Tag Archives: rebrand

Zero waste supermarket Good Club as Dizzie

As Good Club has grown and its ambitions have changed, the team commissioned Nice and Serious to find a look and feel that was more upbeat and eye-catching, and the updated visuals are certainly hard to ignore. A bold primary colour palette of pink and red gives the brand a sense of fun and friendliness, while secondary colours, such as blue, purple and yellow, add extra vibrancy to packaging and imagery.

This palette is accompanied by an array of endearing illustrations by artist Anthony Orozco that include silhouettes of refillable food items on pot labels, and a cast of playful brand mascots composed of the pots themselves. Encouraging potential and existing customers to utilise Dizzie’s refill options – a core part of the company’s mission and a bigger focus this time around – was one of the main objectives for Nice and Serious.

Speaking of the challenge, the agency’s creative director, Peter Larkin, says, “We wanted to elevate the experience out of the eco-clichés, and onto the shelves of everyday customers across the UK…. From the simplified product illustrations through to the Dizzie ‘whoosh’ and brand mascot, we created an identity full of movement and character.”

Finally, to reinforce the idea that refills can be fun, rewarding, and hassle-free, the agency developed an upbeat tone of voice to reflect this: “For the tone of voice, we set out to conjure up those little joyful moments that are totally unique to the refill experience,” explains Larkin. “So whilst being familiar (and sometimes frank) was important, it also meant using words to surprise and satisfy. Our motto was to channel ‘written ASMR’.”

Kathrein Privatbank rebrand

Kathrein Privatbank is a private bank in Austria, aimed at helping its clients to better manage their finances and ultimately “better live their narrative”. To do so, it offers a highly personalised experience through its range of products and services.

&Walsh drew on the bank’s Austrian heritage for its visual identity, in particular the art movement Vienna Secession – which took place in the country at the turn of the 20th century. Its members rejected ‘traditional’ art styles, and promoted a move towards more unified disciplines of painting, architecture and sculpture. Founding figures included artist Gustav Klimt, architect Joseph Maria Olbrich, and designer Koloman Moser.

&Walsh’s identity reflects society’s collective reevaluation of money – with many individuals now seeking specific values and narratives, rather than just pure financial gain. Potential customers may be drawn to the fact that Kathrein Privatbank invests in “sustainable solutions, artificial intelligence, and the arts”, and as such, these three areas are reflected in marble sculptures designed by &Walsh.

Kathrein Privatbank rebrand by &Walsh
Kathrein Privatbank rebrand by &Walsh
Kathrein Privatbank rebrand by &Walsh
Kathrein Privatbank rebrand by &Walsh

“In the identity, we focused on bringing forward Kathrein’s Austrian roots in combination with their deep commitment to personalisation to separate them from their larger international competitors,” says Jessica Walsh, founder of the studio.

The Olympic brand gets a refresh

Every four years, the world watches on as the next host country of the Olympic Games is announced. The anticipation surrounding that announcement is closely followed by the reveal of the design identity for each Games – an occasion that gets designers talking as much as the general public.

The design heritage for the Olympic Games is so illustrious that it’s easy to forget that the Olympics has a brand of its own to look after. And since the last development of its identity, in 2011, the organisation’s needs have evolved, explains May Guerraoui, the IOC’s head of brand management. So began an extensive process to evolve the brand, which has been revealed through a gradual rollout, and is expected to be implemented in full by the Paris 2024 Games.

The Olympic colours – second only to the iconic interlocking rings in terms of recognisability – have been “subtly optimised” to have more impact and flexibility, she explains. These have been joined by an extended palette of complementary colours reflecting the gold, silver and bronze medals, to be used for cases like data visualisation and infographics.

Illustration by Abbey Lossing

“Art and creativity have played a big role in Olympic history, and not only in the iconic Olympic Games’ design. From 1912 to 1948, art competitions were held alongside sport – with Olympic medals awarded to architects, poets and artists,” Guerraoui says. “We wanted to bring this idea of championing the arts back into the brand identity.”

Olympic Sans was designed by Fabian Harb; Olympic Serif was designed by Seb McLauchlan
Image: Naoya Suzuki

“For example, we have put the athletes at the heart of the evolved identity system with the Field of Play (FOP) design, a graphic system that expresses the Olympic brand through colour and geometry inspired by the Games,” Guerraroui says, from courts to tracks to lanes. “It was a way to incorporate the Games into the brand in a timeless way, without featuring a specific athlete or moment in a way that a photo would for instance.”

DesignStudio’s Casavo rebrand

Casavo is a digital platform for buying and selling homes, offering a mix of properties from trusted agents, as well as houses acquired by Casavo directly. To date the focus has been on properties in Italy, Spain and Portugal, however a recent round of investment means the business is now expanding across Europe.

DesignStudio has rebranded the company to reflect its global – or ‘glocal’ as they describe it – scope, as well as its ambitions to evolve from a home-buying platform to a full digital solution for sellers and buyers. The new identity also had to speak to a broad range of consumers, spanning several generations of potential clients.

Casavo’s previously blue and pink, sans serif wordmark has been replaced with a more characterful, black and orange version – designed to flex across Casavo’s online and offline presence. The rebrand includes subtly different palettes of neutrals, blues and greens for brokers and buyers, however orange plays the starring role, appearing prominently on Casavo’s website and app.

