emanuele mattei

PORTFOLIO
selected works 2017_18
#1
MA FASHION
BRAND MANAGE-
MENT

final project

“DOMME”
[excerpts from the book]
NOT A TABLE
OF CONTENTS*
*for actual content, get out of this room. It’s nice outside.
DOMME DISCI-
PLINE RULE #1
THE ABSURD
EXISTENCE
OF TRUTH
polarization
This common beahvior of thinking is a result of two main long-cycle

appeal to feelings
trends. First, is the fact that the gap between what each one of us knows
and what the world knows is growing rapidly. The individual knowledge
has risen gently, whereas the collective knowledge has risen exponen-
tially, proven by the growth in patents registered and PHDs completed.
Second, is the interconnected world of business and politics. The cyber
attacks, terrorist threats and political movements are happening globally,

of society;
affecting everyone and becoming less predictable. It is in nature of peo-
ple to try to control things, but as it becomes harder they need to change
tactics, going back to rely once more on their senses and intuition. As a
result, today’s society wants to make decisions based on evidence and
cognitive skills but is also very much driven by feelings and emotions.
They often subconsciously build an argument to support their intuition ba-
sed judgement and ignore the evidence taking them in different direction.
Social media feeds are only deepening this problem as they create an
echo-chamber of judgments that are often not based on any kind of facts
but mainly the appeal on feelings. Smart politicians were fast to exploit
this, reaching our intuition and subconscious beliefs rather than boring us
with evidence.

We are part of a post-truth society, where objective facts are less influential in
shaping public opinion than the appeal to emotion and personal belief. Borders
blur the lines between truth and lies, honesty and dishonesty and fiction and
nonfiction. A set of developments have created the conditions of this post-truth
world: the political communication informed by cognitive science, which aims at
managing perception and belief of segmented populations through techniques
including the strategic use of rumors and falsehoods. The algorithms that make
the decisions that appear on social media channels and search engines tend to
be based on what users want, opposed to what is factual, and the news media
has a rising number of hoax cases, propaganda and plagiarism. The chase for
sensations is continuously changing the style of reporting and storytelling, ba-
sed on the principle of tabloidization and infotainement. The internet is a great
breeding ground for the post-truth concept. Anyone can say their opinion and
share it with the world as “truth.” If the opinion of a person without any knowle-
dge about a particular topic is placed next to the statement of an expert, there is
no certainty which of them would win people’s trust, considering today’s society
support the
tends to ignore factual importance. The majority decides to
opinion that is more attractive to them personally.
The concept of post-truth can be linked to the human behavior and the appeal
to feelings. If people are basing their decisions based on half truths and hoaxes,
opposed to factual information, the feelings that appeal to them personally are
shaping their opinions. This can almost be seen as a trend that has increased
among society rapidly, especially over the past decade due to not only politics
but social media and the technology of the internet.
Brexit, US Elections and rise of populist parties in some eu-
ropean countries. What do they all have in common? The
winners based their strategies on the post-truth society, brin-
ging no true beliefs, no statements or programs, just good
marketing and branding based on alternative facts, Because
now we live in an era where parties and leaders can tell en-
dless lies without facing any public retribution. From Trump
to Brexit leaders, politicians rely on claims that ‘feel true’ but
have no basis in facts. Feelings, not facts, are what matter
in politics now. The fact-checking mechanism in our society
does not work because of the polarization that is so high that
no one believes what the other camp is saying. If CNN or
BBC claims that one politician is lying, they’re immediately
branded as dishonest liberal media.
POLITICS AS A MIRROR OF SOCIETY.
It is hard for individuals to be absolutely informed about
every matter nowadays, as there is a lot of information co-
ming from all different sources telling their own “facts”. As a
result, a creation of many movements based on so called
conspirative theories are gaining popularity. Proving the con-
fusion and lack of orientation of people in today’s society.
From this example, it is even further proven that the post-
truth concept, the appeal to feelings and the lack of orienta-
tion are closely tied, evolving from one another. All of these
concepts can be seen as techniques, or the result of tech-
niques, that reflect today’s naive society. Prior to the 21st
century, these techniques could have been depicted as de-
tournement techniques.

lack of orientation
DOMME DISCI-
PLINE RULE #2
CAPITALISM IS A
SEXUAL ACT
 The lack of orientation caused by an
overwhelmingly huge mass of information leaves an
unfulfilled void in us. taboos, particularly those regar-
ding sexuality, are limiting the freedom of today’s so-
ciety, repressing the basic instincts of human nature.
As a reaction to losing power and longing to regain
it, we fill the void through the consumption of goods.

