From sketch to boutique.

I'm Lorenzo Manta. For over twenty years I've worked in the middle of Made in Italy: between the person who designs a collection and the person who brings it into production, between craftsmanship and digital tools, between a moodboard and the first fit session.

I started in a family textile business as a teenager, learning from the ground up: every stage of production, from cutting to shipping, and all the documentation that comes with it — product sheets, bills of materials, price lists, catalogs, packing lists, accounting records. I've moved through the whole Italian chain: 2D and 3D technical design, product development, third-party manufacturing, sample and collection management for high-end international brands — from the first grading to the salesman sample, all the way to the shelf.

I'm a designer and a technician at once: I design a collection, judge its fit and finish, and translate it into documentation a factory can actually produce. In 2022 I put into words what I'd been living for over twenty years, with a thesis on how the fourth industrial revolution is reshaping fashion. Along the way I found an idea from labor sociology — from W.F. Whyte and C.W. Mills — that fits me better than any other: the designer as "man in the middle," a point of balance between two worlds that rarely speak to each other directly. → Read more

Without this figure in the middle, the cost shows up later and larger: a construction that looked fine on paper but can't be produced at the quoted price, a tech pack a factory reads three different ways, a sampling round repeated because no one caught the issue early enough. That's not a skill a master's program teaches — it's built over decades, on the ground, and it's the one that will keep paying for itself as virtual sampling, AI and new supply chains reshape the industry over the next 40 years.

Numbers that translate into fewer sampling rounds, fewer production errors, and collections that hit the floor on schedule.

From checking a single tech pack to end-to-end management of your production.

A wrong tech pack or a missed feasibility check doesn't cost you a service fee — it costs you a reprint, a delayed shipment, a margin that quietly disappears. Every check I do is built to catch that before it reaches the factory floor. Unlike a pure CLO3D technician, every 2D→3D conversion I do also includes an industrialization check — if a construction isn't feasible, or too expensive to produce, I'll tell you first. I don't sell one piece of the chain — I've worked across all of it, for over twenty years, in Made in Italy manufacturing. That's the standard I trained on, and it's the same one I apply to any technical documentation requested of me, for any supply chain in the world.

Long-term services require an agreement on timeline and availability before starting — they aren't available on demand like the Weekly Service.

Open — 1 of 3 client spots available. I work with a limited number of clients at a time — that's why every project gets real attention, not an output divided across twenty brands.

This is for brands that have already felt the cost of a production mistake — a rejected batch, a missed delivery, a costing that didn't survive contact with the factory — and are ready to invest in the technical layer that prevents the next one. If you're an independent brand running your first serious production cycle, or a small team without an in-house fashion tech consultant, that's exactly the gap I fill.

Think of it less as a cost and more as an investment in efficiency: a tech pack consultant who catches a feasibility problem before production costs a fraction of what that same problem costs after the fact. That's the trade I offer — technical rigor, applied early, so your margin stays where it belongs.

Got a tech pack to check, a BOM to fix, or a feasibility question before you commit to production? The earlier I catch it, the more it saves you.