Athena Kavadias

Hi! I’m Athena, a Richmond-based communication designer. I’m a very hands-on person, often prototyping, cutting, gluing, and bringing ideas to life. I believe there’s always a better way to do something, and I’m constantly striving for that. I’m particularly interested in packaging design and how it can be innovative while supporting the products inside. I also have a strong passion for publication design, especially for creating cohesive visual languages. When I’m not designing, you can find me sewing or crafting, still creating, just away from the screen.

Shake Stir Sip

Shake Stir Sip is a publication designed as a guide for the Melbourne Cocktail Festival. Alongside the guide, the project includes merchandise and an interactive mobile and desktop website, unified by a high-contrast yellow and black colour palette.

Don’t get Served Fake News

Don’t get Served Fake News is a campaign strategy for ABC Friends, raising awareness about the spread of misinformation through a humorous and pun-driven tone.

Coburg Drive-in Rebrand

This project reimagines Coburg Drive-In as a social hub for young adults, rebranding the venue and introducing a membership program to encourage repeat visits. A fresh, new brand identity was created to emphasise the overall experience, rather than just the movies.

Dancing with Coronaspheres

Dancing with Coronaspheres explores how breath and public movement became political during the Corona Virus pandemic. Focusing on themes of choreopolitics, I explored the contrast between control and freedom through movement in this monothematic publication.

Hysteria

A photographic series turned into a publication, Hysteria tells the story of the Salem witch trials and explores how mass hysteria influenced the way people thought, behaved, and functioned within society.

Acknowledgement of Country

The School of Design and Architecture respectfully acknowledges the Wurundjeri peoples of the Kulin Nation as the Traditional Owners and knowledge-keepers of the lands, waters and sky that surround us, where we work, learn, create, communicate and make place. We recognise that sovereignty has never been ceded and this always was and will always be Wurundjeri Country. We pay our respects to Elders past, present and to all Aboriginal and Torres Strait Islander people who continue to make a better world through design.

We extend our acknowledgement to the Aboriginal and Torres Strait Islander staff, students, alumni, real-life clients, and knowledge keepers, who have contributed to our own education diversity and growth. We will continue to ensure that staff and students respectfully honour ancestral connection to Country and Place in everything that they do.

We are dedicated to the notion of design to make a better world and we acknowledge that making tools, shaping place, sharing stories, making meaning, wayfinding and collaborating have long been and continue to be both central and integral to First Peoples' cultures. We recognize that Aboriginal and Torres Strait Islander Peoples’ cultural contributions have continued relevance to design practice and commit to: reconciling ancestries of design and contemporary practice as well as pursuing culturally and professionally appropriate ways to engage with a diverse population of colleagues, industries and clients. In a time of treaty-making and voice we understand that there are overlaps between caring for Country and the sustainable production of goods, services, experiences, products and buildings.

Guided by the principles of respect, reconciliation, and reciprocity we undertake to indigenising and decolonising design practice by dismantling colonial structures and challenging biases that have marginalised Indigenous voices and design.

As students of SoDA you will be given opportunities to both engage with and educate yourself in Indigenous creative practices and cultural protocols through a lens of inclusivity, diversity, respect, mutual understanding, inter-cultural dialogue in all aspects of design practice. Indigenous people have been telling stories, making tools, and connecting to Country through visual media, placemaking and place marking for more than 60,000 years and these practices are part of an ongoing, evolving and live tradition.