Author: donotdesign

Do Not Design for Love, Bonito— elevating a brand for the modern day woman with a bold & confident visual language

Love, Bonito

Services

Market sizing & research

Brand position building

Creative Direction

Design Direction

Packaging & Prototyping

User Interface

Creative direction

Yanda

 

Design & Art direction

Elizabeth Zhang

 

Illustration

Elizabeth Zhang

 

Collaterals Photography / Styling

The Gentle Studio

 

Printing

A&K / KS Packaging

 

Love, Bonito is the largest vertically integrated, omni-channel women's fashion label in the region.

 

 

Renowned for its mastery of the Asian fit, Love, Bonito takes a thoughtful, innovative and data-centric approach in creating the right experiences, products, community and content for Asian women all around the world. Cue, us! We were commissioned to refresh the brand’s corporate stationery in a way that would emanate the confidence and boldness of a modern, womenswear label. 


 

 

We asked ourselves, how can we engage and make loyal customers out of the next generation of fashion consumers? With the demands of a new decade, Love, Bonito needed to evolve. 

 

 


Since its birth in 2005, Love, Bonito has expanded its status as a rookie blog shop named Bonito Chico and needed an identity to reflect their growth and confident spirit. Since acquiring 13 million worth of funding, we saw the need to bridge the gap between its identity and its potential to expand to the regional market. Because iconic companies are built on their understanding of their customers and the strength of design, we wanted to merge thoughtful design with strategy to help Love, Bonito continuously stay relevant while standing out amidst large, global competitors like Zara.

Brand Audit. The new identity is a far cry from the usual, arbitrary graphics that trademark its competitors and smaller blogshops. Instead, an iconic, refined approach that reflects Love, Bonito's mission to empower women across the globe. Timed to coincide with the opening of their flagship store in Funan, Singapore, the new brand experience delivers an ambitious push on omni-channel services, combined with a renewed emphasis on brand storytelling.

 
 
 
 

 


Although eliminating packaging waste is quite impossible, we hoped to create packaging that would feel special enough for customers to keep. The envelopes are designed with fine lines, a small detail that makes it reminiscent of a clutch. 

In creating the packaging for Love, Bonito, we wanted to create an identity that customers would remember and come to associate with the brand. This would position Love, Bonito as a polished, home grown brand. Its Gift Card packaging consists of a set of patterns and visuals synonymous to the bold language that Love, Bonito embodies.

In line with the rest of the brand’s visual language, the photoshoot for Love, Bonito is polished and classy, drawing attention to the brand’s corporate stationery.

We wanted to avoid the abstract graphics that are commonly seen amongst blogshops. Instead, we drew reference from Love Bonito’s store, which features details like terrazzo tiles, staircases and arcs. As a whole, their corporate stationery is iconic yet refined, reflecting their mission to empower women across the globe. Much like its principles— unabashed, uninhibited and undeniably you, we utilised organic forms and geometric shapes to reflect the energy and diversity that Love, Bonito yearns to inspire in women.

Photography by The Gentle Studio

We wanted to avoid the abstract graphics that are commonly seen amongst blogshops. Instead, we drew reference from Love Bonito’s store, which features details like terrazzo tiles, staircases and arcs. As a whole, their corporate stationery is iconic yet refined, reflecting their mission to empower women across the globe.

An all-access community and rewards experience, created to allow shoppers to join a membership programme, accumulate credits from shopping at Love, Bonito and unlock premium tiers for exciting perks.

Looking good is only the baseline. We take it one step further with our bold ideas, and create irresistible brands, each with a distinct personality that captivates and engages with its customers across the customer journey.

