And yet, for this year’s Kentucky Derby held in early May, partner and official hard seltzer of the Derby, White Claw, teamed up with the designer brand Homme+Femme and VCCP for an exclusive Kentucky Derby Collection. The main attraction in this collection is undoubtedly the White Claw-inspired windbreaker, dubbed the Clawbreaker, designed in two vibrant colorways.

We found inspiration in the heritage and vibrance of the iconic jockey silks. As a brand rooted in spontaneity, we look for the freshest spin on whatever we do. Exploring what a White Claw silk would look like led us to The Clawbreaker.

Gianmaria Schonlieb, Group Creative Director at VCCP

“We wanted to do something that celebrated the tradition of the Derby but also had our own White Claw spin,” Group Creative Director at VCCP, Gianmaria Schonlieb, said about the Clawbreaker development process. “We found inspiration in the heritage and vibrance of the iconic jockey silks. As a brand rooted in spontaneity, we look for the freshest spin on whatever we do. Exploring what a White Claw silk would look like led us to The Clawbreaker.”

While the fashion associated with the 150-year-old horse race might be a bit stuffy, The Clawbreaker is anything but, though it still harkens to traditional Derby motifs. “We wanted to stay true to ourselves while celebrating The 150th Kentucky Derby,” explained Schonlieb. “We designed this jacket with our brand ethos in mind. It’s designed to be both fashionable and functional, with the structure of the jacket reminiscent of an elevated jockey silk. We used bold colors from our hard seltzer flavors for the reimagined patterns. We incorporated embroidery and patchwork that nods to the legacy of the Derby and White Claw.”

The two colorways took inspiration from the Mango, Black Cherry, Blackberry, and Natural Lime White Claw flavors, chosen with the authenticity of Homme+Femme and jockey silks top of mind. “White Claw” is emblazoned on the back of each in the brand typeface, with detailed patches sewn on the front for added flair. “The patches nod to celebrating the 150th Kentucky Derby,” said Schonlieb. “It’s a unique way to inject the brand into a garment.”

The Clawbreaker provides White Claw’s avid consumer base with a fun and distinctive way to show their White Claw love, all while looking pretty spiffy in the process. “We created a garment that sits at the intersection of fashion, a cultural moment like the Kentucky Derby, and our fans’ love for the brand,” added Schonlieb.

White Claw lovers 21 and older can purchase their very own Clawbreaker for $150 to honor 150 years of Kentucky Derby fashion while supplies last.

Many people who work for nonprofits view branding as a limiting force, a set of guidelines or a box that their communications team uses to keep everything consistent, but somehow restrictive. There’s also a perception that focusing on branding means prioritizing style over substance, detracting from the altruistic mission that forms the heart of any nonprofit and diverting time and money away from on-the-ground work toward what feels like a “nice to have” initiative.

But this perspective throws out the baby with the bathwater — it ignores the important benefits of branding. The reality is that effective branding is crucial for the success of any organization, including nonprofits. Whether you have a new vision of how philanthropy can be more equitable, or a novel approach for how community safety should be defined and measured, you’re always selling something to someone and wooing them to agree with your perspective so you can build the support you need to advance your mission. In order to demonstrate the value you provide — and for people to believe you — you need to be trusted. That is your brand’s job.

Taylor Swift said it best: “We think we know someone, but the truth is that we only know the version of them that they have chosen to show us. There will be no further explanation. There will be just reputation.”

For your team to understand and appreciate its power, it might be helpful to reframe the concept of branding as the management and cultivation of your organization’s reputation.

Branding as Reputation Management

At its core, a brand is not just a logo, tagline, or color scheme; those things are all important in generating a positive first impression and helping people remember your brand, but they are just the tip of the iceberg. Beyond that, your brand unlocks what people think and feel when they hear your organization’s name. It’s about the emotions and associations that come to mind, which are cultivated over time through consistent, positive experiences and interactions. This is why it’s more fitting to think of branding in terms of reputation.

Your nonprofit’s reputation (AKA, brand) encompasses everything it stands for: its values, its impact on the community, and the trust it builds with supporters, donors, and the public.

Why Reputation Matters

In the nonprofit sector, where resources are often limited and the competition for attention and funding is high, a strong reputation is a gamechanger. It can open doors to new partnerships, expand your donor base, and increase your organization’s influence. When people trust and believe in your cause, they’re more likely to support it with their time, resources, and advocacy.

Consider this: When faced with a decision to donate, volunteers and donors are more likely to choose an organization they’ve heard positive things about, one that has made a real difference in their community or the world. This is where the power of a well-managed brand comes into play. By effectively communicating your mission, values, and successes, you can forge stronger connections with your audience, making them more likely to support your cause.

Overcoming Branding Skepticism

It’s fair to say that the skepticism toward branding in the nonprofit sector is not unfounded. Many fear that too much focus on branding might lead an organization to prioritize image over impact or make it look too fancy. To overcome these fears, it’s crucial to present branding as a tool for better storytelling and engagement, not merely as a marketing strategy. The power of a good, authentic story is undeniable — and it’s something everyone can relate to. When nonprofits showcase real stories of change and impact that allow audiences to connect emotionally with their work, they are brand-building.

Impact doesn’t come at the expense of image. It’s not a zero-sum game.

Your image is a vehicle for sharing and bolstering your impact so your brand can strengthen your reputation and enable further work.

How to Frame Branding for Your Team

If your team has a negative association with branding, that’s not going to magically change overnight. To get your team on board with the idea of branding as a reputation management asset, you’re going to need to help them get there. This might require internal communication, workshops, and training sessions to help staff understand the role of branding in their day-to-day work, from fundraising to program delivery, and how it can enhance their efforts rather than restrict them. You can use these opportunities to show examples of how a strong brand has helped similar organizations achieve their goals, increase their reach, and make a more significant impact — always highlighting the power that comes from effective alignment between the brand and the organization’s core values and mission.

Building a Strong Brand

So, how can a nonprofit build a strong brand or improve its reputation? It starts with clear, consistent messaging that articulates the organization’s mission, vision, and values. This messaging should be evident in all communications, from the website and social media to fundraising appeals and reports. Transparency and authenticity play critical roles; people want to see the real stories behind the work you do, the challenges you face, the ideas and processes that guide your decision-making, and the impacts you make.

Crafting a confident and compelling visual identity is crucial in echoing your brand’s core idea across all touchpoints. This goes beyond just a memorable logo to encompass a cohesive visual language and design system that speaks to your audience — colors, typography, imagery, and design elements that resonate with your mission and values. When these visual elements are deeply rooted in your brand’s essence, they evoke the right emotions and connections in your audience’s hearts and minds and become a shorthand for everything your organization stands for.

Engagement with your people is another important aspect of building a strong brand that lasts — you always want to be learning about how your brand can better support your organization’s strategic goals throughout the lifecycle of your brand. Interact with your supporters, donors, and the broader community on an ongoing basis through various channels. Listen to their feedback and involve them in your journey. Celebrate successes together and be honest about setbacks, showing what you’re learning and how you’re growing.

Your Brand is What You Make of It

Your people might never feel fully at ease with the word ‘branding’ — that’s fine. Reputation is a much harder word to argue with because everyone can appreciate its value as a currency, so go with that.

It’s not about adopting corporate strategies wholesale or focusing on surface-level aesthetics. Instead, it’s about deeply integrating your organization’s values and mission into everything you do and communicate. By doing so, you not only enhance your reputation but also strengthen the relationships that are vital to your success.

In the nonprofit sector, where the ultimate goal is to make a positive change, a strong, well-managed reputation is one of your most valuable assets. At the end of the day, you don’t just want your organization to be known; you want it to be known for making a difference. That’s your brand’s job. Take control of it, or someone else will.

Looking for ways to get your team on board with the value of branding? Having them engage with some fundamental questions about your own brand with our free Nonprofit Brand Score tool might be a good place to start.

This essay is by Deroy Peraza, Partner at Hyperakt, a purpose-driven design and innovation studio that elevates human dignity and ignites curiosity. Originally posted in their newsletter, Insights by Hyperakt.

Illustration by Merit Myers.

Today’s guest is Sadrah Schadel, founder and CEO of No Evil Foods, a nationwide plant-based protein company that she and her life partner started in their kitchen in 2014 with just $5000. After a few major hurdles which we discuss during today’s episode, they got to a point where they were weeks away from running out of money and having to shut their doors.

Tune in to hear about the rise, fall, and recent rebrand of No Evil Foods!

Key Points From This Episode:

• Factors that inspired Sadrah and her life partner, Mike, to found No Evil Foods.
• An overview of the journey of No Evil Foods from Sadrah and Mike’s kitchen in upstate New York to a nationwide plant-based meat provider.
• Factors that are foundational to the company culture at No Evil Foods, and the award they won as a result!
• Major hurdles that No Evil Foods has been presented with over the past few years. 
• Sadrah shares the challenges they experienced during the process of scaling their manufacturing. 
• How No Evil Foods differs from many other plant-based protein brands.
• Lessons that Sadrah learned through dealing with her employees’ desire to form a union.
• The value of being transparent and showing vulnerability as a leader.
• The rebranding that No Evil Foods has recently undergone.
• Valuable advice for other entrepreneurs. 

Read the transcript and find links from the episode at Brands for a Better World.

The Brands for a Better World podcast (formerly Evolve CPG) is hosted by Gage Mitchell, founder (CEO) and Creative Director at Modern Species, a sustainable brand design agency helping better-for-the-world brand launch, evolve, and grow to scale their impact.

The company recently reached another important milestone by expanding its mental health services. Ginger, a licensed medical provider group with a nationwide network of psychiatrists, therapists, and behavioral health coaches, has rebranded to Headspace Care and will operate under the brand umbrella.

With broader offerings beyond meditation and breathing exercises, Headspace has also initiated a brand refresh. The rebranding effort was a collaboration between in-house teams and Italic Studio, with Colophon Foundry creating a new custom typeface called a “Headspace-ified version” of their Aperçu typeface. This font was chosen for its ability to transition from a playful to a clinical voice, aligning with Headspace’s expansion into diverse health markets.

The new typeface reflects the brand’s ethos, balancing playfulness with functionality and incorporating curves reminiscent of the Headspace smile. The brand’s illustrative and animated identity remains prominent, now featuring a more comprehensive range of facial expressions to convey various emotions.

The updated color palette retains the signature orange while introducing complementary colors to represent a range of human emotions. The design team addressed accessibility considerations to ensure optimal contrast and color combinations. These vibrant colors contrast with the conventional blues and greys in the mental healthcare space, making Headspace visually distinctive and uplifting.

In mental healthcare, strong brand engagement is the first step to generating better outcomes and reducing costs. Expanding the Headspace brand across our full portfolio of content, programs, and services is a powerful catalyst to reduce stigma and guide our members towards a lifelong journey of better mental health.

Christine Evans, president of Headspace

Headspace’s ongoing evolution and expansion aims to meet the escalating demand for mental health support. Among the notable brand enhancements are:

Streamlined Care Experience: Ginger app users can seamlessly transition to the Headspace Care app, offering a reimagined platform for coaching, therapy, and psychiatry support.

New Therapeutic Content: Headspace will introduce guided programs focusing on sleep improvement and stress management, grounded in evidence-based practices such as cognitive behavioral therapy and mindfulness. These programs join the existing library of mindfulness and meditation content.

Unified App Experience: As of January 2024, Headspace offers corporate clients and members access to a comprehensive suite of mental health resources within a single app. This integrated approach encompasses mindfulness resources, coaching, therapy, psychiatry, and work-life services, ensuring holistic support tailored to individual needs.

Leslie Witt, Headspace’s Chief Product and Design Officer, underscores the company’s commitment to simplifying access to mental healthcare. By providing continuity and personalization of care, Headspace aims to alleviate the burden often associated with navigating the fragmented mental health landscape.

“So much of our mental healthcare system is siloed and episodic, leaving those seeking help with the added challenge of figuring out the type of care they need, what providers are available, let alone where they can turn for everyday support,” said Witt. “Our goal is to alleviate that burden by creating a seamless, highly personalized spectrum of care – with care concierge services available 24/7 – so people can access in-the-moment mental health care that’s tailored to them no matter where they are on their journey, or how acute their needs.”

The changes are presented visually in a way that stays true to the brand’s identity — an excellent example of how personal services can become more professional while remaining true to their essence. The idea that a brand can make solving real problems feel comfortable and approachable shines through; Headspace hopes this approach “can help destigmatise seeking care by making talking about mental health feel approachable and normalised.” As Headspace reimagines mental healthcare, the expanded offerings and a refreshed brand signal a new era of accessibility and empowerment in the quest for lifelong mental well-being.

Imagery courtesy of Headspace: Headspace rebrand, design support by Italic Studio, custom typeface by Colophon Type Foundry, brand guidelines by Order developed on Standards (Copyright © Headspace, 2024)

That’s why when I came upon photos of the new RIXO location in the Marylebone neighborhood of London, I was instantly captivated and had to learn more about the unique design concept and those behind it.

RIXO is a contemporary clothing boutique specializing in bohemian sundresses and vibrant prints. Their new Marylebone location brings the whimsical energy of their clothing to life, with brightly colored architectural motifs organically illustrated all over its otherwise crisp white walls. The saturated color palette and hand-drawn line quality create a pop-art-like look, infusing the space with a playful take on classical design elements. Illustrator Sam Wood developed this aesthetic in partnership with the design studio Cúpla, helmed by Gemma McCloskey. I reached out to Wood and McCloskey to learn more about the process behind their design concept and what it was like bringing such a fresh take on retail space to fruition.

(This interview has been lightly edited for length and clarity.)

What was the development process like for this distinct store design concept?

Sam Wood: The initial process was driven by Gemma. She approached me after seeing some of my work with Claridge’s and other clients in the UK and asked me to devise something bold and colorful that told the story of RIXO in a distinctly new way.

GM: When I first stumbled across Sam’s Instagram page, his use of color felt really bright and fresh alongside his beautiful, fluid style. I knew instantly Sam would be perfect for the new Marylebone RIXO; his handwriting lent itself to enveloping the whole space while still allowing it to breathe.

SW: After I had taken a look at the other RIXO stores and got a feel for their story, it was a pleasure to bring something of Marylebone to the space and interpret that in my own line. I spend a lot of time in the area because a local gallery I work with is down the road, so I’m always roaming about looking at the mishmash of architecture from Gothic Revival (which was the basis of the alcoves) to Neoclassical (which was the basis for the floral details). I hope the eventual style reflects the multiplicity of the area and is a playful reference to how I see things existing alongside each other.

What was the rest of the collaboration process like?

GM: We had an initial meeting where I discussed the concept, design, and materials being used in the space. One of the threads from our concept for Marylebone was this nod to classical London architecture; therefore, creating illustrated paneling with a whiff of Jean Cocteau was the foundation of the design. Within this framework, it was important to give Sam the breathing space to be creative, and it was exciting seeing him embrace the concept and bring his own stamp to the design. 

Once we had reached the final internal designs, we decided we needed to use these on the external windows to fully embrace the concept. When Sam was actually onsite doing the mural, it was a very fluid process, and we would discuss colors and tweak a few things with the benefit of actually being in the space. We also added in some of the pendants which sit centrally in the space and look great.

Did you first map out the design digitally and then bring it to life on the store walls? What was it like free-handing the motifs? Nerve-wracking, exhilarating?  

SW: I am a stickler for being analogue early on; I work on full-scale drawings on paper, which gives me an idea of how the motifs will work at scale as well as the tones and quality of line. The client does not always see these, but they are an essential part of how I conceive of a design and have the confidence to execute it. After this, I can mark up the digital renders to hone the design so the client can get a full idea of the vision.

A great deal of forward planning and preparatory drawing goes into making sure that when I put the pen on the wall, it’s all where it should be. That’s an essential collaborative exercise, in this instance, with Gemma, who was fantastic to work with. Building sites are often chaotic places, which is a far cry from my day-to-day in the studio, so yes, it’s a heart-in-mouth moment every time with the first mark on the wall, but I do get a kick out of it!

Is this markers-on-walls technique a style you’ve done before? Or was it specially created and executed for this particular project?  

SW: I’ve used Posca markers for years in various contexts, they have such a nice uniformity of tone, which is ideal for bringing to life a design which needs to keep its clarity and “poppyness.” I used them for the first time in a mural context last year for Bryan O’Sullivan Studio, painting a celestial ceiling which is still on show in their gallery on Brook Street Mayfair.

Ordinarily I use a brush and acrylic when doing murals, so it was fun to what is possible with these works in the medium.

How did you feel at the end of the process after drawing your last line, stepping back, and seeing the completed store? 

SW: It’s always a moment of thinking, “Is it finished now?” There’s always the possibility of another line, filling out this corner, or changing that line. I habitually look for flaws in a work, and the “finished product” is always an opportunity to see how everything has worked together. It’s a strange feeling to hand the thing over— after a couple of days of the room being yours, it now belongs to the client and, of course, the public, who interprets it in their own way. That’s why I love working so spatially— the works sometimes divide people, but once I’m finished, that’s down to the viewers.

What sort of experience do you hope shoppers have when stepping into this RIXO store? What sensations do you hope they feel as they move about the space you all created? 

SW: So much of what I do is about storytelling and creating places where people can escape in some way. Here, the murals are front and center in the design and are a key part of the store’s identity. I hope anyone coming into the space gets a sense of the layers of detail that go into evoking the story that RIXO wants to tell, as well as how my own journey as an artist marries with that.

GM: We want the shoppers to feel invited like they’re stepping into someone’s living room at home. We didn’t want a sterile interior, which can sometimes be intimidating for a shopper. There is also a sense of escapism with the store, which we hope the customers find uplifting.

OpenAI had big dreams for the name GPT. It even published brand guidelines on the internet that refer to the acronym as a “trademark.” However, the company’s dream of owning the rights to GPT will fade on May 6, when its trademark application is slated for a “final action” denial from the US Patent and Trademark Office (USPTO). Although OpenAI has petitioned the USPTO for an extension of the deadline, the mark is all but dead. Anyone who needs to name something can learn from its demise.

OpenAI’s failure hinges on the fact that its acronym stands for the name “Generative Pre-trained Transformer.” According to the USPTO, the name “merely describes” the service’s capabilities. 

Adding insult to injury, the USPTO also states that the name “appears to be generic.” In other words, “Generative Pre-trained Transformer” is the equivalent of Hershey naming its newest treat “chocolate candy bar” or Nike calling its latest sneaker “high-performance running shoe.”

GPT is so generic that more than 200 related names have been submitted to the USPTO for trademark consideration, and most have not originated with OpenAI. Applications include “Cat GPT,” “BrainGPT,” and the crowd-pleaser “GPTJesus.”

All is not lost for OpenAI. The USPTO has already approved two of the company’s other trademark applications for “GPT-3” and “GPT-4.” But this is a second-rate solution. It’s as if Apple had been prohibited from trademarking the generic name “Smartphone,” so, instead, it named its products “Smartphone-3” and “Smartphone-4.”

If OpenAI had invested more thought into developing a proprietary name to match its revolutionary technology, it could’ve inaugurated the age of AI with a world-building asset on the level of the iPhone.

OpenAI botched its “iPhone” moment, but we can learn three naming lessons from their failure.

1. Avoid Acronyms


Everyone loves the allure of a short, rhythmic name like GPT, but acronyms always have baggage. Don’t force a name to lug a heavy load.

2. Get Uncomfortable

“Generative Pre-trained Transformer” probably felt like a plush old sofa to those inside OpenAI, but comfort can be a killer. Don’t fall for a familiar name.

3. Plan Ahead

OpenAI filed its trademark application in December 2022, but the service had already launched. Don’t expect too much from a behind-the-curve naming effort.

It’s hard to predict what’s next for GPT. If OpenAI had invested more thought into developing a proprietary name to match its revolutionary technology, it could’ve inaugurated the age of AI with a world-building asset on the level of the iPhone. Instead, it created a marketing 101 module: How NOT to brand a product.

There’s also a more significant lesson. Business history isn’t written with sales numbers, market share, advertisements, or logos—all of which change over time. The story is told through brand names that seldom, if ever, change. That’s why every naming project is an opportunity to write history. Don’t “GPT” your chance at immortality.

