My project for the year consisted of producing an official music video to the track “I Told You Things”, originally by Gracie Abrams (2024), reimagined under a completely new artist persona: Lyn. This identity was further developed and solidified through the creation of a dedicated social media page, specifically an Instagram account, alongside a digipak that visually reinforces the same branding. Across these platforms, I was able to construct a cohesive image rooted in soft femininity, emotional maturity, and a quiet, understated elegance of a young Gen Z adult. The song falls under the folk-pop genre, which drew me in with its soft guitar strums and breathy, slightly cursive vocal style - qualities that distinguish it from more conventional pop music. In addition, it was also the unique organisation of the sections of the track which defied the traditional structure of songs that resulted in my decision to use “I Told You Things”. From my own interpretation, rather than following a traditional verse–chorus format, the track opens with two consecutive verses, omitting a chorus entirely, before transitioning into an extended bridge that acts both as a physical build-up of instruments and also a transition of emotions. The song then resolves in a coda, bringing a sense of closure that feels both subtle and reflective. In terms of the meaning, “I Told You Things” discusses the complex, yet inevitable feeling of regret of having revealed parts of yourself that you don’t normally show. In the song, that vulnerability becomes painful because it feels misplaced, like an access given to someone who doesn’t return your love or affection. Despite its prevalence, this aspect of a relationship is still yet to be presented much in mainstream music, which I believe to be a competitive edge for my final product.

Regarding my artist, because I wanted to ensure the authenticity of her character, a lot of the elements of who she is reflect my own beliefs and values. As a singer-songwriter, Lyn (the artist’s stage name) is one who perceives her change in perception of love, fate, and human connection through her as a journey worthy of exploring and sharing through the act of crafting melodies and lyrics. A woman who takes pride in her femininity and curiosity to explore the journey to finding one’s identity.

My independent work for the making of all three of the products (writer, director, photographer, fashion and makeup consultant, editor, storyboard artist, etc.) gave me a full vision and understanding of how much effort is required for each stage for the professional release and distribution of a media presence and their projects. Personally, I found the director position to be the most suited to my personality, as it allowed me the freedom to shape the creative direction while maintaining full control over how each idea was executed. Conversely, post-production proved to be the most challenging part of the process, not due to a lack of technical knowledge, as I had already developed a solid foundation through my AS Level experience, but because of the limitations of the equipment I had access to. However, from my perspective, I have maximised the potential of the resources available to me and delivered the best to my ability.

The music video I produced represents the contemporary youth culture of people being encouraged to open up more about their deep feelings without the appropriate guidance as to who is deserving of such vulnerability. This then leads to the reality of teenagers and young adults offering too much emotional intimacy too soon, and often to the wrong people, resulting in a repetition of the unhealthy habit of going back and trying to gain validation from them, eroding a sense of self-worth. For example, in the sequence, the main character can be seen running up the stairs onto the metro station’s platform with a sense of urgency, trying to catch the next train. The way she is moving deliberately with no hesitation encodes a sense of familiarity, symbolising the habitual act of returning to the person who once broke her heart, excited to relive the comfort next to them despite the underlying harm. The facial expressions of the actress also connote the feeling of great anticipation, as if she’s putting everything on the line just to pour the stories and emotions off her chest to the mysterious person.

However, a subversion of expectation is shown at the end when the character couldn’t bring herself up to actually step into the train, indicating the moment that she realises for herself how committing to the next action would only cause more damage.

In addition, the natural setting that occupies a considerable portion of the music video is a hint of Gen Z as a social group, particularly in how they deal with emotional overwhelm. As technological devices continue to be further incorporated into our daily lives, the idea of relying on the outdoors (clean air and greenery) has evolved into an ironic cultural shorthand among younger audiences, often referred to as “touching grass”, signifying a temporary withdrawal following moments of distress or digital overstimulation. This is exemplified through the opening section, where a diegetic sound of birds singing in the distance is heard before any visuals are introduced, immediately encoding a sense of environmental immersion, as established by the decades of cinematography. The viewers are then presented with Lyn gazing up at the sky, absorbing her surroundings as she strolls through an open grassland. As the sequence progresses, she is repeatedly framed within warm, yellow hues of sunlight, while simultaneously enveloped by layers of green foliage beneath a canopy of trees. This illustrates the physical interpretation of the modern generation’s sarcastic, yet complicated mentality when it comes to processing intricate feelings.

