Campaign

Photography

I shot UNMADE like a fashion brand with a technical soul: bold wide angles for attitude, and just enough studio inside the frame to remind you that customisation is part of the product.

I shot UNMADE like a fashion brand with a technical soul: bold wide angles for attitude, and just enough studio inside the frame to remind you that customisation is part of the product.

I shot UNMADE like a fashion brand with a technical soul: bold wide angles for attitude, and just enough studio inside the frame to remind you that customisation is part of the product.

Jan 2023

IT

Wearable Creativity

View the full project on Behance

During a photography course at IED Milano, I worked on a brief that asked for something simple and demanding at the same time: pick a real brand and build a shoot that genuinely speaks its language. I chose UNMADE because their idea is not only “fashion”—it is fashion powered by a customisation platform, where product variations are designed to be scalable and manufacturable on demand.
So my question became: how do you photograph creativity you can wear, while still communicating the technical side without turning the shoot into a diagram?

During a photography course at IED Milano, I worked on a brief that asked for something simple and demanding at the same time: pick a real brand and build a shoot that genuinely speaks its language. I chose UNMADE because their idea is not only “fashion”—it is fashion powered by a customisation platform, where product variations are designed to be scalable and manufacturable on demand.
So my question became: how do you photograph creativity you can wear, while still communicating the technical side without turning the shoot into a diagram?

The concept: fashion first, technology present

UNMADE’s world is a mix of style and system. They talk about connecting design and production to deliver custom products faster, with platform-driven variation. I wanted the pictures to feel fashion-forward immediately, but I also wanted the viewer to sense there is a “machine” behind the creativity.

How I translated it into images

I built the visual language around two decisions:

  • Wide angles and strong posture for the fashion side.
    I used wide framing to exaggerate attitude and silhouette, keeping the images bold and graphic—so the shoot could stand as fashion imagery, not just brand explanation.

  • Studio space intentionally left inside the frame for the technical side.
    Instead of hiding the set, I treated it as part of the message. The studio becomes a quiet proof of process: the product is creative, but it is also designed, built, and engineered to exist.


Why the “studio inside the photo” matters

Customisation can easily become abstract language. Showing the studio is my way of making it tangible: it gives context and makes the brand promise feel real. It is a small detail, but it changes the reading of the images—less “random fashion shoot,” more “fashion with a system behind it.”

This project helped me practice something I value a lot: making a brand idea visible without over-explaining it. UNMADE is about wearable creativity, but also about the infrastructure that enables it. By mixing fashion energy with controlled, visible process, I tried to make both sides live in the same frame.


Art direction & photography: Eduardo Pellegrino
Model: Arianna Pagani
Studio: 864

Project link

https://www.behance.net/gallery/156862291/UNMADE-Wearable-Creativity

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