Header image by Josh Berta, Associate Partner and Executive Creative Director at VSA Partners.

To help us explore this topic, we are joined by Alicia Lahey, Co-Founder and CEO of Humble Snacks, Canada’s first organic potato chip packaged in 100% plastic-free, compostable bags. We discuss Alicia’s experience in big food, why she and her husband made the shift to a more sustainable lifestyle, and why she didn’t want to launch her own brand unless it came in better packaging, plus so much more.

To find out how you can continue to innovate in the natural and organic snack category and ensure that your packaging mirrors the philosophy of your brand, you won’t want to miss today’s episode!

Key Points From This Episode:

• Some of the challenges that come with adopting sustainable packaging solutions.
• Why Alicia and her husband were so committed to creating eco-friendly bags.
• Lessons learned from SunChips’ infamously noisy packaging.
• A look at Humble’s partnership with A Plastic Planet to develop their plastic-free bag.
• The importance of investing in plastic-free or plastic-neutral initiatives.
• Limitations of compostable packaging and how Humble seeks to solve them.
• How proving sustainable packaging successful will move the needle for larger brands.
• Alicia’s take on the future of better snacking (and where there’s room for innovation).
• Other product categories that Humble will expand into in the future.
• The inspiration behind their ‘humble’ brand name.
• Why communication is key when working with your spouse in your family business!
• Hurdles Alicia and her husband had to overcome to get their product on shelves.
• Valuable fundraising tips for other purpose-over-profit founders.
• Identifying (and filling) a gap in the market for organic, light, crispy, skin-on potato chips.
• Insight into Alicia’s research and development process for Humble Snacks.
• How Alicia found her way into the CPG industry, starting with driving a truck!

Read the transcript and find links from the episode at Brands for a Better World.

The Brands for a Better World podcast (formerly Evolve CPG) is hosted by Gage Mitchell, founder (CEO) and Creative Director at Modern Species, a sustainable brand design agency helping better-for-the-world brand launch, evolve, and grow to scale their impact.

Collaborating closely with the creative minds at Mrs&Mr La Colombe’s new visual identity pays tribute to the coffee roaster’s rich graphic tradition while infusing it with a contemporary twist. Highlights of the redesign include a revamped wordmark, meticulously hand-drawn to evoke a vintage charm and a renewed sense of pride and authenticity. The iconic dove emblem, symbolic of La Colombe’s pioneering spirit, has been reinvented to exude uplift and forward momentum, reflecting the brand’s commitment to innovation. Accentuating La Colombe’s core values, this rebrand resonates throughout every aspect of its identity – from the logo and packaging to the café ambiance and retail presence.

“We created a refreshed brand look to honor La Colombe’s powerful heritage and simplicity, seamlessly tying together the brand experience in products and cafes,” said Chobani Founder and Chief Executive Officer, Hamdi Ulukaya. “The result is a beautiful reflection of our premium offering, thanks to our deep, creative collaboration with Kate and Daniel of Mrs&Mr over many months to get it just right.”

To complement the brand’s evolution, Mrs&Mr introduced a bespoke typeface. Inspired by industrial fonts, Draft Latte Sans is infused with a human touch, mirroring the artisanal craftsmanship that defines La Colombe’s products. The refreshed color palette, featuring warm tones and creamy hues, invites consumers to indulge in a sensory experience.

The refreshed identity comes together in the Draft Latte packaging, where every detail conveys a sense of authenticity and quality. The can’s base color, now a luscious cream tone, echoes the freshness of farm-fresh milk, while the enlarged logo and subtle drop shadow ensure maximum shelf presence. The curvature of the Draft Latte logo mimics an overflow of froth, while the addition of ‘ESTD 1994’ proudly showcases La Colombe’s 30-year legacy in the coffee industry.

“All of this culminates in a design system that reflects the heritage, craft, and quality that La Colombe puts into every aspect of their coffee experience,” said Kate Wadia, Founder and Creative Director of Mrs&Mr.

The collaboration between the Mrs&Mr team, Chobani’s leadership, and La Colombe’s CMO, Kathryn O’Connor, has created a visual identity that honors the brand’s legacy and paves the way for a new era of coffee experiences.

As people interact with La Colombe, they can expect flavors and experiences crafted with passion and dedication. With the launch of the Draft Latte line and the unveiling of its refreshed look, La Colombe invites coffee enthusiasts to savor every sip and embrace the artistry behind each can.

As part of one of their most recent studies, Tebra surveyed 1,005 adults about their ability to recall, identify, and draw healthcare brands. In doing so, they also asked a subgroup of 111 respondents to draw six healthcare logos from memory.

What did they find? For starters, Walgreens proved to be the number one most well-known healthcare brand, across genders and generations, with Advil and CVS following close behind. Tylenol was found to be the most identifiable pain reliever among Baby Boomers and Gen X, while Advil was most identifiable among Millennials and Gen Z. Unsurprisingly, women identified menstrual care brands 2x better than men, and skincare brands 2.3x better, with 62% of men surveyed able to identify the Tampax logo.

But what do the findings from Tebra’s study actually mean in the bigger picture? What can designers and brand builders in the healthcare space glean from this survey and put into practice? We asked a member of the Tebra creative team, Rachel Kirsch, a few questions to elaborate on their results.

What are the main takeaways from the results of this survey? What do the results tell us about successful (and unsuccessful) healthcare branding? 

The results of our survey illuminate a pivotal aspect of successful healthcare branding: the power of distinctiveness and familiarity. 

Brands like Walgreens, Advil, and CVS, with their easily identifiable logos, stand as testaments to the effectiveness of branding that cuts across various demographics, proving memorable across genders and generations. On the flip side, the struggle of brands like Bayer and Rite Aid to make their new logos resonate with consumers highlights a crucial pitfall in healthcare branding—changes in branding, especially those that significantly alter the logo’s appearance or color scheme, can dilute brand recognition. 

Successful branding, therefore, hinges not just on visibility, but on creating a durable and distinctive identity that resonates with and remains memorable to the public.

Based on your results, what should designers and brand-builders in the healthcare space try to emulate and inversely, what should they avoid?

Our study offers a clear directive for designers and brand-builders in the healthcare space: prioritize uniqueness and consistency. 

The memorability of Allegra’s purple logo in a sea of blue and green allergy medications, and Pepto Bismol’s standout pink, underscore the value of choosing distinctive colors and designs that set a brand apart from its competitors. Conversely, the survey results suggest a cautionary tale against frequent or radical rebranding efforts, as seen with Bayer and Rite Aid, where respondents clung to the legacy branding. 

This affinity for the familiar emphasizes the importance of consistency in logo design and the risk of alienating consumers through significant branding overhauls.

What’s the most surprising aspect of the survey results?

Perhaps the most surprising revelation from our survey was the broad recognizability of the Tampax logo among men, with 62% able to identify it correctly. This insight challenges conventional marketing wisdom about gender-specific product branding and suggests a wider cultural penetration of brands traditionally marketed towards women. 

Additionally, the significant generational divide in digital healthcare services recognition, with Gen Z far more likely to identify online mental health providers like Calm and BetterHelp, points to a rapidly shifting landscape in healthcare consumption and the increasing importance of digital platforms in providing health services to younger demographics.

The Color and Shape of Trust

Kahneman’s distinction between System 1 (fast, instinctual, and emotional) and System 2 (slower, more deliberative, and logical) thinking processes offers a valuable lens through which to view the impact of design choices, specifically typography, color and shape in branding. Typography can elicit feelings of modernity or tradition and with color theory taps directly into System 1, eliciting immediate, visceral responses that can align with a brand’s identity and values before the consumer fully articulates why they feel a certain way. This immediate reaction to these elements can set the foundation for numerous emotions, such as trust or innovation, attributes that are crucial for long-term brand loyalty and valuation.

Similarly, the psychology of shapes can appeal to instinctual preferences, with certain forms evoking safety, stability, or dynamism, engaging consumers on an intuitive level. Kahneman’s insights into the cognitive biases that shape our perceptions underscore the strategic use of shapes in branding, guiding the emotional and psychological responses that contribute to a brand’s identity.

Narrative Storytelling and Behavioral Economics

Kahneman’s work on the narrative fallacy—the tendency to create a story post-hoc so that events make sense—highlights the power of narrative storytelling in branding. Brands that tell compelling stories do not just market a product; they engage consumers in a narrative that feels inevitable and true. This storytelling aligns with Kahneman’s observations on how humans are driven by coherence in the stories they tell themselves, making the narrative a potent tool for brands aiming to secure a place in the consumer’s worldview. Moreover, a strong, coherent brand story can enhance the perceived potential of a company, influencing not just consumer behavior but also shaping investor expectations about future growth and success.

The Behavioral Science of Brand Valuation

Kahneman’s work in behavioral psychology offers invaluable perspectives on brand valuation, particularly through the lens of prospect theory. This theory, a cornerstone of Kahneman’s research, provides a framework for understanding decision-making under uncertainty, illuminating the cognitive biases that influence both consumer and investor behaviors.

Prospect theory posits that people value gains and losses differently, placing more emotional weight on potential losses than on equivalent gains. This asymmetry can have profound implications for how brands are perceived and valued. For example, a brand that successfully mitigates perceived risks through consistent performance and clear, trustworthy communication can appeal to the aversion to loss that Kahneman describes. By emphasizing the stability and reliability of their offerings, brands can position themselves as ‘safer’ investments or purchases, potentially enhancing their appeal to conservative consumers and investors sensitive to loss’s psychological pain.

Moreover, Kahneman’s identification of the ‘endowment effect’—where individuals ascribe more value to things merely because they own them—offers another layer of insight into brand valuation. Brands that can foster a sense of ownership and personal connection with their consumers may benefit from this bias, as the perceived value of the brand increases simply because consumers feel a personal stake in its story and success.

Additionally, Kahneman’s exploration of ‘anchoring’—the tendency for people to rely too heavily on the first piece of information offered when making decisions—highlights the importance of first impressions in branding. A brand that effectively communicates its value proposition from the outset can set a positive ‘anchor’ in the minds of potential consumers and investors, influencing all subsequent perceptions and decisions related to the brand. This initial communication doesn’t just inform; it shapes the perceived value and risk associated with the brand, thereby affecting its overall valuation.

Kahneman’s work also sheds light on the ‘halo effect,’ where the perception of one positive attribute (e.g., high-quality products) leads to biased assumptions about other aspects of the brand (e.g., ethical business practices). Brands that excel in one area can leverage this bias to enhance their overall valuation, as consumers and investors extrapolate from known strengths to form a holistic, albeit biased, view of the brand’s value.

By integrating these biases and heuristics identified by Kahneman into their strategies, brands can more effectively communicate their value proposition, aligning with psychological patterns in decision-making that influence both consumer choice and investor judgment. This strategic alignment not only elevates the brand in the marketplace but also enhances its valuation, as investors perceive the brand as better positioned to navigate risks and capitalize on opportunities, thanks to its deep understanding of the psychological underpinnings of consumer and investor behavior.

This post was originally published on Lynda’s LinkedIn newsletter, Marketing without Jargon. Lynda leads a team at Decker Design that focuses on helping law firms build differentiated brands.

Header photo licensed through Unsplash+ in collaboration with Katelyn Perry.

In a bold move to capture the essence of the New York City home-buying experience, StreetEasy has partnered with Mother New York to decorate the city streets with Renaissance-style paintings. These visually striking artworks vividly portray the odyssey-like challenge of purchasing a home in the Big Apple.

These ads have become impossible to ignore, as seen on bustling subway cars, iconic yellow taxi toppers, and even a complete takeover of the Broadway-Lafayette station. The campaign has now reached new heights with two hand-painted murals by Colossal Media gracing Wythe & N. 14th St. in Williamsburg and Spring & Lafayette St. in Nolita.

Navigating the real estate market in New York City has always been an adventure, but today, it can feel as elusive as acquiring a masterpiece. Despite the city’s reputation as a haven for renters, StreetEasy’s data reveals a surprising statistic: 1 in 5 New Yorkers are actively browsing homes for sale alongside those searching for rental properties.

As the campaign coincides with the spring home shopping peak, the Renaissance-inspired art style perfectly captures the complex and often dramatic emotions accompanying the search for a place to call home in the city that never sleeps.

“Let The Journey Begin” dramatizes key milestones of the home buyer’s journey in the style of Renaissance art: from deciding whether to renew a lease, searching the five boroughs with an agent at the helm, right up to the moment of getting the keys and becoming your own landlord.

Advertising to New Yorkers is an interesting creative challenge. On one hand, you have a population capable of tuning out almost anything. On the other hand, you have a savvy audience who can appreciate a clever ad that speaks to their experiences, which StreetEasy certainly has a track record of doing. ‘Let The Journey Begin’ touches on a uniquely New York problem and does it in a style that will stand out in the city’s sea of distractions.”

Nedal Ahmed, Executive Creative Director at Mother New York

These murals serve as more than just a visual spectacle; they encapsulate the aspirations, struggles, and triumphs of individuals embarking on the quest for homeownership in one of the world’s most dynamic metropolises. Through their artistry, StreetEasy and Mother New York have not only adorned the streets but have also painted a poignant portrait of the enduring allure and challenges of New York City’s real estate landscape.

Images courtesy of Colossal Media, banner image courtesy of StreetEasy.

The new identity also features Wilberforce Sans, a custom typeface designed in collaboration with Studio DRAMA.

Studio DRAMA’s Chris Nott (creative director) and Will Richardson (co-founder and creative director) drew inspiration from the RSPCA’s history of activism, specifically protest signage in the organization’s archives. The typeface got its name from this history: one of RSPCA’s founding members was the great abolitionist William Wilberforce. Nott and Richardson also wanted to invoke a different kind of provenance— the country’s Grotesque typographic tradition. For Wilberforce Sans, the team added a few unique deviations. Subtle stroke-weight contrasts deliver a hand-drawn quality, while ligatures embody togetherness and community.

Not wanting to shy away from the brand’s 200-year-old heritage, the bespoke font [designed in collaboration with Studio DRAMA] takes cues from protest placards found in the brand’s archive, designed to really get everyone to join the movement, and features echoes of the new illustration style.

Ellen Moriarity, Design Director, JKR

One of the more interesting aspects of Wilberforce Sans is that it works in concert with the new identity’s illustrated animal iconography. The Studio DRAMA team designed the typeface with soft ink traps that connect it to the accompanying animal icons, both visually and in its personality.

Borrowing from the RSPCA’s old logo, the “Octopunct” shape surrounding the word mark has been turned into punctuation and containers for the animal illustrations.

I was curious to get Studio DRAMA’s perspective on this project and more. My short Q&A with Chris Nott is below.

The RSPCA’s old brand has evolved from staid and somewhat cold into a bold and friendly identity. How does Wilberforce Sans help the larger brand communicate the urgency of the issue while also inviting people in?

Type plays a crucial role in shaping a brand’s voice, enabling it to communicate effectively with diverse audiences. For the RSPCA, the challenge for us was to craft a typeface that could convey both lighthearted and serious messaging, capturing the essence of their new positioning: ‘Rallying Humanity for Animals’.

The brief led us to the concept of a ‘Trusted Authoritarian’ voice. To delve deeper into this, we explored the typographic nuances of hand-drawn and woodblock printed protest placards and posters. Given the RSPCA’s rich history of activism and advocacy for animal welfare, this direction felt both natural and apt.

Our research into the RSPCA’s brand archives revealed typefaces that had also been used in protest contexts. This connection enriched the brand narrative, creating a stronger link between the RSPCA’s historical activism and its current branding.

A key aspect of our design approach was establishing two distinct typographic voices.

The primary voice for the core brand identity is predominantly uppercase, reflecting the brand’s bold, impactful, and urgent side. We ensured that the uppercase letterforms exuded authority through their bold and condensed structure, reinforcing the brand’s authoritative presence. Trustworthiness is conveyed by incorporating features inspired by the British grotesque style, such as enclosed apertures and terminals. These characteristics not only add a touch of playfulness to a rigid structure but also resonate with the brand’s serious yet approachable tone. Additionally, the softer details, like the ink traps, were inspired by the new illustration style, further infusing a more approachable and cohesive feel.

The secondary voice was designed to capture the lighter, more human and approachable side of the RSPCA. We developed a lowercase set featuring playful, almost ‘animal-like’ characters, such as the lowercase ‘g’.

This dualistic approach allows the RSPCA to communicate the gravity of animal welfare issues while also inviting the public to engage and connect with their mission.

A key aspect of our design approach was establishing two distinct typographic voices. This dualistic approach allows the RSPCA to communicate the gravity of animal welfare issues while also inviting the public to engage and connect with their mission.

Chris Nott, Creative Director, Studio DRAMA

In the last few years, we’ve seen many centuries-old institutions undertake major rebranding efforts, many of which lean heavily on iconography and type. Is this simply a trend? Or is there something more fundamental happening around the role of institutions and brands (or type) in society?

Both Will and I have over a decade of experience working in branding agencies. During this time, we’ve witnessed a significant shift in the role of custom type in branding, which led us to decide that it should be a core offering in our own business.

We’d go as far to say that type was often considered an afterthought in branding projects. However, it has now moved to the forefront, reflecting the evolving importance of typography in brand identity.

In today’s information-saturated landscape, brands are striving to be more distinctive and memorable. With the desire to own more than just a logo, the focus has expanded to include the very words they use. By crafting distinctive and recognisable typography, whether that’s through custom type or an ownable typographic approach, brands can establish a strong identity that resonates even when the logo is absent. 

In this context, if a brand can own the very words in which they communicate, making them distinctive enough to be recognisable without the logo, does it not become a compelling strategy to pursue?

Can you talk about your ethos as a partner foundry? How does this differentiate what Studio Drama does?

Both sides of the studio go hand-in-hand, complementing and enriching each other.

With a background in branding, we bring a strategic mindset to every custom typeface project we undertake. We not only design typefaces but also understand how they should be utilised. More often than not, we assist in creating guidelines on the optimal use of the typeface, whether it’s a single style display font or a comprehensive super family.

On the studio side, we aim to incorporate some element of custom type, whether that’s a bespoke logotype or mark, or a full custom typeface family.

On the foundry side, we bring our brand-first approach to type design, ensuring that our custom typefaces are not only visually compelling but also strategically aligned and effectively utilised.

What’s your dream partner project? Or, what are your favorite projects you’ve done on the foundry side (besides working with JKR on RSPCA, of course!)?

When it comes to dream projects, that’s a tough question! We’re currently in the midst of bringing one to life as we speak…

We thrive on collaboration, especially with other agencies and creative teams. This enables us to leverage our expertise in type design, invigorating and enhancing the broader brand exercise. If any teams are on the lookout for a type partner, just drop us a line!

As for favourite projects, Vogue Brasil definitely stands out. It was a dream from start to finish, not only because of the compelling brief but also due to the exceptional client relationship. This small but impactful project has opened numerous opportunities for us. It’s amazing the doors that type can open!

Patrick Duffy is the top dog of the cool cat creative team at DICE. The London-based creative leader and brand builder has been keeping brands weird and provocative for over 25 years, working for companies across tech, advertising, and publishing. Duffy formerly served as the art director of the style magazine Sleazenation, helped establish Airbnb in Europe, and jumpstarted DICE’s growth from a ticketing start-up in Hackney to the global live entertainment juggernaut it is today. Not only that, but Duffy’s unique creative vision and point of view have brought him into the realm of performance, taking the stage as a mime artist at the famed London venue Koko, playing his music on Radio One, and even launching a fanzine. 

In every other job, I’ve had to fight (and usually lose) to get weird interesting stuff made.

Duffy recently spoke at the OFFF festival in Barcelona, among 70 other creative luminaries. As one of DICE’s many appreciators, I reached out to learn more about Duffy’s thought process behind its branding.

Where does your humorous and quirky point of view as an art director come from? Have you always had this worldview?

I grew up in the North East of England in an environment where having a sense of humor was essentially a survival mechanism, especially if you were bad at fighting and flirting. I loved reading the third-rate cheap comics you might find on the shelf next to The Beano and Dandy—Whizzer & Chips, Buster—and ingesting Looney Tunes cartoons. I drank a lot of Tizer. I think these three aspects are largely responsible for my worldview as an art director.