Commodities become a symbol of our desire ,

providing a feeling of power and even dominance and
help us to distinguish ourselves from others.

The desire for a branded object came

to the point of exaggeration when society began to fe-
tishize products by giving them a special value based
on the branding instead of only their functionality.
The brand as a fetish turns the
object into a devoted experience,
almost an erotic one, having the power to both con-
dense desire and absorb fear, re-stimulating the play
of our fantasies. The purchasing of goods provides
pleasure, which in turn, drives us to want more and
more—leading to the perversion of consumerism in
our society.
karl marx + the com- sigmund freud + the
modity fetishism; theory of fetishism;
[cont’d]

It is, however, when discussing the money form that Marx discerns the rela-
tionship between a misrepresentation and an overvaluation. For when money
can function as the seemingly magical means by which difference can be
transcended (anything can be converted into money and vice versa), and
through which anything can be rendered as private property, money becomes
the object of a wild desire. This desire initially fixates on money’s earliest me-
tallic forms, namely gold and silver, which leads to an aesthetic valorization
of precious metals. However, in its truly abstract form (paper money, credit),
the commodity makes possible an “unrestricted” desire, which Marx, in the
Grundrisse, had specified as “greed.” This greed is always greed for money—
for that which can become, by purchasing, anything. Ironically, however, it is
through hoarding, in which the “hoarder sacrifices the lusts of his flesh to the
fetish of gold” that reserves are created and money flows regulated. Hence,
it is in the libidinous desire of the hoarder of money that capital has its origins.
Fetishistic desire therefore enters Marx’s analysis not as the origin but as the
transformative element, the al-chemical principle in capitalism’s history. In a
further development of this argument, Slavoj Zizek has suggested that a new
stage in commodity fetishism should be recognized, namely that in which the
fetish, that ostensibly sensuous object through which abstraction is made
real, has been dematerialized. He identifies electronic money as the source of
this dematerialization, which, he nonetheless argues, strengthens the com-
modity form’s claims to universalizability.
Whether or not electronification does away with the sensuousness of the
money fetish, much recent work shares a sense that, in the postindustrial
era, commodity desire is itself productive of value and is a major stimulus
Freud’s description of fetishism is solely an effect of desire. Freud’s fetishism
relates to the male fear of castration. The man’s horror at seeing an appa-
rently castrated woman leads to a substitution. The castration complex is
reinforced by the experience of phallic lack which drives cultural fetishism.
As Freud writes: “To put it plainly: the fetish is a substitute for the woman’s
(the mother’s) penis that the little boy once believed in and.. does not want
to give up.”
The fetishism is seen as a perversion , an effect of badly resolved
Oedipus complex. Freud argues that psychosexual development through
Oedipus complex requires at one point or at another that sons desite their
mothers and daughters their fathers. In the case of female, it is the recogni-
tion of her lack of penis and the blame associated with her mother for it, that
turns the daughter to her father. It is also when the girl’s desire is restructured
from an active desire to a passive desire to be desired. Gradually, and in the
male case with the aid of fear of castration by the father, a change of orienta-
tion of their sexual desire happens. So eventually both men and women ac-
cept that their objects of desire are prohibited and direct their desire outside
of the family. So the man becomes a fetishist at the moment of the denial of
what he sees and the choice of a substitute is made.

MARX + FREUD
for money’s circulation. These analyses are often indebted to the insights of
Walter Benjamin, who first argued that display value was coming to displace After observing , we come to the
both exchange value and use value in the marketplace of desire. Benjamin
associated the emergence of a purely representational value in the era of
shopping arcades with new ideological potency, as people became enthral- current state of the society and its desire to desire
led with what they could never possess, and were overrun by desire.
Moreover, he identified this emergence with a new valuation of newness (and
a corollary commodification of history), manifest most visibly in the fashion
world. “Fashion prescribes the ritual according to which the commodity feti-
sh wishes to be worshiped,” he wrote. Because fashion is also the institution
in which sexual difference is deployed and cultivated, the analysis of commo-
dity fetishism in fashion has been a staple of much feminist cultural criticism.
However, this has been possible only because psychoanalysis has allowed
us to see that the concept of fetishism is itself part of the organization of
sexual difference, an organization that takes place in language but that is felt
as an irreducibly material fact.
MOTHER
BIRCH
She is a female. She is a not alone, she is in a partnership whe-

interaction of dominance and

re the

submission takes place. She’s an experienced adult wo-

man who is sure of herself and her body and wants to break free
from the boundaries of her social status. She’s sensual, but not vul-
gar. She is caring and protective, but at the same, time she is strong
and powerful. She represents the mother to whom the partner looks
up in admiration and projects his desire of feeling intimidated and
being under control of her. He likes being afraid of her, the fear at-
tracts him.

