This is a very old entry — images are small, formatting is off.
Now that the link-hype has died down and every design blog has pointed to Creative Review’s exposé — which you should read to get the details, since there is nothing else to add or go by — of Peter Saville’s logo design for Kate Moss I thought this would be a good time to discuss. With Moss’ clothing collection ready to launch on May 1st through British fashion enabler Topshop, and a myriad of other brandable opportunities stemming from Kate’s seemingly impossible rebirth the need for a unique identity was inevitable.
So how in the world do you brand Kate Moss? How do you capture her chameleon-like looks, almost tripolar personality and indelible contribution to the fashion world? Typography, indeed, seems the only way out without falling into trite imagery. But what typeface could embody the snowballing synergy of what Debbie Millman calls “[the] one brand — one brand above all others — that has risen from the ashes of death and defeat to recapture acclaim and glory”? Bodoni? Gotham? Serifa? Nuptial Script? The problem is that any of these and a hundred other typefaces would be appropriate. With the help of Paul Barnes, Saville made the recommendation to Miss Moss of using Alexey Brodovitch’s quirky Albro typeface that captures a little bit of Kate Moss at every turn, at every line and at every curly ball. The sum of its parts might not be the prettiest result — at least I don’t think so — but when something (or, in this case, someone) can be anything and everything, why not actually design identity that has something for everyone?