I’m quite suspicious of ‘success,’ though. Anything that might be seen as ‘success’ is, in reality, balancing on a mound of failure, and building that mound is the interesting part.

What’s your secret to success for DICE? What core tenets have you kept in mind to make DICE the powerhouse brand it is today?

I just try to make work that I like, that fans might like, that is fun to make, and feels real. I’m quite suspicious of “success,” though. Anything that might be seen as “success” is, in reality, balancing on a mound of failure, and building that mound is the interesting part. As soon as you’ve done the work and it’s “successful,” it’s kind of dead, and you just want to start failing all over again. That’s what I love at DICE— the commitment to a DIY approach to unlock true creativity and productivity in the business and across teams.

How did you develop the black diamond character at the center of DICE’s branding? Where did that idea come from, and why do you think it’s charmed so many?

I’m very pleased that our little black diamond person (a.k.a. The Fan) has proven to be so charming. Our community loves it so much that someone even got it tattooed on their arm. I think people like it because it’s a bit naïve— it’s not polished, so it doesn’t feel so much like a piece of branding.

The design team and I were working on a bunch of ideas, but we knew we wanted something that could come to life, some kind of mascot. We played with different shapes and expressions. I was on a train journey with my family and drew a little diamond shape with eyes and legs in my sketchbook and showed it to my six-year-old. He said he liked it so I considered it approved.

It’s not everyone’s cup of tea, though— a guy wrote a whole blog article about how much he wanted to murder The Fan, so we’ll want to keep an eye on him.

I was on a train journey with my family and drew a little diamond shape with eyes and legs in my sketchbook and showed it to my six-year-old. He said he liked it so I considered it approved.

What’s your favorite part about what you do?

Making weirdness. Not many teams get the opportunity to make what we make, and even fewer would get it approved so easily. In every other job, I’ve had to fight (and usually lose) to get weird, interesting stuff made. At DICE, it’s just the kind of stuff we all like, so there’s no fighting, which is good because I’m getting old.

What’s one piece of advice you‘d give to a burgeoning creative director or brand builder about creating compelling branding and branded content?

Don’t be entitled. You want people to want to work with you and your ideas.

Founded in 1881 and revered as one of the world’s preeminent orchestras, the BSO has long graced the stages of Symphony Hall and Tanglewood, captivating audiences with masterful compositions by legendary conductors. The Boston Pops has become synonymous with musical excellence, with an illustrious history boasting luminaries like Arthur Fiedler and John Williams, enchanting listeners with iconic performances and annual spectacles. Tanglewood has long been hallowed ground for music aficionados, hosting an array of celebrated artists against an idyllic backdrop in Lenox, Massachusetts.

However, as the BSO sought to bridge the gap between its storied past and a vibrant future, it recognized the need for a contemporary reimagining of its brand identity. Colossus rose to the occasion, infusing the institution’s legacy with modernity while preserving its rich heritage.

The new brand, characterized by warmth and approachability, departs from previous iterations, unifying the BSO’s diverse offerings under a cohesive visual identity. The brand features a color-coded system and two complementary typefaces, blending old-world sophistication with contemporary flair. This rebrand is significant because it focuses on fostering broader audience engagement and accessibility, reflecting the BSO’s commitment to innovation while preserving its legacy and ensuring that classical music remains accessible to all.

Eager to learn more about the strategy and process behind this colossal undertaking, Travis Robertson, Co-Founder and Executive Creative Director of Colossus, and Jesse Needleman, Vice President, Marketing, Sales, & Communications of BSO, happily obliged with an exclusive.

(Conversation edited for length and clarity).

Given the Boston Symphony Orchestra’s history and cultural significance, what were the key challenges and considerations in modernizing its brand identity?

Travis Robertson: This project was equal parts exhilarating and terrifying. Walking in the shadows of giants, our team felt a tremendous sense of pride and the weight of responsibility to get it right. For an institution so steeped in tradition and heritage, changing the course required tremendous strategic alignment, research, and due diligence. We involved key stakeholders, customers, and musicians before putting pen to paper. We ensured that the classical purists and institutional guardians felt heard and represented while also moving forward with something that resonated with the next generation.

We kept harkening back to a quote from Henry Lee Higginson, the American businessman and Civil War veteran who founded the BSO in 1881. He wrote that the institution aimed “to make fair prices for the tickets and then open wide the doors.” With that in mind, we did our best to create an inviting, unpretentious brand identity that also underscored the magnitude and credibility of the music.

On the use of architectural elements as design influences for the new brand identity: Could you elaborate on the significance of this approach and how it reflects the essence of the Boston Symphony Orchestra?

Travis Robertson:

Four disparate pieces of the puzzle had to be solved and, ultimately, unified through the development of the new identity system. Tanglewood: an outdoor music venue nestled in the hills of The Berkshires. Symphony Hall: the iconic building known as an acoustic jewel and home to the BSO. The Boston Pops: the celebratory, popular expression of the symphony known as “America’s Orchestra.” And, of course, the flagship Boston Symphony Orchestra. While musicians come and go, the stage itself has served as the bedrock of consistency throughout the history of the BSO.  You can feel it in the walls of Symphony Hall and the grass of Tanglewood’s infamous Music Shed.

To define the look and feel of the new brand identity, we looked to architecture and the unique sense of space created by each setting to help guide us. After touring each structure, we gravitated toward certain characteristics, shapes, and geometric patterns. We further solidified this idea after viewing the original Symphony Hall blueprints from the architectural firm McKim, Mead & White (1900). We saw that the windows, soffits, and side entry were all built in the same arch shape. We assigned this shape to the BSO and then worked to uncover further geometric signifiers for Pops, Tanglewood, and Symphony Hall. In the end, we arrived at a consistent system rooted in a place of history and authenticity.

To broaden the appeal of classical music to a younger and more diverse audience, how did Colossus approach the task of making the orchestra’s brand more accessible while still maintaining its sense of sophistication and tradition?

Travis Robertson: Great question. Our design team on this project was both young and diverse, ensuring that we weren’t telegraphing uninformed perspectives or misrepresenting things. We also took the time to speak with each audience segmentation- from Classical Purists to Experiential Engagers to Mainstreamers- making sure our approach resonated along the way.

Ultimately, it won’t be the color palette, clever iconography, or playful shape choices that make the orchestra more accessible. We can only pique the interest and pave the path for new audiences. Our work is the outward signal of this institutional evolution. However, the BSO’s programming, innovations, collaborations, and meaningful community partnerships will create a truly impactful and well-rounded step forward. And they’ve made some incredible strides to do just that. It’s been heartening to see the next chapter of this storied institution begin to take shape.

Could you delve deeper into how the selection of specific colors for each sub-brand reflects the unique identity and essence of the disparate entities?

We derived the color palette from the historical lineage of the brand, alongside modern influences and the need to differentiate the four factions of the BSO. Blue for the Boston Symphony Orchestra, a foundational colorway for decades. Red for the Boston Pops, with nods to Americana and holiday festivities. Green for Tanglewood is an homage to the lush foliage and natural setting in Lenox, MA. And gold for Symphony Hall, based on the iconic building’s gilded brass and brick textures.

Given the aim of making classical music more approachable and inclusive through the new brand identity, what specific strategies or initiatives does the Boston Symphony Orchestra plan to implement to ensure that this message resonates with diverse audiences? How do you envision these efforts contributing to breaking down barriers and expanding the orchestra’s reach?

Jesse Needleman: What’s critical in getting the brand identity to resonate is backing it up with programming that resonates, too; the product we offer and its packaging absolutely need to match.

We always look at our programming through a lens of engagement. So to that end, we’ve been working hard to bring exciting young talent to our stages (like South Korean pianist Yunchan Lim, who studies at NEC, won the Van Cliburn piano competition, and recently sold out four concerts at Symphony Hall), to commission and premiere new works (from the likes of Tania Leon and our newly announced Composer Chair Carlos Simon), to offer more culturally relevant programming (like a Pride Night concert featuring Thorgy Thor, and Dia de Muertos concerts, both with the Boston Pops), and to bring added context to the music we perform by including companion humanities programming in thematic festivals that anchor our seasons (like “Shostakovich Decoded” and “Beethoven & Romanticism” that will be part of the recently announced 2024-2025 BSO season).

The brand identities signal that it’s a new day at the BSO, both in the sense that we are continuing our deep and rich history of innovation in orchestral music and that we are taking a hard look at how we want to innovate the future so that we can contribute as much as we can to the amazing communities that we are part of in Boston and in the Berkshires; we are excited there will be much more to come on exactly what that means.

With the evolving landscape of music consumption and entertainment preferences, how does the BSO envision itself in the digital realm, and how will the new brand identity support its efforts to connect with audiences through online channels and multimedia experiences?

Jesse Needleman: The pandemic taught us a lot about creating digital experiences (particularly concerts via streaming video) and led us to approach this project with a strong “digital first” mentality. While interest in streaming concerts has waned since the public began returning to concert halls for in-person performances, we also know that we live in an increasingly digital world, and media that were once thought of as “traditional” (like outdoor) are themselves becoming digital, and require a different approach to brand identity. So, as part of developing the new identities, we not only created static versions of our logos but also developed animated versions, and we are also developing an audio component for them. Sight, sound, and motion are critical to capturing attention in the digital world that we live in, and so our brand identities need to take advantage of that.

In a world where cultural institutions must evolve to meet the demands of a rapidly changing landscape, the Boston Symphony Orchestra is a shining example of tradition reimagined. With its bold new identity, the BSO will captivate hearts and minds for generations to come, inviting audiences to experience the transformative power of music in all its splendor.

A design-first organization, Dropbox gathers its creatives for an annual design summit. This year, the company chose the theme “Blank Space” with a clear mission—to craft an experience that helps creatives conquer their fear of the blank page, embrace new things, and reconnect with their creative mojo.

Charmie Shah, the summit’s creative director and designer, conceptualized an event alongside the VP of Design at Dropbox Alastair Simpson and Sally Croom, Design Operations, to inspire and invigorate participants, encouraging them to embrace the unknown and venture beyond their comfort zones. The event’s core ethos of “Boundless Exploration” permeated every facet of the summit, from its logo to the physical space.

As someone who struggles with a fear of the blank page, I spoke to Shah to learn more about Dropbox’s strategies for tackling entrenched creative inhibition. We also explored how the summit’s spirit of boundless exploration manifested in its design and atmosphere.

Our conversation, below, has been edited for length and clarity.

Creatives often struggle with the blank canvas. How did you approach creating an experience that acknowledges this fear and actively empowers them to embrace experimentation and rediscover their creative agency?

Many things went into this event because it wasn’t just a branding project; it was also a physical space where we ensured that each element, every installation, and everything the creatives would experience would empower them to create. We didn’t want a sense of creation on demand; we didn’t want to force them onto a canvas and ask them to paint or draw; we just wanted them to feel empowered that they could create.

When we started this project, one of Dropbox’s main problems was that the company noticed the creatives were afraid of creating freely. Dropbox has a lot of product designers, and many of them would get mechanical and into the execution mindset rather than appreciating craft or playing and innovating. Dropbox felt the creators needed a sense of creative exploration, and that’s where this idea came from.

I started researching to understand this feeling of creative exploration and how we could bring it to life through various touchpoints rather than just a brand identity and ending it there.

The first element was the invitation; we wanted to send it out immediately to excite everyone about the idea. The event’s location was Palm Springs, which is really beautiful, so when choosing materials, I wanted to make sure that they would reflect the environment and the environment would reflect in the material. Dropbox wanted creatives to feel a sense of boundlessness—an open, free, and ethereal feeling— without actually having to meditate, so it was essential to create unobtrusive installations.

In my conversations with the leadership team, a sense of boundlessness kept coming up, ultimately informing the choice of materials. It all started with that desire to create an open space.

How did the abstract concept of “boundless exploration” translate into tangible design elements, such as the logo and the materials?

For the logo, I wanted to ensure fluidity and low contrast when it existed in graphic spaces or on all the branded elements, so it was pretty simple. The fun part was how the logo broke open and interacted across the edges of spaces; it would move around, spread open on the edges, and act as if it were exploring the borders.

We also used the exploration idea in other aspects of the branding; for example, different keynote slides with animated type that broke open and animated around the edges. When the logo opened up, it created this space in the center — evoking creative space.

I worked on a fun initial animation in which the logo would show up, hesitate a little bit, and then come back in place before fully opening and moving—synonymous with how we hoped the creatives would behave on this journey in Palm Springs.

The decision to have all the materials be reflective and unobtrusive came from the desire to encourage creatives to immerse themselves in the creative act. That’s where the idea of using metallic surfaces on the name badges came in. 

We had planned one final surprise event for the Dropbox attendees: a fun dinner at The Invisible House at Joshua Tree. Nobody knew the location. It’s such a beautiful, mirrored venue, reflecting the environment around it and blending in. The creatives didn’t know it would be their last stop, but we wanted the reflective event materials to give them hints.

I loved the thought that went into this event. We could have made generic name badges, but the material choice made them much more fun, and the creatives wore them with pride. The badges were so reflective that you could see the palm trees and the sky. Rather than featuring the attendees’ titles—the event included designers, producers, project managers, product designers, art directors, and brand designers—we used their Adobe Creator Types test results, which Dropbox had their staff take internally. We designated a color for each of the eight types represented on the metallic badge. When everyone walked in, they weren’t just a product manager, producer, or designer; they were all creatives identifying with other creative types.

For the badge installation, we created a wooden, umbrella-like structure. Because of the badges’ reflective nature, when the sun hit them, they reflected splotches of color around the space. There was even a custom cut-out of the Dropbox logo in the structure—designed to be unnoticeable until the sun hit the right angle, subtly reflecting the logo. We wanted it to feel like a Dropbox event without it being overly branded.

We created a badge installation where the creatives would walk in and they would see the badges displayed a certain way. The idea was to have an umbrella-like structure set up and because the badges were so beautiful and reflective, the Sun would just hit the badges and the metallic surfaces would reflect and you could see the splotches of color being reflected all around.

The wooden badge structure itself had a custom cut out of the Dropbox logo in it so nobody would really notice it but when the Sun hit the right angle, the shadow would reflect the Dropbox logo which was a fun hint of making it feel like it’s a Dropbox event without it being overly branded.

“Blank Space” suggests embracing openness and possibility. How did you balance this theme with the need for structure and flow in the event’s programming?

We worked with the event production agency OTHR to bring the event to life. The installations we created were critical because it was a design event, so all the little pieces — for example, an outside area for the creatives to sit with their notebooks and complete exercises — had to feel warm and welcoming but also sleek and on-theme.

We purposely limited the number of speakers because last year, we noticed that having too many panels every day exhausted the attendees and left little time for them to reflect and work on assignments. We didn’t want this to feel like a work event, rather, it had to feel like a space for them to be creative and feel free to explore.

We had Austin Kleon, author of Steal Like an Artist, who spoke about finding inspiration in various sources and transforming those ideas into our own, even if they may not be entirely original. He led a creative exercise called Blackout Poetry, where participants blackout portions of text to create new poems. Afterward, the creatives got time to complete an assignment rather than jump into another thing. The spacious flow of the event produced an atmosphere of calm and a sense of peace. It’s really fun to play around with the design of the materials and the event space, but it’s also fun to design attendee moments like this — to engineer time to create, be free, and not rush from one thing to the next.

What other insights or advice do you have to encourage creatives to embrace the blank space?

One concept I came across during my research, which I still remember and thought was beautiful, was that ideas have states of matter.

When you think about an idea, that state of matter is vapor (a gas), so it cannot be held or easily seen. When you start speaking about your idea, it turns into a liquid state, visible but not easily held. When you write your idea down on a physical piece of paper, it becomes solid and tangible.

So many of us get stuck in the vapor stage. I also go through that. I have so many ideas, and I don’t progress because it can be overwhelming. But once you start talking about an idea and writing it down, your idea evolves and becomes more tangible. You’ve progressed out of the vapor stage! 

This idea of the three states of matter, from vapor to liquid to solid, helped me visualize the progress from ideation to fruition. I hope it makes embracing the blank space a little less daunting for other creatives, too.

The straightforward solution seems to be a new website. Tangible engagement metrics on Google Analytics make it easier to persuade leadership to set aside funds to fix your primary channel for marketing and communications.

But, what if the root of the problem lies deeper, in the very essence of your organization’s brand?

Deciding what to invest in first should be based on the root cause of your symptoms. With several hundred projects under our belt over the last few decades, we can tell you that many nonprofits that think they have a website problem, actually have a branding problem.

Where Do Common Website Problems Stem From?

When there’s uncertainty about the organization’s direction and focus, it becomes incredibly difficult to make decisions about content organization, taxonomy, navigation, calls to action and the user experience as a whole.

Let’s zero in on one example. Web navigation is all about guiding your audience to the most essential information they need to access. If you are an org with 30 issue areas or 15 programs, showing all that in your navigation will make visitors’ eyes glaze over with decision paralysis. You have to prioritize or you risk losing people. Your choices will tell a clearer and more strategic story about your organization. But arriving at these choices is hard work.

Many website problems are rooted in strategic brand work to clarify the organization’s story and objectives.

Questions like “Who are our audiences? What is the ultimate story or impression we want them to walk away with? What are the three most important aspects of our work and approach that we want them to know?” are really brand questions that follow questions like “What makes us different from our peers? What value do we uniquely bring to this work?”

Starting your work by answering brand questions is how you make sure your website’s content strategy and user experience effectively support your organization’s mission and engage your audience.

While it’s still a little harder for nonprofits to justify investing in branding — with some still seeing “branding” as a bad word — without a solid brand strategy foundation, website projects are bound to be slow, frustrating, and expensive because no one is well equipped to make important decisions.

So you think you need a new website, but you probably need a brand. How can you uncover what you really need?

Brand-First Approach: Aligning Identity with Strategy

Being 100% real here, more often than not, clients who come to us wanting to focus on their website, with a light brand refresh attached, don’t have a solid brand strategy footing.

Think about it this way — trying to rebuild your website in these conditions is akin to asking an architect and construction firm to make you a building when you don’t yet know what the building is trying to accomplish, who it’s going to be used by, and how you want them to feel when they’re using it. Sounds like a waste of precious real estate and money, right?

If this is where your organization is, do yourself a favor, shift your resources towards building strategic alignment so you can make sure the brand authentically represents your organization. Engage your team members so they can voice ideas, understand the brand’s rationale, and its relation to the strategic plan. This will make all decisions about your website much more straightforward.

Digital-First Approach: Refreshing the Verbal and/or Visual Identity

If you have a solid brand strategy foundation, a digital redesign is a great opportunity to update your verbal identity, which might feel jargony or stale, and your visual identity, which might feel outdated or limited. A sharper verbal identity can make your brand more accessible, and a flexible, well documented design system will enable your team to communicate quickly and efficiently. These updates will all help your brand identity be an authentic reflection of your brand strategy. But the key here is that you’re refreshing your brand, not transforming it — you’re optimizing your brand identity to better reflect your strategy, not building your entire brand strategy.

There are a few important things to keep in mind when taking this approach. First, while the UX and technical implementation are a key priority for these kinds of projects, it’s important to not treat the branding part of the project as an afterthought when it comes to budget and time — make sure you give it the energy it requires and that you carve out time to have discussions about how design decisions align to the promise and personality of your organization. You should also be aware that, even though you might have a solid brand strategy in place, the concrete nature of content strategy work often reveals gaps in the clarity of your positioning which you might need to solve for.

Your Approach Should Inform Your Choice of Creative Agency Partner

Food for thought: most agencies in the social impact space are optimized for a digital-first approach to branding. Many agencies that sell digital-first branding as their primary service do so because that’s what many organizations have been comfortable buying over the last decade or so. This approach works if conditions are right, but if it isn’t what your organization actually needs, it’s not a shortcut.

Make sure that if your organization needs a brand-first approach, that you’re working with a brand-first creative agency equipped to facilitate a deeply collaborative brand strategy process with your team.

Evaluating Your Organization’s Needs

The choice between a brand-first and digital-first approach is not a one-size-fits-all decision. Both approaches, whether leading with a more in-depth branding process that sets you up for your website redesign, or leading with a website redesign that incorporates a brand refresh, require significant investment. You want to make sure you’re thoughtful in choosing the right path — the path that best aligns with your organization’s current needs and future goals.