She is the modern “ dominatrix” living in the world of sup-

pressed desires and identities and relieving its pressures. She
does not only play a men’s fantasy but raises jewels on self-knowle-
dge, ecstasy, acceptance, mercy and wisdom.
She truly lives to her “anima,” described as the force of soul and
psyche within both men and women by Jung. This “chaotic
urge to life” and force beyond controlling ego characterizes her
character as “bipolar”. In extremes, she is now mother, now mai-

den, now a good fairy, now a witch, now a saint, now

a whore . Some could describe her as Femme fatale. She
can be cruelly provocative, seductive and terrifying on the one hand
and gentle, wise, solicitous on the other. Like Jung described: as the

loving’ mother, she displays nurturing, wisdom, fertility, growth,

‘

On the other hand, she is the ‘terrible’ mother: devouring her

children, poisoning, burning, suffocating, and drowning. She can be
seen in the benign fertility of spring or the devastation of drought
and flood. The mother both gives birth to and takes back each indi-
vidual life.
 MISSION
changing the meaning by changing the context
perversion
possession
VISION
is
VALUES
role reversal expressive
balance central

deviated luxury instrumental

competitor
analysis;
YVY
Founded in 2013 in Zurich, Switzerland creating seasonal-independent designs whe-
re traditional craftsmanship meets innovation. Yvy produces a line of versatile, femi-
nine leather accessories and classic clothing. YVY stands for selected materials and
high quality throughout the manufacturing. Each piece is handmade from the finest
Italian leather and shows how sustainability can be seductive. Each collection blurs
the lines of traditional accessories and clothing; the range varying from bracelets, to
body harnesses, to full dresses. Detailed tracery, lacing and delicate rivets, combined
with carefully crafted cuts, melt into transcendental pieces of craftsmanship. YVY is
combining classic ready to wear garments together with more BDSM inspired acces-
sories such as harnesses.
SAINT LAURENT PARIS
Saint Laurent is a French luxury fashion house founded by Yves Saint Laurent and
his partner, Pierre Berge. The company revived its haute couture collection in 2015
under former creative director Hedi Slimane. In April 2016, Anthony Vaccarello was
appointed as the creative director. Founded in 1961, it has been considered one of
the world’s most prominent fashion houses and is known for its modern and iconic
pieces, such as its tuxedo jackets for women. Today, Saint Laurent markets a bro-
ad range of women’s and men’s ready-to-wear products, leather goods, shoes, and
jewellery.
ZANA BAYNE
ZANA BAYNE is a NYC-based leather goods brand by the creative team of Zana
Bayne and Todd Pendu; founded by Bayne in 2010. Their work is known for its focus
on quality craftsmanship and for inventive accessories designed to layer over any
wardrobe, accentuating the personal style of the individual wearer. The brand began
with a unique high-end take on S&M/punk-inspired aesthetics and harnesses.
The term “Post-Fetish” was coined by Todd Pendu as “decontextualizing traditional
fetish gear into aesthetic accessories to be incorporated into everyday wear”.
ATSUKO KUDO
Atsuko Kudo designs and manufactures a full range of ladies wear exclusively in latex
rubber. All of our garments and accessories are available in a wide variety of plain
colors and uniquely patterned prints. Our clothing is designed for women who wish
to look and feel beautiful, feminine and strong. Atsuko Kudo provides individual gar-
ments and complete ensembles for the bedroom, the salon, the night club, the cat
walk, the red carpet and any other preferred location. Atsuko Kudo provides a wo-
mens wear brand made of BDSM isnpired garments and accessories while maintaing
a feminine nature.
RICHARD QUINN
London-based designer Richard Quinn established his namesake label after gradua-
ting from the Central Saint Martins Fashion MA. His debut collection of fully uphol-
stered figures, which were covered in reimagined Liberty prints and clashing textures,
garnered critical acclaim and press attention, with Love magazine, The New York
Times, Sunday Times Style, Dazed & Confused and i-D labelling him as a designer
to watch. Fusing art with fashion, his elegant dresses, full skirts and velour leggings
will bring a fresh verve to your everyday look. Richard Quinn shocked the society
with the combination of his upholstered designs and floral prints. Covering the face
combined with more subtle designs reflects a paradox.
BORDELLE
Bordelle is a niche and unique concept in womens’ lingerie and bodywear that combi-
nes true craftsmanship with groundbreaking designs, toying with themes of seduction
and domination. The Bordelle aesthetic is characterised by body-con silhouettes and
rooted in a proprietary technique that blends 24 carat gold plated hardware and cu-
stomised satin elastic bands with an array of fabrics to create iconic pieces featuring
a luxury S&M sensuality. Bordelle is a niche brand that entails BDSM-like garments,
