Celestine Eleven is a fashion and homeware store located in London’s Shoreditch that describes itself as having its “roots firmly founded in counter culture”, adding “a new holistic realm to the retail experience” and aiming to provide an alternative, luxury concept store that offers a “means to live well within all spheres: aesthetically, intellectually and spiritually” by honouring the importance of each through the “unique selection of product”.
The store’s visual identity, designed by Construct, contrasts bright white papers, heavy boards and a blind sculpted emboss (reminiscent of carved marble surfaces) with uncoated unbleached carriers and black foil detail bound by the carved depth of roman numeral and sans-serif logotype. These deliver the significant restraint you would expect of a high fashion brand, a retrospective nod to the concept of timeless style (and perhaps the grandiosity of the past tempered by contemporary understatement) and a sense of high tactile quality and craftsmanship.
Frederik Laux is an award winning German portrait, fashion, lifestyle and editorial photographer with a client list that includes Alliance and Mercedes-benz. His new visual identity, developed by Stuttgart based design agency LSDK, takes a competently spaced but generic condensed, sans-serif logotype and executes it as a redacted three-line mark die cut by hand across a print solution that mixes the cool and dark greys of uncoated unbleached boards, a pastel green paper, bright fluorescent stickers that cut diagonally through the stationery, the quality and authoritative weight of a letterpress business card with hand painted edges and the unusual detail of a portfolio case with a strap made from bike inner tubes.
Although I am not sure I completely understand the redacted qualities of the logo-mark – perhaps it alludes to the idea that images have a communicative value that far exceeds those of words, rendering them void – the result is an interesting contrast of urban utility, contemporary energy and the subtle craft cues and individuality introduced through the production methods of the stationery.
Design studio Two Times Elliott have just published their recent brand identity work for Odmé, a Paris fashion brand that creates handcrafted, elegant and timeless accessories with understated and urban sensibilities.
The studio’s solution - which includes a logo, logotype, website and collateral – plays well to the luxury and crafted conventions of the industry and the urban qualities of the brand through the expense of what looks like a black foil letterpress business card, the responsivity of a website that mixes street photography with decay and graffiti, plenty of space and a bold secondary serif, and the restraint and perceived exclusivity of a blind deboss leather tag.
Established by Goldsmiths graduate Holly James earlier this year, Feral Sphere is a UK-based fashion label that creates simple, colourful and comfortable clothing and accessories made from organic cotton using 100% renewable solar and wind energy. The label’s brand identity and packaging solution, created by Mind Design working in collaboration with illustrator Lenia Hauser, was “inspired by Japanese Shinto spirits and the ghost in the TV series ‘Lost’” and utilises what Mind describe as a ‘many logos and none solution’, a technical typographic detail, an earthy material choice and the contemporary economy of a bright green and black ink combination.
Holzweiler is a Oslo based, family run, contemporary fashion distributor that supplies stores right across Scandinavia. Their new brand identity, developed by Bielke+Yang and which includes two logotypes, stationery and a responsive website developed by Dekode, utilises typographical contrast, good quality materials and subtle print finish to resolve the high qualities expected of high fashion garments and the efficiency required of distribution services.
Hoi Bo is the handmade luxury bag, clothing and accessories brand of Ontario based Sarra Tang that in the words of Blok, the design agency behind Hoi Bo’s recent rebranding, as possessing a “distinctive aesthetic that arises from the designer’s unique way of working”, a process that involves folding paper to create shapes that then inform the design direction of the garments and accessories.