NORTON & SONS
The rebrand and new logo was designed to ‘speak of modernity’ and ‘remain old-fashioned and exclusive’.
‘If it feels a little bit untouchable, I think we’ve done it right.’
‘We don’t want to be accessible.’
‘We are not accessible, we are very expensive, we are very exclusive and we don’t make any excuses for that.’
The logo and brand had to be;
‘Re-crafting 187 year old image for the post-millennial generation’
The ‘new old-fashioned logo’ had to appeal to the young customers – the future.
The rebrand was to attract new clients, yet still have a relevance to the long-standing, loyal clients.
It had to convey how a Norton & Sons suit is a piece of art and specifically a piece of British art.
The main focus was the importance of ‘Britishness and British making’.
‘The Englishman at large’.
Changes, development and qualities of the new logo and rebrand:
- Modern identity.
- Emphasise rich heritage.
- Original crest redrawn.
- Original, idiosyncratic wordmark redrawn.
- Royal warrant reinstated as a sign of history and quality.
- Reflect high quality craftsmanship.
- Colour: Reflect the sober, soft-to-touch wools and cashmeres of the suits and the silks of the linings.
- Used mostly British archive typography to show structure and bespoke nature of the suits themselves.
Archive Advertising Claims
‘No other address’
‘No branch houses or agencies anywhere’
’16 Savile Row’
All of this is portrayed through the very simple, fine, vertical line.
The rebrand included designs for:
- Clothing labels.
- Passport books for each suit.
- Concepts for interior of salon.
- Shop window.
- Bespoke storage boxes for records.
- Business cards.
Rebrand by Ben Wolstenholme, Moving Brands.
Stanley was established in 1857 and is well known for its manufacture of hand tools – most famously the ‘Stanley Knife’.
After its merger with Black and Decker and its expansion into new industries; security, healthcare, infrastructure and oilfield services, it wanted a logo that would communicate the breadth of the brand.
Rebrand had to:
- ‘Signal the evolution of an agile, unified brand connected by a single concept.’
- Show ‘Performance in Action’.
- Show the company’s rich heritage.
- Be dynamic.
- Free the name from the holding shape of the only logo.
‘Notch’ in the letter ‘N’ resembles the blade of the company’s famous ‘Stanley Knife’.
Shape forms an up-ward arrow representing ‘action’.
The colours are the signature Stanley colours, that are known globally.
Wordmark is a simple sans serif that portrays the company’s robust nature.
The ‘notch’ is in the center of the logo and word, drawing your attention towards it.
The single unique trait, combined with the company’s trademark colours make it instantly identifyable.
Rebrand by Lippincott.
THE FAT DUCK
Heston Blumenthal’s 3 Michelin star restaurant rebrand changed the whole appearance of the company.
The three themes that were focused on during the rebrand were:
All aspects of the visual identity were changed:
- Corporate mark
- Restaurant interior
- Utensils used by diners
Using the three themes – experience, tradition and nostalgia – as well as the name of the restaurant and what it is the logo was designed.
The logo is an amalgamation of cutlery and duck. A clever manipulation of imagery where the spoon is made up of a duck’s beak, the knife – a duck’s feather and the fork – a duck’s foot.
The appearance and shape of the cutlery half of the image, combined with the use of lines, suggests a silver set with connotations of quality, sophistication, elegance and tradition.
The imagery also fits with Heston’s style of weird combinations and alternative approaches.
The Roman serif font (The Fat Duck) suggest tradition and sophistication and when juxtaposed with the more modern and edgy gothic sans serif font (heston blumenthal), reiterates Heston’s alternative approach to cooking.
Rebrand by The Design Laboratory at Central Saint Martains College.
The rebrand of ITV was done to reflect their wide programme mix and compete with the ‘informative BBC’ and the ‘provocative Channel 4’.
The logo was designed to be friendly and warm and to have a form that flowed.
The colour is an especially key element in this logo.
The main logo, known as the ‘Hero’ logo, had to cover all aspects of the brand. To do this, colours were chosen that spanned the whole spectrum.
The colours had to be lively and joyful, whilst at the same time be appropriate for the serious corporate side of the brand.
The colours were chosen so that the worked on both a white and black background. The four colours stay the same but, depending on the background, the upright of the ‘t’ changes.
One of the unique parts of the rebrand is the ‘Colour-Picking’. This means that the logo can reflect the mood and tone of the program or advert by taking colours from the image. This makes the logo accessible to everyone and fit with everything.
‘Fuse logo with imagery, rather than just ‘badge’ it’.
The workmark was based on handwriting, providing a warmth, a friendly and a human quality.
The typeface was designed in collaboration with Fontsmith.
Cues were taken from the logo, combining the straight and round terminals.
Has a clear personality and works in diverse situations. From the serious – the news, to the not so serious – The Only Way is Essex.
As well as ITV the rebrand also covered the other channels:
ITV2 - ‘Fresh entertainment’
ITV3 - ‘Crafted Drama Collection’
ITV4 - ‘Haven of sports and cult classics’
CITV - ‘Wickedly playful stuff for kids’
The logo and design provides a seamless transition, presenting a mainstream and high-quality, fresh and contemporary brand.
The logo was designed to give of the same warmth and friendly feel regardless of the size.
Rebrand by Rudd Studio/Fontsmith/ITV Creative