# data[].attributes.body
lable all the question and when refreing to the quote say see apendix then question 2 for example ...

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take a screen shoot of katrins aprove rever to it in chapter 3, see screen shot in apendix / etc / put any guidance

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the purpouse what extent has the answer to the reserch question been found recap key findings and state the reserch question again and have one consistant paragh to paragh

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follow this

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have the same or simair sturcture in chapter 4 and use the reserch objecttioves discute thie findings and what they go agasint some need to be consises recap to chapter 2

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use the reserch onion / from the sauders et al 2023 / have this at the/ have the acutall image of the visaul and then use it to refrenece with ur work /

1. Use the core book (Saunders et al 2023) for relevant

definitions.

2. Consider “weaving” definitions* into your narrative of

of justifying your methodological steps

taken/applied*.

3. Is it clear which methodological choice had been

applied (onion layer 3)?

4. Is it clear which research strategies have been applied

(onion layer 4)?

5. Is it clear which time horizon has been applied (onion

layer 5)?

6. Have data collection & analysis been described (onion

core)?

7. Have relevant ethical considerations been described? / have a correct lable question 1 - etc and say the question / so each quote chapter 3 talk about how we got our finding

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have theios first then have 4 objectives / you can have it intergrated / situation anylisis key market of data and infromation/

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chapter 1

needs to selling your project

you pick up this in ur conclousin / needs to be sourced find simarar aims / promblem discusion narrow it down whats been found whats not been found / its like a funnle and the reserch question is at the bottme / its the closest sources that has helped me come up with this

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double check the chapter 3 use the template

double cheack the reading list sanders refrecnes for chapter 3

and use the code of conduct book, in the liture review

also add her aproved to go ahead of the concendt forms add to apendeix all the forms

make sure you abstarct look at the picture add the limtation,

sumbit the work as pdf

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Contemporary fashion imagery often operates through what Hall (1997) describes as the open-ended nature of representation, where meaning is not fixed but constructed through audience interpretation. In the case of Vivienne Westwood’s FW22 collection, visual elements such as layered textiles, headscarves, and metallic adornment may be interpreted by audiences as referencing North African or Amazigh cultural dress. However, the absence of explicit cultural attribution produces what can be understood as representational ambiguity. This aligns with Beverland’s (2005) assertion that authenticity is not inherent but perceived, suggesting that brands may evoke a sense of cultural authenticity through aesthetic cues alone. Rather than constituting direct cultural appropriation, such imagery operates within a broader framework of aesthetic extraction (Rogers, 2006), where cultural signifiers are detached from their original context and re-signified within global fashion systems. This raises critical questions regarding how digital fashion communication should be structured to ensure transparency, attribution, and responsible representation.

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adidas and Arte's head-to-toe range is a celebration of sportswear style in football, featuring apparel, footwear and accessories elevated with artisanal embroidery and intricate lace trims in the North African flag colors of red, green, white and black

In a campaign and collection centered around the significance of football in Morocco, shot by photographer Ilyes Griyeb, with additional imagery featuring footballer Brahim Díaz, the visual storytelling spotlights the people and places that make up the fabric of football culture and communities in the African diaspora

The adidas x Arte capsule collection is available to buy now on adidas.com/sportswear and via the via the

Today, adidas and Belgian elevated streetwear label Arte Antwerp unveil the inaugural head-to-toe collection from their partnership, designed to provide a refined vision of sportswear silhouettes through the lens of street culture.

Following the recent launch of the all-white Lightblaze POD shoe, in a campaign fronted by Belgian former footballer and friend of adidas and Arte Mousa Dembélé, the new collection features the same textural depth and premium craftmanship seen in the initial footwear drop, echoing design sensibilities of Arte's mainline collection through touches of elegance and minimalism coming together with adidas' sporting expertise.

The capsule of apparel, footwear and accessories from the two brands is a celebration of how North African culture has influenced European football style. From colors to detailing, the pieces connect directly to the significance of football in Morocco - where the sport unites the continent and its diaspora, transcending background, heritage, and identity to create a common ground.

Arte's DNA, deeply tied to founder Bertony Da Silva's Angolan roots and European upbringing, meets adidas' global football influence to tell a story that resonates far beyond the pitch. The collection is inspired by North Africa's impact on football and the continuing achievements of iconic athletes from its nations. Reflecting the partnership's focus on the untold stories of European athletes of the African diaspora, the campaign features Brahim Díaz - an adidas athlete whose Moroccan-Spanish roots echo the cultural narrative at the heart of this season.

