EULMIN PARK


Graphic Designer -> Los Angeles, CA



Defining Materialism in the 2020s:
How Do We Find Meaning in What We Make?



December 10, 2024
Workshop

2024
Editorial Design
Brochure + Zine + Magazine
6.125 in. x 8.25 in.
80 pages
Digital Photography + Paper Collages
French-link stitched




Defining Materialism in the 2020s is a pop-up workshop and magazine (with a zine booklet) that explores the ironic nature of Gen Z’s version of materialism. This workshop is designed for young adults who enjoy collecting and creating small-scale items, offering an offline space for them to connect with like-minded individuals. Through the art of crafting small and accessible artifacts that hold personal meaning, the workshop celebrates personal expression and mindful consumption behaviors, encouraging thoughtful relationships with materials. 



The type of DIY materialism demonstrated by young adults today revolves around a repetitive cycle of appropriating and appreciating materials. Commonly seen symbols in today’s digital and physical media—such as circular price tag stickers, blocky print labels, alert notifications, and popular commodified objects—are broken down into simple shapes that hold multiple meanings. This simplicity is exaggerated in a visual language that utilizes scale shifts in both imagery and typographic treatment. The relationship between small and large objects creates a dynamic rhythm that is paired with concise language, which works to deliver a clear and straightforward message to its target audience—Gen Z. 

This visual language highlights the nuanced irony in how young adults navigate materialism. While commonly frowned upon to place excessive monetary value on objects, there is a growing recognition of the changed definition of materialism as a way of appreciating what is already present, versus what we need to buy anew. Gen Z adults live in a generation that actively purchase and engage with physical items while deeply conscious of the cultural and personal consequences behind their consumption choices. By highlighting the fluidity of meaning that can be easily given and taken away from materials—whether made by others or by the individuals themselves—this visual language challenges the conventional idea that materialism is inherently “bad.” Instead, it highlights the complexity of how we engage with objects, exploring the deeper relationship between material possessions and and personal identity in today’s culture.
© Eulmin Park