focusing on craftsmenship and themes such as domination.
ALEXANDER MCQUEEN
The house of Alexander McQueen is renowned for its conceptual designs, strong
identity and unbridled creativity. As Creative Director of the brand, Sarah Burton pro-
duces critically acclaimed collections, driven by uncompromising craftsmanship and
unparalleled vision. The luxury brand was founded by Lee Alexander McQueen in
1992. The house’s contemporary line McQ is an important contributor to overall bu-
siness. Alexander McQueen is not only known for its conceptual designs, but has a
strong focus on craftsmanship and luxury.
 MAISON MARGIELA
Maison Margiela, formerly Maison Martin Margiela, is a French luxury fashion house
headquartered in Paris and founded in 1988 by Belgian designer Martin Margiela. The
house produces both haute couture-inspired artisanal collections and ready-to-wear
collections, with the former influencing the designs of the latter. Product lines include
womenswear, menswear, fine jewelry, footwear, objects, fragrance, and home goods,
among others. Maison Margiela is known for deconstructive and avant-garde desi-
gns with unconventional materials.
HELMUT LANG
Helmut Lang fashion brand was created by Austrian fashion designer Helmut Lang
(born 10 March 1The956) in 1986. The Helmut Lang brand still exists today, but has
been carried on without Lang’s involvement since 2005.Helmut Lang, a fashion au-
todidact, set up a made-to-measure fashion studio in Vienna in 1977 and opened a
boutique here in 1979, at the age of 23. His clothes were fairly successful in his native
Austria, and, after presenting his work as part of an exhibition titled “l’Apocalypse
Joyeuse” at the Centre Pompidou in Paris, initiated by the Austrian government, he
branched out successfully to Paris in 1986 and created the label “Helmut Lang”. At
this time in the late 1980s and early 1990s, minimalist fashion was at its height. Hel-
mut Lang desings are made with very sharp lines and careful cuts, creating basic but
extremely elegant silhouettes in high quality and often high-tech fabrics.
HANGER
Versace is an Italian luxury fashion company and trade name founded by Gianni Ver-
sace in 1978. The main collection of the brand is Versace, which produces upmarket
Italian-made ready-to-wear and leather accessories, while other diffusion lines are
Versace Collection (mainly in the US), Versus Versace and Versace Jeans. The Versa-
ce logo is the head of Medusa, a Greek mythological figure. The logo came from the
floor of ruins in Rome that the Versace siblings played in as children. Gianni Versace
chose Medusa as the logo because she made people fall in love with her and they
had no way back. He hoped his company would have the same effect on people.
Versace is provocative in the sense that it drives women to be free of sexual taboos
in the luxury segment.
FILL THIS BOX WITH THE VOID OF MY
EMPTY EXISTENCE
AGENT PROVOCATEUR
Iconic British lingerie brand, founded in 1994 by Vivienne Westwood’s son, Joe Cor-
re and his wife Serena Rees. The label pushed boundaries, selling daring, high-end
underwear. The collections include everything from elegant sets to striking boudoir
pieces. Renowned for its impeccable craftsmanship, design expertise and playful ap-
proach to lingerie, it subverted outdated male fantasies and placed women in the do-
minant position. Agent Provocateur combines beauty and eroticism and commitment
to creativity and originality together with its unique approach to marketing, using
shop windows, organising notorious parties and provocative advertising campaigns.
COCO DE MER
Crafted in its exclusive London boutique, Coco de Mer brings luxurious eroticism and
sensuality through its collection ranging from boudoir-ready lingerie and nightwear
to bondage pieces and latex wear. Its lingerie line brings a mix of sensuality, erotic
silhouettes and sexual elegance that is designed to inspire empowerment. To achie-
ve a true fetish couture its collection offers a wide range of latex wear including glo-
ves, cut out dresses and bondage inspired bodysuits. Coco De Mer is a collection of
luxurious bondage pieces inspired by exploration, excitement and enjoyment that are
crafted from high end materials such as soft lamb’s leather and plush suede.
HANGER
HANGER is trying to break the stereotypes associated with latex and sustainability
by combining these two elements in the collections that don’t follow traditional fa-
shion calendar so there are not produced seasonally.The aim of the brand is to produ-
ce eco-friendly designs that are accessible, sexy and wearable. The brand is trying to
decontextualize latex wear by liberating it from its traditional association and putting
it into everyday wear. It focuses strongly on the material characteristics.
#2
MA FASHION
BRAND MANAGE-
MENT

midterm project

NU MO-
“

SCHINO”
[excerpts from the book]
 The archetype of Nu Moschino is Nu Joker. In order to un-
derstand this concept as well as the full rebranding stra-
tegy the analysis of the previous designers’ archetypes

