Our fondness for all things typographic, here at Trésor, is no secret, so you can imagine the excitement when we saw that the typography trend continued to evolve and feature ever more prominently in the 2014 Spring/Summer collections in many shapes and forms: statements, slogans, logos, hand-written letters etc.

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Alexander Wang — translating the bold block letters of his logo into laser-cut leather and digital printing (above)

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Christopher Kane — text-book style illustrations combined with graphic arrows and bold Helvetica Neue caps.

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Donna Karan – pays homage to New York. ‘We chose this font because it mimics the tall, skinny silhouettes of New York City skyscrapers and the graphic intersections of the city streets,’ explains Jane Chung, DKNY’s executive vice president of design. (image credit: Wallpaper*)

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Céline — combines the work of Hungarian photographer Brassaï – photographs of wall-carvings and graffiti captured in Paris in the 1920s with modern micro-formatted newsprint.

(images: style.com)



Apple’s animation on its design process is beautiful, playful, surprising, and interconnected – it’s a physical manifestation of Apple’s latest printed statement on design – one that challenges its critics’ by labeling the new approach of Apple’s as “simpler” or “flatter”.

If everyone is busy making everything, how can anyone perfect anything? We start to confuse convenience with joy. Abundance with choice. Designing something requires focus. The first thing we ask is: What do we want people to feel? Delight. Surprise. Love. Connection. Then we begin to craft around our intention. It takes time. There are a thousand no’s for every yes. We simplify, we perfect, we start over, until everything we touch enhances each life it touches. Only then do we sign our work: Designed by Apple in California.

It’s a reminder that design is not intended to be any one thing, other than created with the intent for human use. That’s why the word “delightful” is as important as “streamlined” – says Mark Wilson of Fast Company.

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Riccardo Tisci labelled his latest Spring/Summer 2014 menswear collection for Givenchy as “Nerd Africa”.

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His prints were based on technology and brought together imagery as far a field as computer motherboards, circuitry, loud speakers, reel-to-reels, athletic jerseys, vintage photos of Masaï or Zulu warriors and tribal-inspired face paints. He fused all those motifs together with bold, sporty stripes and stars that also dipped into L.A. skate culture – a perfect mix of ethnic and urban. He broke down the images into their component parts and rearranged them in a perfectly symmetrical pattern, detailed in bright primary colours.

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This collection shows Tisci’s exploration of the subject of freedom, which was the core idea of his collection, making references to technology and tribalism. Mixing all these concepts are interesting timing as it coincides with the launch of a constellation of 12 low-orbiting satellites above Africa to provide high-speed internet to African countries. They will serve countries that aren’t supplied by fibre-optic networks, which often run along the coasts of continents, but don’t always reach areas in the centre of the landmass. The project is the vision of communication provider O3b Networks, which was founded by an American entrepreneur, Greg Wyler, with support from blue chip companies such as Google, to serve the ‘other three billion’ (“O3b”).

It will help the development of this region by opening up new horizons for communication, connecting them to the global network for sharing information and ideas. It will hopefully bring values and principles of the internet too, capturing and enhancing the benefits that communication has for humankind, including innovation, creativity, self-expression, collaboration and democratic politics.

DIANE VON FURSTENBERG

BEFORE:
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Diane von Furstenberg, established her company in 1972 known for her patterns and prints and the famous wrap-around dress. In 2010 she commissioned New York-based Diego Marini to redesign the original logo (above). The logo redesign was based on three main request:
Fix the balance between the different line thicknesses making it very difficult to reproduce.
Transform it into a monogram.
Redesign it so that it is possible to create a pattern out of the logo or a part of it.
This is the result of the redesign:

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AFTER:
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SAINT LAURENT PARIS

The original logo of Yves’ three initials in a vertical arrangement has been one of the most beautiful, successful logos in fashion for over four decades.

It was commissioned by Yves Saint Laurent and his partner Pierre Bergé in 1963 and created by Cassandre – Ukrainian-French painter, commercial poster artist, and typeface designer. YSL popularised the “beatnik” look during the 1960s & 70s and also credited with having introduced the “Le Smoking” tuxedo suit for women.

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YSL logo, 1961 By Adolphe Mouron Cassandre

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In 2012, following the appointment of Hedi Slimane as Creative Director, the name changed to Saint Laurent Paris and the logo got updated to a stripped-back capitalised, Helvetica logo. It is not entirely new, but gives a nod to the original ‘Saint Laurent Rive Gauche’ ready-to-wear collection in 1966 and the typeface used during that revolutionary era.

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Great event last night listening to John Warwicker – co-founder of Tomato – talking about his creative and intellectual influences; a great insight into the mind of a design veteran.

As Adrian Shaughnessy pointed out – the 1990s was an era when we started seeing graphic design as ‘art’ and Tomato’s work was key in re-shaping the graphic design landscape.

John Warwicker sights Hokusai as one of his early influences and he now has strong connections to the Japanese creative scene – being the first foreign member of Tokyo TDC (Type Directors Club).

The following is a quote he’d read as a child and has had great influence on his work philosophy:

“From around the age of six, I had the habit of sketching from life. I became an artist, and from fifty on began producing works that won some reputation, but nothing I did before the age of seventy was worthy of attention. At seventy-three, I began to grasp the structures of birds and beasts, insects and fish, and of the way plants grow. If I go on trying, I will surely understand them still better by the time I am eighty-six, so that by ninety I will have penetrated to their essential nature. At one hundred, I may well have a positively divine understanding of them, while at one hundred and thirty, forty, or more I will have reached the stage where every dot and every stroke I paint will be alive. May Heaven, that grants long life, give me the chance to prove that this is no lie.”

And some of his more recent work published in ‘A Floating World’ that collates themes, ideas, histories and memories, which have informed and influenced him to form a ‘delicate and fragile’ work.

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