Opinion by Richard Baird
Rimowa is a Cologne-based manufacturer of luxury luggage. It has a significant history, beginning in 1898 as a travel and leather goods maker known for its innovative approach, and growing to become an international brand with a line of polycarbonate and aluminium products with a distincive ribbed relief.
Commission worked with Chief Executive Alexandre Arnault and Chief Brand Officer Hector Muelas to create a timeless and stylish graphic identity to help support the company’s future activities and deliver a considered and cohesive brand experience for Rimowa customers. Commission introduce a monogram, new typographic style, colour palette and pattern motif alongside a wordmark designed by Munich-based Bureau Borsche. And through graphic identity, material language and mechanism link a variety of touch points. These include packaging, retail experience and in-luggage items, as well as giftboxes, retail bags, owner manuals, guarantee cards, luggage tags, dust bags and liquids bags.
Rimowa’s new graphic identity was launched at the beginning of 2018. Since then, Commission has continued to work with the company, integrating the graphic identity across its ranges but also in the introduction of posters, stickers and illustration by Japenese illustrator Yu Nagaba. These begin to layer in a playful component, to create an interesting dialogue between tangible craftsmanship and utility and the more intangible and visceral components of travel, family and lifestyle.
Opinion by Richard Baird.
Migrant Journal is a six-part exploration of migration in all its forms. Indeed, it covers the very current and pressing political and socio-cultural implications of the migration of people fleeing from persecution, seeking better economic opportunities or under pressure from shifting environmental conditions, yet it also touches upon the more abstract movement of objects and ideas around the globe. Migrant Journal, in its breadth but continuity of theme, intends to reclaim the word migration, to make a break from the prejudices and clichés of migrants and migration.
This is a hands-on review, BP&O holds and has read issues 1,3 and 4, but unfortunately is missing Issue 2. Migrant Journal began as a Kickstarter project, is edited by Justinien Tribillon, Michaela Büsse and Dámaso Randulfe, co-edited and designed by Isabel Seiffert and Christoph Miler of Offshore Studio.
Opinion by Richard Baird.
Slet is a mass gymnastics event and union of schools that has its roots in the latter half of 19th century Prague with the intention of providing physical, moral and intellectual training for the nation. Slet takes its name from the Czech word for flocking of birds. This can be understood in the sight of a stadium field filled with participants exercising in union. Slet became Skol clubs and spread across the country, establishing strong relationships with gymnastic bodies internationally, particularly with those in France, a relationship that endures today.
Slet, which took place every six years, were also characterised by their strong visual identities. This was a critical part of the unifying nature of the occasion. This was often put in the hands of prominent artists of the time.
From its beginnings in the second half of the 19th century to the present, Slet has found itself caught amongst political agendas; suppressed or repurposed for propaganda, only to reclaimed. The event was revived during the Prague Spring of 1968, only to fade out and remerge again for the fourth time in 1990 and then in 1994 when 23,000 Skols participated.
In 2018 Slet once again returned for its 16th event. In the same spirit of its earliest events, visual identity was an essential component. Inspired by the complex movements and the diagrams of dots, lines and arrows that guided the gymnasts, Prague-based Studio Najbrt draws a sense of fun, energy and character from complexity. This runs across and links a variety of printed materials, these included posters, billboards, badges, t-shirts, stamps, bags, badges and a variety of merchandise.