TYPE
needs to be delivered.
The Joker sets his roots in the brand Moschino. Franco
Moschino fulfils the characteristics of an eccentric, surreal,
colourful, daring and funny personality. He made sarcastic
jokes about the world and most of all the whole fashion
industry, being reluctant and embracing at the same time.
As for example, to mock Chanel’s signifiers was part of his
criticism. He brought joy and playfulness to the industry
and his recipients. His need of belonging was established
by creating a tribe of clients who understood the joke. Fur-
thermore, the brands who are associated with the
archetype of the Joker chose to undertake important social
and charity programs to prove their general feeling of re-
sponsibility. In order to balance the profligacy, Franco pio-
TYPE
neered in launching an eco- couture brand and supported
different institutions helping people infected with AIDS
and HIV. As described previously, Franco was a founder
of multiple actions of a similar ideology. His archetype
was concrete, but in terms of a human desire it needed a
constant balancing. The Joker is a good choice of an ar-
chetype if it is established in a converse to another brand.
This is exactly, what stated a motive of Franco Moschino’s
first collection and his reaction to Chanel’s and Karl
Lagerfeld’s fashion input. Jeremy Scott definitely matches
the criteria in order to be named the Jester, which is the B
side of the Joker archetype. Scott’s desire to have fun and
share love appears to stop at the basic level of the evolu-
tion of the archetype. He surrounds himself with a loyal fan
base, which is even being described as a cult. The fans
provide the community and the designer with the feeling
of belonging. Nevertheless, Scott appears to address his
work to young people, who also are going to evolve. The
fan’s scope of age is between teenage till middle thirties.
It seems that he does not encourage his tribe to grow to-
gether but rather tries to escape reality in an infantile way.
Finally, Scott as the Jester stands for criticism that does
not find the solution of the political issues in the global
scale. The archetype of Nu Moschino is Nu Joker. In order
to understand this concept as well as the full rebranding
strategy the analysis of the previous designers’ archetypes
needs to be delivered.
The Joker sets his roots in the brand Moschino. Franco
Moschino fulfils the characteristics of an eccentric, surreal,
colourful, daring and funny personality. He made sarcastic
jokes about the world and most of all the whole fashion
industry, being reluctant and embracing at the same time.
As for example, to mock Chanel’s signifiers was part of his
criticism. He brought joy and playfulness to the industry
and his recipients. His need of belonging was established
by creating a tribe of clients who understood the joke.
the joker & the jester
The Joker can be defined by the clown, the trickster or any other figure, which would enjoy
playing or cutting up. His point is to invite for the actual fun, without fitting in, in order to attract
his audience. It may be stated that the Joker is an exemplification of the ideology that people can be
themselves and still be loved intensely by others. His main desire can be explained as carpe
diem. The goal is to have a joyful time and remain an entertainment for others. Therefore, his
main fear is to become boring or bored and a possible trap is lavishing his existence.
The Joker’s laughter is caused by the concerns, that would be generally regarded as bitter
or just not humorous. For that reason, the archetype of the Joker is believed to be the most
accurate to deal with the ridiculousness of today’s reality.

From a historical perspective, Kings in medieval ages were entertained by Jesters, who
either amused them or told the truth, for which others would lose their lives. As a result, the idea
of a Jester became a safety valve. The Jester became the voice of society but with limitations due
to his employment by and loyalty to the king. Today, satire and parody still remain an object to
limitation for numerous legal responsibilities. In contrast to the Jester, the archetype of the Joker
is considered to be fearless, with no limitations to speak the truth. Moreover, the policy professed
by this archetype is fundamentally anarchistic. As the analysis oscillates around fashion industry,
the Joker would not obey and even stand against its rules. Personifications of the discussed
archetype take “everything lightly and partly because they are happiest by breaking the rules”25.
This is also the explanation of Emma Goldman’s aforementioned citation. The Joker will not
proceed if he cannot decide the rules of the game by himself.