 

Do Not Design 

Work with us — write to we@donotdesign.com

©2009—2021

Do Not Design for Love, Bonito— elevating a brand for the modern day woman with a bold & confident visual language

Love, Bonito

Services

Market sizing & research

Brand position building

Creative Direction

Design Direction

Packaging & Prototyping

User Interface

Creative direction

Yanda

 

Design & Art direction

Elizabeth Zhang

 

Illustration

Elizabeth Zhang

 

Collaterals Photography / Styling

The Gentle Studio

 

Printing

A&K / KS Packaging

 

Love, Bonito is the largest vertically integrated, omni-channel women's fashion label in the region.

 

 

Renowned for its mastery of the Asian fit, Love, Bonito takes a thoughtful, innovative and data-centric approach in creating the right experiences, products, community and content for Asian women all around the world. Cue, us! We were commissioned to refresh the brand’s corporate stationery in a way that would emanate the confidence and boldness of a modern, womenswear label. 


 

 

We asked ourselves, how can we engage and make loyal customers out of the next generation of fashion consumers? With the demands of a new decade, Love, Bonito needed to evolve. 

 

 


Since its birth in 2005, Love, Bonito has expanded its status as a rookie blog shop named Bonito Chico and needed an identity to reflect their growth and confident spirit. Since acquiring 13 million worth of funding, we saw the need to bridge the gap between its identity and its potential to expand to the regional market. Because iconic companies are built on their understanding of their customers and the strength of design, we wanted to merge thoughtful design with strategy to help Love, Bonito continuously stay relevant while standing out amidst large, global competitors like Zara.

Brand Audit. The new identity is a far cry from the usual, arbitrary graphics that trademark its competitors and smaller blogshops. Instead, an iconic, refined approach that reflects Love, Bonito's mission to empower women across the globe. Timed to coincide with the opening of their flagship store in Funan, Singapore, the new brand experience delivers an ambitious push on omni-channel services, combined with a renewed emphasis on brand storytelling.

 
 
 
 

 


Although eliminating packaging waste is quite impossible, we hoped to create packaging that would feel special enough for customers to keep. The envelopes are designed with fine lines, a small detail that makes it reminiscent of a clutch. 

In creating the packaging for Love, Bonito, we wanted to create an identity that customers would remember and come to associate with the brand. This would position Love, Bonito as a polished, home grown brand. Its Gift Card packaging consists of a set of patterns and visuals synonymous to the bold language that Love, Bonito embodies.

In line with the rest of the brand’s visual language, the photoshoot for Love, Bonito is polished and classy, drawing attention to the brand’s corporate stationery.

We wanted to avoid the abstract graphics that are commonly seen amongst blogshops. Instead, we drew reference from Love Bonito’s store, which features details like terrazzo tiles, staircases and arcs. As a whole, their corporate stationery is iconic yet refined, reflecting their mission to empower women across the globe. Much like its principles— unabashed, uninhibited and undeniably you, we utilised organic forms and geometric shapes to reflect the energy and diversity that Love, Bonito yearns to inspire in women.

Photography by The Gentle Studio

We wanted to avoid the abstract graphics that are commonly seen amongst blogshops. Instead, we drew reference from Love Bonito’s store, which features details like terrazzo tiles, staircases and arcs. As a whole, their corporate stationery is iconic yet refined, reflecting their mission to empower women across the globe.

An all-access community and rewards experience, created to allow shoppers to join a membership programme, accumulate credits from shopping at Love, Bonito and unlock premium tiers for exciting perks.

Looking good is only the baseline. We take it one step further with our bold ideas, and create irresistible brands, each with a distinct personality that captivates and engages with its customers across the customer journey.

 

Do Not Design 

Work with us — write to we@donotdesign.com

©2009—2022

Do Not Design for Space To Imagine, A Room for Everyone - a brand building emphasis on the importance we should on haircare

Singapore Pavilion

Services

Exhibition Identity

Creative Direction

Design Direction

User Interface

Website

Creative direction

Yanda

 

Design & Art direction

Preston Tham

 

 

Exhibition Photography

Rebekah Lee

 

Printing

Allegro Print

 

 

A project by Do Not Design   

The key identity explores speech bubbles as a touchpoint to contemplations on the purpose of architecture and people’s connections to places. 

