L’Officiel magazine recieves new look from Ill-Studio

Creative Pathways PDP Entry 09

Parisian multidisciplinary studio, Ill-Studio has worked with the renowned fashion magazine L’Officiel de la couture et de la mode de Paris, or more commonly known as L’Officiel. The Parisian studio took over the creative and art direction for the fashion magazine. With Ill-Studio in charge with the creative and art direction, there first issue was released in October, also marking the fashion magazine’s 95th anniversary issue. As well as marking as the first issue released from the Parisian studio, it was also accompanied with an exhibition at the VNH Gallery, in Paris.

The redesign marked a striking departure from the magazine’s previously conventional template.

Ill-Studio worked on a three cover page magazine on their debut, consisting of three fashion icons: Lou Doillon, Iris Apfel and Damaris Goddrie. They were shot on a Samsung Galaxy wearing Fendi against a featureless studio backdrop. Then the images were simply boxed out with an off-kilter rectangle, and framed with thick borders in three pastel-like colours of postbox red, tangerine and violet.

Inside, Ill-Studio collaborated with a bumper pack of photographers including Jeremy Liebman, Edouard Plongeon, Osma Harvilahthi, Christiani-Toubiana, Raffaele Cariou and Henrik Purienne.

The typeface used on the cover pages feels and looks traditional to a fashion magazine, yet a contemporary feel to it simutaenously. The use of the serif type creates that traditional feeling, as the layout of the image, frame and colour provides the contemporary feel. The layout of the image, frame, colour and type is simple, easy to understand and effective. It is not overloading with unnecessary information, pretty much straight to the point of the magazine.

Moving onto the double page spreads, the layout is minimal, direct and traditional. The use of type gives the impression of a traditional feel, whilst the image placements gives the spreads the minimal, yet contemporary feel.

What I can take from Ill-Studio’s creative and art direction work as inspiration for my own work is the layout and cover page design. Both designs are strong and work well with the fashion magazine’s content. This can be applied to a current project of designing a fashion magazine with Comic Sans as the font.



It’s Nice That


Anymade Studio


Prague-based Anymade Studio showcases colourful yet refined graphic design work

Anymade Studio utilises and prides itself on using a ‘playful’ approach, as this is cleary evident in their current portfolio of work; colourful and innovated. However, the studio also merges their serious side with their ‘playful’ approach. The studio produces a lot of work for cultural clients, such as Svatopluk Pitra’s box design, which monographs detailed work of Pitra’s graphic design, illustrations and animations. The studio merges their ‘seriousness’ and ‘playful’ approach cleverly by using bold typography and alluring layouts of text and the subjects’ imagery into Pitra’s art book box design. How the studio merges their ‘seriousness’ and ‘playfulness’ is by merging the two with a clean, fresh colour palette of turquoise and pink.

Another area of the studio’s portfolio of work, is there strong piece for Roman Štětina. The studio utilises the use of photography and layout for Štětina’s catalogue design:

…using a darker and more final approach befitting of the subject.

 The studio’s style and nature of work is bold and somewhat minimal, which still maintains the provision of functioning as a product, as well as it being beautifully crafted. This is evident through their portfolio of work.

Anymade Studio says:

Function and quality are logically the client’s main interests – originality and overlap is ours.

What I can take from Anymade Studio as inspiration for my own work, is the combination of being serious and informative, as well as playful and fun. I tend to aim for this throughout my past and current briefs, and so Anymade Studio’s portfolio work has inspired and influenced myself further. How I could use this inspiration and influence from this studio is to experiment with using, possibly typography, the content and the content’s imagery as the serious side of the design, and experimently use the colour palette and possibly the typography too, as the playful and fun side.


It’s Nice That

Anymade Studio

Studio Plastac


Studio Plastac designs Spectaculinaire: a book combining food, design and theatre

Studio Plastac has worked with Julie Rothhahn to produce a book that merges food design and French theatre; a perfect combination anyways. Rothhahn bridges the gap between France’s food culture and theatre scene, as her own work and style in culinary design and performance is playful, yet intriguing. The theatre side of the designed book focuses on the collaboration between Le Manège de Reims, where Rothhahn was an associate artist between the years of 2007 and 2015, and herself. However, the book is not the first time the design studio and Rothhahn have collaborated, as for Rothhahn’s show in Centre Pompidou Metz in 2014, the Paris studio collaborated with her.

The design studio decided to go with a typographic-only book cover, using the words ‘spectacular’ and ‘culinary’ as intial starting points. The studio also took influence from Rothhahn’s food design too, as the studio reflected and played on with the style of Rothhahn’s serial nature of multiplying the title in vertical columns. The typographic book cover is also embossed, and so this gives a neat feeling, as well as a professional appearance of a typographic-only book cover. With the use of the multiplication idea that the studio incorporated into the book cover, the studio used this idea throughout the content of the book too. The multiplication idea was the studio’s principal concept for design, as it works well to reflect the style and nature of Rothhahn. The result that the multiplication idea provided for the contents of the book, is neat and intriuging typographic patterns that nicely introduces each section, and its corresponding colour. What also makes the book further reflect and take influence from Rothhahn’s style and nature, is how in parts, the letters are arranged as if how the culinary designer may arrange her tables.

The colour scheme for the book ulitises a deep blue-purple, with a nice contrasting typographic white. This is simple, yet bold and legible. The colour scheme for the book’s content is just standard monochrome, with coloured images. This simple contrast with coloured images makes the content easy to read, bold and neat in minimal design. It functions moreover than appearing beautiful, which is what one reader would want to have in a book, that contains information. The design studio also makes effective use of Colophon Foundry’s Raisonné font, which:

…adds subtle movement to the otherwise with regimented layout.”

What I can take from Studio Plastac’s collaboration work with Julie Rothhahn as inspiration is the use of a typographic-only book cover, as well as reflecting styles with the contributing collaborator. I like how Studio Plastac’s multiplication idea is a principal concept, and also how it is consistently used throughout the book. I can take a similar approach with my own briefs into my own work. It’s interesting and different from the norm.



It’s Nice That

Studio Plastac