Terrorist group as production site of intellectual capital
Gold foil, black faux-leather hardback, “a visual statement that suggests this book sees itself as an important tome.” It’s the work of a former UN counter-terrorism analyst and a creative director with outfits like Gucci and Prada.
The question is: does cultural branding matter here? Is contradiction the chief leverage here as it is with say Snapple or Corrona? Is Doug Holt correct? I suspect this is too tall of an order for a design book (and the design-centric gaze), but those are the questions.