The speech bubbles are adapted through various collaterals to invite spontaneous responses from the visitors. The exhibition catalogue is designed such that it unfolds to become the publicity poster. As such the overall identity echoes the theme of Space to Imagine, Room for Everyone: remaining honest and transparent while also being people-centric, reusable, and functional.

 

Do Not Design 

Work with us — write to we@donotdesign.com

©2009—2021

Do Not Design for Space To Imagine, A Room for Everyone - a brand building emphasis on the importance we should on haircare

Singapore Pavilion

Services

Exhibition Identity

Creative Direction

Design Direction

User Interface

Website

Creative direction

Yanda

 

Design & Art direction

Preston Tham

 

 

Exhibition Photography

Rebekah Lee

 

Printing

Allegro Print

 

 

A project by Do Not Design   

The key identity explores speech bubbles as a touchpoint to contemplations on the purpose of architecture and people’s connections to places. 

The speech bubbles are adapted through various collaterals to invite spontaneous responses from the visitors. The exhibition catalogue is designed such that it unfolds to become the publicity poster. As such the overall identity echoes the theme of Space to Imagine, Room for Everyone: remaining honest and transparent while also being people-centric, reusable, and functional.

 

Do Not Design 

Work with us — write to we@donotdesign.com

©2009—2022

Do Not Design for The Future of Our Pasts - reintegrating Singapore's storied past into the future

The Future of Our Pasts

for Yale-NUS

Services

Festival Identity

Creative Direction

Design Direction

User Interface

Website

Spatial/Exhibition Design

Creative direction

Yanda

 

Design & Art direction

Edward Harland / Elizabeth Zhang / Evangelyn Ong

 

Illustration

Elizabeth Zhang

 

Printing

Allegro Print

 

Construction

2ideas

A project by Do Not Design   

The Future of Our Pasts (TFOOP) is a month-long festival exploring lesser-known stories of the past and present— reimagined through artistic mediums. 

 

Organised by Yale-NUS in support of the Singapore Bicentennial, TFOOP Fest ran from 16 February to 17 March 2019 at various locations around the city. TFOOPFest is a festival organised by Yale-NUS College, in support of the Singapore Bicentennial. Taking place for the first time in 2019, the festival featured 11 projects that reimagined lesser-known stories of communities and places of Singapore’s past through creative mediums. History is often perceived as static, monolithic and boring. In Singapore, what comes to mind when one thinks of history is common narratives and images. But what about some of the smaller, micro-narratives that might have slipped through the canals of history?

Do Not Design was commissioned to develop the festival’s identity and branding, spanning across digital, print and spatial mediums. Inspired by the connectivity of the future and the past, the festival’s identity is an interpretation of a string as a symbol of a progressive entity running through the times–– from past to present. Set in Elephant (designed by Gareth Hague), the logotype is a sans serif font inspired by classic woodtype grotesques with nuances of geometric shapes. A string intertwining through the title also emanates a perception of depth running throughout.

Exhibition Launch

Noteworthy tactile elements were infused into the spatial solutions as part of the festival’s launch party, further immersing visitors into a holistic experience.

The brilliance and vibrancy of the future is represented by an unmistakable, fluorescent orange which perfectly juxtaposes with the festival’s historical imagery and references.

Consistency throughout all touchpoints creates opportunity for free promotion. The striking fluorescent orange on the tote bag makes it outstanding amongst the overwrought public spaces, acting as a walking billboard to garner more attention for TFOOP.

Straying from the orthodoxy of event guides, unique editorial techniques were incorporated into the typical brochure format. While minute, these subtle details transform the conventional into something engaging, a visual arrest that demands attention from visitors.

