Tony Blair’s New Identity Wins Wallpaper* Award

Among the highlights of this year’s Wallpaper* Design Awards, announced at a stylish (natch) dinner last night, is Lucienne Roberts’ letterhead and stationery for former British PM, Tony Blair

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Among the highlights of this year’s Wallpaper* Design Awards, announced at a stylish (natch) dinner last night, is Lucienne Roberts’ letterhead and stationery for former British PM, Tony Blair

In his new life as a world peace-organising, £500,000-a-time speech-giving, half million a year-consulting, regular kind of guy, Blair offered Roberts what Wallpaper* terms the ‘dream job’ of creating the stationery for his post-PM vehicle, the rather awkward-sounding The Office Of Tony Blair. Roberts has used Serifa for the job, a slab serif typeface designed by Adrian Frutiger in the 60s and 70s. “They didn’t consider it a logo initially,” says Roberts of TOOTB’s reaction to her work, “but I think they do now”. Stephen Bayley in The Guardian is, of course, magnificently underwhelmed by the whole thing (“what a prosperous and socially ambitious provincial garage proprietor might have chosen circa 1974”) but Wallpaper* gave it their Best Stationery prize.

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Another graphics-related award went to Phaidon associate art director Sonya Dyakova’s Paper Alphabet.

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Dyakova created the type by hand from folded and cut paper to use in Phaidon’s recently-published Sculpture Today. But, of course, being Creative Review readers you already knew that as we featured the project in our December 07 issue.

Also featured are the Most Beautiful Swiss Books series of annual catalogues by Laurent Benner and Jonathan Hares

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Each year, the Swiss government funds a catalogue celebrating the best of the country’s books – the idea apparently dating back to a competition organised by Jan Tschichold in 1943. Every three years, the Swiss Federal Office of Culture commissions a different designer to take on the job. For their first year in charge Bennner And Hares reproduced pages from each selected book – complete with original folios, on the same stock and at the same size. In the second year they included paper and font samples used to make each book and, in the third volume, ran thumbnail flatplans of each publication.

All the work is featured in the Feb issue of Wallpaper*, as shown here. Also honoured is Los Angeles, as this year’s best city, which acts as the location for a spectacular shoot by Jesse Chehak featuring some of the other award-winners:

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