The music video also raises another societal trend of overthinking. As a result of hyperconnectivity that is driven by social media applications and the heightened awareness of being constantly observed by others online, younger audiences are more likely to become consumed by their own thoughts. The persistent sense of exposure encourages those under this social demographic to overanalyse interactions, internalise emotions, and attach excessive feelings to even the smallest exchanges, ultimately leading to a lack of engagement with reality, since the mind is preoccupied with the endless “what ifs”.

This is exemplified through a scene set in the apartment’s dining area, where Lyn is shown playing Uno with two friends. Despite being centrally framed using the rule of thirds and surrounded by laughter, she is lip-syncing the lyric, “But how’s the city been, you get recognised at the local bar,” which is encoded as a personal message directed toward her ex-partner.

This juxtaposition underscores her mental absence: though physically present within a social setting, Lyn remains emotionally fixated on the life of someone she no longer has any relations with. The “not alone, but lonely” mindset reinforces Sherry Turkle’s argument in her book Alone Together, of how modern communication drifts us apart even further, enhancing our sense of isolation.

Such representations inform the viewers of how Lyn expresses herself outwardly for the public, which leads me to another aspect of this project: Branding. It can be defined as the marketing of a specific image or “aesthetic” for an internet persona to help them become more distinctive in the public eye. This description is supported by the Star Theory from Richard Dyer, who claimed that behind any celebrities are carefully-constructed narratives shaped across interviews, fashion choices, and social media. Such an image is usually determined by people who wish to profit from the consumption and interpretation of audiences through either a focus on ideology, construction, or commodity. With the established layout for Lyn’s vibes, I was able to craft a cohesive combination of products that not only showcases her clothing and musical taste, making her stand out from others in the industry, but also reinforces a strong sense of personal identity.

One of the main elements I focused on to sustain Lyn’s creative aesthetic throughout the three works was how she could relate to her audience. By presenting herself as relatable, she appears closer to her supporters, revealing that she, too, experiences the same everyday moments and emotions as everyone else, while still maintaining a celebrity image. For instance, Lyn’s official Instagram page, @lyn.deluxe, is not solely used for advertising content, such as posts about her touring schedule, music video teasers, or the advertisement of her POETRY album in the biography section, but also functions as a platform through which she shares glimpses of her daily life. These include photos of the singer enjoying morning sunlight with a Starbucks in hand, or casually strolling down the paths of New York City.

In another post, Lyn further reveals her interest in photography, capturing a vintage car with careful attention to composition, reinforcing both her artistic sensibility and personal authenticity. This is reflected in Lyn’s character in the music video, which is essentially an extension of herself. The shot of Lyn playing cards and laughing with her friends foregrounds her personal life, suggesting that behind the constructed image lies an individual with meaningful relationships, ultimately humanising her in the eyes of the audience.

Apart from this, I also wanted to incorporate how Lyn supports the movement that encourages the enhancement of one’s natural beauty, specifically among women, by rejecting the acts of concealing or altering oneself to conform to unrealistic standards set by a society that has historically reduced women to objects of visual pleasure. This can be decoded from the minimalistic makeup Lyn uses in her digipak, as well as in the official video: soft liners paired with natural, lifted lashes, along with muted blush and glossy, almost-nude lips. Minimalism is also a significant factor in Lyn’s brand image, as it contributes to her classy, chic aesthetic. This can be seen from how her wardrobe, which usually features in simple yet refined outfits, allows her own figure to remain the focal point without being overshadowed by excessive styling. For example, the photos of Lyn in the digipak show her dressed in flared jeans with a bright top, a relatively casual and unembellished look, but still able to bring out the charisma of the artist. Similarly, the clothes she wears in the “I Told You Things” music video align with this style: mostly jeans with a coloured shirt to balance the colour scheme.

This delicate persona is also further strengthened through the technical elements of the three products. For example, the typography used throughout was almost fully cursive, which embodies the graceful flow and sensuality typically associated with womanhood; this is then paired with some touches of block letters at certain places that adhere to the polished and sleek vibe: The opening titles of the artist’s name and track title at the beginning of the music video are in yellow, calligraphic forms, which correspond to those on the digipak front cover, CD, as well as promotional content on Instagram. Furthermore, the way the products were designed with a heavy amount of noise and intentional blurring also substantiates Lyn’s classy aesthetic, depicting her as someone who defies the contemporary, fast-moving trends of pop culture with the traditional approach to identity-building.

That said, what truly matters is how the artist engages with the audience. The target demographic for Lyn consists of those aged 16-24, or generally adolescents and young adults of all genders and nationalities.

(Pie chart from Audience Research Form)