New Work: Fortuny


Following the launch of the Fortuny Collezione 2010, the latest collection of fabrics from the high-end Italian textile manufacturer, Luke Hayman and his team designed a printed catalog and… an iPhone application. The app is a striking contrast, a place where hand-crafted tradition and modern convenience merge; where a touch screen interface navigates the catalogue of a company with a rich legacy spanning more than a century. This fusion is particularly fitting for Fortuny, whose company founder, Mariano Fortuny, “Magician of Venice,” was an inventor always interested in employing new technology. Were he alive today, Fortuny would no doubt be delighted to see his fabrics scroll across the screen of an iPhone.

New Work: Saks ‘Think About…’ Campaign


For the past three years—or six seasons, in fashion time—Saks Fifth Avenue has used the theme “Want It!” in the promotional campaigns for its stores. However, in today’s fragile economic climate, this declaration seemed perhaps a bit “too aggressive,” according to Terron Schaefer, Saks’ group senior vice president for marketing and creative. Something more suggestive seemed in order.

So for this spring’s campaign, Saks introduced a new tagline, “Think about…,” a playful suggestion that shoppers consider new ways to play with their personal style via various items found at Saks. The tagline is finished with amusing statements about fashion and style: “Think about…belting a new tunic with your husband’s old tie” and “Think about…making your creative side your outside.” If the tone seems a little familiar, it should: the campaign was inspired by the maxims published by legendary fashion editor Diana Vreeland in her “Why Don’t You…” column for Harper’s Bazaar magazine.

New Work: Armani Hotel Dubai


The first Armani brand hotel opens on April 27 in the Burj Khalifa, Dubai, the world’s tallest building. John Rushworth and his team at Pentagram have been responsible for the naming, identity, visual brand positioning and marketing collateral to bring the distinctive Armani philosophy and style to this and three other hotels due to open in Milan, London and New York. With the Hotels and Residences—the Dubai hotel includes 144 luxury apartments—designer Giorgio Armani is looking to build “the Armani universe into a comprehensive lifestyle brand.”

The brand elements express a philosophy that is relaxed, elegant and confident, with a refined Armani logo, symbols for each location, a restrained and sophisticated colour palette and sensuous materials.

The book to sell properties off-plan for the Dubai Residences epitomises this elegant restraint. The slipcover and binding are dressed in fine taupe cloth, discreetly embossed with a desert orchid symbol, the inside is elegantly minimal and illustrated with sumptuous photography.

New Work: Kanuhura Resort


John Rushworth has designed the identity and signage for Kanuhura, a luxury resort on a remote atoll in the Maldives. It was one of the first five star hotels in the region and is the most remote in its class. It is further distinguished from its competitors by being the only one to have been developed locally rather than by an international hotel group.

Authenticity and remoteness provide the key to the resort’s success and the basis for Pentagram’s ‘Castaway Chic’ brand positioning. This celebrates the contrast between simple desert island living and five star luxury.

New Work: Stanmore Implants

Domenic Lippa, assisted by Jeremy Kunze, has undertaken a complete branding exercise for Stanmore Implants, leaders in skeletal repair systems and implants.

Design activity focused on the creation of an identity, a rationale for the treatment of a number of niche sub-brands and an overall brand attitude for marketing collateral, including exhibitions, literature, packaging and the website.

At the centre of Pentagram’s solution is a typographic symbol: a solid letter ‘s’ with a single curved white line down its length. This ‘implant’ is simple and unadorned, clinical and flexible. The mark has the substance to be scaled, etched small onto actual implants or applied large at conferences. It can also be used alongside a sans serif logotype, with clean lines that suggest function and reliability.

A palette of silver and greys, with fresh accents of orange and gold, gives the overall impression of purity. The marketing collateral supports this attitude with a simple grid and uncomplicated layout for all communications. Commissioned photography highlights the quality and innate beauty of the implants while re-draughted technical drawings emphasise their engineering precision. The website reinforces the efficient image with its ‘Swiss’ approach to typography, photography and the use of white space.

