(Est. 2018) “Lafayette Anticipations oversees initiatives for the support of contemporary creation led by two general interest organisms, the Fondation d’entreprise Galeries Lafayette and the Fonds de dotation Famille Moulin, established by the Galeries Lafayette Group and its stakeholder family. As of its opening on March 10, 2018, the Fondation will become the first multidisciplinary centre of its kind in France. In its 19th century building situated in the heart of the Marais and renovated by OMA, Rem Koolhaas’s architecture firm, the public will soon discover a curatorial machine in which new pieces produced by international creators - stemming from the fields of contemporary art, design and fashion - will be presented.”
Inspired by the insight that concealing and revealing words in part creates more anticipation than showing things in full, we anchored the brand in a dynamic, bespoke typeface, which we crated in partnership with masters of typography, Colophon.
Letters are cropped in a random way, giving a sense of constant motion even when static – an homage to the building it graces. We developed an algorithm that means the same word yield different combinations each time it’s typed. It’s a feat of design, maths and code, used across print, digital and signage to great effect.
Images (opinion after)
The logo is inspired, in part (large part), by OMA’s design of the building’s “exhibition tower” that uses four motorized platforms that can move independently up and down to reconfigure the space in multiple ways and is reflected in the logo with letters being shown at four different stages of aligning to the baseline. It’s a funky-looking logo but it certainly conveys the physicality of the space and the more metaphorical constant sense of shifting sensibilities of the art found within. The custom font and its programming are implemented quite enjoyably throughout the identity but are particularly awesome in the main exterior sign, where they have been cast to fit the intricacies of the stone work. The identity wouldn’t be very sustainable for a large client — even though the patron of this is a large client — but for a contemporary gallery in France this is perfect.