De Innui Ses
Behind the FW21 Campaign Logo
The FW21 campaign is an incredibly picturesque story set in the stunning archaeological site of Barumini Su Nuraxi, a Nuraghe settlement essential to the history of Sardinia.
To enrich the complex storytelling of the fashion show, Antonio Marras turned to graphic designer Luca Devinu aka BLSSND, a title designer and typography expert, to bring his vision to life through the design of a logo unique to the Fall Winter 2021 collection.
The "De Innui Ses" logo was then born, now featured in the design of the FW21 sweaters, with its evocative meaning of "Where are you from?" representing the eternal quest for belonging.
Read the interview with BLSNND and discover how the design came to life, inspired by a long study of textiles and shapes, in a tribute to the land of Sardinia.
Who is BLSSND?
To tell you the truth, I have never been able to introduce or define myself. If there were a general category, I think I fit roughly into that of being “curious” about art and passionate about language and communication.
How did you react to Efisio when he asked you to work with Antonio Marras? It is a world that is perhaps distant for many but close to you, due to background and roots?
Actually, it was very natural, I couldn’t wait for the occasion to be able to express through type design something that was connected to our land in all its aspects and the collaboration allowed us, both from the point of view of the claim and of the creative direction, to join all the dots and I think that the world of Antonio Marras was absolutely the right one to do all this.
How did you approach creating the Type?
I spent a long time studying the textile tradition and especially patterns and it was incredible to discover that you could get letters out of them that were both traditional and modern at the same time.
Did you ask about the story of the collection?
Yes, this was the first point we covered with Efisio even before creating the type, we had the vision of making the archaeological site of Barumini Su Nuraxi “essential" on the pieces and we realized that at graphic level it worked very well, plus we were inspired by the site itself without going any further, to then connect us back to the collection.
Was it complex to enter the world of Antonio Marras? What do you have in common?
I didn’t find it complex to interface with the world of Antonio Marras, I have always found the multi-faceted nature of this world from fashion to design fascinating, I hope we have this in common.
If you had to design the ANTONIO MARRAS logo, how would you do it?
That’s a good question! There would be so many references and I would certainly be spoiled for choice so I would choose instinctively to internalize them all. I always start out from the concept to then reach the style of something and I think that it is fundamental as never before in this case.
Actually, it was very natural, I couldn’t wait for the occasion to be able to express through type design something that was connected to our land in all its aspects and the collaboration allowed us, both from the point of view of the claim and of the creative direction, to join all the dots and I think that the world of Antonio Marras was absolutely the right one to do all this.
How did you approach creating the Type?
I spent a long time studying the textile tradition and especially patterns and it was incredible to discover that you could get letters out of them that were both traditional and modern at the same time.
Did you ask about the story of the collection?
Yes, this was the first point we covered with Efisio even before creating the type, we had the vision of making the archaeological site of Barumini Su Nuraxi “essential" on the pieces and we realized that at graphic level it worked very well, plus we were inspired by the site itself without going any further, to then connect us back to the collection.
Was it complex to enter the world of Antonio Marras? What do you have in common?
I didn’t find it complex to interface with the world of Antonio Marras, I have always found the multi-faceted nature of this world from fashion to design fascinating, I hope we have this in common.
If you had to design the ANTONIO MARRAS logo, how would you do it?
That’s a good question! There would be so many references and I would certainly be spoiled for choice so I would choose instinctively to internalize them all. I always start out from the concept to then reach the style of something and I think that it is fundamental as never before in this case.
Your work brings you into close contact with musicians from all over the world. What music do you listen to? Who is your favourite star?
I have reached the point where I believe that all music is beautiful, my work has definitely helped me a lot to open up to so many situations, especially in music and albums.
I generally listen to everything from progressive rock from the 1970s to hyperpop, I don’t have a favourite star and I am always looking for something that attracts my attention and that is part of the creative process.
I think that music is always one of the fundamental aspects for the vibes and the creativity of those who approach art in general.
Did you like Lil Nas at the Met? What do you think of fashion? Are you interested in it?
I am a fan of Lil Nas! I loved him and Grimes at the Met because they were totally outside the box with something that could be fashion in 100 years’ time, in my opinion. I’ve had the pleasure of working with both of them, so perhaps I am not objective. I have always followed fashion, especially streetwear, but also more niche things and I love figures like Rick Owens and Demna Gvasalia. I love things that create a convention by going “outside the box”.