Shot by Ilyes Griyeb, the Moroccan-born, Paris-based photographer known for his authentic reportage, the campaign captures the texture of everyday life in North Africa, documenting life around a football pitch in Marrakech featuring people from the local community. Griyeb's visual storytelling - raw, honest, and detailed - offers the perfect lens to frame the new adidas x Arte collection, capturing grassroot football in Morocco and highlighting the significance of the sport in this nation and across the continent.

The capsule collection blends adidas Sportswear silhouettes with Arte's design craft. Hero pieces of the collection include the ADIDAS Z.N.E. tracksuits, knitted long-sleeve jerseys and graphic t-shirts with an Arabic text overlay on the back - translating to "Sport Unites Africa" - complemented by jerseys and shorts in corresponding colorways. The pieces have a clean and elegant aesthetic, elevated with artisanal embroidery, intricate lace trims and seasonal colors of red, green, white and black - a nod to the flag colors of North African countries.

Completing the looks are a set of accessories in matching colors, including sling bags, socks and caps, accompanied by a range of footwear silhouettes - the Lightblaze POD ZIP in black and Adilette slide with embroidery detail coming out in December, with the new Trivela sneaker silhouette coming out in February 2026.
Speaking about the adidas x Arte capsule collection, Bertony Da Silva, Arte Founder & Creative Director, said:"This first capsule with adidas is inspired by the raw energy of African football culture, a world defined by community, expression and resilience. The pieces reflect the cultural energy that surrounds the game and the people who give it meaning. Our new campaign is built with and by local voices in Morocco. From the photographer to casting director, models to set team, every still and scene is rooted in collaboration."
Priced from €45 - €220, available in sizes 2XS-2XL for apparel and UK sizes 3.5-14 for footwear, the adidas x Arte capsule collection launches worldwide from December 5, 2025 in stores and . There is also an elevated Z.N.E. PU leather jacket within the collection, priced at €450, available exclusively via Arte.

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adidas and Arte Antwerp Launch First Capsule Collection, Paying Homage to North African Football Culture

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adidas and Arte's head-to-toe range is a celebration of sportswear style in football, featuring apparel, footwear and accessories elevated with artisanal embroidery and intricate lace trims in the...

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https://www.threads.com/@tuidashark/post/DVoxgfBkmR9/not-to-mention-major-high-fashion-brands-stealing-symbolism-and-styles-from/

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Marni Faces Backlash For Digital Campaign And Its Cultural Appropriation

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It is safe to conclude that there aren’t enough people of color at these brands - people of those cultures in any position of power.

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What About Mkt on Instagram: "Adidas and Arte Antwerp’s new capsule goes beyond streetwear aesthetics, using design, authorship, and visual language to spotlight the profound influence of North African culture on European football style. Shot in Morocco with local creatives, the campaign reframes how major brands can tell stories rooted in community rather than spectacle.

Tap the link in bio to read the full analysis."

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127 likes, 0 comments - whataboutmkt on December 15, 2025: "Adidas and Arte Antwerp’s new capsule goes beyond streetwear aesthetics, using design, authorship, and visual language to spotlight the profound influence of North African culture on European football style. Shot in Morocco with local creatives, the campaign reframes how major brands can tell stories rooted in community rather than spectacle.

Tap the link in bio to read the full analysis.". 

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View this post on Instagram

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LE MILE | Fashion, Art and Culture Magazine

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Fashion News, Cultural Highlights - Adidas x Arte Antwerp SS26 Campaign in Morocco exploring North African Football Culture

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Adidas x Arte Antwerp SS26 campaign shot in Marrakech, highlighting North African football culture through apparel, footwear and community portraits.

