The collection plays with the common visual language of mass–produced souvenirs, which often rely on elements such as decorative cursive typography, overused or distorted type, and excessive colour saturation. These objects, whether fridge magnets, calendars, or T–shirts, are designed for mass tourism and portray the same handful of attractions. In essence, the souvenirs sold in Barcelona are no different from those found in Cairo.
The challenge of this project was to transform something inherently generic into something highly personal. To achieve this, I borrowed familiar souvenir formats (calendar, poster, keychain, cap) and graphic strategies (typography, colour, photography effects, materials), but reimagined them to create objects that resonate only with one person: myself.
The calendar, for example, isn’t designed to serve a functional purpose. Instead, it’s a deeply personal record of my days in Barcelona from 2017 to 2024. The typography and imagery act as visual codes, capturing specific emotions and experiences—graphic elements that only I can fully understand and relate to.
The keychains take a playful approach to their purpose: each oversized—too large for your pocket—, laser-printed design is tied to every home I lived in while in Barcelona, whether for a short or longer period.
Marina Dahmer