Established in 2008, Stylight is an online “fashion aggregator” serving as a curated gateway to buy clothing and accessories from other online retailers. Started by four students from Munich as a search tool for an entrepreneurship program, Stylight now has over 200 employees from 22 countries in five offices scouring the web and offers 15 country-specific websites with local retailers. Earlier this year, Stylight introduced a new logo and identity designed by the London office of Code & Theory.
The previous logo was fine, although a little misguided in making the “S” such a big hero; an “S” and a heart don’t really mean much and don’t quite say fashion. The new logo still doesn’t outright scream FASHION but by going with a wordmark places emphasis on the name (which is more evidently fashion-related). The wordmark is attractive at first glance and letters like the “y” and “g” are really nice but it’s never quite fully cohesive, as if different letters came from different sources. Nonetheless, it’s an improvement over the old one and it hints at the stylish selection of clothes and brands in their system.
The identity is more interesting with the introduction of a visual landscape of geometric shapes. My main complaint about the identity ingredients is about the type choices. Commercial Type’s Dala Floda is beautiful but here it’s so close to the wordmark yet it’s not really an extension of it that it becomes confusing. (At least for me, I doubt the general audience will notice.) Stag Sans, also a great typeface, feels too techie in its lighter weight and the letterform structure clashes with that of Dala Floda. However…
The applications are really nice and festive. The geometric shapes, in their confetti arrangement, coupled with the 1980s – 1990s color palette are very appealing and perfectly suited for framing style content and encouraging shopping. If the typography were more on point, this could have been a runaway hit.