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Another win for #MENAcreatives with @Jacquemus’s latest #LaCroisiere campaign shot in Egypt by #MohamedSherif.  #menatalent #menacreatives #fashioncampaign #campaign #brandcampaign #arabculture #arabtalent #cairo #arabphotographers #arabcreatives #egyptiantalent #egypt #arabcreatives #jacquemus #jacquemuscampaign 

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@placesspacesnthings
Another win for #MENAcreatives with @Jacquemus’s latest #LaCroisiere campaign shot in Egypt by MohamedSherif. #menatalent #menacreatives #fashioncampaign #campaign #brandcampaign #arabculture #arabtalent #cairo #arabphotographers #arabcreatives #egyptiantalent #egypt #arabcreatives #jacquemus #jacquemuscampaign
♬ original sound - celine | dxb-based creative

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Another win for #MENAcreatives with @Jacquemus’s latest #LaCroisiere campaign shot in Egypt by #MohamedSherif.  #menatalent #menacreatives #fashioncampaign #campaign #brandcampaign #arabculture #arabtalent #cairo #arabphotographers #arabcreatives #egyptiantalent #egypt #arabcreatives #jacquemus #jacquemuscampaign 

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@placesspacesnthings
Another win for #MENAcreatives with @Jacquemus’s latest #LaCroisiere campaign shot in Egypt by MohamedSherif. #menatalent #menacreatives #fashioncampaign #campaign #brandcampaign #arabculture #arabtalent #cairo #arabphotographers #arabcreatives #egyptiantalent #egypt #arabcreatives #jacquemus #jacquemuscampaign
♬ original sound - celine | dxb-based creative

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Fashion: North africa in 1847. (1928, Jan 15). Vogue, 71, 57. Retrieved from https://www.proquest.com/magazines/fashion-north-africa-1847/docview/879179273/se-2

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Barnard^J M. (2013) Fashion as Communication. [edition unavailable]. 

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Barnard^J M. (2013) Fashion as Communication. [edition unavailable]. 

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Authenticity in souvenir design integrating cultural features of Dunhuang’s mural heritage: A qualitative inquiry. (2025). Humanities & Social Sciences Communications, 12(1), 403. doi:https://doi.org/10.1057/s41599-025-04710-5

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Authenticity in souvenir design integrating cultural features of Dunhuang’s mural heritage: A qualitative inquiry. (2025). Humanities & Social Sciences Communications, 12(1), 403. doi:https://doi.org/10.1057/s41599-025-04710-5

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Fashion communication does not simply represent culture but actively constructs cultural meaning through systems of power, interpretation, and visibility. As such, the use of North African design elements in digital fashion campaigns raises critical questions around who controls meaning, how authenticity is perceived, and whether cultural representation reinforces or challenges existing power structures.

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Fashion communication does not simply represent culture but actively constructs cultural meaning through systems of power, interpretation, and visibility. As such, the use of North African design elements in digital fashion campaigns raises critical questions around who controls meaning, how authenticity is perceived, and whether cultural representation reinforces or challenges existing power structures.

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DIOR CRUISE 2020: IN THE DESERT, WITH ARTISANS

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With a theme titled “Common Ground”, Dior’s Cruise 2020 was a dialog with the cultures born in and journeyed to the continent, a celebration of African craftsmanship passed down through generations, and a collaboration between the fashion house and local artisan collectives.

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Good brands to look at:

Dior Cruise Morocco

Yves Saint Laurent Marrakech

Jacquemus Mediterranean campaigns

Zara / H&M “ethnic inspired” collections

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Good brands to look at:

Dior Cruise Morocco

Yves Saint Laurent Marrakech

Jacquemus Mediterranean campaigns

Zara / H&M “ethnic inspired” collections

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Campaign A – Strong cultural collaboration | positive example |

Campaign B – Inspired but unclear credit | ambiguous example |

Campaign C – Potential appropriation | critical example |

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Interview conducted in Algerian Arabic

Audio recorded (with consent)

Transcribed in original language

Translated into English by researcher

Meaning-based rather than literal translation

Awareness of semantic nuance

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As a bilingual Algerian researcher, cultural familiarity enabled deeper rapport and nuanced understanding of linguistic subtleties. However, shared cultural background may introduce interpretive bias. To mitigate this, the researcher engaged in reflexive note-taking and careful transcription processes to preserve participant meaning rather than imposing subjective interpretation.

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MCF330-PPP CW2 (80%) Template for Written Dissertation Academic Project Work to be done-7

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with 4 deffernt ethic groups what they know and dont know

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come up with questions for interview with north African designer living in Algeria  

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come up with questions for interview with north African designer living in Algeria  

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Week 5 - Example for Activity -Developing Research Methods Narrative

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Trust as resilience anchor

Emotional relevance

Long-term brand building

Authentic storytelling

If a brand uses North African patterns without context or acknowledgement, this contradicts the industry-wide push toward authenticity.

