A brand’s heritage can provide a great starting point for a new identity – but sometimes, the past is best avoided. We take a look at the brands drawing on their archives for inspiration and speak to three designers about the pros and cons of revisiting old identities
Could the key to naming a top brand be as simple as using an ‘O’ as the second letter? asks Paul Harpin of brand consultancy Harpin & Waring. Surely not?!
Two years after its last rebrand, Uber has unveiled a new identity created with Wolff Olins. How does the new look reflect the changing priorities of Uber as a business as it matures, diversifies and faces increased pressure from regulators?
Both Nike and John Lewis are hitting the headlines with controversial new creative work. But at the eye of these two branding storms, there should be one small area of calm agreement. The writing is brilliant.
Not Dead Or Famous Enough Yet goes behind the scenes of how the Manchester studio has developed a unique aesthetic and an illustrious list of collaborators over the years
DesignStudio has given the digital security and privacy brand a friendly facelift that eschews the fearmongering tropes favoured by the market
As part of the rebrand, &Walsh did away with typical green cues in favour of a more approachable look and feel, including a custom typeface inspired by leaves
Published by Taschen, Icons charts the designer’s collaboration with the sportswear giant and the sneaker culture from which it emerged
The symbol forms a “universal language” to help the non-profit organisation express its support for non-binary and transgender children
The CIA’s contentious new look has been likened to designs that emerged from electronic music culture. This is the latest example of club-style visuals appearing in unexpected places – we examine whether it’s a hostile takeover or the natural order of things