Earlier this week we were featured on the lovely Dear Designer Blog, run by Carole King Editor-in-Chief of Heart Home magazine.


Click here to see the post on the Dear Designer Blog

Its great to see people spreading the word about the new towel range and we hope many more of you will continue you do to so!

Have a lovely weekend.

Our passion for typography was the inspiration behind Trésor’s forthcoming collection of monogrammed luxury linen. We are currently preparing to launch the products on Trésor Shop soon.

The campaign was art directed by Bettina Szabo-Shaw and shot at an inspiring location in London with the talented team of: Melina Michael, photographer and Claire Morgan, interior stylist. Here are some behind-the-scenes images from our recent photo shoot.

Words and fashion are like two peas in a pod – acres of blogs and magazine articles dedicated to decoding the will of designers, seeking to read between the lines and discover the garment’s hidden agenda. This season fashion is returning the favour as the alphabet appears to provide inspiration to some of fashion’s biggest names and a whole trend is dedicated to typography.

Mary Katranzou pays homage to the crimson curves of the Olivetti Lettera 35 typewriter and in another dress she incorporates what looks like the keypad of an old fashioned mobile phone into her digitally printed garments. This dress is also featured in the November 2012 issue of British Vogue in an article dedicated to that glorious, very British past time – the car boot sale.


A more playful take on the trend appears in the Stella McCartney’s Autum 2012 Resort Collection, which includes elaborate calligraphy and crested initials creating a fusion of clean, modern cuts with classic country manor heritage fonts.

Versace’s heavily religous iconography plays tribute to Gianni Versace’s gothic themed final collection and features biblical block capitals as well as Byzantine crosses appearing on dresses and bags.

But it’s not just the catwalk that adopts the written word and typography – watch this space as Trésor prepares to launch a new collection on Trésor Shop !

Trésor have been looking at packaging in response to a recent creative brief. We found these rather inspirational.

The coated paper bag by Jil Sander for the Fall 2012 menswear collection – with stitched seams on each side, two gold-coloured metal eyelets and a stamped logo at its base. It is a take on the brown paper lunch bag and it costs $290 and it is therefore an interesting juxtaposition of the throw-away and the keepsake. The bag is named ‘Vasari’, which, with its ‘long rectangular silhouette’ perhaps alludes to the the painter and architect Giorgio Vasari or the ‘Vasari Corridor’ connecting two Palazzos in Florence – the Palazzo Vecchio to the Palazzo Pitti.

The image below featuring Chanel packaging is from a Tim Walker shoot for the April 2012 issue of American Vogue shot with Kate Moss at the Ritz Hotel in Paris, just before it closed for refurbishement. The Chanel brand stands for understated elegance, the use of black and white, straight lines, and rectangular designs represent purity. When a customer opens up a Chanel box, they see the product right away so they can experience it immediately.

© Vogue

We, at Trésor, are always concerned about the well-being of businesses when we get a creative brief. At a recent talk, Sir John Hegarty gave some examples on how a company’s visual output is a great window into a business. Marketing and advertising needs to stay consistent, confident and communicate what the business is about.

His favourite example is to contrast Nike and Reebok. Nike came up with a brilliant slogan: ‘Just Do It’ in 1987 that was confident and stayed consistent even as the brand refreshed its advertising campaigns. Reebok changed its marketing slogan 14 times since 1987. Nike’s US market share grew to be twice the size of Reebok’s.

Another example he sites comes from the manufacturing industry, he’s disappointed how the manufacturing industry on occasions failed to capitalies on the creative force that was out there. He gives the example of Lord Stokes, sometime boss of Mini cars, who dismissed suggestions that the firm should build a hatchback because it would mean trouble with the trade unions and anyway Mini was selling enough cars as it was. Fast forward a generation and Mini is owned by the Germans who now make a hatchback.

Above is an advertising campaign that is a clear testament to his genius and one of his personal favourites. The client instantly liked the idea and the final ad ended up just as his agency (BBH) imagined it and it’s the commercial in his career that he wouldn’t change a thing about.