’ve included Instagram, Reddit and Twitter posts related to my DA that would’ve increased my engagement and provided me with a stronger public utility.

The public utility of my DA is unfortunately one of its biggest weaknesses. Reflecting on my work, I limited myself to my WordPress, YouTube and Twitter audience that mainly consists of other UOW students. While they are included in my target audience, I recognise that I was somewhat unable to create a strong public utility for a larger audience. The primary utility that my DA holds is to myself, future employers and fans of Hip-hop in Australia, typically aged between 15-25 years old. While my engagement was less than ideal, I did find that my DA delivered on its public utility to myself and future employers as it provided me with a convincing career plan to follow in the final months of university and post-graduation. I recently applied to a PR/Management company in Sydney and managed to secure an interview as well. Though I’m waiting to hear back, my DA provided me with confidence and clarity heading into my application.

Despite the lack of engagement, the peer feedback loop from my pitch and beta helped me ideate new approaches to my DA. In particular, Rachel, who also focused her DA on her clothing brand, recommended some marketing articles that while were directly useful to Moriboys, also became applicable to the public persona side of my career as a music journalist. It was also suggested by another user to utilise Twitter more which is something I did for my third episode.

Conclusion

BCM325 has been extremely beneficial to my life after graduation as it has given me confidence in my aspirations and abilities, and my career plan is something I will frequently revise throughout my life. I will be entering my field with a concise career plan, a renewed perception of the future and an understanding of my responsibility as a futurist and the potential technologies and trends that will play a future in the Australian music industry.

Frank Tremain.

Career Planning: Moriboys (Episode 2)

Streetwear fashion has been embedded in my life since a young age, and exists in the music I listen to, the movies I watch and even the sports I enjoy. Relying on elements greater than just clothing, the streetwear scene continues to be greatly influenced by the Hip-hop scene. From the evolution of NBA style to rappers and their designer collaborations, Hip-hop culture has evolved streetwear fashion from a fringe subculture to one of the most dominant force in popular culture.

Despite being in the early days in my career as a creative within Hip-hop in Australia, I feel an undeniable urge to further extend Hip-hop’s influence on Australian streetwear fashion. So in November of 2020, I conceived the idea of my clothing brand, Moriboys. Moriboys is dedicated to providing luxury quality, streetwear merchandise and aims to celebrate the culture and creatives within Australia’s Hip-hop scene. This clothing brand is grounded in the inevitability of death and the empowering nature of our own mortality, inspired by the Latin phrase ‘Memento Mori’ meaning ‘remember you must die.’

From learning about Future Studies in week three of BCM325, I’m able to better understand the practice of predicting the future and the ways in which I can contribute. As Hip-hop began in the United States, we can attribute its history as our own crystal ball or oracle. By learning the history of Hip-hop and its globalisation across continents and evolution in popular culture, we’re able to make predictions about Hip-hop’s own development within Australia. I am hesitant to suggest that Australia’s scene will follow the same path as Hip-hop in the U.S, however, if we treat it more as a possible future, we’re able to start planning for a more preferable future.

In this week’s video episode, I explore the history of Hip-hop in Australia in relation to streetwear fashion and culture. I focus on some of my favourite Australian brands and their contributions to the scene to help me shape my own future plan for Moriboys and the role I hope this brand plays.

Below, I have planned out brief Moriboys plans for the short, medium and long range future. These include:

Short Range:

  • Bulk order tees and contact local screen printers.
  • Finalise logo.
  • Enhance social media presence with more activity.

Medium Range:

  • Organise shipping and website logistics.
  • Release Collection 1.
  • Release collaborative collection.

Long Range:

  • Sponsor artists and events.
  • Build a team of graphic designers.
  • Release regular drops of an assortment of items including tees, hoodies, shorts etc.

Moriboys is still in an early development stage and these plans will continue to evolve as my brand grows, however, it’s a convincing start to the overall impact that I hope to have on Hip-hop culture in Australia. If you’d like to support my brand, you can find us on Instagram and Facebook!

Frank Tremain.