 

Do Not Design 

Work with us — write to we@donotdesign.com

©2009—2021

Do Not Design for The Future of Our Pasts - reintegrating Singapore's storied past into the future

The Future of Our Pasts

for Yale-NUS

Services

Festival Identity

Creative Direction

Design Direction

User Interface

Website

Spatial/Exhibition Design

Creative direction

Yanda

 

Design & Art direction

Edward Harland / Elizabeth Zhang / Evangelyn Ong

 

Illustration

Elizabeth Zhang

 

Printing

Allegro Print

 

Construction

2ideas

A project by Do Not Design   

The Future of Our Pasts (TFOOP) is a month-long festival exploring lesser-known stories of the past and present— reimagined through artistic mediums. 

 

Organised by Yale-NUS in support of the Singapore Bicentennial, TFOOP Fest ran from 16 February to 17 March 2019 at various locations around the city. TFOOPFest is a festival organised by Yale-NUS College, in support of the Singapore Bicentennial. Taking place for the first time in 2019, the festival featured 11 projects that reimagined lesser-known stories of communities and places of Singapore’s past through creative mediums. History is often perceived as static, monolithic and boring. In Singapore, what comes to mind when one thinks of history is common narratives and images. But what about some of the smaller, micro-narratives that might have slipped through the canals of history?

Do Not Design was commissioned to develop the festival’s identity and branding, spanning across digital, print and spatial mediums. Inspired by the connectivity of the future and the past, the festival’s identity is an interpretation of a string as a symbol of a progressive entity running through the times–– from past to present. Set in Elephant (designed by Gareth Hague), the logotype is a sans serif font inspired by classic woodtype grotesques with nuances of geometric shapes. A string intertwining through the title also emanates a perception of depth running throughout.

Exhibition Launch

Noteworthy tactile elements were infused into the spatial solutions as part of the festival’s launch party, further immersing visitors into a holistic experience.

The brilliance and vibrancy of the future is represented by an unmistakable, fluorescent orange which perfectly juxtaposes with the festival’s historical imagery and references.

Consistency throughout all touchpoints creates opportunity for free promotion. The striking fluorescent orange on the tote bag makes it outstanding amongst the overwrought public spaces, acting as a walking billboard to garner more attention for TFOOP.

Straying from the orthodoxy of event guides, unique editorial techniques were incorporated into the typical brochure format. While minute, these subtle details transform the conventional into something engaging, a visual arrest that demands attention from visitors.

 

Do Not Design 

Work with us — write to we@donotdesign.com

©2009—2021

Do Not Design for N-Tyler— honouring design while breathing new life into menswear classics

N-Tyler

Services

Creative Direction

Design Direction

Art Direction

User Interface

Website

 

Creative direction

Yanda (in collaboration with Uniform)

 

Design & Art direction

Yanda / Sherylene Chew / Cherie Chong

  

Printing

AlsoDominie

A project by Do Not Design / Uniform   

 

N Tyler combines traditional tailoring and classic British sensibilities with a modern flourish to create a look that is perfect for the urban genteel.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

In collaboration with Uniform, Do Not Design was commissioned to work on the art direction and design from the campaign, lookbook to website and marketing assets.

Titled ‘The Importance of Being’, the entire campaign photographed by Joel Low muses over the unique sartorial beat of gentlemen—the Genteel Patriarch, Self-Made Man and Heroic Artisan. These are the apostles from the fashion bible our fashion evangelists fervently worship.

The advertising campaign mimics the idea that it is a page torn off from the fashion bible

 

 

 

LOOKBOOK

To encourage more pick-ups and also to use the look book as a marketing tool on its own, we proposed to make the book more desirable and instagramable.

We drew inspiration from the book of all books‚ the Bible—leather bound cover paper is sourced from Belgium and finished with pearl foil stamping; Lightweight textured paper for the inserts and cream coating paper for the whole book were used to mimic the aesthetic of the Bible. Large text ensures easy to read. Corners of the look book adopts a rounded-cut to prevent dog-ears.

Each colour and piece of merchandise was also named so that they can be marketed individually when needed.