DesignStudio has also introduced a suite of new monoline illustrations, depicting symbolic motifs of roofs and trees in Casavo’s outdoor ads. Photography feels more lifestyle than your traditional real estate agent, showing happy people sprawled on sofas and beds.

Topshop and Topman reveal a joint new look

Following the brand’s acquisition by Asos as part of a £330 million deal that also included Miss Selfridge and activewear brand Hiit, the teams behind both Topshop and Topman have been steadily evolving them into digital-first businesses.

Helping them to stand out among the ecommerce giant’s roughly 900 stocked brands, they now have their own designated ‘shop front’ – or landing page – to better appeal to fashion-conscious shoppers looking for inspiration.

“The brief was bold and direct: to elevate the brand expression with a design system that honoured the spirit of Topshop and Topman’s iconic heritage, whilst introducing distinct new elements that could make that iconoclasm relevant and successful in today’s digital era and beyond,” says Moving Brands chief strategy officer, Christina-Anne Kyosti.

The agency’s stripped back approach to the identity appears to be an attempt to bridge the gap between the worlds of high street and high fashion once more, with a new monogram that nods to the brands’ shared heritage.

A new wordmark, designed with Colophon Foundry, is equally as minimalist. “Building out from the brands’ heritage of a sans serif logotype, we created a modern custom wordmark that confidently put an unapologetic, monolithic stamp on their new creative direction,” Konczak adds.

Leeum Museum of Art

Since first opening its doors in 2004, the Seoul-based Leeum Museum of Art has been building up a wide-ranging collection of Korean, international modern and contemporary art.

The cultural institution, which is run by the Samsung Foundation of Culture, was founded with the ambition to become a 21st century ‘museum of convergence’ – a place where people could see and discuss traditional, contemporary and international art all in one place.

Following a period of closure during the pandemic, the museum commissioned design agency Wolff Olins to create a new visual identity that would better reflect its ambitions, and appear across a number of touchpoints, from signage and communications to social media and augmented reality experiences.

The updated branding is centred around the museum’s dynamic new logo; a rotating form that intends to reflect both the cyclical nature of time and the form of the Leeum’s Rotunda building.

Ryvita rebrand

Founded in 1925 by John Edwin Garratt, Ryvita was brought to life when the world was a far simpler place – and consumer choice was much more limited.

The rye-based crispbread is one of those brands that many of us grew up with, but was typically viewed as as a ‘diet’ option for weight conscious mums.

Since Ryvita’s heyday, society’s relationship with health and wellbeing has shifted significantly, with a huge amount of choice springing up in the health food category. As a result, Ryvita has struggled to stay relevant in the ‘healthy alternative’ landscape.

The team behind the brand approched London-based branding agency Springetts to challenge traditional perceptions of the crispbread and reignite its relevance among consumers.

Through a combination of bold typography, accessible photography and a more playful tone of voice, the new brand looks to bring a new energy to the brand while remaining recognisably Ryvita.


Light and springy new brand for Aevi

To cement its positioning as a payment partner, Anagram was tasked with updating Aevi’s branding – which had previously featured a bendy, only semi-legible wordmark. The studio focused on the ways the platform can set payments free, and built its new branding around that.

As such, the identity embraces what Anagram describes as a “light and springy” feel, focusing on loose rather than linear shapes. This is expressed via squiggly motifs and icons, as well as a new custom typeface, Aevi Basis – created by Colophon – that echoes the forms of global currency symbols.

Anagram has adopted a new colour palette as well, foregoing the “sea of blues that wash over the fintech space” for a mix of bright green, forest green, pink and coral.

Aevi’s new identity fits squarely into a burgeoning camp of finance brands embracing new approaches to design and branding, kickstarted by the likes of Monzo, Starling and Revolut in the 2010s and continued by a wave of new businesses such as Keebo and Everything.

Wolff Olins overhauls GSK’s identity

Wolff Olins has created the new brand identity for global healthcare company GSK (formerly GlaxoSmithKline), aiming to better express its focus on innovation. The agency was brought on board around 18 months ago having won a competitive global pitch to help GSK develop its new purpose, voice and identity.

According to David Stevens, executive strategy director at Wolff Olins, GSK was “determined to do something bold”. The agency was briefed to create a “visionary brand” that matches GSK’s ambitions and could help inspire its many stakeholders, including new talent that might otherwise be drawn to work at smaller biotech start-ups or big tech giants.

The new GSK logo acts as a sign that “always points the way ahead”, and is housed in a redesigned shape known as the “signal”. The new identity system was designed to flex, adapt and move to help engage audiences who encounter it across all touchpoints, from digital platforms to social to physical environments. “Today, GSK is a different company from the GlaxoSmithKline that launched in 2000, and the global context around it has shifted radically,” Stevens explains. 

CNET’s new identity

As tech has evolved over the last two decades to influence almost every aspect our lives, the media company decided to expand its coverage and advice to what matters most in modern life – including money, home, wellness, culture and climate.

To coincide with its refreshed editorial approach, CNET enlisted the help of New York and San Francicso-based studio Collins, which was tasked with crafting a new brand strategy, brand story and visual identity for the media company.

Collins’ brief was to turn CNET from a tech review site into an editorial-first brand known for its useful information and expertise, putting it alongside the raft of other news organisations that are placing renewed emphasis on trust, including the New York Times and the Guardian.