Determining the right approach requires a reality check. Ask yourself: Is your brand clear and resonant to our staff and stakeholders? Are you able to articulate what makes you unique and indispensable to your cause?

By carefully assessing your brand’s current state and understanding the implications of each approach, you can make sure you’re using your organization’s money and time effectively and setting yourself up for success.

This essay is by Deroy Peraza, Partner at Hyperakt, a purpose-driven design and innovation studio that elevates human dignity and ignites curiosity. Originally posted in their newsletter, Insights by Hyperakt.

Header illustration by Merit Myers.

Conran Design Group (CDG), a prominent brand and design consultancy under Havas — one of the world’s largest global communications groups — has unveiled a distinctive new brand identity. Positioned as Havas’ flagship brand and design network, CDG introduces an exciting purpose: design to inspire progress.

This purpose is not just a tagline but a guiding philosophy shaping every aspect of Conran Design Group’s identity. The brand adopts a striking typographic approach spearheaded by Jean François Porchez, a French type designer recognized for his work with Le Monde and the type for the French Olympic team. The new logo emphasizes that design is central to business and everyday life. Meanwhile, bold iconography captures the essence of its diverse locations, showcasing the brand’s global presence.

The rebranding effort extends beyond aesthetics, reflecting an evolved proposition that integrates sustainability across its offerings. With a renewed focus on brand strategy, design, experience design, and communications, CDG aims to deliver meaningful progress for businesses, individuals, and society.

“Fundamentally, the new brand places design at the heart of the offer; it’s central to our name, history, and future and reflects an unwavering belief that progress needs to be designed. The new marque, with the D at the centre of the C, is at the core of the identity and a shorthand for our positioning. It feels confident, full of personality, and culturally relevant,” says Lee Hoddy, Executive Creative Director.

The launch of Conran Design Group’s new brand identity aligns with the introduction of Citizen Brands, a study and accompanying framework designed to help brand leaders achieve balanced growth in an unbalanced world. The study offers a comprehensive brand and design strategy to guide leaders in creating brand experiences catering to both individual preferences and societal good.

CDG’s reinvigorated identity reaffirms its legacy and propels it into a new era of creativity and impact. With its unwavering belief in the power of design to drive positive change, Conran Design Group seeks to continue shaping the future of brands.

It’s been incredible to see the unique and individual interpretations of the Coca-Cola logo. … We’re proud to celebrate and embrace their work.

Islam ElDessouky, Coca-Cola Global Vice President of Creative Strategy & Content

While many brands are quick to protect their copyrighted materials and likenesses, Coca-Cola has recently launched a campaign that does the opposite, celebrating the many interpretations of their logo created around the world for generations. The ‘Every Coca-Cola is Welcome’ campaign (developed by WPP Open X, led by VML, and supported by Essence Mediacom and Ogilvy PR) embraces and showcases grassroots interpretations of the wordmark created by bodegas, shopkeepers, and local artists. Instead of slapping these creators with lawsuits or cease-and-desists, Coca-Cola is honoring the distinct and diverse ways people have reimagined the brand. 

“It’s been incredible to see the unique and individual interpretations of the Coca-Cola logo,” said Islam ElDessouky, the Global Vice President of Creative Strategy & Content at Coca-Cola, in a press release. “These visuals are so meaningful and impactful—signs for local businesses capturing colors of cultures and personalities of communities. We’re proud to celebrate and embrace their work.”

The campaign features a range of logo interpretations that span color palettes, fonts, and styles in out-of-home and print placements throughout Brazil, Mexico, Indonesia, Australia, and the US. Each unofficial logo offers us a view through a different cultural lens, honoring those who have sold and consumed Coca-Cola globally. ‘Every Coca-Cola is Welcome’ also consists of a robust content series, including films and interviews capturing stories from local store owners and their interpretation of the Coca-Cola logo. This video component of the campaign will run on the brand’s YouTube and Instagram.

“What is so special about this campaign is that the Coca-Cola brand is being reinterpreted in every corner of the world through countless creative expressions,” elaborated Rafael Pitanguy, the Deputy Global Chief Creative Officer at VML. “These reinterpretations are only possible because the Coca-Cola logo is so ingrained in culture across the globe.” At its core, ‘Every Coca-Cola is Welcome’ shows how brands can see imitation as the highest form of flattery and use it to their advantage.

Today, the branding industry is in flux. On one hand, the digital era offers brands limitless opportunities to engage with their audiences through social media, content marketing, and personalized experiences. Conversely, a growing distrust of polished corporate messages and a saturated market have given rise to “anti-branding” and “post-branding” movements. These movements favor social good, authenticity, and a focus on product quality over brand image. Patagonia is perhaps the most visible example of this. Adding A.I. to the mix can diminish brand trust if used irresponsibly. For example, brands failing to declare the use of A.I.-generated content will cast doubt on the integrity of all their content, whether or not it is in fact A.I.-generated.

Amidst this backdrop of evolving branding ideologies, many creative professionals are gathering at OFFF Barcelona this week. The International Festival of Creativity, Art, and Digital Design fosters community around contemporary creativity, serving as a trendsetting global hub within design, art, and post-digital culture.

In the spirit of “What’s Next?” I asked five brand leaders whose agencies are represented at OFFF to share their perspective about the state of branding and what the future of the profession might look like. It was intriguing to see the array of viewpoints — the similarities and disparities — regarding the current branding landscape and what brands (and their creators) must consider moving forward. A common thread; true connections with consumers.

The following contributed their thoughts to this story: Veronica Fuerte, Founder & Creative Directress of Hey Studio; James Greenfield, CEO & Founder of Koto Studio; Radim Malinic, Founder & Creative Director at Brand Nu Studio; Max Ottignon, Co-Founder of Ragged Edge; and Surabhi Rathi, Strategy Director at BUCK.

How do you interpret the emergence of the “anti-branding” and “post-branding” trends within the current branding landscape? From your perspective, what specific insights or implications do you believe this trend holds for traditional branding strategies and practices?

Veronica Fuerte: The “anti-branding” and “post-branding” trends signal a move towards authenticity, transparency, and purpose in branding, challenging traditional tactics that focus on saturation and persuasion. Brands now need to deeply embed their values into their identity, engaging in meaningful storytelling and transparent dialogue with their audience. This requires a more nuanced approach, where genuine connections and value alignment become key to standing out.

“Anti branding can work for some, but the key thing for most is that finding the right level of originality is crucial. …Consumers are quick to see through inauthentic attempts to jump on these trends.”

—James Greenfield, CEO & Founder of Koto Studio

James Greenfield: I don’t think either anti or post branding really has much effect on the majority of the brands we see day-to-day. These trends often feel like a seismic shift when they are happening, but in reality, their impact is often overstated. Take the recent example from the start of the 2020s of leading fashion houses seemingly abandoning distinctive logos and embracing a more minimalist aesthetic. It was short lived and we’re already seeing this trend reverse, with Burberry’s recent rebranding demonstrating the continued value of a distinct brand identity. What they really wanted was the freedom to slap a hefty price tag on a T-shirt or a handbag in a flexible way so they could essentially be two brands at one time. 

Anti branding can work for some, but the key thing for most is that finding the right level of originality is crucial. While true originality might be elusive, the desire to push boundaries is essential for brand growth. It’s this very desire to stand out that fuels these “anti-branding” moments, rather than some underlying widespread political branding uprising. It’s also important to remember that anti-branding with a strong political message can only truly resonate with brands that already have a well-defined social or environmental stance.  Consumers are quick to see through inauthentic attempts to jump on these trends. The internet and our access to information means the internet is quick to punish brands it perceives to have wronged, just look at Budweiser sales in the US, so brands have to tread a little carefully and maybe know their customer more than ever? The driver for brands to change is about where and how their customer is more than what they look like when they turn up.

Radim Malinic: Have we reached the peak branding in the last few years? Having a big team to produce world-class work is no longer imperative. You need world-class ambition to produce work that can make international headlines. All you need is a small team and vision with results that align with many brand ‘deja-vu’ identity systems produced by brands much bigger with seemingly endless budgets. Producing shiny logos with animated assets, snazzy illustrations, and mood videos is no longer the stuff of dreams and hefty budgets. Take a team of five and watch the work fly. This makes our collective headway in visual excellence taste somewhat bittersweet. It also has made the branding landscape and its consumers jaded. We have been busy getting better without seeing our work’s side effects happening right before our eyes. Dog food packaging uses the same colour palette and font choices as the latest toothpaste company, bio-oil producing startup, and so on. Most of these brands rely on multi-channel broadcast instead of storytelling, which can result in greater trust and understanding. We’ve also started peeling layers of multinational brands and their campaigns only to realise things are not as we’ve been told all this time. It’s little surprise that we find ourselves in a situation where the old isn’t working anymore, and the new isn’t taking flight. 

Max Ottignon: Don’t sacrifice clarity or relevance for notoriety. Whether ‘anti-branding’ or ‘post-branding’, it’s still branding. A way of standing out and getting noticed in an ever-more competitive, noisy world. Showing up in a way that feels fresh and authentic can be incredibly powerful, particularly when pitched against an outdated, corporate approach. But lasting success still requires discipline and commitment to ensure that you’re building a brand, rather than simply making a statement. 

“Brand-building solely centered on commercial interests is outdated. Brands must reorient their “why” towards positive societal impact beyond just products.“

—Surabhi Rathi, Strategy Director at BUCK

Surabhi Rathi: At the heart of both these movements, lies a rejection of traditional branding as a manipulative tool for consumerism. It reflects deep skepticism towards branding’s roots in exploitative capitalist practices. But, they also serve as a reminder that brands hold immense cultural influence and power to shape societal values. 

And with that, we have a responsibility. 

Brand-building solely centered on commercial interests is outdated. Brands must reorient their “why” towards positive societal impact beyond just products. Clear ethical stances, environmental accountability, aligning with consumer values for the greater good – these are prerequisites, not options. Ultimately, branding should further human values, nurturing collective identities that joyfully unite us.

In essence, these movements advocate for an ethical redefining of branding’s very purpose. Brands must become purpose-driven catalysts for positive change, not vessels of exploitation. This shift is necessary in 2024.

During a time when consumer trust in institutions and corporations is declining, what do you think are necessary methods to adopt for branding agencies to stay relevant in an era where consumers increasingly value authenticity and reject traditional branding tactics?

Veronia Fuerte: To remain relevant as consumer trust wanes, branding agencies might emphasize transparency, authenticity, and direct engagement. This involves helping brands to align their actions with their messages, use user-generated content effectively, and engage in real conversations with their audience. It’s about empowering brands to embrace their uniqueness and connect on a human level.

“Storytelling with purpose is no longer just a nice thing to have. It’s the foundation of the branding landscape now.”

—Radim Malinic, Founder & Creative Director at Brand Nu Studio

Radim Malinic: I’m sure many agencies have been wrestling with ideas for how to help clients identify and communicate their genuine values, mission, and story. Storytelling with purpose is no longer just a nice thing to have. It’s the foundation of the branding landscape now. Move beyond traditional branding narratives and focus on storytelling with purpose. Help clients craft narratives that resonate with consumers on a deeper level by addressing social, environmental, or cultural issues that align with their values.

Max Ottignon: While the tactics may need to evolve, the basic foundations of brand strategy remain the same. At its simplest, our job is to frame products, services and organizations in ways that get them noticed, remembered and, eventually, chosen by a given audience. That means finding a place in the world, and in culture, that feels authentic to that brand and resonant to that audience. And showing up in a way that demonstrates a deep understanding of the community you’re aiming to connect with. Whereas yesterday that might have been a sports sponsorship, today it might be a Twitch activation or Roblox partnership. 

With the rise of social movements, such as conscious consumerism and sustainability advocacy, how do you envision the role of branding evolving to meet the changing expectations and values of consumers? What do you think will be essential for brands to effectively communicate to resonate with their target audience in this landscape?

Veronia Fuerte: As consumer values shift towards conscious consumerism and sustainability, branding must evolve to meet these expectations. This means going beyond selling products to embodying the values of societal change and sustainability. Effective communication and demonstrating a genuine commitment to these values will be crucial for resonating with today’s consumers.

“As consumer values shift towards conscious consumerism and sustainability, branding must evolve to meet these expectations.”

—Veronica Fuerte, Founder & Creative Directress of Hey Studio

James Greenfield: I’m not convinced consumers are giving traditional branding the cold shoulder. Look at the stats: Gen-Zers in the US are splashing their cash on fashion like it’s going out of style. Sure, there’s plenty of talk about sustainability and conscious consumerism, but take a stroll through any mall or supermarket and you’ll see a different story playing out.

Despite the rise of online shopping and influencer culture, the big players are still churning out the same old stuff they have been for decades. Sure, the marketing spiel might have changed, especially on social media, but the products themselves? Not so much. Ask any group of people about their favorite brands and I bet you won’t hear anything groundbreaking.

Now, don’t get me wrong—there’s plenty of buzz around products that feel a bit more off the beaten track, but often, it’s just the packaging that’s different. Take Tesla, for example. They’re all about innovation, but when you strip away the hype and the power source, they’re still pretty conservative in their design and branding.

Then there’s Apple. Their marketing might pop up in unexpected places, but there’s nothing particularly groundbreaking about an Apple Store. Yet the iPhone is what the younger generation is clamoring for.

With the internet ready to pounce on any brand that steps out of line, companies have to tread carefully and really get to know their customers. Because at the end of the day, it’s not just about how a brand looks—it’s about meeting your customers where they are, whether that’s online or in person.

Radim Malinic: Brands must be transparent about their actions and be willing to be held accountable for their impact on people and the planet. Transparency will become a cornerstone of branding in this era. Consumers increasingly demand access to information about a brand’s practices, including its environmental impact, labour conditions, and social responsibility initiatives. New startups and brands often spring up to act as the antidote to the bad practices of the juggernauts of the past. Doing things right is much harder and more costly than old methods. To convince consumers who often feel a blind devotion to legacy brands is often a task of its own. We have our work cut out for us, that’s for sure.

“Don’t fake it. …We’ve probably seen the last of a mayonnaise claiming its purpose is to reduce food waste (Hellmann’s) or a co-working space purporting to ‘elevate the world’s consciousness’ (WeWork).”

—Max Ottignon, Co-Founder of Ragged Edge

Max Ottignon: Don’t fake it. 

After years of brands jumping on inauthentic purpose bandwagons, there’s been a shift towards a more straightforward approach. Perhaps in response to people having to be more careful in their spending, brands have re-focussed on what their customers really want. Not what they’d like them to want. For some, that’s making sustainability a priority. But that focus has to be backed up by action and commitment at a business level. 

I think we’ve probably seen the last of a mayonnaise claiming its purpose is to reduce food waste (Hellmann’s) or a co-working space purporting to ‘elevate the world’s consciousness’ (WeWork). The trick, as always, is in understanding what matters to your customers, and how you’re in a unique position to offer it. But if you’re tempted to fake it, don’t.

Established in 2000, OFFF has become the largest exhibition and meeting point for contemporary visual creativity, uniting the worldwide network of design and creative professionals to foster connections among innovative talents globally in an effort to share insights, collaborate, and unite.

This year, the festival emphasizes nurturing new talent through “The Next Us,” a platform enabling Barcelona’s design students to showcase their work to OFFF’s global audience.

Learn more information about OFFF Barcelona, happening now (April 4 – 6).

• Tesla or F-150?
• Apple or Android?
• Dunkin’ or Starbucks?

Chances are each of us will be able to make our choices pretty quickly. Even if you’re not a coffee drinker or in the market for a new vehicle, you’d probably be able to choose the one you’d be more likely to buy.

That’s because brands are becoming more deeply integrated expressions of our identities than ever before. “Brand as signal” is growing stronger all the time. There are three options on the list above that I would never even consider buying. They’re “not for me.”

You?

Probably the same. Most of us have become affiliated with brands that we experience as sharing some important traits and characteristics with our own. Over the last couple of decades we’ve become accustomed to seeing the US portrayed in this fashion.

Red states and Blue states. Of course there are people and areas within every state that vote for candidates opposite to the predominant party within that state…we call those areas “purple” zones.

Similarly, there are what might be called Red brands and Blue brands. Quick, what’s the political affiliation of the F-150 owner? How about Apple fans? I didn’t want to present beer brands, of which the now-famous Bud Light dustup is an iconic example. Too obvious.

The point is, brands see (and their employees live within) the sharp cultural divisions in America. Brands then speak to those who are most likely to desire to be identified with their cultural group preference by using a brand’s signals: language, design elements, pricing, store environments, spokespersons…all of the ways that brands communicate what their objects mean in the modern world.

Some product categories are traditionally culturally neutral; “purple.” But even those can turn deep shades of red or blue in a moment. Most of us were fairly agnostic about breakfast cereals until Kellogg ran a modified classical conditioning-rooted ad to get consumers to associate the word “dinner” with “cereal” instead of “chicken.” Sounds innocuous enough; the ad ran for almost two years without much fuss.

Then, perhaps as a function of inflation and a heightened culturally-sensitized context, people started seeing the ad as a symbol of corporate greed — “greedflation” — leading to a boycott of all Kellogg’s products. A website, “Let Them Eat Cereal” became a center for boycott information. It doesn’t take a sophisticated political analyst to speculate on the Red or Blue signals being sent there. Breakfast cereal: purple no more.

In an increasingly interconnected society, messages about group affiliation move at Internet speed. One day it’s fine to eat chicken from a fast food chain, or buy craft supplies from a big box retailer; the next day, it’s traitorous!

And, our AI tools know the score, too. I asked ChatGPT to generate images of two vehicle owners: one a Tesla, the other a Ford F-150. The results are up there at the top of this post. We’ve trained AIs on our cultural meaning structures and it will gladly feed back to us what we all already know about brands.

We attribute personality traits and lifestyle characteristics to owners of branded objects even more strongly today than we have in the past. It’s part of a bigger cultural moment, and we need to find a way out of this knee-jerk divisiveness before it leads to some even more serious consequences than stereotyping others who buy different cars, smartphones, or coffee than we do.

Tom Guarriello is a psychologist, consultant, and founding faculty member of the Masters in Branding program at New York’s School of Visual Arts. He’s spent over a decade teaching psychology-based courses like The Meaning of Branded Objects, as well as leading Honors and Thesis projects. He’s spearheaded two podcasts, BrandBox and RoboPsych, the accompanying podcast for his eponymous website on the psychology of human-robot interaction. This essay was originally posted on Guarriello’s Substack, My Favorite Things.

Header photo by Victoriano Izquierdo on Unsplash.

Located within the Academy of Fine Arts in Katowice, Poland, Tauron Lab stands out as a state-of-the-art new media laboratory in Europe. Offering groundbreaking audiovisual technologies, Tauron Lab provides a unique platform for artists and scientists alike to explore creativity in an immersive environment.

Operated by the Soundscape Foundation, a non-profit organization dedicated to enhancing the urban sound environment through research and education, Tauron Lab serves as a nexus where culture, art, and technology intersect. Creative agency Meteora, located in Kraków, was tasked with developing the brand identity for this experimental audiovisual lab — no small feat bringing sound experimentation to visual representation.

Since its official opening in September 2023, Tauron Lab has been a hub of creative activity. The multidimensional space hosts a diverse array of initiatives tailored to cater to various audiences. At the heart of its offerings is Tonarium, a futuristic sound tool that facilitates experimentation with audio. 

The lab also showcases various audiovisual technologies, events showcasing cutting-edge technologies, artistic residencies focusing on innovation, workshops for both kids and adults, and installations highlighting experimental prototypes.

One of Tauron Lab’s key features is its artistic residencies, which provide opportunities for artists to delve into cutting-edge technologies such as three-dimensional sound systems and spatialization methods. These residencies aim to foster experimentation and innovation in artistic expression.

To visually communicate these initiatives, the Soundscape team collaborated with Meteora on crafting a comprehensive identity system incorporating typography, geometric shapes, and dynamic animations, each tailored to reflect the nature of the lab’s diverse events. The goal was to create a transparent identity that enhances, rather than overshadows, the content of each event.

Tauron Lab aims to be more than just a laboratory; rather, it is a dynamic space where creativity knows no bounds and the fusion of art and technology opens new realms of possibility.