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Trust as resilience anchor

Emotional relevance

Long-term brand building

Authentic storytelling

If a brand uses North African patterns without context or acknowledgement, this contradicts the industry-wide push toward authenticity.

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Despite the emphasis on authenticity and trust in contemporary marketing strategy (McKinsey, 2025), structured frameworks for culturally responsible representation remain underdeveloped.

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the fine line between appropriation and inspiration... 

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the fine line between appropriation and inspiration... 

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you are what you wear.

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primary research Cultural meaning, authorship, ethics, power

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primary research Cultural meaning, authorship, ethics, power

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interview with Hassan Hajji

expert insight

used to inform a conceptual framework

triangulated with theory

A semi-structured expert interview was conducted with an artist of North African heritage whose practice engages with fashion, photography, and cultural symbolism, to inform the development of a culturally informed conceptual framework for digital fashion communication.

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Digital fashion communication refers to how fashion visuals are presented online, and this is important because North African patterns are often visually used in digital spaces without their cultural meaning, leading to misrepresentation.

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Digital fashion communication refers to how fashion visuals are presented online, and this is important because North African patterns are often visually used in digital spaces without their cultural meaning, leading to misrepresentation.

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Core idea

Ornament is a meaning system, not decoration.

Key points

Ornament carries culture, identity, and history.

Modern and digital design often remove or flatten this meaning.

Ornament can guide new design frameworks, especially digital ones.

project link....

Supports treating North African patterns as visual language.

Supports your critique of misrepresentation in digital fashion.

Justifies creating your own culturally informed framework.

One short paragraph for your writing

Lee (2025) argues that ornament functions as a cultural meaning system rather than decoration, and that digital design often strips it of context. Her work highlights ornament’s role in expressing identity and cultural history, supporting this study’s aim to treat North African patterns as meaningful visual systems and to develop a culturally informed framework for their representation in digital fashion communication.

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Ornament and Design: Space, Self, Future - ProQuest

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Explore millions of resources from scholarly journals, books, newspapers, videos and more, on the ProQuest Platform.

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How could a culturally informed conceptual framework for social and digital fashion communication be developed to better represent the meaning of North African patterns?

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How could a culturally informed conceptual framework for social and digital fashion communication be developed to better represent the meaning of North African patterns?

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Ethics & representation

cultural appropriation vs appreciation

decontextualisation

exoticism

visual power dynamics

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. Digital & social media strategy

content pacing

storytelling on social platforms

engagement vs meaning

digital branding frameworks

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Fashion communication & imagery

fashion storytelling

visual identity

image circulation

editorial fashion media

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Cultural & visual studies

pattern as language

ornamentation & symbolism

postcolonial representation

material culture

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For now, your project has just three stable pillars:

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For now, your project has just three stable pillars:

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Culture

North African patterns, symbolism, craft

Problem

Loss of meaning through fast, aestheticised digital content

Context

Social and digital fashion communication strategies

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North African visual culture and pattern design are widely used, referenced, and aestheticised in fashion and media, but are rarely examined as structured visual systems with cultural meaning — and are often disconnected from their editorial, historical, and narrative contexts.

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Hassan Hajjaj on Instagram: "“DAR MIAMI” 1446 I want to thank Miami @capitalone @thecultivist @roseprevite @ebonheath @gnawa_londonuk @joeylico @yussefdayes @anderson._paak @shaboozey @kaytranada @artbasel @troy_mobiusax and all the staff and the production team to make this project come alive"

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5,319 likes, 162 comments - hassanhajjaj_larache on December 8, 2024: "“DAR MIAMI” 1446 I want to thank Miami @capitalone @thecultivist @roseprevite @ebonheath @gnawa_londonuk @joeylico @yussefdayes @anderson._paak @shaboozey @kaytranada @artbasel @troy_mobiusax and all the staff and the production team to make this project come alive". 

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View this post on Instagram

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Daily Paper on Instagram: "Our return to the motherland takes us to Morocco for AFCON 2025. 

Kech United — a collaborative pop-up between Daily Paper and artist @hassanhajjaj_larache at @jajjah.tea.

A cultural clubhouse, celebrating African football through fashion, art, and community. Expect exclusive Daily Paper pieces, live game screenings, talks, performances and community gatherings. All centered around the future-facing vision of football culture.

