(Est. 1985) “David Collins Studio is the award-winning interior architecture practice that realises creative and inspirational hospitality, residential and retail projects worldwide. It is a globally-recognised brand and an expert in contemporary luxury and design. Established in 1985, The Studio collaborates with eminent brands and businesses that represent the best in their field, and with private clients that share its obsession with detail, craft and refinement. Based in London, The Studio has realised projects across five continents, including The Wolseley, The Connaught Bar and Harrods Shoe Heaven in London, Gleneagles in Scotland, The Ritz-Carlton Residences at MahaNakhon in Bangkok, and The Delaire Graff Estate in South Africa. The Studio has been instrumental in the store roll outs of Alexander McQueen, Jimmy Choo and Pret a Manger.”
Bibliothèque (London, UK)
“One of the key aims of the brief was to give the Studio a voice that articulates the aesthetic contrasts within their work. To do this we created a hybrid typeface (aptly named DCSynthesis 74) – a font that simultaneously uses serif and sans serif letterforms, echoing the juxtaposition of the classical and modernist tension within the Studio’s output” says Mason Wells, Bibliothèque Founding Partner.
A hand-finished suite of stationery items utilises imported Japanese papers combined with detailed marquetry and 3D embossing to express the Studio’s renowned attention to materiality, detail and finishing.
The bespoke typeface brings character and confident intent to hard working credentials and proposal templates and is complimented with supporting typefaces to allow for a more contemporary, intuitive and informal editorial approach to the website.
Bibliothèque provided text
Images (opinion after)
The old logo was fine but generic in an unassuming high-contrast sans. Given the richness of the studio’s work it did seem like a sad oversight to let its logo be so bland, which is something the new logo certainly corrects with a much more expressive, detailed, and unique logo. Built as a combination of a sans serif and a flared serif, the logo has a peculiar aesthetic that feels both minimally elegant and opulently ornate. The logo is rendered in 3D online with a very nicely detailed chiseled effect with subtle shadows and highlights; and, in print, it goes for the rich gold foil effect. The logo is expanded into a full font that mixes sans serifs and flared serifs — similar to the recent Assembly project, the font doesn’t have alternates for each character, it’s just a mix. One more project with this approach and we will officially have a trend. The print applications look very rich and the overall identity positions the studio as best-in- and most-expensive-in-class, which is well-deserved and fitting for its range of clients.