Ten years ago I graduated from a MFA program, D-Crit, at the School of Visual Arts. I pursued the program specifically to hone my writing and critical thinking. One of the classes taught by Professor Adam Harrison Levy was called Art of the Profile. Full disclosure, my first profile was awful. That said, we all have to start somewhere, and honestly, I never stop using the lessons learned in this course. As a writing model, we studied what was and is, considered the best profile ever written.

Gay Talese’s 1966 Esquire article “Frank Sinatra Has a Cold” is a masterclass in observation, storytelling, and painting a revealing portrait of an elusive subject. Despite never getting the one-on-one interview he was promised, Talese immerses himself in Sinatra’s world and leverages his skills as a journalist to capture the essence of Sinatra the man and the legend.

There are several key lessons today’s branding and design professionals can take from Talese’s approach:

The power of astute observation. Talese doesn’t just report the superficial facts about Sinatra—he keenly observes the smallest details of how the singer and those in his orbit behave and interact. From this, he can construct a nuanced psychological profile that gets at the core of Sinatra. For example, Talese notes: “Sinatra was ill. He was the victim of an ailment so common that most people would consider it trivial. But when it gets to Sinatra it can plunge him into a state of anguish, deep depression, panic, even rage. Frank Sinatra had a cold.” We designers can benefit from sharpening our observational acumen, using it to better understand corporate dynamics, client needs, and issues that may only be hinted at subtly.

Showing rather than telling. Talese resists outright stating his conclusions about Sinatra’s character. Instead, he vividly depicts scenes and interactions that lead the reader to those insights. The writing follows the classic dictum “show, don’t tell.” Early in the profile, Talese paints a scene of Sinatra brooding at a bar: “Frank Sinatra, holding a glass of bourbon in one hand and a cigarette in the other, stood in a dark corner of the bar between two attractive but fading blondes who sat waiting for him to say something. But he said nothing; he had been silent during much of the evening, except now in this private club in Beverly Hills he seemed even more distant, staring out through the smoke and semidarkness into a large room beyond the bar where dozens of young couples sat huddled around small tables or twisted in the center of the floor to the clamorous clang of folk-rock music blaring from the stereo.”

Describing his expensive, carefully selected clothes in detail— “He wore an oxford-grey suit with a vest, a suit conservatively cut on the outside but trimmed with flamboyant silk within; his shoes, British, seemed to be shined even on the bottom of the soles.” —in contrast to his dark mood, Talese gives readers a sense of Sinatra’s inner turmoil and complexity without explicitly saying it.

Similarly, great designers know the power of vivid storytelling and examples to make a point and persuade, rather than just declaring something to be so.

Empathy for the subject. While Talese’s profile reveals some of Sinatra’s flaws, it maintains an empathetic lens, seeking to understand the singer’s complexity and motivations. Talese demonstrates empathy when describing Sinatra’s relationship with his mother Dolly, a strong-willed woman who was the closest person to him: “Dolly Sinatra was not the sort of Italian mother who could be appeased merely by a child’s obedience and good appetite. She made many demands on her son and was always very strict. She dreamed of his becoming an aviation engineer. When she discovered Bing Crosby’s pictures hanging on his bedroom walls one evening and learned that her son wished to become a singer too, she became infuriated and threw a shoe at him.” By portraying Sinatra’s childhood context and his mother’s formative influence, Talese humanizes the singer, making him more relatable and his drive to succeed more understandable.

The best branding work also demonstrates empathy, striving to understand a brand, its employees, and its customers as complete humans with real feelings, desires, and struggles. Empathy fuels more authentic, relatable brand storytelling.

Persistence and resourcefulness. Denied his interview, a lesser journalist may have given up. Talese persisted, tapping his resourcefulness to find other ways to get the story. “So Talese remained in L.A., hoping Sinatra might recover and reconsider, and he began talking to many of the people around Sinatra—his friends, his associates, his family, his countless hangers-on—and observing the man himself wherever he could.” Persistence in the face of obstacles and creative problem-solving are hallmarks of good design. Branding professionals need to tap their resourcefulness and think unconventionally to build multidimensional brand narratives, even when the typical tools and assets are unavailable. The path to a compelling brand is rarely straightforward.

Dedication to the craft. The depth of specificity and degree of difficulty in composing this profile speak to Talese’s painstaking commitment to his craft as a writer and reporter. From his shoe-leather reporting to his carefully constructed prose, every element demonstrates a devotion to excellence. Describing Sinatra’s cold, Talese writes: “Sinatra with a cold is Picasso without paint, Ferrari without fuel—only worse. The common cold robs Sinatra of that uninsurable jewel, his voice, cutting into the core of his confidence, and it affects not only his psyche but also seems to cause a kind of psychosomatic nasal drip within dozens of people who work for him, drink with him, love him, depend on him for their own welfare and stability. A Sinatra with a cold can, in a small way, send vibrations through the entertainment industry and beyond as surely as a President of the United States, suddenly sick, can shake the national economy.”

Designers build trust with their clients through an unwavering dedication to their craft, consistently executing their responsibilities with skill and care. This steadfast commitment to excellence is fueled by a strong work ethic and a continuous drive to hone their talents. By pouring their heart and soul into every project, designers demonstrate their reliability as partners and their ability to deliver outstanding results. Clients come to appreciate not just designers’ technical proficiencies but also their passion, integrity, and drive – qualities that form the bedrock of lasting professional relationships.

Over fifty years since its publication, “Frank Sinatra Has a Cold” is still widely read and admired. The talents Talese demonstrates in overcoming obstacles to intimately reveal the intricacies of a cultural icon are instructive—and are ones that designers would do well to emulate. Acute observation skills, vivid storytelling, empathy for customers, creative persistence, and devotion to craft are all qualities that forge an enduring brand.

Read “behind the scenes” excerpts from Talese’s memoir, Bartleby and Me: Reflections of an Old Scrivener, here on Air Mail.

This post was originally published on Lynda’s LinkedIn newsletter, Marketing without Jargon. Lynda leads a team at Decker Design that focuses on helping law firms build differentiated brands.

Photo by Dushawn Jovic on Unsplash.

Since its founding, National Geographic, or NatGeo for short, has evolved into a multifaceted platform spanning print, digital, television, and more, exploring science, geography, history, and culture. NatGeo seeks to inspire curiosity, foster understanding, and champion conservation efforts worldwide through its articles, documentaries, educational initiatives, and photography.

The globally recognized magazine, which has over 84 million monthly readers, unveiled a significant design refresh this month. This transformation, revealed in the March issue, marks the debut under Editor-in-Chief Nathan Lump and Creative Director Paul Martinez, who assumed their roles in 2022. With Lump’s rich editorial background, including publications like TIME and The New York Times, alongside Martinez’s creative expertise at Travel + Leisure, the duo brings a bedrock of experience to the publication.

The key design and content highlights include:

• New sections, including “In Focus,” a selection of full-page images from National Geographic’s photographers in the field, amplify the focus on photography and visual storytelling.
• Short-form content is now interspersed with in-depth features to create a more varied and dynamic reading experience.
• A larger typeface for an easier read – an intentional update taking reader feedback into account.
• And a subscriber-only cover that features more artful, intimate visuals.

I reached out to Lump and Martinez, eager to discuss the driving forces behind this redesign and their plans for holding 130+ years of tradition, while addressing the evolving needs of print and digital audiences. Our conversation (condensed for length and clarity), is below.

The redesign marks a significant shift in National Geographic‘s visual identity and content structure. What was the inspiration behind deciding to introduce new sections like “In Focus” and the added emphasis on visual storytelling?

NL: We’ve had an emphasis on visual storytelling in our pages for many decades, so while I don’t see our recent adjustments as a particular shift in that direction, we are continually looking for ways to heighten for the reader what is special about what we do. The core of our mission is helping readers to discover and better understand the wonder of our world, and for me, a lot of what I wanted to accomplish with this refresh was to showcase the true diversity of the subjects we cover and what we’re learning about them – from animal behavior to science to history and more. Our new recurring story types are designed to do just that. “In Focus,” a handful of pages at the start of the book, is in many ways a microcosm of that wider approach: we are fortunate to have relationships with great photographers around the globe who are always at work, and this column brings readers a selection of their recent images from out in the field, across the full spectrum of topics of interest to our readers. 

PM: A segment such as “In Focus” truly emphasizes one of our strengths: photography. Placing this at the forefront is not just about captivating the reader with compelling images but also about swiftly propelling them into the heart of the magazine. This seamless transition leads directly into our initial main feature, where we aim for readers to immerse themselves in a deeper narrative.

How do you balance honoring the magazine’s rich heritage of storytelling, particularly through its iconic photography, while also pushing boundaries in today’s media landscape? In what ways does the redesign reflect the evolution of storytelling mediums and audience preferences?

NL: I am extremely conscious of our legacy and of the incredibly loyal, devoted readership we are fortunate to have, and of course that makes you be very deliberate and thoughtful when you make changes. But legacy can also lead you to be too conservative and hold you back from making genuine improvements in the service of your audience. My feeling is that as long as you retain your commitment to telling meaningful stories that align with your brand and meet your reader’s expectations of quality, you have permission to adjust as long as you are putting yourself in the reader’s shoes and thinking about what will serve them best. I thought a lot about what it means to innovate in print as we approached this work and tried to ask myself whether traditional conventions still held true. Years of working on digital content and products have grounded me in UX thinking and research, and I drew on that in this process. Our decision to radically simplify the book structure—essentially, almost the entire magazine is one unnamed “section” that consists of shorter and longer stories mixed together—stems from an understanding that digital and social environments have conditioned us to consume content in more free-flowing and serendipitous way. The story selection and flow are still highly curated, as any great magazine should be, but it allows for more variation and surprise that we think makes the overall experience more pleasurable and engaging.

Design plays a significant role in ensuring that readers do not encounter difficulty with the content.

Paul Martinez, Creative Director

The decision to incorporate more short-form content alongside in-depth features is interesting. How do you navigate maintaining depth and substance while catering to shorter attention spans in today’s digital age?

PM: Many of our decisions revolved around the concept of pacing. Our strategy involved interspersing shorter stories among the longer ones to create a dynamic flow of peaks and valleys for the reader. We discovered that grouping all the longer features together risked reader fatigue, so placing shorter pieces between them offers readers a chance to engage swiftly with the content.

From a design standpoint, we aimed to signal to the reader when they were transitioning from a longer feature to a shorter story. To achieve this, we developed a consistent template for the shorter stories, facilitating a smooth exit from and entrance into the longer features. Additionally, we sought to engage the typographer more in introducing the features to signify the beginning of a substantial story.

Typography plays a crucial role in readability and accessibility, and your decision to introduce a larger typeface reflects a commitment to improving the reader experience. How did you approach this aspect of the redesign, particularly in response to reader feedback?

PM: Ensuring readability is a constant and top priority. Design plays a significant role in ensuring that readers do not encounter difficulty with the content. Moreover, from an aesthetic perspective, we aimed to provide sufficient space for the increased type size in the body copy and captions to breathe. By augmenting the white space in the layouts, we were able to strike that delicate balance and hopefully improve the reader experience.

The subscriber-only cover featuring more artful and intimate visuals is a bold move, especially in an era where digital content often takes precedence. What motivated this decision, and how do you see it contributing to the magazine’s relationship with its most loyal readers?

NL: I am conscious that our relationship with subscribers is a personal one—they’ve invited us into their homes—and that the experience of receiving a printed magazine in the mail and diving into it on your sofa is quite particular relative to other ways that you encounter content in other environments and platforms. On a traditional newsstand, you need to shout, as it were, to gain a potential reader’s attention. In digital, it’s much the same—you have milliseconds in someone’s scrolling to grab their attention. When they’ve subscribed, they’ve already indicated an interest in your content and a willingness to engage. That’s not to say that the cover doesn’t need to provoke engagement, but when you hold a magazine in your hands at home, you are quite literally up close and personal with it. That allows us, I think, to showcase artistry and to be quieter in our choice of image when it’s appropriate, and we deliberately went minimal with type, in a nod to the old National Geographics with type-only covers that essentially served as a table of contents. Our goal is still to intrigue or to move the reader in some way, but we can take a different approach that we hope delivers something tailored to the subscriber’s mindset now that they’re ready to sit down and read.

How do you navigate the preferences and consumption habits of print readers versus digital consumers, and what lessons can other content creators learn from your experience? Any advice for media companies looking to strengthen connections with their audiences in an increasingly digital landscape?

NL: Like many publishers, we know that our print and digital audiences are quite distinct, and while they share some common affinities, they are not mirror images of each other. For many years, at other titles, I tried to achieve nearly total platform convergence—with all content designed to flow seamlessly between platforms—but I no longer think that’s the best approach. Increasingly, we take a fluid approach to our content creation, with some stories designed specifically to satisfy the needs of either print or digital (or social) audiences, and then selectively, those stories migrate to other platforms, often with modifications and sometimes in a different medium. It’s more bespoke and requires more care, but if you build the intention into your production process from the outset, you can ensure you’re generating the right type of material and minimize the effort required after the fact. This is an essential part of being responsive to audience preferences. What will work for a certain type of reader or user in one place will not necessarily work for another reader or user somewhere else. My goal with all our storytelling is to maximize the reach and impact of our work, and the way that works is by recognizing how preferences and behaviors vary based on where someone is and their mindset. The through line, of course, is quality – personally, I find this thinking and the process it informs so much more creatively energizing than when I started my career, although it is undoubtedly more complicated. You can’t do everything all the time, so it’s also important to be mindful of who you are most focused on reaching and strategically what you are trying to get out of building that relationship. I think that today, in digital environments, in particular, success is a lot about super-serving more specific audiences and interests. In some ways, we’ve always done this with our printed magazines, so we’re well positioned to thrive wherever we may be because we think consumer-first, fundamentally, and build that into everything we do.

Diana Kasay, co-founder and CEO of Readymag, underscores the importance of creating environments where women can flourish and contribute to shaping the future of design. The ReadyLaunch Grant is poised to ignite the passion projects of its recipients, providing a platform for their creative endeavors.

Central to the relaunch is a showcase of 37 influential women in design from the 20th and 21st centuries, including luminaries such as Paula Scher, Kazuyo Sejima, Charlotte Perriand, Debbie Millman, Norma Merrick Sklarek, Tea Uglow, Jessica Walsh, and Ilana Goor. With a commitment to inclusivity and horizontal representation, the project aims to recognize and celebrate the diverse contributions of women in the industry.

In addition to the ReadyLaunch Grant, Readymag offers resources tailored to support female and non-binary designers. Each grant package includes a fellowship valued at $2000 alongside free one-year access to a Female Design Council membership, enrollment in the Female Design Council Mentor Match Program, and assistance securing media coverage. From networking to funding and mentorship, the company’s dedication to empowering creators underscores its mission to foster a more equitable design landscape..

Inspired and excited to learn more, I spoke to Alya Datii, Readymag’s head of brand marketing and the producer of both editions of Designing Women, and Lora Appleton, executive director and founder of the Female Design Council (FDC).

What insights or feedback from the initial launch of Designing Women influenced the decision to relaunch the initiative in 2024 with the ReadyLaunch Grant?

AD: Designing Women 2019 was the first time Readymag spoke on behalf of our brand on a social issue. For companies like ours, any take is risky; a vibe check with the user community might transform it because not everyone will agree with us – and not everyone did in 2019. We were anxious and more careful with our language than we are now, but the initiative came from personal experiences, from a place of honesty and a feeling of responsibility. As a female-led business, we couldn’t compromise our beliefs to be more likable. The risk paid off. Of course, there were hurtful and dismissive comments, unfollows, and unsubscribes, but supportive reactions outweighed the bad stuff.

Years went by, and every Women’s History Month, design media and influencers repeatedly highlighted the project. In 2023, we finally realized that Designing Women needed an update—if it’s still getting attention, that means it’s needed, and if it’s needed, the program must reflect our current beliefs. The 2019 project, albeit not intentionally, mainly focused on cis women and was whiter than the actual design field. In the 2024 version, we aimed to do a better job of being equitable.

Our reason for adding the ReadyLaunch Grant is simple: as Readymag grew as a business, we became strong enough to reinvest more in the community.

At the current rate of progress, it will take 131 years to reach full parity.

Global Gender Gap Index 2023

Could you elaborate on the process of making the Designing Women project more horizontal and inclusive? How did your team identify and prioritize the challenges and needs at the intersection of gender and design?

AD: Readymag’s marketing and design teams are primarily female, and we’ve experienced many of the issues the project addresses firsthand. We sat down and listed our problems, experiences, needs, and demands at the intersection of our work and gender; then, we reached out to people outside of our circle for input. From there, we picked the blank spaces we could try to fill as a сompany. We decided to continue archiving the impact of female designers, using our platform to highlight other initiatives tackling gender issues, and setting up a grant which prioritizes designers from underrepresented communities. In 2019, adding a ‘Resource’ section was an afterthought. This time, we based the relaunch on studying and contributing to the visibility of the work already done in the sector.

The ReadyLaunch Grant supports many project types, including newsletters, zines, YouTube channels, and podcasts. How do you envision these projects contributing to combating gender inequality in the design industry?

AD: One of the central issues that affects the career choices and paths of women, non-binary, and gender non-conforming people is underrepresentation. It’s hard to take professional risks, launch passion projects, and tackle social issues while facing discrimination and working the second shift.

We expect the ReadyLaunch grant to help the project authors pursue their true passion. Many exceptional projects deal with gender equity, but it’s hard for them to sustain their work from a financial and time perspective. Our grant can enable them to pay themselves, pay their team, or cover other expenses, at least for a while.

Many exceptional projects deal with gender equity, but it’s hard for them to sustain their work from a financial and time perspective.

What excites you most about the relaunch, and what do you hope this initiative will achieve?

AD: To be honest, the response has already exceeded our expectations. In the first few days, we’ve received dozens of amazing proposals from all over the world. I hope we’ll be able to do the very difficult job of selecting just four winners well and that we will connect more applicants with resources that can help them implement their projects.

Besides practical outcomes, we hope Designing Women will continue making design herstories visible and inspiring other companies to take a stance on gender inequality. The current situation is a systemic and institutional failure that no single person, activist group, or company can overcome alone. However, businesses can influence their networks and use their platforms to make at least a small but positive impact.

With a curated list of over 20 organizations and initiatives tailored for female and non-binary individuals in design, how does Readymag approach collaboration and community-building to create a more supportive and inclusive industry environment?

AD: We understood how much work had already been done by activist initiatives and recognized that our responsibility as a business was to use our platform to shine a light on the work of others. In the reboot of the project in 2024, we’re taking this responsibility to a new level: we made the project much more horizontal by referring people to sources that deal with gender equality issues professionally. People need a lot of different resources: mentorships, subscriptions to services, educational courses, and trips. We’re very open to partnerships for resources and are not looking for the usual cross-promo; our main goal is contributing to the community.

The current situation is a systemic and institutional failure that no single person, activist group, or company can overcome alone. However, businesses can influence their networks and use their platforms to make at least a small but positive impact.

With the Female Design Council’s commitment to advancing female and non-binary representation in the design field, how do initiatives like Designing Women and the ReadyLaunch Grant contribute to its broader efforts?

LA: The FDC Mentor Match program started in 2020, and since then, it has served over 250 aspiring designers, architects, and applied artists by connecting them with successful design industry professionals. This direct relationship allows mentees to receive real-world advice, directions, and counsel to lead them toward their professional goals. A key element of our mentorship program is that it is also open to mid-career professionals interested in transitioning or pivoting into a different specialty. We are committed to keeping this a free program so that it’s accessible to anyone, regardless of financial means.

A key element of our mentorship program is that it is also open to mid-career professionals interested in transitioning or pivoting into a different specialty.

In what ways does the Female Design Council Mentor Match Program support emerging designers, particularly those from underrepresented backgrounds, in navigating design industry challenges?

LA: The FDC Mentor Match program started in 2020, and since then, it has served over 250 aspiring designers, architects, and applied artists by connecting them with successful design industry professionals. This direct relationship allows mentees to receive real-world advice, directions, and counsel to lead them toward their professional goals. A key element of our mentorship program is that it is also open to mid-career professionals interested in transitioning or pivoting into a different specialty. We are committed to keeping this a free program so that it’s accessible to anyone, regardless of financial means.

