The first ever TGI Fridays opened on the corner of New York’s 63rd and 1st in 1965. It was swiftly popularised not as the casual-dining family restaurant that it is today, but as a singles bar for cocktail-swilling young adults in Manhattan; one of the first of its kind and apparently the inspiration for Tom Cruise’s bartender character in the film Cocktail.
More recently, and much like the rest of the food scene on the high street, the restaurant chain has struggled to stand out against the raft of independent burger joints and street food venues that dominate our cities.
Working with the company’s new leadership team, SomeOne has been rethinking the TGI Fridays brand over the past six months, stripping it back down to a tagline that captures the essence of its New York origins: The Fridays Feeling.
“Our vision is to make Fridays famous again so we needed to breathe fresh life into the brand by relevantly leveraging the past,” says the chain’s CEO, Robert B Cook. “The Fridays Feeling is the inspiration for our new food and drink menus and a service plan designed to consistently deliver the best guest experiences and a generosity of spirit.”
SomeOne started by reducing the brand name down to just Fridays, based on the fact that the meaning of TGI had become lost and confused over time.
Another design feature from the restaurant’s roots is the use of bold vertical red and white stripes, which nod to the original awnings of the 1965 bar, and also take inspiration from historic circus company Ringling Bros. and Barnum & Bailey.
Designed by ArtCenter student Tallulah Villareal, the concept line uses muted colors and striking typography to reinvigorate the timeless brand for a new generation. Plus, the introduction of sustainable elements might just push the skincare brand into the future.
Mario Badescu’s mission has always been to brighten up the world with their time-tested skin care products and treatments. With a commitment to providing customers with the best ingredients and best services, the look of the product became secondary.
Barcelona-based agency Vasava takes a trip down memory lane by reimagining classic children’s book covers in a bid to encourage a new generation of readers.
Some of the titles Vasava has renewed, such as Treasure Island and Around the World in 80 Days, are books less popular with kids today, so the agency adopted an eye-catching concept. “We incorporated illustrations into the lettering, creating vignettes, which would act as a visual synopsis for each novel,” says the studio. “The comic book style was paired with bright colour palettes to create a happy and inviting collection of books that any kid would proudly display on their bookshelf.”
Each title has its own lettering which hints towards the story within, such as Peter Pan’s flowing type that makes the reader think of pirate flags and Wendy’s old-fashioned nighty. To really bring the covers to life though, Vasava took a detailed approach when deciding what the illustrations should contain and they started by highlighting the key characters, locations and objects from each of the novels.
The collection of covers pop with vibrant, clashing colours and are crammed with intricate illustrations. What ties the whole series together is the vintage treatment of each title, reinforcing the idea of the books as literary classics.
The luxury department store has unveiled new branding by Pentagram’s Harry Pearce that borrows cues from the historic sign that first hung over the door.
The new logo puts the name of the store front and centre, dropping the reference to its London home and instead moving it to additional brand assets alongside a redesigned crest. The iconic deep purple hue remains intact across the packaging design, while the gold seen across the lettering has been “refined”.
The new branding draws upon Liberty’s lengthy history, in particular the original sign used at its Great Malborough Street location, though the historic link may appear subtle to casual onlookers thanks to the identity’s decidedly sleeker look.
The connection to the past is established in smaller details like the full-stop, which has been reinstated on the wordmark as per the original sign. Meanwhile, the angular serifs have been dropped from the logotype in favour of a new sans-serif typeface similarly rooted in the original design.
“The process of rebranding Liberty has been one of craft, archaeology and refinement,” says Pearce. “The logotype itself hails from the lettering in the original sign above the Great Marlborough Street front door, carefully redrawn to make it the most authentic logotype in Liberty’s history.”
Founded in 1840, Yale began life as a New York-based manufacturer specialising in handmade bank locks. Today, it is one of the longest-running international businesses in the world, with million of Yale locks in use worldwide.
Yale’s refreshed visual identity includes a bespoke typeface by Jeremy Tankard and new UX, motion and sonic branding, all of which are centred around its distinctive sun-shaped logo. “We looked for something universal that would be understood around the globe. Yale already had a round yellow logo so that turned out to be a gift we could work from,” says GW+Co principal Gilmar Wendt.
“We landed on the sun as the core design idea because Yale is a warm and positive brand. You can rely on it always being there (even if you don’t see it) giving you peace of mind, and it is a big idea that is universally understood.”