Referring to the designated archetype of Moschino’s designer as well as the brand’s

identity, the Joker appears to be a more independent entity, while the Jester remains a certain
employee of the King. Consequently, Nu Moschino is identified with the Nu Joker.
An undeniable benefit that the Joker brings is being spontaneous, impulsive and highly
creative. The danger and the B-side of this archetype is that the Jester has a tendency to be
infantile and zany. It seems obvious, that the Joker does not enjoy the company of people who are
lacking a sense of humour and those who ruin the party. This approach may easily lead to the
negative side of the Joker: The Jester may go through life with a playfulness, without an actual
consideration of its true meaning or sense.
NIENTE
 a nu chapter
CHARLES JEFFREY

Changing the designer and creative director for Moschino is considered as an organic con-
sequence of the NUMOSCHINO strategy. The new creative director underlines the updated
perspective on the brand vision which is contemporary as well as loyal to the brand DNA.

The London based emerging designer Charles Jeffrey is the ideal choice to convey Moschino’s
identity and take it to a next level. As society has shifted towards an open discussion on gen-
der identity and individuality, questioning old-established values of our modern society, Charles
Jeffrey addresses social issues that are relevant to the new generation.
Starting his career as an illustrator the 28-year-old, with Scottish background, launched his own
fashion label LOVERBOY in 2015 after graduating from Central Saint Martins. In his designs he
uses bold colors and shapes making references to historical garments.

Charles Jeffrey plays with the duality of social codes such as gender norms in a performative
and humorous way to bring back the ease and cheerfulness into fashion. His criticism of society
is not shown in simple meaningless paroles and destructiveness but it is delivered through joyful
chaos yet highly executed tailoring that underlines the fact that the new generation has over-
grown the era of quantity rather than quality and the lack of content that in the past years has
been degrading luxury fashion to a purely hedonistic lifestyle.

Charles Jeffrey represents his world orchestrating shows as a circus, as a modern day
freak show not afraid of making fun of social conventions or breaking taboos. Jeffrey’s
way of working in a creative team and collaborating with performance artists, musicians
and various creative personalities reflects at best the Zeitgeist of the fashion industry
right now. His “radical creative” attitude towards the fashion system, as well as his deep
roots in club culture, reflect Franco Moschino’s character, opposed but at the same time
attracted to the fashion society perfectly representing the archetype of the NU Joker.
Charles Jeffrey is young, still shapeable but with a strong creative and unique persona-
lity. He is the communicator to the new generation and the ideal continuation of Franco
Moschino’s heritage, contextualized in today’s fashion28.
 The importance of the new business strategy for Moschino is based on the combination between
what Moschino was at the beginning, what it has managed to establish through the years and the
needs of today’s reality.
As the analysis above has suggested, Moschino’s heritage is at its undeniable strength and a

BUSI
very updated concept. Jeremy Scott has emphasized the need for belonging among customers,
what resulted in massive popularity and increasing sales within the brand and its extensions.
When it comes to the needs of the global fashion market, the following factors will be included in
the new strategy.

1 - the “nu product”

In accordance to the social media establishment, identifying a clear boundary between each level is hard
to define. The need of social belonging, esteem and self-actualization can concentrate on a customer all

NESS
together. It is more than obvious that the brand’s awareness needs to be implied with the new concept of
Moschino. The history, roots and symbols Franco has established seem to be too valuable and beneficial
to be neglected.
Being witty, daring, challenging, individual, and sophisticated are the values that can be easily noticed
in todays’ post-modern community of fashion customers. Todays’ garments paradoxically lack in distin-
ctiveness. Therefore, the collection of Moschino can easily be mistaken with Jeremy’s personal brand.
The other part of the garments seems ironic in a bad tone e.g. t-shirts with slogan “Ready to bear” as the
modification of the Franco’s “ready to where?”. This change does not have as strong statement as before,
due to the whole context of Jeremy Scott’s design style. There is no point in looking for a deeper meaning,

STRA
because Scott’s fashion is playful but also superficial.

The concept of the products needs to be turned back to sarcasm, this is the inception of the brand. The
products need to remain outstanding and individual, that will attract people’s attention. Moschino should
have a sexier and more sophisticated feeling. The products should not only allow customers to express a
challenging attitude towards fashion, but also let them show their beauty and clever intelligence. Compa-
red with the fashion industry in the 80’s and 90’s, there are more possibilities and innovations in fashion
society, so the products of Moschino not only need to turn back to his original concept, but also need to
be more innovative and put more focus on storytelling.

