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  • The amazing Peter Saville redesigns Calvin Kleins' iconic logo

    “A return to the spirit of the original. An acknowledgement of the founder and foundations of the fashion house. In collaboration with the art director and graphic designer Peter Saville”. With this quote Calvin Klein unveiled it’s newest logo on Instagram and this is big news for both the fashion industry and the graphic design scene.
    With Raf Simons’ aesthetic all about innovation and uncovering newness, the latest master of style in charge of the iconic American label after his departure from Dior back in 2015, the renowned designer Peter Saville came with a new visual identity. Simons enlisted his long-time friend and British master of design, best known for creating the album art for important bands such as Joy Division and New Order.

    Subtle and sleek, the Calvin Klein new logo isn’t a major departure although there are some notable differences such as the choice of all caps and some (slight) differences in spacing and font style. Continuing the iconic Calvin Klein logo which is part of America’s pop culture for almost 40 years and still going strong, the new logo has been masterfully tweaked by Peter Saville, always staying true to its black colour and sans-serif logotype.

    Calvin Klein’s in-house creative team, headed up by chief creative officer Raf Simons, worked on the new logo, collaborating with Saville. Simons is a Belgian designer who joined Calvin Klein in August last year. Peter Saville, originally from Manchester, is best known for his record sleeve designs for Factory Records.

    The new design has caused some debate online  – “there doesn’t seem to me like there is a legitimate reason to make such a lateral (yet distant) change. It is literally the same thing, just uppercase… It does nothing to move the brand forward… This feels like change for change’s sake to satisfy someone’s whims, more than a strategic move to set up the brand for the next 50 years” comments Underconsideration - yet this is Simons and Saville capitalizing on the brand’s iconic legacy. After all Saville is no stranger to the fashion industry, listing brands such as Lacoste and Y-3 among his collaborators.

  • Self-taught designer Amine Ghorab says no to minimalism

    Independent and very, very reluctant to expose himself in the social media hubs, Amine Ghorab is a graphic designer based in Paris who deserves our attention. Having studied communications at the Ecole Supérieure de Publicité in his hometown, the self-taught designer has always been passionate “about images and aesthetics”.

    “I had the chance to live and work in an environment where there was space to develop my artistic skills. Then when I got my first computer I started to dig into it and install every software I could get, starting to design things for my friends and me” he says to It’s Nice That. As for his inspirations, they are made of notes. “The self-taught designer enjoys working on music-related projects creating 3D illustrations, typography and identities” reports Rebecca Fulleylove.

    “I find my inspirations from artists in different fields of work, like Koichi Sato, Peter Lloyd’s airbrush illustrations, typography from Karl Gerstner or the sculptor Jacob Epstein” he explains.

    Check more of his super slick world here.

  • Snasks' eye-opening playful visual identity for Kaibosh

    “We strive to challenge the industry by doing things differently. We worship unconventional ideas, charming smiles and real emotions. We see the old conservative world as extremely tedious and as our biggest enemy” says Snask, the renowned Norwegian design studio which is “more than an agency of talent”. To prove that, Snask came with a bold, playful visual identity for the Norwegian eyewear company Kaibosh.

    “They felt that they had become too boring as opposed to what they should be, a trendy and bold eyewear brand. They felt their identity was too clean and they wanted to be more expressive and outgoing” says Snask. “The fashionable contender would finally get a fitting dress as well as a lovely new voice. We got the assignment to start out with keeping their existing logotype and from that develop their new brand ranging from signs, ads, packaging, bags, posters as well as create their entire flagship store”.

    “We started out writing their brand platform and tonality where they would use much more copywriting in their communication, from promotion material to walls in their stores. The brand and tonality was translated into visual form and matched with a custom-made display typeface, named Sentrum, made to suit the in-store signage. We added two eyelashes as a symbol to distinguish the identity as well as use as graphic elements for many different scenarios. We created the entire flagship store with shelving systems, signage, colors, murals, etc. The project ranged from typeface and still life photos to campaigns, fashion-photography, notebooks and towels” adds Snask, a design collective so crazy and empowering that is described as a Disneyland for graphic designers.

    Check more here.

  • Wake up to L’influx, a mind-bending visual identity to love

    “An influx is an electrical signal carried along neurons’ membrane, and also now the name of the new webzine of the municipal library of the city of Lyon, France” explains Graphéine, the French design studio that created a playful identity for a webzine that plays with our perception.

    “Our job was to design the identity and the communication tools of the webzine. We aimed at designing a simple graphic system, relevant and recognizable, that would be easily adaptable on various media. We went for a lively visual identity, that mirrors the changing news posted on the site”, Graphéine add, on their mission to come forward with a visual language for L’influx, which puts into perspective an event or a theme through the library collections and the expertise of librarians. Dealing with current issues and intended to all audiences, L’influx stands as a neurons agitator that sheds light and brings depth on local, national and international news.

    “The logo is made of letters connected within a line, that represents the stream. This logo is modular, it can take different forms (definitely «motion design friendly»!). As long as the rules governing its design are met, the logo can evolve without losing its readability and identity. It can live on one, two or three lines according to the media. For consistency purposes and to reinforce identification, the color palette is based on reflex blue, a color that is used in all the communications of the municipal library of Lyon. A contrast color is added to expand the palette of shades of the visual identity and allow more combinations in application”.

    Graphéine was founded by Mathias Rabiot and Jérémie Fesson back in 2002. Both share the same minimalist, playful and accessible vision of design.

    Check more of their vivacious portfolio of work here.

  • Typography is the real performer in Oscar Maia’s booklet design

    We would really appreciate if any programme booklet was as typographic as the Festival DDD’s is. Designed by Oscar Maia in collaboration with the award-winning White Studio, the Festival DDD’s programme booklet mixes serif with sans in a brilliant way, with the letterforms being the real stars in the pages that accompanies Portugal’s Dias da Dança Festival.

    Festival DDD is a set of events dedicated to the exploration of contemporary dance and performance and Oscar Maia, a Senior Graphic Designer and Art Director based in the city of Porto, sure knows a thing or two about the rhyme schemes of different letterforms combined.

    Check more of his work here.