Smith-Wykes is a London and Paris-based male fashion brand driven by the values of ‘creative independence’ ‘generosity of spirit’ and the ‘celebration of character.’ The brand’s visual identity, a combination of simple a san serif logo-type, a reductionist twist on the classic and often highly illustrated crest and a deep blind emboss – created by Studio Small – puts a contemporary and practical spin on traditional values and visuals alongside subtle craft cues.
Back in November 2011 premium soy wax candle brand Rewined launched a new packaging solution created by Charleston-based independent design agency Stitch. I described the project in my original post as neatly resolving the themes of candle and wine craft, vintage and heritage through a diverse but coherent combination of earthy textures, a recycled letter-pressed label, hand stamped stickers, a simple identity solution that draws together origin and local industry through a classic circular crest lock-up with aged and humanist imperfections, alongside a bright ‘wax’ seal token and hand signed detail.
Stitch have recently published images of a number of other brand assets that share and expand on the craft cues and textures of the product with the addition of a lovely two ply, uncoated, unbleached board and a light veneered business card with sticker detail, the brass screws of the catalogue, the deep green of a tape and the grain sack-like qualities of a string-tied canvas bag.
Julia Denes is a designer of handmade contemporary fine jewellery created from high-grade materials. Her visual identity, developed by Australian design agency Studio Sammut, is incredibly simple but delivers a nice balance between classic and craft-technique, contemporary aesthetics, detail, consistency and quality through the well spaced characters of Austin, its smart contrast of sharp and circular serifs, heavy vertical and light horizontal strokes – drawn out by the fine line border of the business card – and the light, geometric and broadly spaced sans-serif letter-forms of the secondary typeface below. A black letter-pressed print treatment delivers a light depression across the surface of a weighty uncoated cream substrate adding craft texture and a tactile quality to the high fashion cues of the typography.
The result has a reductionist sensibility that cleverly communicates the key propositions of material, quality and design across a few simple but communicative assets that appropriately frame the intricacies and organic detail of the jewellery.