Established in 1972, ALDO is a designer, manufacturer, and retailer of footwear and accessories with an emphasis on accessible prices and being on top of the latest trends. Headquartered in Montréal, Québec, where it was founded by Albert “Aldo” Bensadoun, ALDO has over 2,000 stores in more than 100 countries worldwide. Recently, ALDO introduced a new identity designed by New York, NY- and San Francisco, CA-based COLLINS.
Our goal was to push Aldo away from discount retail and into a more premium position and expression. Every aspect of the experience now works to build the trust and enthusiasm consumers have for Aldo products. By introducing a new design system and fine-tuning key elements (like carefully re-crafting their famous logotype) we established a strong foundation that guided us through the development of every part of the brand experience — from packaging, in-store signage and digital displays to their digital advertising, web and mobile expressions.
I have always found the ALDO logo to be pretty good in how easily recognizable it is on storefronts even though it has no real point of stylistic differentiation from any number of other retail brands. The short name and combination of characters works well in its favor and the wide, extended structure has helped give the logo more presence. The old logo was fine and so is the new logo and the argument could be made in favor of both as to which one is better or more effective. What it comes down to is what your jam is. I like bold, so I like the new logo better but I don’t think the change does much in terms of shifting the needle for what ALDO stands for, which is not a negative criticism… perhaps more an acknowledgment that the logo could have changed from new to old and we would still be having a similar conversation to this. The identity and application, though, those are what make a huge difference.
The provided samples of the old identity point to the lack of refinement of the brand… I have always found its aesthetic and products a little on the cheesy side — no offense; I have bought shoes there at one point in my life — and it’s a little difficult to see this new, more upscale, sophisticated aesthetic be the part of that same brand but the use of the logo, color palette, and introduction of GT Sectra into the mix certainly establish a new, more mature and confident personality without growing up stuffy.
We also created a new communication program for Aldo based on layered, collage-based art direction and photography. It was launched with an in-house campaign shot by celebrated photographer Julia Noni.
Perhaps the coolest thing about the identity is the new approach to ads and other layouts with the collage-like aesthetic that mixes images of the same model and outfit but in different angles and framing which yield very interesting compositions with the same color palette in each of the pieces and have a fun, youthful energy that manages to be different from the usual retail advertising.
Overall, this is a nice update to a brand that really didn’t have much of a personality or specific design point of view and can now communicate more consistently its position as an accessible, vibrant, and sylish retailer.