ABSTRACT
This chapter discusses the multiple and creative ways Peru's country brand logo is replicated focusing on national narratives creation and on the merchandise production. It proposes to read the logo's overflow in the context of the second wave of desborde popular. The chapter focuses on the counter-narratives, elaborated by design activism, and on the “morality of brandedness” that is implied in the production of brand commodities that sustains an informal economy. The response given by PromPeru to the brand's overflow through the Victorinox pocketknives collection, as well as the strategic alliance with this brand and with three visual artists Cesar Caycho, Fito Espinosa, and Qarla Quispe, has also allowed to problematize the fact that creative citationality is not exclusive to marginal or alternative sectors. In a governmental sense and in relation to the popular overflow notion, it is possible to observe creation of brand products with differentiated status that leads to the constitution of socially differentiated subjects.
