“Established in 2011 by Catherine Teatum and Rob Jones, Teatum Jones is a London based luxury label recognised for its modern, polished and bold aesthetic, speaking to super smart, creative and confident women. Having trained at Ravensbourne University and Central St. Martins respectively, the two were united by a shared love of human stories. Driven by a love of human stories, the designers create exquisite textiles layered with narrative and marry these with cool, refined shapes. This has earned the two ‘methodical designers’ accolades, reviews and recognition as London’s young ‘textile pioneers’ and ‘innovators’. Teatum Jones won the prestigious 2016 International Woolmark Prize for Womenswear. Recent accolades also include The BFC Fashion Trust Award, The Scottish Fashion Council – 2017 Hawick Knitwear Competition Winners, UKFT Best Womenswear Designer of 2015, as well as CFE’s 2014 Venture Designers.”
Peter and Paul (Sheffield, UK)
Peter and Paul were given the provocative brief to ‘tell the brand story loudly’. The identity solution works in two parts to do that. There’s a constant: the Teatum Jones logo – fixed, always there, broken to leave a space between the names, and a variable: a bespoke piece of design, visual language or typography that is born of the human story attached to a collection. The agency have also launched the Teatum Jones website designed around the premise of allowing people in to the process of making, being honest by showing research imagery and films as well as early stage experimentation alongside the fashion lines.
Images (opinion after)
The old logo was pretty nice, in an elegant and modest serif. Perhaps it didn’t say much in terms of the approach or aesthetics of the fashion duo but it played will within the context of fashion brands. The new logo is a literal 180-degree change, going from serif to sans serif, lowercase to uppercase, and easily readable to challengingly readable. I’m no fashion expert but based on the current collection shown on their website, the logo feels appropriate as there is a sense of challenging conventions with slightly awkward shapes and things that don’t quite fit right but that make you take notice — just like the logo. It isn’t quite right, with its awkward line breaks but there is something intriguing about it. I like how they forced 4 characters in the first lines, then 2 characters in the second lines, aided by the introduction of a period at the end of the name. Maybe there is a little bit of pretentiousness involved, like “We are too cool to care about hyphens or proper line breaks” but, hey, they made this, so… there. The logo actually works pretty well when paired with some crazier, bolder graphic behind it, so maybe the identity will put more of that layering into action.