 

'

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

From backdrop of the photoshoot where we hand-dyed and stain ourselves with coffee, to the styling and art direction. everything has been taken care of—rolled-up pants, matching socks, hats, pocket squares, ties, bow-ties, shoes to props to bring out the character of each look.

 

 

DIGITAL MARKETING

To appear as if a fashion evangelist had taken the inserts from a fashion bible to create this catalogue, a torn effect was used for the website and the digital marketing assets.

RESULTS

There was a distinct increase in the number of pick-ups, interests and praises on the new book as opposed to the previous years where they were just another glossy paper printed material.

The whole rebrand made the label exciting and refreshing again and we were able to reach out to an even new audience in stylists.

Free media was earned when the campaign were featured in fashion websites and design coffee table books.

 

Do Not Design 

Work with us — write to we@donotdesign.com

©2009—2021

Do Not Design for N-Tyler— honouring design while breathing new life into menswear classics

N-Tyler

Services

Creative Direction

Design Direction

Art Direction

User Interface

Website

 

Creative direction

Yanda (in collaboration with Uniform)

 

Design & Art direction

Yanda / Sherylene Chew / Cherie Chong

  

Printing

AlsoDominie

A project by Do Not Design / Uniform   

 

N Tyler combines traditional tailoring and classic British sensibilities with a modern flourish to create a look that is perfect for the urban genteel.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

In collaboration with Uniform, Do Not Design was commissioned to work on the art direction and design from the campaign, lookbook to website and marketing assets.

Titled ‘The Importance of Being’, the entire campaign photographed by Joel Low muses over the unique sartorial beat of gentlemen—the Genteel Patriarch, Self-Made Man and Heroic Artisan. These are the apostles from the fashion bible our fashion evangelists fervently worship.

The advertising campaign mimics the idea that it is a page torn off from the fashion bible

 

 

 

LOOKBOOK

To encourage more pick-ups and also to use the look book as a marketing tool on its own, we proposed to make the book more desirable and instagramable.

We drew inspiration from the book of all books‚ the Bible—leather bound cover paper is sourced from Belgium and finished with pearl foil stamping; Lightweight textured paper for the inserts and cream coating paper for the whole book were used to mimic the aesthetic of the Bible. Large text ensures easy to read. Corners of the look book adopts a rounded-cut to prevent dog-ears.

Each colour and piece of merchandise was also named so that they can be marketed individually when needed.

 

'

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

From backdrop of the photoshoot where we hand-dyed and stain ourselves with coffee, to the styling and art direction. everything has been taken care of—rolled-up pants, matching socks, hats, pocket squares, ties, bow-ties, shoes to props to bring out the character of each look.

 

 

DIGITAL MARKETING

To appear as if a fashion evangelist had taken the inserts from a fashion bible to create this catalogue, a torn effect was used for the website and the digital marketing assets.

RESULTS

There was a distinct increase in the number of pick-ups, interests and praises on the new book as opposed to the previous years where they were just another glossy paper printed material.

The whole rebrand made the label exciting and refreshing again and we were able to reach out to an even new audience in stylists.

Free media was earned when the campaign were featured in fashion websites and design coffee table books.

 

Do Not Design 

Work with us — write to we@donotdesign.com

©2009—2021

Do Not Design for Print Room - reshaping the perceptions of a photography bookstore while enriching the customer experience

Print Room by DECK

Services

Brand Positioning

Creative Direction

Design Direction

Creative direction

Yanda

 

Design & Art direction

Edward Harland

 

A project by Do Not Design   

 

DECK is an independent art space that champions for photography enthusiasts in Singapore and Southeast Asia.

 

Within DECK is Print Room. A space dedicated to an assemblage of works from new and established Southeast Asian photographers. Each quarterly showcase is curated based on theme and distinctive artistic creation. (The first of the quarterly showcases, COLLECT, features Hanging Heavy On My Eyes by Ang Song Nian, With Nature and a Camera by Robert Zhao Renhui, and Ways To Tie Trees by Woong Soak Teng.) The modular gallery space functions as a repository for art institutions, offering a platform for both professional and amateur photographers to come together, mingle and be inspired in a celebratory fashion.