TEGY
The styling of the new collections will mostly referrer to the roots of Moschino and Franco. However, it will
have a recognisable vibe of Charles Jeffrey, the new designer. Therefore, it is important to underline that
Nu Moschino narrows the use of slogans. Namely, the main idea of the collection will not be based on
slogans. They will be kept only in a carry over and limited segment of Moschino Love. This concept allows
to stay within the brand’s DNA, while having the general updated approach.

a. collective items & personalisation

Nu Moschino will introduce a teddy bear as a collective item. These teddy bears will change each season
and open a new chance for collaborating with artists from outside the fashion industry. Each teddy bear
could be personalised according to the customer’s choice. Keeping the presence of the iconic teddy bear
brings the childlike joyfulness. The Nu Moschino is still funny and adorable but the teddy bears are taken
from the couture to the real world – almost as if they are coming to life.
LACK OF CLOTHES
LACK OF CONTENT
LACK OF CLOTHES
LACK OF CONTENT
LACK OF CLOTHES
LACK OF CONTENT
LACK OF CLOTHES
LACK OF CONTENT
LACK OF CLOTHES
LACK OF CONTENT
LACK OF CLOTHES
LACK OF CONTENT
#3

BRAND IDENTITY
PROJECT for the
collection

“LOCALZ ONLY”
by GIACOMO NASI

[excerpts from the pre-

sentation and the photo-
shoot]
#4

FASHION TIPO-
GRAPHY PROJECT

GABBER
“

ELEGANZA”
[mock magazine]
GABBER ELEGANZA
THE LOST AESTHETIC OF A GENERATION OF RAVERS

Alitioribus, cus vel is juventus, cus vel is et,

et, velende litatquae con velende litatquae con
pliquia quunt et et qui pliquia quunt et et qui
nobit resciunt. nobit resciunt.
Id quatquos si cume renti Id quatquos si cume renti
il exceatusandi voluptae il exceatusandi voluptae
nemperchilla sum eossita nemperchilla sum eossita
etur alibusant. etur alibusant.
Facest aut fuga. Luptis Facest aut fuga. Luptis
esti doloribus adi bla- esti doloribus adi bla-
cepr atiorem labore es cepr atiorem labore es
pos rersped icipide liq- pos rersped icipide liq-
uamet et as maximil lan- uamet et as maximil lan-
deribus el mod ma ilitae deribus el mod ma ilitae
re ne velique adt quis si re ne velique adt quis si
diti consed mi, ne pedi- diti consed mi, ne pedi-
cabore ne venihit aut la cabore ne venihit aut la
nonseque porias posam aut nonseque porias posam aut
lignit officidebis pe re lignit officidebis pe re
se sendunt iuntus nobitas se sendunt iuntus nobitas
sequi cus, siminis am volo sequi cus, siminis am volo
dipsanis ese et hita dipsanis ese et hita
Ehent odi autem res et a Ehent odi autem res et a
cum as sam, omnimin veni- cum as sam, omnimin venisi
si apitios eum dolorumquid apitios eum dolorumquid ut
ut utem fugitae pudandi- utem fugitae pudandigen-
genti commoles magnitis ti commoles magnitis cum
cum aliam eum re aut vo- aliam eum re aut volup,
lup, tatibus cum faccusam tatibus cum faccusam aut
aut dundis dem. Tibus quat dundis dem. Tibus quat eat
eat et voluptas sincto et voluptas sincto cum,
cum, everibus porpvvvvorum everibus fino alla fine.
 #3 #4
Alitioribus, cus vel is Usque ad finem, cus vel is
et, velende litatquae con et, velende litatquae con
pliquia quunt et et qui pliquia quunt et et qui
nobit resciunt. nobit resciunt.
Id quatquos si cume renti Id quatquos si cume renti
il exceatusandi voluptae il exceatusandi voluptae
nemperchilla sum eossita nemperchilla sum eossita
etur alibusant. etur alibusant.
Facest aut fuga. Luptis Facest aut fuga. Luptis
esti doloribus adi bla- esti doloribus adi bla-
cepr atiorem labore es cepr atiorem labore es
pos rersped icipide liq- pos rersped icipide liq-
uamet et as maximil lan- uamet et as maximil lan-
deribus el mod ma ilitae deribus el mod ma ilitae
re ne velique adt quis si re ne velique adt quis si
diti consed mi, ne pedi- diti consed mi, ne pedi-
cabore ne venihit aut la cabore ne venihit aut la
nonseque porias posam aut nonseque porias posam aut

BASEMENT SCUMBAGS ISSUE #0

lignit officidebis pe re lignit officidebis pe re
Alitioribus, cus vel is
et, velende litatquae con
pliquia quunt et et qui
nobit resciunt.
squatter, cus vel is et,
velende litatquae con
pliquia quunt et et qui
nobit resciunt.