The rebrand is currently rolling out internally, and will be seen externally later on in the year. For Wendt and the rest of the GW+Co team, the project has exemplified the challenges of rebranding a historic company like Yale for the digital era. “There is a need to create a future vision that builds on the past, rather than brushing it aside,” he says.
DesignStudio has created vibrant new branding for the football app, including an updated logo, a visual generator and a content strategy built around the idea of a ‘vibesmith’
“[OneFootball] needed a brand that adapted to Generation Z,” explains Vinay Mistry, design director at DesignStudio. “Generation Z is a generation of contrasts: they’re constantly adapting, they’re constantly changing, and football’s actually very similar. The rhythm of the game changes constantly as well. It made us think, actually there’s some lovely synergy there – can we define a personality for OneFootball that represents that?”
At the core of the project was the creation of a new logo. While researching the existing logo, the design team noticed its resemblance to the pictogramsdeveloped for the 1972 Olympic Games held in Munich, and also felt it was too similar to WhatsApp’s logo.
However, the team didn’t scrap the old logo altogether. Instead, they broke it down to its key parts – legs and football – and repurposed these elements into a new graphic forming a number one and a football in reference to the brand name. The new design is immediately more contemporary, partly because it does away with the gendered implications of the old logo.
The identity covers all of Heinz’s products around the world, bringing them under the same visual umbrella. The redesign arrived on shelves earlier this year, and prominently features the brand’s ‘keystone’ symbol – so shaped for the Keystone State, Pennsylvania, where the company was founded.
JKR’s work makes good use of the mark, tapping into its familiarity, and using it as a playful framing device, with spaghetti hoops, saucy beans and plump tomatoes all interacting with it.
It’s accompanied by a pair of brand typefaces, Heinz Label – which has letterforms that mimic the Heinz logo – and Intro, which offers a range of styles including inline caps and script. A new colour palette includes the requisite Heinz Red, alongside green, yellow, blue and white.JKR Managing Director Jonny Spindler says the masterbrand celebrates Heinz’s “simple greatness”, and creates “brand unification” across the various parts of its business.
While gymnastics is Tulloch’s main focus, he is also keen to build a platform beyond competitive sport – whether through mentoring young athletes and working with youth groups or launching his own range of clothing and merchandise. For someone who grew up looking up to athletes like Cristiano Ronaldo, Roger Federer and Michael Jordan, success isn’t just about winning medals or standing on the podium – it’s also about using your platform to inspire and motivate others and having a wider cultural impact.
“It’s always been my dream and my goal to have a brand,” he tells CR. “I look at people like Ronaldo and Jordan and their brand and what they have … and they’re more than an athlete or a sportsperson,” he tells CR. “I love inspiring people, I’m into fashion, I’ve got a lot more that I want to do outside of gymnastics as well, so that’s something I’ve always wanted.”
Thanks to a collaboration with branding agency JKR, Tulloch now has his own visual identity, and a soon-to-be-released clothing range featuring upbeat phrases inspired by his attitude to sport. The identity launched earlier this year, and Tulloch hopes it will help him build his profile and reach a wider audience outside of gymnastics.
Having staff poached is typically a brand’s worst nightmare, yet toiletries brand Beco welcomed it with open arms in its provocative #StealOurStaff campaign.
The campaign was created by TBWA\London, which had already been working with Beco on getting its products stocked in leading retailers such as Boots, Waitrose and Sainsbury’s. The brand includes organic, paraben-free and plastic-free toiletries in its range, but it is the people that make Beco what it is. With 80% of its workforce disabled, disadvantaged or visually impaired, the social enterprise is gunning for change when it comes to the disability employment gap sustained by the biased hiring practices of many businesses. It’s a widespread issue that seems missing from wider discourse, which is what #StealOurStaff set out to change.
At the heart of the project’s concept was its packaging design, which features CVs of Beco employees. “It’s like an upside-down recruitment campaign,” TBWA\London chief creative officer Andy Jex says. The packaging takeover was joined by tweets sent to business leaders, a website-turned-recruitment portal that also contained advice for employers interested in hiring people with disabilities, and an accompanying spot on Channel 4. Made in collaboration with production company Hoi Polloi, the film stars real Beco employees contradicting the less-than-adequate audio description (AD) voiceover.
The film concept emerged from encounters with Beco staff working at the factory – particularly one team member who ridiculed Netflix’s questionable AD. It soon evolved into a tongue-in-cheek testament to the fact that people with disabilities are not short on humour. The aim was to be more lighthearted and less worthy, with the approach highlighting just how misleading media representations of disabled people can be – “particularly in advertising”, Jex notes.