The outlined strokes depicts the building blocks of each letterform, a resemblance of a framework to preserve the true form of Print Room. This rings synonymous to Print Room’s value of preserving the authenticity of photographic prints. The genesis of Print Room’s identity is a modular grid which is applied across all digital and printed platforms.

Print Room Display. To distinguish the year-long programme from DECK’s existing branding, a bespoke typeface, Print Room Display was conceived to set itself apart as an independent and exclusive space.

The previously steel beams in the gallery spaces are replaced with wood for a more cohesive and congruous interior blend between the bookshop and gallery. Introducing a wood cladding also exudes a warmer ambience, creating a holistic and welcoming environment for visitors to patronise and experience.

To distinguish the year-long programme from DECK’s existing branding, a bespoke typeface, Print Room Display was conceived to set itself apart as an independent and exclusive space.

Based on our analysis, observations have shown that a significant amount of visitors are unaware of ongoing exhibitions held at DECK leading to patronising visits. As such, a wooden signage was implemented to ease visitor navigation by pinning ongoing exhibitions/ events.

 

The previously steel beams in the gallery spaces are replaced with wood for a more cohesive and congruous interior blend between the bookshop and gallery. Introducing a wood cladding also exudes a warmer ambience, creating a holistic and welcoming environment for visitors to patronise and experience.

 

Do Not Design 

Work with us — write to we@donotdesign.com

©2009—2021

Do Not Design for Print Room - reshaping the perceptions of a photography bookstore while enriching the customer experience

Print Room by DECK

Services

Brand Positioning

Creative Direction

Design Direction

Creative direction

Yanda

 

Design & Art direction

Edward Harland

 

A project by Do Not Design   

 

DECK is an independent art space that champions for photography enthusiasts in Singapore and Southeast Asia.

 

Within DECK is Print Room. A space dedicated to an assemblage of works from new and established Southeast Asian photographers. Each quarterly showcase is curated based on theme and distinctive artistic creation. (The first of the quarterly showcases, COLLECT, features Hanging Heavy On My Eyes by Ang Song Nian, With Nature and a Camera by Robert Zhao Renhui, and Ways To Tie Trees by Woong Soak Teng.) The modular gallery space functions as a repository for art institutions, offering a platform for both professional and amateur photographers to come together, mingle and be inspired in a celebratory fashion.

The outlined strokes depicts the building blocks of each letterform, a resemblance of a framework to preserve the true form of Print Room. This rings synonymous to Print Room’s value of preserving the authenticity of photographic prints. The genesis of Print Room’s identity is a modular grid which is applied across all digital and printed platforms.

Print Room Display. To distinguish the year-long programme from DECK’s existing branding, a bespoke typeface, Print Room Display was conceived to set itself apart as an independent and exclusive space.

The previously steel beams in the gallery spaces are replaced with wood for a more cohesive and congruous interior blend between the bookshop and gallery. Introducing a wood cladding also exudes a warmer ambience, creating a holistic and welcoming environment for visitors to patronise and experience.

To distinguish the year-long programme from DECK’s existing branding, a bespoke typeface, Print Room Display was conceived to set itself apart as an independent and exclusive space.

Based on our analysis, observations have shown that a significant amount of visitors are unaware of ongoing exhibitions held at DECK leading to patronising visits. As such, a wooden signage was implemented to ease visitor navigation by pinning ongoing exhibitions/ events.

 

The previously steel beams in the gallery spaces are replaced with wood for a more cohesive and congruous interior blend between the bookshop and gallery. Introducing a wood cladding also exudes a warmer ambience, creating a holistic and welcoming environment for visitors to patronise and experience.

 

Do Not Design 

Work with us — write to we@donotdesign.com

©2009—2021