Established in 1992 as VimpelCom, VEON is the world’s seventh largest telecommunications company (by subscriber base) that pioneered basic wireless communications in Russia. Today it offers its services through six different consumer brands in different territories: Beeline in Russia, Kyivstar in Ukraine, Wind in Italy and Greece, Djezzy in Algeria, Mobilink in Pakistan, and Banglalink in Bangladesh. Renamed by Landor, VEON recently introduced a new identity designed by Moving Brands.
At the centre of the digital-first identity system we created was the yellow V, sitting much larger than the wordmark, giving the brand instant colour recognition. For a new business that needed to meet and connect with an audience of millions across 12 different markets, this confident symbol would work across cultures and alphabets.
If the old logo seems familiar it’s because the VimpelCom parent brand followed the Beeline consumer brand designed by Wolff Olins in 2005 — one of the earlier examples of flexible identity systems. Without the “bee” in the name (and possibly without knowing they owned Beeline), the VimpelCom logo made little sense as it was a random name with a randomly striped logo. The new name is still random — no explanation found on what the new moniker means — but, admittedly, less random than VimpelCom which sounded like a company set by a Winklevoss twin. VEON is shorter and more memorable, a little like a fictional evil company in a movie, a feeling enhanced by the superhero-like “V”. It’s a nice “V” and it’s big and yellow; its size might be the approach that saves it from passing unperceived and the applications show how effective it can be in playing with scale. The wordmark is decent; I like how the “V” and “O” are a square proportion while the “E” and “N” are less wide. For how big the “V” is used, it tends to make the wordmark look tiny and perhaps some extra letter-spacing would have been beneficial.
[The] VEON typeface - Hero - was chosen not only for clarity and standout, but also for its versatility. It remains unmistakably VEON in Latin, Cyrillic and Georgian alphabets.
The applications are quite striking and hard to ignore, with the giant yellow “V”s demanding attention. It might be one too many “V”-shaped elements all at once but as a way to establish an identity it’s pretty clear, concise, and consistent. The Hero New typeface, in its lightness is the one thing that doesn’t seem to be working as well… the size, the black color, the tightness… it doesn’t quite gel.
I really like the full-fledged icons with the cut-paper aesthetic even though I don’t know what the cut-paper aesthetic has to do with this.
Overall, this does start to feel like the seventh-largest telecom, especially with ambitious renders like the above where the office looks like a corporate fortress, but mostly through the very controlled identity elements and the recurring “V” angles that set a dominant tone.