Founded in 1853, the current corporate form of TeliaSonera is the result of a 2002 merger between Swedish and Finnish telecommunications companies, Telia and Sonera. TeliaSonera oversees eighteen different consumer brands “in the Nordic and Baltic countries, the emerging markets of Eurasia, including Russia and Turkey, and in Spain” accounting for more than 157 million subscribers. They employ over 28,000 employees across the world and are the fifth largest telecommunications provider in Europe. Yesterday they announced a unification of all its consumer brands and its corporate identity under a single logo, designed by Landor.
The purple colour differentiates us as we will be the only operator on the international telecoms scene using it. I personally like the colour very much as we can “own” it, and it is modern, warm and unique in many ways.
The original inspiration for the artwork and the symbol was a fine rounded stone. The symbol is unique, dynamic and unites us as a company. It symbolizes global and local connectivity at our customers’ fingertips. When customers see the symbol they will know that they are both part of the strongest local operator as well as the whole international TeliaSonera group of companies.
— Cecilia Edström, TeliaSonera Head of Communications
The new logo is not exactly new. It has been implemented since 2009 in some of the consumer brands of their Eurasian markets and is just now being promoted as the overarching identity. Finding a distinctive color in the telecommunications industry is getting harder — Orange is orange, T-Mobile is magenta, AT&T is blue — so purple is as good a choice as any of the colors left. The pebble… yeah, I don’t know about the pebble. I’m all for abstract representations of large corporations but the pebble seems awfully arbitrary in this case. But assuming that this fits the brand perfectly the execution has its ups and downs, mainly the dimensional effect generated by the lines alone is pretty good but then they had to mess that up with one of those overly fake shines. The typography really annoys me, a trendified Helvetica that has had a few characters (“T”, “l”, “i”, and “a”) manipulated with rounded corners while the rest just sit there disjointed. I’m sure there was a budget to hire a type designer and create something integrated. Strategically I can see the need for a unifying identity, but design-wise I can’t see why it couldn’t have been done a little better.