“BLESS THIS ACID HOUSE” Id quatquos si cume renti

il exceatusandi voluptae
nemperchilla sum eossita
Id quatquos si cume renti
il exceatusandi voluptae
nemperchilla sum eossita
etur alibusant. etur alibusant.
Facest aut fuga. Luptis Facest aut fuga. Luptis
esti doloribus adi blace- esti doloribus adi blace-
in padellat, cus vel is alitioribus, cus vel is
pr atiorem labore es pos pr atiorem labore es pos
et, velende litatquae con et, velende litatquae con
rersped icipide liquamet rersped icipide liqua-
pliquia quunt et et qui pliquia quunt et et qui
et as maximil landeri- met et as maximil lander-
nobit resciunt. nobit resciunt.
bus el mod ma ilitae re ne ibus el mod ma ilitae re
Id quatquos si cume renti Id quatquos si cume renti
velique adt0 quis si diti ne velique adt0 quis si
il exceatusandi voluptae il exceatusandi voluptae
consed mi, ne pedicabore diti consed mi, ne pedi-
nemperchilla sum eossita nemperchilla sum eossita
ne venihit aut la nonse- cabore ne venihit aut la
etur alibusant. etur alibusant.
que porias posam aut lig- nonseque porias posam aut
Facest aut fuga. Luptis Facest aut fuga. Luptis
nit officidebis pere cotte, lignit officidebis pe re
esti doloribus adi blace- esti doloribus adi blace-
pr atiorem labore es pos pr atiorem labore es pos
rersped icipide liqua- rersped icipide liqua-
met et as maximil lander- met et as maximil lander-
ibus el mod ma ilitae re ibus el mod ma ilitae re
ne velique adt0 quis si
diti consed mi, ne pedi-
ne velique adt0 quis si
diti consed mi, ne ped- “SOMETHING FOR YOUR
cabore ne venihit aut la
nonseque porias posam aut
lignit officidebis pe re
icabore ne venihit aut
la nonseque porias posam
aut lignit officidebis pe
BODY, SOUL AND MIND”

Alitioribus, cus vel is et,
velende litatquae con pliquia
quunt et et qui nobit resciunt.
Id quatquos si cume renti il
exceatusandi voluptae nemperch-
illa sum eossita etur alibus-
ant?
“Facest aut fuga. Luptis esti
doloribus adi blacepr atiorem
labore es pos rersped icipide
liquamet et as maximil lander-
ibus el mod ma ilitae re ne”
Alitioribus, cus vel is et,
velende litatquae con pliquia
quunt et et qui nobit resciunt.
“Id quatquos si cume renti il
exceatusandi voluptae nemper-
chilla sum eossita etur ali-
busant.Facest aut fuga. Lup-
tis esti doloribus adi blacepr
atiorem labore es pos rersped
icipide liquamet et as maximil
landeribus el mod ma ilitae re
ne velique adt0 quis si diti
#5 #6
3luptius vene volorpos iume non reptati assendi autem. Edit quamusa dem arumquae odiorep errovit atemolesti re
comniet lit lab.or maximusci od quistio im asitaquae velentin nisquisque offictur sequi vendae velibus, que vo-
pa vero conem voloria dolor as verum hrum dolupturit dissi de odio denit qui inverum est volore voluptaspero
Omnis int ellessit id magnimporis vel el erum simaio totasim quiam, sument omnimus si verum dit autes quam
Alitioribus, cus vel is et,
velende litatquae con pliquia
quunt et et qui nobit resciunt.
Id quatquos si cume renti il
exceatusandi voluptae nemperch-
illa sum eossita etur alibus-
ant.
Facest aut fuga. Luptis esti
doloribus adi blacepr atiorem
labore es pos rersped icipide
liquamet et as maximil lander-
ibus el mod ma ilitae re ne”
adt0 quis si diti consed mi, ne
Alitioribus, cus vel is et,
velende litatquae con pliquia
quunt et et qui nobit resciunt?
“Id quatquos si cume renti il
exceatusandi voluptae nemperch-
illa sum eossita etur alibus-
ant.
Facest aut fuga. Luptis esti
doloribus adi blacepr atiorem
labore es pos rersped icipide
liquamet et as maximil lander-
ibus el mod ma ilitae re ne.”.