What influences you the most in your creations?
I let myself be carried away by what I have to do, but I never have a precise format I draw on and on certain days it could be anything at all.
It always depends on the creative flow.
I have reached the point where I believe that all music is beautiful, my work has definitely helped me a lot to open up to so many situations, especially in music and albums.
I generally listen to everything from progressive rock from the 1970s to hyperpop, I don’t have a favourite star and I am always looking for something that attracts my attention and that is part of the creative process.
I think that music is always one of the fundamental aspects for the vibes and the creativity of those who approach art in general.
Did you like Lil Nas at the Met? What do you think of fashion? Are you interested in it?
I am a fan of Lil Nas! I loved him and Grimes at the Met because they were totally outside the box with something that could be fashion in 100 years’ time, in my opinion. I’ve had the pleasure of working with both of them, so perhaps I am not objective. I have always followed fashion, especially streetwear, but also more niche things and I love figures like Rick Owens and Demna Gvasalia. I love things that create a convention by going “outside the box”.
What influences you the most in your creations?
I let myself be carried away by what I have to do, but I never have a precise format I draw on and on certain days it could be anything at all.
It always depends on the creative flow.
How did you start?
I started with illustration, creating things that are really different from what I do today, I was obsessed by lithographs and the world of engraving, then moving on to creating covers and merchandise in the underground music world; thanks to this planet I came into close contact with the study of Gothic letters and began to become more and more keen on the world of typography and this was the point where I focused on the form of language to then reach the planet of type design.
If you could choose, in which period of time would you have liked to have lived?
Different periods, definitely I would have liked to have lived around 1400 and experience the whole period of typographic printing on paper but paradoxically around 1980 as well. I think that for what I still do today this period was a golden age for the creation of logotypes and I mean in any form whatsoever, from the most ordinary products of everyday life to Hollywood films.
You work with world famous artists who are in the most varied places in the world but you work from Pozzomaggiore. What does the decision to live on the frontiers of the empire depend on?
Thanks to the Internet there are no frontiers, so I can do everything from here, I find my comfort zone far from the “star system" and paradoxically 99% of the time it is a strength because I feel less stress when I have to interface with projects of a certain type and at the same time I handle different things well at the same time, especially in the USA because of the time difference.
And then because I feel at home.
What relationship do you have with the history of Sardinia?
As I live in a small community, it is very strong. I would like to study it more, I am sure it is a goldmine for any creative person born here.
I started with illustration, creating things that are really different from what I do today, I was obsessed by lithographs and the world of engraving, then moving on to creating covers and merchandise in the underground music world; thanks to this planet I came into close contact with the study of Gothic letters and began to become more and more keen on the world of typography and this was the point where I focused on the form of language to then reach the planet of type design.
If you could choose, in which period of time would you have liked to have lived?
Different periods, definitely I would have liked to have lived around 1400 and experience the whole period of typographic printing on paper but paradoxically around 1980 as well. I think that for what I still do today this period was a golden age for the creation of logotypes and I mean in any form whatsoever, from the most ordinary products of everyday life to Hollywood films.
You work with world famous artists who are in the most varied places in the world but you work from Pozzomaggiore. What does the decision to live on the frontiers of the empire depend on?
Thanks to the Internet there are no frontiers, so I can do everything from here, I find my comfort zone far from the “star system" and paradoxically 99% of the time it is a strength because I feel less stress when I have to interface with projects of a certain type and at the same time I handle different things well at the same time, especially in the USA because of the time difference.
And then because I feel at home.
What relationship do you have with the history of Sardinia?
As I live in a small community, it is very strong. I would like to study it more, I am sure it is a goldmine for any creative person born here.
Who are your points of reference? Your masters?
Luckily I have many masters; Christophe Szpajdel definitely opened me up to a world as far as my path is concerned, but also designers like Wim Crowel and more recently David Rudnick.
How do you dress?
Usually in black, I don’t wear any particular brand.
What do you want to do when you grow up?
For the time being I would like to have a foundry and design fonts, but I’ll also let my path decide for me.
Luckily I have many masters; Christophe Szpajdel definitely opened me up to a world as far as my path is concerned, but also designers like Wim Crowel and more recently David Rudnick.
How do you dress?
Usually in black, I don’t wear any particular brand.
What do you want to do when you grow up?
For the time being I would like to have a foundry and design fonts, but I’ll also let my path decide for me.