For the fifth episode of IN STUDIO, we went to the province of Brescia, to Offlaga. We entered the world of Noskra, and together with the Founder, Andrea Lonigro, we discovered more about the birth of his brand and his studio. Born in 2020, this is a project unlike others. The collections encompass a complete wardrobe: hoodies, shirts, pants, and oversized bombers that we can see worn by many Italian musicians. The connection with music is central and was frequently revisited during our meeting with Lonigro. Elisa, Joan Thiele, Studio Murena, Quentin 40, and Guido Cagiva are just a few of the italian artists who wear Noskra, and the impact on stage is always significant. The reason lies in the desire to unite art, design, music, and fashion.
We are in Offlaga, in the Brescia countryside. The studio where Noskra’s collections are produced is right here, and many professionals are involved. Tailors and craftsmen carefully follow the garment assembly process in this space, which also houses other workshops. It’s a place different from what we’re used to in our IN STUDIO series, making us reconsider the way we experience the workspace. Andrea Lonigro’s work is divided into multiple spaces, and by visiting this workshop, we find ourselves in the place where the magic of garment production happens.
I would like you to tell me a bit about your brand, how it was born, and the direction it has taken over time.
The brand officially came to life in 2020. In the period before that, I was shuttling between Bari and Moscow, an experience reflected in the brutalism of some prints that define the aesthetics and imagery of Noskra. The realization of this project coincided with my start in a workshop very similar to this one. The first two collections were nothing more than a presentation of what would later become the stylistic signature and aesthetic of Noskra. This led to various activations, such as participation in Pitti—a great surprise and, above all, a beautiful learning experience. From here, the first contacts with buyers emerged, culminating in our appearance at Revolver in Copenhagen, which brought us to where we are today.
What materials and textures do you prefer?
Each collection unfolds in two interconnected worlds. One originates from a print that spans multiple pieces. The concept is consistently brutalist compared to the monochromatic side of the collection. Simpler fabrics are usually reserved for more intricate prints, while the more technical fabrics lack this characteristic. Cotton or cotton drill, and wool, tend to be kept cleaner and more minimal compared to others. This is done to create a recognizable aesthetic linked to the identity of Noskra.
What item cannot be missing in your studio?
A speaker. Music is essential to fuel my creativity.
How do you relate to your studio? How do you experience it? Is it exclusively a workspace, or also a communal space to meet friends or other designers or artists?
I approach the studio as a nomad. It all starts from the intimacy of home and then moves my creativity to spaces more suitable for the work of a fashion designer.
How long have you been in this studio? Are you attached to it, or do you have a more nomadic conception of your workplace? Would you leave tomorrow?
It took some time to adapt my working style to the nomadic approach we were discussing earlier. Having a unique and defined space was restricting and limiting for me in a way. Now, being more nomadic, I feel more comfortable expressing my ideas. We still have a smaller workshop where we start from a more homemade reality, while here, production is on a larger scale.
How do you build a collection? Where do you start? Can you tell us about your creative process?
At Noskra, we rarely follow trends and micro-trends. I often find inspiration in what people are wearing and then adapt it to what I like to create and my personal tastes. We start with well-defined structures that I am still working on. We already have new silhouettes ready for the future. From the early stages of conceiving the collection, I begin researching with the suppliers I am accustomed to working with. Once the order is placed, we start the sampling and production process. We work with suppliers who provide fabric and certifications, explaining the fiber production process. This is an aspect that we, as a brand, don’t communicate efficiently ourselves. The idea of working with sustainable fabrics stems from the desire to do something proactive for environmental conservation. Certifying the origin of the fibers we use is crucial for Noskra.
What are you currently working on? What are your future projects?
The goal today is to improve and continue learning, growing in the fields of research and sustainability. We want to expand into knitwear, for example. It’s no secret that, in addition to this, we aim to become more international. We follow a distinctly North European taste. We definitely have in mind to present the new collection in a different way than the presentations done so far. Our intention, however, is to refresh the customer’s approach to purchasing and to get them more interested in everything behind the creation of a garment. We need to be bold to push forward these kinds of openness initiatives.
ph. courtesy Andrés Juan Suarez