How does the Female Design Council approach collaboration and community-building to create a more supportive and inclusive environment within the industry?

LA: The FDC has been “doing the work” since Day One. Everything we do is community-driven and inclusive, and we are very mindful and focused on ensuring access and representation. We offer in-person and virtual networking events, a free mentoring program, and 25 gratis memberships annually to designers of underrepresented backgrounds. Those are a few examples, but a spirit of inclusivity and collaboration infuses everything about our mission and programming.

Applications for the ReadyLaunch Grant are open from March 4 to May 8, 2024, inviting aspiring designers to seize the opportunity to propel their projects forward. With this initiative, Readymag continues to champion diversity and inclusion within the design community, reaffirming its commitment to empowering creators.

Led by Pentagram Partner Abbott Miller, the Pentagram team developed a new brand identity for the Aquarium that builds on its legacy while looking ahead. “This evolution of our branding embodies all the wonder and delight that connects people to the Aquarium and the living ocean,” said the Monterey Bay Aquarium’s Executive Director, Julie Packard, on Pentagram’s website. “In vibrant ways, it honors our past and aligns with all the possibilities ahead of us.”

Miller told me the Monterey Bay Aquarium turned to his crew to create cohesion amidst disparate touchpoints. “The aquarium’s brief was to update the visual identity to unify all aspects of the brand,” he said. “This included print and digital graphics, environmental graphics and exhibitions, merchandise, and advertising and social media.”

Miller and Co. met this brief by developing a strong central icon, establishing an earthy color palette, and landing on approachable yet sophisticated typography. “I think the typographic and color systems have created a really solid foundation for the whole institution,” Miller shared. But in many ways, the kelp icon is the star of the show.

“The kelp symbol was there at the founding of the Aquarium and is a beloved icon of Monterey,” explained Miller. “There are many fans of the Aquarium who have the kelp symbol tattooed on their bodies!” One of the Aquarium’s early exhibition designers, Richard Graef, created the original kelp logo, which has been in use since the Aquarium opened its doors. “The Aquarium is deeply committed to the icon; our careful redrawing of the form optimized its use and created some interesting ‘variants’ of the symbol for merchandise. We also created a beautiful translation of the symbol into a continuous pattern.”

This kelp redrawing simplifies the fronds to streamline the mark slightly and make it more scalable. The icon can be used in new and unexpected ways throughout the system, like as frames and filters for images or in variations as a halftone or multi-line drawing. The repeating pattern Miller alluded to was developed in collaboration with the illustrator Yehrin Tong and is for use on apparel, merchandise, and elsewhere.

The organic quality of the symbol thoughtfully extends into the brand typography. Pentagram collaborated with type designer Peter Bil’ak and Nikola Djurek of Typotheque to design the new wordmark. They did so by adapting their serif Nocturno, reworking it to have shorter descenders and stronger connections to the kelp symbol, as well as fluid curves that harken to the movement of the ocean. The brand typefaces include the original Nocturno and the sharp sans serifs Peak and Peak Rounded (by Xavier Erni of Neo Neo / Extraset).

“Since the project’s core was the kelp symbol, we thought the typography should take its cues from the interplay of smooth and sharp forms,” elaborated Miller. “Our goal was for the type to echo the kelp to achieve a unity between the two elements.”

Regarding the system’s color palette, Pentagram was keen to go beyond blue. “At their founding, the Aquarium used a kind of two-tone sand color, and over time, it migrated to the classic ocean blue,” said Miller. “We looked at directions in the sand realm and then in the rich yellow greens and the blue of the previous identity. While we settled on the blue, our experience with the other colors proved that a broader palette derived from the spectrum of the ocean would be really strong.” These new core colors consist of three shades of ocean blue and green, a range of neutrals, plus black and white.

When asked what the most surprising aspect of the project was for Miller, he offered an unexpected answer. “When I got a ‘behind the scenes’ tour, I was able to feed the giant red octopus, and she stretched out her tentacles, attached her suckers to my forearm, and started to pull me towards her,” he said. I’m no deep-sea expert, but I’d wager the octopus was simply showing Miller some love for a job well done!

But that check-the-box approach to wrapping up a rebrand has mixed results: The new identity gets revealed at an organizational meeting and put out into the world on tote bags and mugs in a launch that feels like an afterthought.

Instead, nonprofits that rebrand need to develop a thoughtful, cohesive plan for introducing the brand both internally and externally. In fact, I’d suggest that you don’t have to announce the new identity with a major public-facing splash, but it should always be a big thing internally. If you don’t get your people excited when you launch the brand, you’re greatly increasing the possibility that it will fail.

Building Support & Enthusiasm for the Rebrand

Rebranding a nonprofit isn’t just a facelift. You’re telling a new story about who you are and what you stand for. It’s not just about a cool new logo or catchy tagline. It’s about getting everyone on board, rowing in the same direction, and making sure the change sticks. That’s why a well-planned rollout is so crucial: It ensures that your people navigate with you from the before times to the future. Here are some considerations as you plan the grand unveiling of the brand.

Planting the Seeds with the Right People

First things first: You need champions or ambassadors for the new brand. These are the folks who’ll spread the excitement and keep the energy high. They’re crucial for sensing the organization’s readiness for this change. Tap a few influential voices in the organization that weren’t necessarily involved in the process of building the new brand to help bring it to life.

Then there are the leaders. They need to be the voice of this rebrand and articulate the change (and the reasons for it) with confidence. They need to understand the staff’s feelings and be able to communicate the new brand effectively.

Fostering the Right Feelings

We’re talking about more than actions; it’s about emotions. You want your ambassadors to be genuinely proud of the new brand. Your leaders should exude confidence, so that the staff feels secure and enthusiastic about what’s ahead.

As you’re building excitement and anticipation, it’s important to give people the space to express their uncertainty, to ask questions, to poke at the rationale and intentions. Not only does this give them a sense of participation, it lets you prepare for the reactions that will come when you introduce the brand out in the world.

It’s also a unique opportunity to generate energy and pride within the organization. Pride is one of the most important currencies in a rebrand: When people feel pride, they’ll do more for the organization because they believe in it.

The Big Internal Reveal

The internal launch is a pivotal moment in the rebranding process. It’s when the new brand starts to become a reality for the staff. Leaders should start this phase with an event that’s memorable. It’s a chance for them to talk about why this change is vital for the future of your organization and for brand ambassadors to share the change narrative. It’s about turning the excitement up a notch – think pep rally.

Investing in a compelling launch video and some branded swag are more than just nice-to-have items. They’re essential tools that help people visualize and connect with the new brand. They help make the change relatable, tangible, real.

Living With the New Brand

Post-launch, it’s all about weaving the new brand into the fabric of your everyday work culture. This phase ensures that the rebrand isn’t just a fleeting moment but a lasting shift — your leaders and staff should feel empowered to think and act in ways that reflect the new brand.

Activities like brand roadshows and training workshops are crucial in this phase. They help your team get how the rebrand will shape day-to-day activities and long-term goals. Ongoing support is key. Brand ambassadors should be available and ready to respond to staff questions and concerns. It’s about making sure the team feels heard and supported during this transition.

Going Public

Now you’re ready to announce your new brand to the outside world. This step is all about crafting the right message for your external stakeholders and audience. Your external rollout should include a mix of messages specifically tailored to your audiences, and a carefully planned timeline. This approach ensures that your external stakeholders understand and embrace the rebranding.

The Power of a Rollout Plan

A rollout plan for a rebranding initiative isn’t just a roadmap; it’s a strategic tool that ensures all aspects of the rebranding are thoughtfully addressed — this is you taking control of your own brand so others don’t fill the vacuum for you. It involves preparing your team, engaging with stakeholders, and strategically communicating the change. Your rebranding is not just a cosmetic change but a transformation that propels your organization forward, reinforces its mission, and resonates with your stakeholders. For nonprofits, where every resource counts, a well-executed rollout is not just beneficial — it’s critical for ensuring that the new brand resonates both internally and externally.

When the brand is launched on Day One, that’s only the beginning of a full brand life cycle that lasts for five years or more. A solid rollout plan ensures that the brand achieves its full potential over that time.

This essay is by Deroy Peraza, Partner at Hyperakt, a purpose-driven design and innovation studio that elevates human dignity and ignites curiosity. Originally posted in their newsletter, Insights by Hyperakt.

Illustration by Merit Myers.

Holly Willis is at the helm, bringing her extensive experience that includes pivotal roles at The Escape Pod, FCB, 360i (now Dentsu Creative), and 21st Century Fox. With her deep understanding of the industry’s dynamics and challenges, Willis wants to empower marketers and organizations to craft impactful brands while fostering an inclusive and innovative work environment.

“Magic Camp exists for one group only – the modern marketer,” Willis asserts. The agency’s ethos revolves around prioritizing clients’ needs, offering transparent solutions, and redefining the traditional agency-client relationship model. “Our industry is at an inflection point,” Willis remarks, highlighting the need for a fresh perspective and a departure from outdated practices.

Mandi Bright joins Willis as Chief Creative Officer. Bright brings a wealth of creative insight to Magic Camp and agency chops, which include The Mars Agency, FCB, and Leo Burnett. “Creativity is not just about the work,” Bright emphasizes, “but our approach, processes, and team dynamics.” Magic Camp’s approach to creativity is rooted in strategic agility and a commitment to driving tangible business results for clients.

What sets Magic Camp apart is its dedication to nurturing its team members. Clear growth opportunities and a supportive work culture are integral to Magic Camp’s ethos, enabling its team to thrive and deliver exceptional results. I asked Holly and Mandi about their plans to shake up the advertising culture through Magic Camp.

(This interview has been condensed for length and clarity).

Your new agency name is particularly intriguing; what’s the story behind Magic Camp?

We set out to build a brand around an idea, not around specific people. We wanted the name to encapsulate the ideal, aspirational environment we’re trying to cultivate. Each member of our team and every partner should be able to consistently contribute to defining this environment. Our vision, mission, and values revolve around continual positive improvement and evolution of our work, team members, and operational systems.

Magic Camp embodies this ethos.

“Camp” holds a special place in many people’s hearts – it’s often where children first experience the freedom to explore their imaginations without constraints. At camp, you’re encouraged to learn, embrace bravery, embark on adventures, and have fun. By the end of camp, you’ve made friends, built new skills, and found confidence that positively impacts the rest of your life.

But crucially, at camp, you always do this as a community. We aspire to foster this sense of community, where each member, including our clients, contributes to creating moments of magic. However, you can only experience magic if you believe it exists and you know to look for it.

Given Magic Camp’s emphasis on creativity as a growth accelerator, how do you ensure that your agency’s processes and approaches foster diversity and inclusion within the broader advertising ecosystem?

Fostering inclusion is a critical component of why we started the agency in the first place—we built it into our vision and mission statement. We don’t want diversity and inclusion to be performative, which, unfortunately, has become so pervasive in our industry, particularly in the last few years. Our environment and our operations must be inclusive by design.

To do that, we spent a lot of time researching the systemic issues that make inclusion challenging, nearly impossible, in the traditional agency model. Building our model, we started our operations from scratch and looked at nearly every process with fresh eyes and thinking. Then, we met with inclusion experts throughout our development process to hold us accountable.

We’re small and just getting started, and we recognize that it gives us the benefit of starting over instead of fixing a decades-old issue and navigating a complicated infrastructure. We truly believe that diverse perspectives and experiences lead to better outcomes. So, we must prioritize those perspectives by recruiting differently, elevating diverse employees and partners, and continuing to work with inclusion experts.

With your extensive experience in the industry, how do you actively address and combat entrenched gender biases and stereotypes within Magic Camp and in your interactions with clients?

Inclusion is one of the most important components of our business. It impacts every part of our operational model, which looks radically different from the typical agency. Also, we’re two women who have seen first-hand how the current system puts incredible pressure on marginalized groups to fit into a system that wasn’t designed for them. Many talented people have to leave the system when they go through a significant life change. And this disproportionately impacts minorities and women. Unfortunately, this industry is no longer a business that is known for being able to build a lifelong career AND a rich personal life.

It took a lot of homework and creative problem-solving to create a different model that gives folks the ability to lean in when they’re in career-growth mode but doesn’t penalize you when you want and need more balance. We staff our teams entirely differently and encourage individual-contributor roles instead of forcing management to be the only way you can “move up.” We offer a four-day work week, remote work, sabbaticals for all employees, two weeks of paid vacation before you start, and fully covered insurance. We’re also looking into how we can pay for access to financial experts to help our team members build personal wealth. If we ask our team members to show up consistently at an elite level, we also need to give them the ability to properly rest and recover without sacrificing why they’re working hard in the first place. We recognize that we’ve hired people for a job; it’s not our business to dictate how they live the rest of their lives.

As we build more resources, we plan to invest them back into the growth and success of our whole team instead of only building wealth for the founders or leadership.

If a prospective client, partner, or team member doesn’t believe in these values and how they can successfully impact their own businesses and lives, we’re not a good fit for them. Our model isn’t for everyone, and we’re okay with that.

Given Magic Camp’s focus on redefining the traditional agency-client relationship, how do you believe your approach differs from the conventional agency model?

We started by acknowledging how hard the role of the modern marketer is. A good portion of the advertising industry doesn’t do that, and most relationships begin with unspoken and unacknowledged tension. Instead, we take the same approach as we do to differentiate our clients’ businesses: know why you exist, embrace what makes you different, and take a consumer-first approach. We exist for our clients, the modern marketer, whose role is arguably the most complex within organizations. They want to make a big impact but work in a challenging, ever-changing environment. They must consistently deliver top-line growth to keep their job, let alone “succeed.” We looked at every component of our business through the lens of this client, giving us a lot of clarity. On the surface, the client may be buying the same deliverable, but the process will be vastly different for everyone involved. The ultimate goal is eliminating friction and consistently using creativity as a business multiplier. With that approach, we realized that common internal agency issues and client-agency problems would no longer be significant pain points.

Their success is the reason we exist. So, we designed our processes, deliverables, and communication systems with that in mind. We invite collaboration and share responsibility for decision-making (both good and bad). We sell deliverables, not FTEs and hours. We welcome feedback and have formalized it in our operations so that we can invest and innovate from those data points. Creating connections and building trust is at the forefront of everything we do.

Why did you decide to build Magic Camp from scratch despite your successful careers in established agencies?

Holly Willis: I’m a disruptor at heart, which has made me both an incredible and terrible account person. I’ve always valued creativity – my mom is an artist, my dad is an engineer, and I trained to be an opera singer. But I also love business and am good at math, so I understood that to “move up” in account management, you must be efficient and deliver profit. I was always working to find that balance while still getting great results for our clients. I struggled to find that consistent opportunity in advertising without burning out. But I’ve also continued to love so much of what this industry promises – the ability to positively impact culture and be a part of something that has a lasting impact. And I love so many of the people in this industry.

Then, I had a unique opportunity to rethink the model and design an agency that prioritized people and positive impact. I also had to reevaluate myself and the legacy I wanted to leave behind. Through personal growth and honest reflection, I realized how I benefited from and contributed to perpetuating that model.

Finding someone who shared those same values and passion for the industry was critical when looking for a founding partner. Someone who cares about the group’s success and that people love to work for and with. Someone who builds trust but isn’t afraid to challenge the status quo and me so that we hold each other accountable to the bigger vision and not our egos. And that’s Mandi.

As Magic Camp unfurls its banner, it signals a bright step towards redefining the landscape of advertising agencies.

Portrait photography by Steven Piper. Logo design by Enlisted Design.

Founded in 1972 on the Upper West Side, H&H Bagels has grown from a local favorite to a cultural institution cherished by New Yorkers. With plans to launch numerous new franchised and company-owned locations across the country, the challenge was clear: modernize the brand while staying true to its New York roots and appealing to a broader demographic.

As H&H Bagels prepares for a nationwide expansion, it has turned to the expertise of High Tide, a renowned New York City-based creative studio specializing in brand identity. High Tide is no stranger to building NYC fast-casual/dining brands, known for its work with Dig Inn, Sweet Chick, Mexicue, and many others. The goal: extend a warm invitation to people across America to indulge in the authentic taste of a New York City bagel.

We saw it as a huge responsibility to bring an iconic local institution to everyone in a way that showcases what makes NY culture so special.

Danny Miller, Founder and Creative Director, High Tide

For High Tide, the opportunity to reimagine H&H Bagels held personal significance. “This project brought back memories from my childhood of stopping by H&H on my way to Central Park,” explains High Tide’s Founder and Creative Director, Danny Miller. “We saw it as a huge responsibility to bring an iconic local institution to everyone in a way that showcases what makes NY culture so special.”

The transformation began with a new visual identity, encompassing everything from the website and packaging to signage and interior design elements for each physical location. The logo, featuring clean custom lettering set against a redesigned version of the original seal, strikes a balance between modernity and homage to the past.

Typography, photography, and color were carefully curated to convey a sense of accessibility and premium quality. A mix of serif, sans serif, and script typefaces adds depth and character, while vibrant pops of color inject energy and excitement into the brand’s visual language.

Jay Rushin, CEO at H&H Bagels, acknowledges the significance of this evolution: “As we embark on a new chapter with our national expansion, enhancing our visual identity was essential to delivering an elevated experience for our customers.” Miller adds, “Wherever someone experiences H&H, the brand should stand out – welcoming others to feel the excitement of eating a classic NYC bagel.”

With High Tide’s expertise, H&H Bagels is poised to captivate taste buds and hearts across the country, all while preserving the essence of a beloved New York institution.

In the process of rebranding, JOAN recognized the multitude of stories yet told. While striving for a gender-neutral system, they also acknowledge the intrinsic role gender plays in shaping its identity. A creative agency led by women is still a rarity in an industry largely dominated by men. Yet, JOAN thrives, boasting experience, passion, and leadership across advertising, design, production, and media.

Led by Anjela Freyja, JOAN’s internal design team crafted a visual identity reflecting the agency’s fighting spirit and commitment to growth and inclusivity. The new brand captures JOAN’s expressive, daring, crafted, relevant, and visionary DNA, appealing to corporate clients and cultural influencers.

• Soulful: Two warm, accessible, and friendly typefaces and candid office and project photography capturing the agency’s direct communication style
• Daring: An edgy, bold, highly-saturated color palette
• Crafted: A technical gridded design system that prioritizes attention to detail and technique communicates their craft expertise
• Relevant: Contemporary digital design, animation, and 3D techniques that flex the team’s savvy and knowledge and highlight the agency’s cultural relevance
• Visionary: A sharp logo inspired by Joan of Arc’s iconic sword, paying homage to the namesake and the origin of the agency’s name

The design elements, including warm typography, bold colors, technical design systems, and nods to cultural relevance, are complemented by sleek metal materials, reflecting JOAN’s bold personality. This new identity serves as a framework for their global expansion.

Beyond the expected updates to its website and social channels, JOAN’s rebrand includes unique collaborations such as one-of-a-kind merch with Ray’s NYC. While the brand draws inspiration from Joan of Arc, it also esteems other influential figures, embodying a commitment to storytelling and community engagement.

JOAN’s new brand identity is more than just a logo change; it celebrates its past, present, and future, honoring the diverse voices and talents of the JOAN community. Like those who came before them, they embrace their collective history, experiences, and talents, committed to sharing meaningful stories with the world. As they boldly declare, “We are JOAN.”

I work in a very competitive landscape of legal and financial services, and the articulation of brand identity through user interfaces (UI) is a critical strategic endeavor. Firms are increasingly aware of the necessity to distinguish themselves, fostering recognition and trust amidst a sea of competitors. Yet, the integration of logo branding into UIs, a seemingly direct route to achieving this distinction, merits a deeper strategic contemplation. Drawing on the principles of strategic thinking and branding, this exploration seeks to illuminate the nuanced interplay between brand visibility and user experience (UX) optimization.

The Principle of Strategic Distraction

Central to the philosophy of user-centered design is the imperative to streamline user objectives with utmost precision. Clients engaging with digital platforms in search of legal or financial counsel are driven by specific needs—be it advice, information, or transactional services. An interface that prioritizes branding to the point of distraction undermines the very essence of user-centricity. It is a strategic misstep, diverting focus from the firm’s core value proposition: the delivery of expert, reliable service.

