(Est. 1989) “Specialized in furniture and decoration, subsidiary of the Auchan group, Alinéa is a French exclusivity. After 25 years of existence, 26 stores and a lot of imagination to offer its customers a wide range of furniture and decorative accessories. Today, Alinéa has around 2,600 employees. Recruited at the rate of more than 300 positions per year, our teams are on average 28 years old, dynamism to sell, a real passion for the trade, and especially they are fans of decoration. More than 15,000 pieces of furniture and decorative objects in stores from 3,000m² to 12,000m².” (Google-translated)
Proud of its mediterranean roots and convinced that home decor is not subsidiary, but an identity choice, the brand challenges 4uatre to reposition them on a bursting market. The agency draws the new positionning from the company’s creative DNA. Based on the idea that « diversity is beautiful », 4uatre builds a timeless visual identity, for a multicultural and approachable style.
The logotype benefits from inspired, moving and open shapes; with its double « a » monogram, taken from the Art deco mouvement, it materializes the creative energy of a brand meant to be worn, lived, part of our everyday life.
Images (opinion after)
Described to me by email as the “French IKEA”, the old logo looked more like the “French Sherwin Williams” (a paint company for those outside the U.S.) with an overly colorful “A” and a slightly cheap-looking geometric sans serif. The new logo is much more furniture-y with a monogram that looks like some kind of funky table or chair or table-chair hybrid. It’s hard to tell if the monogram is an uppercase “A” or lowercase “a” but I kind of like its ambiguity. The wordmark is nice with the “a”s that echo the heavy angle of the monogram. Perhaps they took the “French IKEA” thing too literally as the wordmark gives off some Verdana vibes which has been the default font for all of IKEA’s materials for almost 10 years now. The applications are all decent with the logo repeated everywhere. The double-line device that builds on the construction of the monogram is somewhat interesting when it follows the contours of objects but nothing overly exciting. The use of typography seems half-cooked and thrown together — someone at 4uatre really hates leading. Overall, a big improvement in the logo and the identity could be solid with some refinement.