Anonymous birthday

Helvetica is celebrating it's 50th birthday. The typeface, inspired by the 1896 font Akzidenz Grotesk, was designed by Max Miedinger in 1957 in conjunction with Eduard Hoffmann for the Haas Type Foundry, in Muenchenstein, Switzerland. It is now synonymous with the Swiss style of graphic design that emerged in the 60s - thoroughly modern, with a lack of flourishes or even character that could predjudice the message in the words.

It was probably one of the most famous fonts prior to the rise of the personal computer, but since Microsoft chose to include Arial over Helvetica in their system fonts (probably to save on licensing costs) it has lost some of it's glamour. I have always felt a little self conscious when specifying Helvetica, and if i have been forced to use it to fulfil brand requirements, I have generally felt it wasn't the right occasion - there is rarely a project where I need to communicate 'uniform' or 'austere'. But since I love Swiss typography, I always have a sneaky admiration when it's used well.

What's the fuss?

After months of media hype, yesterday saw the launch of Kate Moss' range of Clothes at Top Shop in Oxford Street, London.

Gauged by the long queues out of the shop, and the lengthy discussion on Radio 1 (yawn) the range is a success, though I fail to see the attraction myself. I use a Mac every day, but that doesn't make me an Industrial designer.

Belatedly (IMHO) recognising the brand potential, her model agency Storm commisioned a logo by by Peter Saville and typographer Paul Barnes. “Storm realised that the graphic responsibility of the brand was theirs, that we must bring it in house and then licence it to our partners, there must not be different representations of an identity of Kate Moss,” said Saville. In other words let's get in there quick so we can slap her name on anything that teenage girls buy.

Saville originally experimented with variations of Moss’ signature, but then abandoned this strategy and approached Barnes to discuss fonts. “He’s a wonderful guide to letters and was able to fast-track us to the suspects. ‘Kate’ was really easy - there were lots of fonts that worked with that. But ‘Moss’ was difficult, it kept slipping into National Trust territory or and that was completely off-message.”

Barnes then suggested a variation on Brodovitch Albro, a typeface by Alexey Brodovitch, the legendary art director of Harper’s Bazaar from 1934-58.

First impressions? Not impressed. I like the origins and that it links back to to magazines and fashion through Brodovitch's work, but that doesn't make a great logo. I generally love Saville's work, from the New Order covers to the Design Museum's web site identity, but to me this harks back to late 80s typography, all style and no substance (maybe that's the point?). It just looks clunky. Admittedly I haven't seen it in context on a size zero Mini Dress but I like to leave that type of research to my wife. Michael Johnson from Johnson Banks isn't sure either and the version they created is still available. A great alternative.

The branding of people, or people as commodities will only increase in these celebrity and ego obsessed times. Madonna has always treated herself as a brand, though without the need of a 'logo'. If there is any commercial mileage to be made from a personal badge, then it will be made. So I guess The Church will be next...