Clarity Over Complexity

The elegance of simplicity in UI design cannot be overstated, especially within sectors that deal with inherently complex subject matter. An overabundance of branding elements risks cluttering the digital experience, obfuscating the information or services sought by users. Strategic branding, therefore, must favor clarity. It should enhance, rather than encumber, the user’s journey—a reflection of a firm’s commitment to accessibility and ease of use.

Elevating the User Experience

The pursuit of an enhanced user experience is a multifaceted endeavor, encompassing aesthetics, functionality, and intuitiveness. A branding strategy that overlooks these dimensions for the sake of visibility is counterproductive. It risks alienating users, potentially eroding the trust and credibility firms strive to build. In contrast, a nuanced approach to branding—one that respects the user’s need for a frictionless experience—can significantly amplify engagement and loyalty.

Avoiding the Pitfalls of Brand Fatigue

In the realm of branding, consistency is key. However, when translated too liberally into UI design, it can lead to an over-saturation of brand elements, culminating in brand fatigue. Users, overwhelmed by repetitive branding messages, may grow indifferent. Strategic restraint is advisable, focusing on the placement of branding elements at pivotal interaction points rather than ubiquitous presence. This strategy ensures brand reinforcement without compromising the user’s engagement with content.

The Imperative of Accessibility

Accessibility stands as a cornerstone of inclusive design, ensuring that digital platforms cater to the broadest possible audience, including individuals with disabilities. Excessive branding, particularly when it impedes navigability or comprehension, directly contravenes this imperative. A strategic approach to UI design, therefore, must prioritize accessibility, aligning with both ethical standards and broader market reach aspirations.

Strategic Branding as a Catalyst for Engagement

The integration of branding within UI necessitates a strategic balance, leveraging brand elements to foster a cohesive experience without detracting from usability. Employing brand colors, typography, and imagery judiciously can subtly enhance brand identity, supporting rather than overshadowing the user’s journey. This approach aligns with the strategic branding ethos, where the focus shifts from mere visibility to creating meaningful engagements.

The intersection of branding and UI design in professional services is a terrain ripe with strategic implications. As firms navigate this landscape, the challenge lies in harnessing the power of branding to reinforce identity and trust without compromising on the sanctity of the user experience. Embracing a strategic, user-centric approach to branding in UI design not only positions firms as leaders in their domain but also epitomizes their commitment to service excellence and client satisfaction.

In charting the course for strategic branding in digital interfaces, endeavor to transcend the conventional, and foster brand engagements that resonate deeply with clients, thereby cementing our place as vanguards of innovation and trust in the professional services sector.

This post was originally published on Lynda’s LinkedIn newsletter, Marketing without Jargon. Lynda leads a team at Decker Design that focuses on helping law firms build differentiated brands.

Photo by Kelly Sikkema on Unsplash.

Founded in November 2006 by a team of insurance experts, Go.Compare has long been recognized for its meticulous approach to comparing various products and services, including insurance policies, financial products, energy tariffs, and more. Unlike traditional comparison sites, Go.Compare distinguished itself by prioritizing the display of policy details alongside prices, setting a new standard in the industry.

Over the years, Go.Compare’s mission has evolved while remaining steadfast in its commitment to providing reliable and comprehensive comparisons. The company has cultivated a vast network of trusted partners, ensuring users can access a wide range of reputable options. Authorized and regulated by the Financial Conduct Authority (equivalent to the SEC in the US), Go.Compare offers users peace of mind in their decision-making process.

The rebrand signifies a strategic step forward for Go.Compare, solidifying its reputation as a dependable ally for consumers while injecting a burst of new life and character into the brand.

Go.Compare’s standout feature is its accessibility. The service is free for users, a testament to the company’s dedication to empowering consumers with transparent information.

Unlike others, Go.Compare doesn’t just list options; it serves up choices that are genuinely beneficial for users, placing their interests at the forefront,” says Max Ottignon, co-founder of Ragged Edge. “So we amplified that difference, positioning Go.Compare as the Champions of Choice.”

With an impressive 97% awareness rate, the recent rebranding initiative aims to capitalize on the website’s recognition and attract even more users. At the core of Ragged Edge’s rebrand is a genuine point of differentiation: Go.Compare is the sole comparison site accredited by BIBA (British Insurance Brokers’ Association), emphasizing trustworthiness in every recommendation.

“Ragged Edge worked closely with every part of our business to ensure they understood exactly what our aspirations were and how we wanted to evolve in the future,” says Paul Rogers, Marketing Director at Go.Compare. “Insurance can be heavy going – a grudge purchase. Ragged Edge has made it fun and rewarding. The rebrand has helped us to evolve visually and strategically and given us an even stronger sense of purpose, authority, and momentum as we continue to provide transparency and support for customers across a broad range of complex products.”

Central to the rebrand is the iconic figure of Gio Compario, Go.Compare’s beloved mascot. Gio, portrayed with exaggerated features in charming cartoon form, serves as the brand’s “choice champion,” advocating for users across every aspect of the Go.Compare experience.

In collaboration with artist Rami Niemi, the rebrand introduces an illustrative style that breathes life into the brand’s insurance products, departing from conventional stock imagery to offer a fresh, engaging visual narrative.

Complementing the visual overhaul is a new verbal identity – “the voice of choice” – characterized by relatable wit that resonates with customers. A custom-designed typeface adds warmth and character, reinforcing the brand’s distinctive personality.

The rebrand, designed to be instantly recognizable and scalable, ensures maximum visibility and engagement across various platforms. Ragged Edge’s collaboration with Go.Compare extends to the brand’s high-profile sponsorship of the Wales rugby union team, further solidifying its presence in the public eye.

The rebranding of Extreme Reach to XR signifies more than a name change; it represents a bold reach into the future. XR partnered with brand studio Athletics to create an identity embodying purposeful momentum and enlightened performance driven by insight. The new identity reflects a modernist aesthetic infused with imagination, drawing inspiration from diverse sources, including fashion, skincare, film culture, and research consultancies.

XR’s distinctive logomark, centered around the letter “X,” is the nucleus of the rebrand. The mark symbolizes versatility and intelligence. It breathes through subtle animations, adding a dynamic element that mirrors XR’s forward-thinking ethos. Including a transitional asset incorporating the entire Extreme Reach wordmark ensures continuity during the brand transition.

The approach to color is highly differentiated, evoking warmth and boldness. With its analog, tactile feel, the color palette instantly distinguishes XR. In photography, the accentuated blur captures the essence of motion and dynamism, reinforcing XR’s commitment to progress and forward momentum.

The expanded visual system utilizes dynamic, generative patterns composed of language and letterforms to create a variety of motifs and textures. XR has developed a custom tool that generates on-brand patterns with minimal input to ensure consistency and scalability, empowering its team to scale the brand efficiently.

The supergraphic, featuring enlarged letterforms from the logomark’s “X,” is a versatile framing device. Beyond its aesthetic appeal, the supergraphic plays a crucial role in building equity and recognition for XR’s newly abbreviated brand name, reinforcing its identity across various touchpoints.

Video, UI, and animation are integral to XR’s storytelling strategy, illustrating the entire production process from ideation to outcome. Graphic elements overlaid on video provide insightful annotation, highlighting XR’s understanding of the industry and its role in facilitating seamless implementation.

XR’s rebrand marks a significant milestone in its journey. With its forward-thinking identity and cutting-edge technology, XR is poised to continue shaping the future of entertainment, driving productions forward with insights and creativity. 

Another groovy project done by Athletics was their recent rebranding of the Seattle Sounders.

In 2011 a corporate recruiter surprised Mauro Porcini, who was then contentedly employed as the Chief Design Officer of 3M Corporation, with a job for another global giant. Porcini had no interest in leaving 3M for Pepsi. As he writes in an essay in the recently published Good Design is for Everyone: The First 10Years of PepsiCo Design + Innovation (Rizzoli): “I was working on exciting innovation projects, leveraging more than 50 different technology platforms, covering more than 60 industries in almost every existing product category. What more could I do at PepsiCo?”

Good question!

The answers came from atop the corporate ladder where good design was considered a not-so-secret ingredient of business success. Ergo: “good design is for everyone”. Conversations with Brad Jakeman, then President of PepsiCo’s Global Beverage Group, and then with now former CEO Indra Nooyi, convinced Porcini that PepsiCo was a company that promised grand opportunities for genre-pushing creative work. Convinced that Pepsi’s ethos was not merely fizz and fizzle but a global brand with a progressive design-driven agenda, Porcini was lured into his ultimate role as Senior VP and Chief Design Officer. The book marking the tenth anniversary of his reign is an impressive sampling of how to instill brand vivacity into an venerable institution rapidly and agressively changing with the times.

Today the core beverage is known simply as Pepsi. But there is nothing simple about the current brand, which Porcini sees clearly moving forward with the vast array of subsidary brand and products under the company’s larger helm, from Doritos to Gatorade. Not to mention the clothing, expositions and dozens of ancillary materials that expand the PepsiCo universe.

This extravagant book created by JD&Co is a lavish celebration of design, but specifically dedicated to the PepsiCo’s in-house designers who contribute to a massively global narrative of consumption at the highest level. And, how over the past 10 years PepsiCo has transformed into a “people-centric” operation, which chairman and CEO Ramon Laguarta writes in the preface, has been “… a journey that has not only created growth for our company and our shareholders, but has also created untold value for our users, our consumers, our customers, our communities and our planet.”

As a grown-up, when I decided to change my diet to a plant-based one, I got a lot of heat about it (and still do). No one cared when I ate two burgers chased by a soda or when I smoked or drank too much. Now, there are many self-professed experts in protein and B12 vitamin deficiency. Others’ concerns come at me with a blast of criticism and judgment, always wanting to change me or call me out for being ‘weird.’ All that noise has made me love being different and has fueled me to explore more uniqueness in my personal and work life. How boring to be like everyone else!

By embracing weirdness in a sensible but researched way, companies can effectively become different and unique and genuinely transmit that through powerful branding. Take Liquid Death as an example; the water brand is killing the status quo. This brand chugs forward with an unapologetic skull logo, shiny bright cans screaming “Murder Your Thirst,” and flavors like “Berry it Alive” or Rest in Peach,” among other fantastic product names. Liquid Death merch is to die for. If you haven’t watched their ads, you should. Be prepared because, oh boy, it gets weird!

This brand makes legacy craft beer brands jealous to the bone. Founded in 2018, Liquid Death is worth more than $700 million.

Equinox’s New Year campaign is another smart and powerful example of embracing the weird. The campaign, “We Don’t Speak January,” was created by Collins in collaboration with the Equinox team and effectively banned new membership sign-ups on the first day of the year. The first of January is known to be the day with the most sign-ups in the fitness industry. But Equinox understands its audience (serious about fitness 24/7/365) and didn’t want to chase the New Year, New You crowd.

This campaign was called bizarre or controversial, and according to the Daily Mail, many who didn’t like it took to X/Twitter “to slam the gym brand.” But many others found it intelligent, bold, and aligned. The Equinox campaign brought in the best-ever January sales and leads, boosting the brand to break all kinds of records.

To close, I want to bring Taylor Swift to the scene (pun intended). Swift has mentioned a group of girls bullied her after they decided she wasn’t cool enough because she liked country music, describing how the experience helped her write songs. Unless you live on Mars, you will have heard something of the Taylor Swift machine. Swift moves economies wherever she performs her Eras Tour or shows her face at a Chief’s game (or the Super Bowl). Her net worth at the end of 2023 was estimated to be 1.1 billion.

But all the money talk aside, Taylor Swift has the influence to help decide who the next US president will be. In a poll conducted for Newsweek, Redfield & Wilton Strategies found that 18 percent of voters say they’re “more likely” or “significantly more likely” to vote for a candidate endorsed by Swift.

That, my friends, is power.

Whether you’re Latino (like me), Black, gay, straight, Muslim, Catholic, vegan, etc., I wish you to use your weirdness as currency and help the brands you work for, collaborate with, and buy from to be more like you.

Cheers to being weird!

​​

Ricardo Saca is the US and Mexico Managing Partner for Cato Brand Partners, a Global Design and Branding Consultancy. He is a Master in Branding from the School of Visual Arts in New York City and has 20+ years of experience working with a wide range of companies, from startups to airlines. He is an animal lover and a plant-based cyclist.

The west-coast-based brand strategy and interactive studio People People is committed to helping companies across the Northwest and beyond discover and tell their stories — and have been doing so for over 20 years.

The brief from Thorntail was clear: create a visual identity as light, energetic, and uplifting as the beverage itself. People People’s solution? An abstract illustration of a thorntail hummingbird, complemented by a script typeface and tones of teal influenced by the Blue Weber agave plant.

Thorntail defies categorization—it’s not quite a seltzer or tequila, but something entirely new. This presented both a challenge and an opportunity. Rather than following the usual tropes of the market, People People sought to break away from the norm and communicate the product’s uniqueness.

The packaging needed to feel fresh, vibrant, and invigorating, mirroring the attributes of the beverage. Inspired by the Blue Weber agave plant, the brand’s light and dark teal blues evoke a brightness that reflects Thorntail’s refreshing taste. Maintaining color consistency across all packaging was a strategic move to bolster brand recognition, a departure from the common practice of changing backgrounds per flavor.

Drawing inspiration from Thorntail’s namesake—the thorntail hummingbird—People People created an abstract illustration of the bird, symbolizing upward flight for an uplifting feel. A script typeface inspired by the hummingbird’s graceful movements adds a touch of elegance to the brand’s visual identity.

‘Hard Agave’ or ‘Fermented Hard Agave’ is prominently displayed alongside the logo and product name to intrigue consumers. With limited packaging space for detailed information, Thorntail’s website serves as a hub for in-depth education, featuring a playful infographic detailing the production journey of hard agave from farm to can.

People People’s creative approach ensures that Thorntail Hard Agave stands out on the shelves and resonates with consumers seeking a unique and refreshing experience. In a market saturated with choices, Thorntail’s brand identity soars above the rest as a beacon of originality.

The central idea behind the updated brand is encapsulated in the phrase “Do right by nature,” highlighting NYBG’s commitment to studying, protecting, learning from, and enjoying nature. It serves as a call to action and recognizes NYBG’s leading role in environmental stewardship.

The new brand voice mirrors the tone and spirit of New York and the Bronx, embodying optimism, empathy, and purpose. It aims to convey NYBG’s enthusiasm for the natural world, promote inclusivity, and demonstrate expertise.

A redesigned logo emphasizes the NYBG abbreviation in a bolder, more contemporary style, blending the essence of New York City with the Garden’s natural beauty. The typography, featured in our 2024 Typography Report, draws inspiration from hand-drawn natural forms, symbolizing confidence and impact.

Curious about the strategy behind the project, I spoke with Jane Boynton, senior creative director, and Ana Camargo, lead strategist of Wolff Olins. NYBG’s CMO, Michael Crowley, also weighed in. Our conversation is below (edited for length and clarity).

With a vision of deepening community connections while expanding environmental action, what specific elements of the brand refresh aim to strengthen local ties while also addressing global environmental concerns?

AC: The former identity, while elegant, had some cues of a “white box gallery” — where maybe not everyone feels welcome, and not everyone feels seen—places where you usually can’t touch the art. The Garden is such a sensory experience. So we wanted to make sure that in the evolution of the brand, we created a platform in which many different audiences could feel welcome, connected, and seen in the brand. Addressing those issues locally helps us tackle them from a global perspective.

We also wanted to reclaim the fact that this is a New York cultural institution and own that with pride. So, as we thought about the tone of voice being more approachable and empathetic, we also wanted it to be deliberate. We wanted it to be a straight shooter, like New Yorkers are, and residents of the Bronx.

We want NYBG to feel like everyone can own it, from the neighbors to the trustees, the board of directors, and the investors. We created the brand to flex according to all those audiences, from the neighbors to the people who visit the Garden physically, the people who visit online, the people who do research connected to the Garden, and the trustees.

The brand refresh includes a new logo that unites the spirit of New York City with the natural beauty of the Garden. How does the new logo, with its references to natural forms, reflect the personality and impact of NYBG?

JB: The old logo already stood for the ongoing impact on preservation the brand was actively doing and its participation within the local community. So we didn’t want to throw those associations away. We’d like to think that we took the previous logo and amplified it.

Our big, beautiful idea for the New York Botanical Garden is this concept of doing right by nature. Unpacking that idea, the ‘do right’ refers to the active state of the organization, the call to action, the study of nature, the protection of it, the enjoyment of it, and the learning from it. That ‘do right’ is expressed through the boldness of the letter forms. They evoke a sense of confidence that speaks to the organization’s impact and leadership. 

The boldness also speaks to nature. Think about when nature is at its best, and it’s thriving, it’s lush, and it’s rich, and it’s full of form. It’s not skinny. That boldness speaks to where we want nature to be in that thriving state. That boldness is also a nod to the spirit and attitude of New York and the Bronx. We are New Yorkers, and our boldness and confidence in that sense of being direct is part of what identifies us.

Bringing all of these things together, we’re hoping the new logo unites that iconic spirit of New York with the natural beauty of the Garden, paired with the active nature of the people behind the organization fighting against climate change and biodiversity loss.

AC: What I also love, of all the things that Jane has already mentioned, is the ‘doing’ – the action – and the ‘by nature’, which has this beautiful idea of side by side with nature. It’s not behind nature. It’s not in front of nature. It’s not that nature is leading, and we need to follow. We wanted to convey a symbiotic relationship. Because I think part of why we’ve gotten into this environmental mess is because humans have forgotten that we are nature.

Doing right’ is everything the Garden does: taking that perspective of the plants and doing right by them, speaking for them, researching them, and bringing their wisdom and intelligence to life.

The photography is from nature’s perspective, ranging from intimate to immersive shots. How does this POV contribute to telling the story of NYBG, and how does it create a more engaging and immersive experience for visitors?

JB: This element in the toolkit was already working hard for the client. The Garden really invests in photography. They have a photographer on staff and an incredible library of stunning images.

So, our task was more about how we can better align the photography moving forward with this idea of ‘do right by nature.’ Photography offers the opportunity to amplify that wonder in nature and its ability to teach, guide, and inspire us

For the style of the photography, we drew on a diverse set of different angles and perspectives, which allowed us to capture more surprising and unexpected views of all the plants, people, and the place. And more specifically, it’s from nature’s angle or perspective. What would nature’s perspective be if we’re embodying ‘do right by nature’? How would a bird see the Garden? We put nature behind the lends to try to capture the spirit and vitality of this wonderful place and how being here can shift all of our perspectives.

AC: This is a really important point. It’s also part of the evolution we considered because if we’re thinking about that shift, to remember that we’re all part of nature, photography that focuses on the plants and the fungi, it’s easy to forget that we’re part of the same system. As Jane said, that was a vital element to bring the people back in to make all those audiences feel seen and part of that environment.

How do you see the updated brand identity actively contributing to and supporting ecological initiatives? How can a strong brand presence influence public perception and participation in sustainability efforts?

AC: Our client was already doing so many amazing things. Our job was to take those actions, enhance them, and amplify them. As we expand the brand to be more empathetic, welcoming, deliberate in how it shows up, proud, and more New York and the Bronx, that platform can strengthen the brand’s presence and put more weight behind it.

Then, NYBG can use that weight behind its sustainability initiatives. We wanted to make sure that more people care about the environment and engage in sustainability initiatives as they’re drawn into the new brand.

Sometimes, when you see brands or NGOs showing up, the discourse focuses on the things that you need to lose for the planet to gain or for the planet to thrive. We wanted to make sure that NYBG communicates in such a way that doesn’t revolve around what any of us has to give up for the planet to continue functioning. It’s about what we can all gain in a more sustainable life, in a more conscious way of being on this planet. We wanted to bring more folks into that conversation through beauty, abundance, and through that lens of what is there for all of us to gain.

What was the most interesting thing you experienced working through this rebrand with the New York Botanical Garden while developing this project?

JB: I represent a lot of the general public in the area in that I didn’t realize there was all this incredible research and rigor behind the organization. I only saw NYBG as a place, as an experience to visit the train or the orchid show. I didn’t realize that behind all of that are these incredible climate and science research efforts. And it’s very inspiring. It’s what makes NYBG unique and different. And to Ana’s point, it is the reason to get people to care. And so that was a big, eye-opening moment when I understood the full breadth of this organization.