Address: JAJJAH TEA Moroccan Café, Gallery and Boutique
114-116 Sidi ghanem Marrakech
Date: 20th December - 20th January 2026
Opening Hours: 9AM - 6PM

Photography: @yassellame"

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2,813 likes, 60 comments - dailypaper on December 20, 2025: "Our return to the motherland takes us to Morocco for AFCON 2025. 

Kech United — a collaborative pop-up between Daily Paper and artist @hassanhajjaj_larache at @jajjah.tea.

A cultural clubhouse, celebrating African football through fashion, art, and community. Expect exclusive Daily Paper pieces, live game screenings, talks, performances and community gatherings. All centered around the future-facing vision of football culture.

Address: JAJJAH TEA Moroccan Café, Gallery and Boutique
114-116 Sidi ghanem Marrakech
Date: 20th December - 20th January 2026
Opening Hours: 9AM - 6PM

Photography: @yassellame". 

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View this post on Instagram

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persecution theory

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what are my key theories that link strongly to my topic 

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what are my key theories that link strongly to my topic 

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When UK fashion brands draw on North African visual culture, where is the line between meaningful collaboration and cultural appropriation, and who holds the power to define authenticity within fashion branding and marketing?

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use this example in ur work

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Week 3 - Activity - Contributions to Knowledge

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What should my Literature Review cover? 

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What should my Literature Review cover? 

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state the aim in the use the same aims as the have multiple titles of journals

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how do articals and journels state the aim in their question?

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I am researching cultural representation within UK fashion branding, specifically how Western and North African influences are blended and the impact this has on authenticity, collaboration, and representation.

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I am researching cultural representation within UK fashion branding, specifically how Western and North African influences are blended and the impact this has on authenticity, collaboration, and representation.

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My project is an industry-based research essay that uses the concept of a fashion magazine as a framework.

I will not be producing a full magazine, but instead creating conceptual mock-ups and editorial content to visually support my research into how UK fashion brands blend Western and North African culture and how this impacts representation.

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Although this is a research essay, my project is structured around the concept of a fashion magazine. The magazine format will be used as a visual and editorial tool, with mock-ups and conceptual spreads supporting written analysis of UK fashion branding, cultural influence, and representation.

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Although this is a research essay, my project is structured around the concept of a fashion magazine. The magazine format will be used as a visual and editorial tool, with mock-ups and conceptual spreads supporting written analysis of UK fashion branding, cultural influence, and representation.

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Mixing:

Visual analysis

Brand case studies

Cultural theory

Marketing critique

Asking who gets to represent culture, and how

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A case study of North African visual identity in fashion

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A case study of North African visual identity in fashion

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An example of artist–brand collaboration

A lens through which to evaluate:

Creative control

Representation

Power dynamics

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This project aims to explore how UK fashion brands blend Western and North African cultural influences within branding and marketing, and to critically assess the impact of these practices on cultural representation and authenticity.

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This project aims to explore how UK fashion brands blend Western and North African cultural influences within branding and marketing, and to critically assess the impact of these practices on cultural representation and authenticity.

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When is this relevant?

Contemporary fashion (last 10–15 years)

Increased focus on diversity, globalisation, and ethical branding

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Where does the research sit?

Geographically: UK fashion industry

Culturally: Western + North African cultural space

Contextually: branding, marketing, editorial storytelling

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Who is involved?

UK fashion brands

Artists/designers of North African heritage (e.g. Hassan Hajjaj as a case study)

Fashion consumers and audiences (representation impact)

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Why does this matter?

→ Because cultural blending can:

Improve representation or

Reinforce stereotypes and appropriation

This research addresses an ethical and creative tension in contemporary fashion marketing.

(You can directly link this to diversity, representation, and ethics — all named in the module aims.)

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What is the research about?

→ The use of Western and North African cultural influences in UK fashion branding and marketing.

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Britsh hertage try concact hassan hajji 

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Britsh hertage try concact hassan hajji 

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e-Reader | Taylor & Francis Group eBooks, Reference Works and Collections

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How to Develop a Conceptual Framework  a for Research...

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How to Develop a Conceptual Framework  a for Research...

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A conceptual framework shows how the main things you’re studying are connected. It can be written or shown as a diagram, and it’s usually created after reviewing research on your topic.

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What is a Conceptual Research Framework?

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What is a Conceptual Research Framework?