More pictures after the jump.

Resetting the Doomsday Clock


This morning, the Board of Directors and the Board of Sponsors of the Bulletin of the Atomic Scientists announced that the minute hand of the Doomsday Clock would be moved one minute back from five to six minutes to midnight. The group, which contains 18 Nobel laureates, cited “a more hopeful state of world affairs” in their decision to indicate the world is metaphorically one step further away from annihilation. “We are poised to bend the arc of history toward a world free of nuclear weapons.”

To mark this event, which was followed by an worldwide audience online and through global media outlets, Pentagram created a simple tabloid information piece virtually overnight. Printed on inexpensive newsprint, it explains the purpose of the Bulletin and the Doomsday Clock in clear language and blunt, unadorned graphics. The Clock, which was created in 1947, had since become a universally recognized indicator of the world’s vulnerability to catastrophe from nuclear weapons, climate change, and emerging technologies in the life sciences. It is the focus of the Bulletin’s graphic communications effort.

This is the 19th time the Clock has been reset. The last time, in 2007, Pentagram recommended the group adopt the Clock as its symbol, and created standards for its use. In the three years since, the Bulletin community has grown considerably. This publication’s clear statement of purpose is a indication of the group’s maturity and confidence as it moves into its second 50 years, and an invitation to join the global effort to turn back the Clock.

A look inside the piece after the jump.

AkzoNobel’s ‘A’ Magazine Wins Again


‘A’ The AkzoNobel Magazine has won the ‘External Publications’ category in the European Excellence Awards. The Awards were announced at the Hofburg in Vienna on the 10th of December and honour outstanding achievement in communication on an international scale. This recognition follows a Bronze at the ADC 88th Annual Awards earlier this year. Angus Hyland and his team designed issue one and collaborated with AkzoNobel designer Pepe Vargas on the subsequent issues.

Previously: New Work: ‘A’, The AkzoNobel Magazine

New Work: ‘Eero Saarinen: Shaping the Future’


The great Finnish-born architect Eero Saarinen designed several of the iconic works of Modernist architecture in the United States: the TWA Terminal at JFK Airport, the Gateway Arch in St. Louis, CBS’ “Black Rock” headquarters in New York. Amazingly, there has been no major retrospective of his work since his death in 1961. Eero Saarinen: Shaping the Future is a landmark traveling exhibition organized by the Finnish Cultural Institute in New York, the Museum of Finnish Architecture, the National Building Museum and the Yale School of Architecture that looks at his work and legacy. First shown at the Kunsthalle Helsinki in 2006, the exhibition has now arrived at the Museum of the City of New York, where it opens this week.

Michael Bierut and his team designed the graphics and catalogue for the exhibition in 2006, when it opened in Helsinki, as well as for its current show at MCNY. The designers created a "kit of parts”—typography, colors, graphic motifs—that could be used to create a consistent look at all the venues and across all communications. The catalogue was included in the AIGA's 50 Books/50 Covers of 2006.

Following its Helsinki run, the exhibition traveled to the National Museum of Art, Architecture and Design in Oslo, Norway; CIVA in Brussels, Belgium; and the Cranbrook Art Museum, the National Building Museum, the Walker Art Center and Washington University in the US. Next spring it moves on to its final stop at the Yale University Art Gallery and the Yale School of Architecture.

New Work: Cass Art Kids


Angus Hyland has extended his work for Cass Art to include this charming promotional giveaway. A brightly coloured bag branded Cass Art Kids containing an activity book and pencils with which to fill it was designed to promote a new space dedicated to children’s art materials in Cass Art’s flagship Islington store. The activity book is the result of a collaboration between Angus and Marion Deuchars and contains her beautiful hand drawn typography. 10,000 bags have been created which will be given away to anyone who makes a purchase in either the Cass Art Kensington or Islington stores.

Spreads from the activity book after the jump