AC: So it’s not just a visual transformation by any means. It’s a way to signal to the world all of these amazing things NYBG has been thinking about and putting into practice as an organization and will continue to accelerate over the next few years.

How does the ‘Do right by nature’ idea translate into practical initiatives or programs within the NYBG’s mission and activities?

MC: ‘Do right by nature’ reflects NYBG’s longstanding commitment to plants, fungi, and the natural world. Since our founding in 1891, our mission and activities have centered around three pillars — science, horticulture, and education — that bring plants and people together. We’re helping nature to thrive so that humanity can thrive.

Branching Out, our strategic plan for 2024-2030 includes longstanding NYBG programs and new initiatives to help us achieve five goals, all of which serve people, plants, and the planet. Bronx-centric programs serve our local community through projects such as Bronx Green-Up, which supports hundreds of community gardens, urban farms, and school gardens across the borough, and Bronx Neighbors, which provides free access to our grounds for residents. As a cultural destination in NYC, we help people to find peace and well-being in our natural oasis. Educational programs bring children close to nature from a young age to incubate the environmentalists of tomorrow. And our scientific research programs are re-centered through a lens of environmental action, focusing our diverse efforts around goals addressing the dual climate and biodiversity crisis.

What initiatives is NYBG undertaking to more fully engage with climate and biodiversity crises? How does the new brand inspire public engagement and action towards a sustainable and biodiverse future?

MC: New initiatives include the program for Urban Conservation Strategy, a research and engagement platform that will engage with local and international non-profit and research partners to advance urban resilience and assist decision-makers across New York City— and in cities around the world. The Bronx River Watershed Health & Resilience Program will be a collaboration between our scientists, horticulturists, and local partners to develop local outreach and plant-based strategies to improve our local ecosystem. We will prioritize high-impact research collaborations across various areas where our researchers have expertise, including nature conservation, restoration, and sustainable agriculture. We are committed to pursuing botanical and fungal research with applications that will serve the planet. The new brand foregrounds NYBG Science with its own style treatment, which draws attention to the incredible research conducted by our scientists. Overall, our new positioning as “plant people” creates a more cohesive identity for our entire staff and programs, uniting science, horticulture, and education experts to apply all of our resources to the broader mission of doing right by nature.

The new brand identity is described as an active, bold, and welcoming presence that connects and inspires. How does the brand aim to foster a sense of connection to nature and the NYBG mission among diverse audiences, including current and future generations?

MC: Every aspect of the new brand identity—from the logo to the color palette to the brand voice—was designed to celebrate science and nature and to create a more welcoming and vibrant experience for our guests. The refreshed logo takes inspiration from iconic New York City designers and institutions, but you’ll also find nods to nature hidden within. The logo and our new custom typeface, NY Botanical Gothic, are full of organic shapes and draw inspiration from posters from the environmental movement of the 1960s and ‘70s. We also created a special logo treatment to represent NYBG Science, signifying our scientists’ microscopic view of the plant world.

The colors we use in our new branding are inspired by nature and named after various plants and fungi. Our vibrant color palette is more welcoming and, in combination with the bold typeface, draws visitors in to learn more. It’s a reflection of the biodiversity found on our grounds and represents our diverse city and the borough we call home. After all, the Bronx is NYC’s greenest borough! Our brand reflects the Garden’s 133-year history while looking ahead to a bright and botanical future. NYBG is so many things for so many people – a place of respite in a concrete jungle, a place for cutting-edge scientific research, a place to experience art and culture – and our new brand embraces each of these roles, not just for today, but for the generations of purposeful plant people that follow.

The recently released 2024 PRINT Typography report speaks to an intense balancing act between legacy and future impact of typefaces. This renewed identity for NYBG is evidence of this consideration, with a custom wordmark that is a confident, bold, and impactful embodiment of the organization’s call to action.

The Importance of First Impressions

Our study, focused on the clarity and distinctiveness of nonprofit brands—elements that are immediately apparent to an outsider. This approach is crucial because, for most people, a few seconds are all it takes to form a judgment about your organization based on its verbal and visual identity. The findings were eye-opening: Of the 315 nonprofit brands we evaluated, 37% had low scores, 9% had average scores, and 53% scored high. That means that almost half of the brands we looked at are missing opportunities to connect with and engage their audience effectively.



In addition to the brands we evaluated, early data from our Nonprofit Brand Score tool—where nonprofit brand managers can self-evaluate their brand’s clarity, resonance, distinctiveness, and influence—has yielded similar results. The average overall score for the first 100 nonprofits who have completed the assessment is just 66 on a 100 point scale. For reference, brands we have designed average 87 on the same scale.

A Quick Reality Check

Before jumping into diagnosing common weaknesses in nonprofit brands, it’s important to pause and acknowledge that the role of a brand is to be an authentic representation of your organization’s behavior. Rebrands signal an important shift or evolution in that behavior.

If your brand is falling short, it’s important to ask yourself why? Is it a matter of it being outdated, suffering from lackluster execution, or misalignment with your organization’s reality—or are the root causes deep enough that they can’t be glossed over with a great verbal and visual identity?

In order to answer these questions, it’s important to have an unvarnished understanding of how people perceive your organization. Whether you agree with it or not, public perception is a truth you need to contend with. If your organization’s reputation is damaged because of how you show up and operate in the world, because of how you do your work, or because of how you treat your people, a beautiful rebrand is not a short cut to solving your perception problem—people will see right through it and probably resent you more for trying to pull the wool over their eyes. You have to actually engage your team to do the work of changing your organization’s behavior before jumping into a rebrand. I won’t lie—this is slow, hard work that requires emotionally intelligent leadership, great listening skills, strategic thinking, and a deep well of patience. It’s also essential to your organization’s sustainability and potential for impact.

Assuming your organization has had the courage to be introspective about it’s behavior, and is at least on the path to correcting behaviors that might have hurt its public perception, let’s take a look at some common weaknesses in how nonprofit brands present themselves and what they can do about it.

Where Nonprofits are Falling Short

Lack of a Standout Verbal Identity

The majority of organizations we assessed did not have a distinctive verbal identity. Their missions and visions often blended into what we term ‘Social Good Ipsum’ — generic statements like “making an impact” or “helping communities thrive.” These phrases are so overused that they lose meaning, making it difficult for potential supporters to understand what the organization actually does or why they should care.

Name Overload

Nonprofits have a tendency of using excessively long names in logos, making them hard to remember and cumbersome to use. Many organizations would benefit from adopting more approachable, shortened versions of their names in their logos when appropriate. This shift can make the brand more memorable and relatable.

Visual Sameness

Visually, many nonprofits fall into a sea of sameness. The predominant use of neutral colors, such as whites and blues, and a lack of distinct hues contribute to this uniformity. Logos often lack differentiation, ranging from poorly crafted or considered fonts for the organization’s name to outdated monogram seals. The use of generic, emotionless photography only exacerbates the issue, failing to connect the organization’s unique story or impact with the real people it serves.

Over-Designing and Lack of Systems

On the opposite end of the spectrum, some organizations are over-designed. Their branding features a confusing array of patterns, graphics, and colors, leading to visual chaos and diluted brand equity. This often results from multiple individuals designing for the brand without clear guidelines, resulting in a disjointed and ineffective brand presence.

Seizing the Branding Opportunity

This prevalent issue of weak branding is a call to action for nonprofits. Organizations that invest in developing a clear, resonant, and distinctive brand can stand out in a crowded field, attracting more support and making a more significant impact.

Embracing Clear and Emotional Verbal Identity

Nonprofits can begin by reevaluating their verbal identities and getting a real sense for how much they actually resonate with their teams. Ultimately, organizations should move away from generic language and adopt a more emotional, clear, and concise way of communicating their promises and personality. The goal is to instantly convey what makes an organization unique and why it matters.

Distinguishing with Visual Identity

Visually, there’s ample room for improvement. Nonprofits can adopt more distinct color palettes, develop unique logos that reflect their essence, and use photography that genuinely represents their people, their work, and their impact. By creating a visual identity that breaks away from the norm, organizations can make a memorable impression.

Consistency and Cohesion in Branding

For those grappling with over-design, the solution lies in establishing and adhering to clear brand guidelines. This ensures consistency and cohesion for the brand’s design system across all platforms and materials, making it more recognizable and trustworthy.

A Golden Opportunity

The findings from our study should serve as a wake-up call for nonprofit communications staff. In a sector where many organizations are struggling with weak branding, there lies a golden opportunity to invest in and strengthen your brand. By focusing on creating a clear, resonant, and distinctive brand, your organization can significantly enhance its profile, reach, and influence, ultimately driving greater impact in the communities you serve. Remember, in the world of social impact, communication is not just an accessory; it is the work. A strong brand isn’t a luxury item, it is fundamental.

This essay is by Deroy Peraza, Partner at Hyperakt, a purpose-driven design and innovation studio that elevates human dignity and ignites curiosity. Originally posted in their newsletter, Insights by Hyperakt.

Illustration by Merit Myers.

In tumultuous times, bold brands thrive on unique viewpoints, meaningful collaboration, creative bravery, and unwavering craftsmanship; precisely the approach taken by French start-up OLALA!

Founders François Blum and Simon Ferniot understand that taste remains paramount in consumer choices, especially in the plant-based industry. With this focus on taste, they revamped their brand design to propel their plant-based seafood globally. Teaming up with EVERLAND, a global consumer brand and design agency based in Scandinavia, they developed a comprehensive strategy encompassing brand positioning, communication, activation, and visual identity.

With a mission to provoke good growth through strategy, innovation, creativity, and consumer experiences, EVERLAND shapes bold future-looking consumer brands.

“When nearly all competitors focus on rationality and sustainability, we focus on the emotional aspects of having a great meal. Desires and tastes make for a much more robust platform”, explains Mads Hauge Lindum, Senior Brand Strategist at EVERLAND.

OLALA! crafted a product appealing to gourmet food enthusiasts, not just vegans and vegetarians. The new strategy and identity prioritizes taste excellence and ensures it’s reflected in every aspect of the brand, from casual conversations to formal communication. Even the name OLALA! reflects a well-known feeling – “Ooh là là” in French – a pleasant surprise. All communication revolves around great taste, delightful surprises, and the joy of savoring quality seafood.

We want to make waves, “ says Simon Ferniot, CEO & Co-founder at OLALA!. “We’re here to challenge the market but do it sustainably. Everland helped build a platform for breaking through the ordinary and creating lasting change for the better.”

OLALA! drew its visual inspiration from bistro culture, ​catering to food enthusiasts through its premium yet subtle branding. The design emphasizes the centrality of the meal experience, with off-white tones reminiscent of tablecloths and golden illustrations elevating the presentation. The logo reinforces the message of quality, healthfulness, and environmental friendliness. Currently offering six products, including “Salmonderful,” “Tunalicious,” and “Toramazing,” all featuring key algae ingredients, OLALA! plans to expand its product line soon.

“OLALA! is about taste in more than one way. It’s about the craft, creativity, and a mouth-watering sensation steaming on your plate. It’s understated confidence, verbally and visually; it’s what’s needed to make change happen.”

Carl Larsson, Creative Director & Partner at EVERLAND

Originally founded in Paris, Stereolabs emerged as an AI vision company with its sights set on equipping robots with human-like perception. With their cutting-edge cameras and software development kits (SDK), Stereolabs has empowered over 200,000 developers and 1,000 companies to harness the power of 3D vision in robotics.

However, despite their technological prowess and widespread adoption, Stereolabs found themselves constrained by an awareness issue. Their success in developing hardware, particularly the renowned ZED camera, led many to perceive them solely as a camera company, overshadowing their equally impressive software offerings.

Recognizing the need for a strategic rebranding, Stereolabs partnered with Pentagram to reshape its narrative. The focus shifted from being perceived as a mere provider of cameras to a visionary company offering comprehensive solutions for robotic perception. The new narrative emphasizes Stereolabs’ mission to empower robots with advanced perception capabilities, transcending the limitations of traditional robotics.

Pentagram crafted a dynamic visual identity integrating IRL and digital environments to complement this narrative shift. At the heart of this identity lies a multidimensional spark symbolizing the capture of vision in a digital context. This symbol is a unifying element across Stereolabs’ ecosystem, reinforcing the company’s commitment to precision and innovation.

Moreover, Pentagram developed a comprehensive modular diagram language to illustrate the simplicity and effectiveness of Stereolabs’ ecosystem. These diagrams highlight the ease with which developers can integrate Stereolabs’ hardware and software solutions, thereby unlocking the full potential of autonomous robots.

In addition to the visual identity, Pentagram meticulously designed a color palette and type system that align with Stereolabs’ positioning. Each element of the design system, from the technical icons to the choice of fonts, reflects Stereolabs’ dedication to precision and clarity in conveying complex information.

Key Highlights of Stereolabs’ New Visual Identity:

Dynamic Symbol: The multidimensional star-shaped symbol captures vision in a digital context, seamlessly transforming across various applications, showcasing Stereolabs’ commitment to intelligent robotics.

Modular Diagram Language: Designed to effectively communicate how Stereolabs’ product family can be configured into tailored solutions, illustrating the user-friendly and flexible nature of the ecosystem.

Technical Icons: Distinct icons convey the readiness and robustness of Stereolabs’ technology, serving as visual cues for key features.

Precision through Perception Design Language: Simple and direct visual design underpinned by a technical grid layer, emphasizing accuracy, reliability, and attention to detail.

Color Palette: Each hue in the palette aligns with the ‘eyes’ and ‘brains’ narrative, with Signal Green (SL-Lime) serving as the DNA of the Stereolabs brand.

Type System: Utilising Neubau’s NB Akademie™, a grotesque style with a mechanical tone, ensuring precision and clarity in conveying complex information.

The result of this collaboration is not merely a cosmetic makeover but a strategic realignment of Stereolabs’ brand identity. By conveying their role as both the “eyes” and “brain” of robotics, Stereolabs is poised to lead the next wave of innovation in autonomous systems.

With this new brand identity, Stereolabs is well-positioned to navigate the rapidly evolving landscape of robotics and continue pushing the boundaries of what is possible. As they embark on this exciting journey, Stereolabs reaffirms its commitment to shaping a future where robots possess unparalleled perception and intelligence.

While initially exciting, the Air India facelift took an unexpected turn by opting to sideline historical nuances in favor of positioning the airline within the ‘global market’. The rebrand seems to turn away from what could have been a very significant change. Travel is a market that feels akin to quicksand, undergoing constant change, where preferences oscillate between consumers and corporations, and budgets redefine scopes overnight. Designers face the intricate task of delicately balancing brand legacy with the desire for a new and innovative approach. The Air India rebrand prompts us to explore not only the transformation of a logo and wordmark but also the deeper implications of cultural distinction being turned into consumable morsels for the West in the name of progress. 

Founded by JRD Tata, an industrialist, entrepreneur, and India’s first commercial pilot license-holder, Air India (originally known as Tata Airlines) established itself as an independent company in the country’s aviation sector, launching its first aircraft in 1933.If you came of age in India during the early ’90s, the aviation scene was characterized by simplicity, with only a handful of airlines dominating the skies. Among them stood the Maharaja mascot of Air India, first conceived in 1946 by Bobby Kooka, Air India’s commercial director, and illustrated by Umesh Rao, an artist at J. Walter Thompson. Characterized by a potbelly, distinctive oversized curled mustache, sharp nose, striped turban, and a calm expression, he stood as a symbol of the nation’s hospitality etched into every Indian’s memory forever. The identity before the rebrand showcased the Flying Swan silhouette and the Konark wheel within, complemented by a deep red wordmark and Devanagari script. It marked Air India’s distinctive presence in the aviation sector and encapsulated an era when air travel was a novel and privileged experience—a time when aviation in India was synonymous with wonder and wealth.

Initially establishing itself as an independent entity, Air India bloomed in India’s aviation sector before being acquired by the Government of India in 1948. After operating under government ownership for roughly 70 years, Air India was reacquired by the Tata Group in 2022. In December 2023, Tata announced the rollout of a new global brand identity for Air India, led by the London, UK, office of Futurebrand in collaboration with its Mumbai counterpart. The rebrand also seems like a valid step to distance itself from the negative pushback accumulated during decades of government management. But, the agency charged with redesigning one of the oldest airlines in India was left with a research task that must have been both daunting and exhaustive.

Air India’s historic fleet of iconic Boeing 747s, nicknamed “Your Palace In The Sky,” featured interiors curated by Tata himself. The fleet epitomized luxury travel’s golden age, with the renowned Maharaja Lounges and a first-class cabin adorned with Indian motifs, vibrant bandhani print uniforms, Gupta period art, murals from the Ajanta caves, and Kashmiri textile patterns. The white facade and red ‘jharokha’ windows became a signature. Air India was known for amalgamating heritage and meticulous design.

While the history of the aircraft featured so many elements to draw inspiration from, the new identity seems to limit itself. The updated logo and livery feature a revised color palette, and typeface and the airline’s mascot now assumes a predominantly subdued role confined to the premium classes. As a component of the rebranding effort, the airline has launched a fresh website and app, along with initiatives such as round-the-clock customer service, full lounge access for premium passengers, and a revamped loyalty program.

The logo underwent a major overhaul, replacing the previous red swan and Konark Chakra with a gold window frame symbolizing a ‘Window of Possibilities.’ The wordmark appears impressive along the entire length of the fuselage. While the custom type family designed in collaboration with Fabio Haag Type, Air India Sans, is a crisp addition to the identity. The new visual system features deep red, aubergine, and gold hues, along with a chakra-inspired pattern and the main element i.e., ‘The Vista’ graphics.

Inspired by the 747’s jharokha window, the Vista graphics use the window as a framing device. Though neatly executed as an animation, the gradients and chakra patterns seem force-fed into the system. The sarees, designed by celebrity designer Manish Malhotra, are sharp and don’t dilute the essence or authenticity of the uniform but rather transform it.

While the new identity aims to position Air India as a globally recognized brand, some critics argue that it might have diluted its distinct cultural elements. Introducing a more minimalist logo, featuring a gold window frame, deviated from traditional symbols like the red swan and Konark Chakra, potentially disconnecting from the airline’s rich heritage. The shift in the mascot’s role, with the Maharaja appearing predominantly in premium classes, signaled a departure from its historical international prominence. 

The public reaction to the Air India rebranding in India has been a mixed bag. While some individuals appreciate the airline’s efforts to change its image, others have criticized the changes for potentially disregarding cultural nuances. Positive feedback emphasizes the modern and vibrant aesthetic, considering it a step towards aligning with global standards. However, there are concerns about the potential loss of the airline’s distinctive identity and whether the rebranding adequately honors its rich history.

When comparing Air India’s rebranding with other global airlines, it becomes evident that the pursuit of global standards often leads to a certain level of homogenization in identity. In an interesting development, the new branding of Air India bears a resemblance to another airline, Vistara, also owned by Tata. This similarity is not coincidental, as Tata Sons and Singapore Airlines have agreed to consolidate Air India and Vistara by March 2024. This consolidation highlights the challenge of maintaining distinct brand identities while aligning with global standards in an industry marked by increasing convergence.

In an article titled ‘Are rebrands starting to look the same?’ writer Elizabeth Goodspeed phrased it right “While designers might debate the intricacies of truly unique branding, beneath these immediate concerns, there’s an underlying truth: what’s seen as popular often holds a key to broader appeal and effectiveness.” The tension between global aspirations and cultural preservation is a challenge faced by many companies seeking international recognition. Air India’s rebranding reflects a broader trend where the quest for global standards (aka recognition from the West) poses challenges in maintaining cultural nuances. Air India’s rebrand underscores the delicate balance required to navigate growth strategies while preserving the unique cultural fabric that defines its identity.

Roshita Thomas is a writer, designer, and business development manager. She previously worked with Porto Rocha as the Operations and New Business Associate and as the Editorial Assistant for Oculus Magazine with the American Institute of Architects. She graduated with a Master’s Degree in Design Research Writing and Criticism from SVA shortly after which she worked with Buck alongside the resourcing team.

Banner image licensed from Unsplash+