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A conceptual framework shows how the key things you’re studying are connected. It can be written or shown as a diagram, and it’s usually created after reviewing existing research on your topic.

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Marketing literature is the collection of academic research, theories, and studies that explain how marketing works. It’s the body of knowledge that researchers use to understand customers, markets, and marketing practices.

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Idea... direction

conceptualize a magazine idea of a collaboration of Hassan hajji and a UK brand

gap in a market what is not covered in culture and how its depicted in the fashion industry.

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Hassan Hajjaj’s work helps  understand broader industry practices.

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Hassan Hajjaj’s work helps  understand broader industry practices.

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sussy

cortez

dailly paper

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While Sol de Janeiro markets itself as a celebration of Brazilian culture, its global success contrasts sharply with its limited recognition and accessibility within Brazil itself. This raises concerns of cultural appropriation, as Brazilian identity is aestheticized and monetized primarily for foreign consumers, reinforcing unequal cultural and economic power dynamics

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FASHION DEGSINER

PHOTOGHRAPHER

AND ARTISIT

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Hassan Hajjaj (b. 1961, Larache, Morocco) is a contemporary artist whose work spans multiple mediums, including photography, fashion, music, video, and design. Drawing from his Moroccan heritage and the multicultural influences of London, where he grew up, Hajjaj creates art that reflects the complexities of identity in a modern, interconnected world. Hajjaj is particularly known for his vibrant and playful portraits, often featuring musicians, artists, and friends. These subjects are captured in dynamic poses, dressed in fashion designed by the artist himself, which merges traditional Moroccan elements with modern streetwear influences.

In his creative process, Hajjaj sets up temporary street studios that capture the vibrancy of urban life. These makeshift studios are adorned with North African textiles and everyday materials-plastic mats, woven rugs, and bright fabrics-creating lively, joyful backdrops for his portraits. The photographs themselves are framed with objects like motorbike tires and everyday consumer goods, such as Coca-Cola cans, black olives tins and toys, that are familiar from local grocery stores. The repetition of these items evokes traditional Moroccan zellige mosaics while simultaneously nodding to pop art's playful aesthetic.

Hajjaj's work can be seen as a testament to the complexities of post-colonial identity and cultural fluidity, offering a nuanced exploration of the tensions and possibilities inherent in multiculturalism. His art is a direct response to the socio-political and cultural challenges of our time, yet it approaches these issues with tenderness, humor, and humility, steering clear of the bitterness and conflict often associated with identity politics. As Michket Krifa aptly notes, Hajjaj's work avoids the narrative of victimhood, instead celebrating hybridity and embracing the idea of identity as a dynamic, ever-evolving construct. His ability to transcend the traditional binaries of East and West, traditional and modern, is what makes his approach so resonant today, especially in the face of global challenges.

Hassan Hajjaj currently divides his time between London and Marrakesh. His works are represented in permanent collections worldwide, including those of the Brooklyn Museum (New York, USA), Los Angeles Museum of Contemporary Art (California, USA), Victoria & Albert Museum (London, UK), Institut des Cultures d'Islam (Paris, France), Guggenheim Abu Dhabi (UAE), Kamel Lazaar Foundation (Tunis, Tunisia), Musée d'Art Contemporain Africain Al Maaden (Marrakesh, Morocco), and the National Gallery of Victoria (Melbourne, Australia). Hajjaj has presented landmark exhibitions at the Maison Européenne de la Photographie (Paris, France), Freies Museum (Berlin, Germany), British Museum (London, UK), Newark Museum (New Jersey, USA), and Leighton House Museum (London, UK).

Shooting to the beat with Hassan Hajjaj, PAM, 5 April 2023.

Art : Hassan Hajjaj, l'artiste anglomarocain que les stars s'arrachent, Elle, August 2022.

Hassan Hajjaj Welcomes the World into His Playful Pop Kingdom Created in Morocco, Vogue Arabia, March 2020.

Hassan Hajjaj : le pop-art marocain sous toutes ses formes, Lense, November 2019.

Le photographe marocain Hassan Hajjaj colore Paris, Jeune Afrique, 19 October 2019.

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Hassan Hajjaj Exhibitions: Hassan Hajjaj, Legs, 1 Apr - 21 Jun 2025; The Colors of Dreams, Hassan Hajjaj ⎮ Thandiwe Muriu ⎮ Derrick Ofosu Boateng, 25 Aug - 28 Oct 2022