Friday, 19 December 2014

What should you buy a designer for Christmas?


Rebecca Hossain
“The obvious choice would be a classic sketchbook, beautifully bound. But most designers use a particular sketchbook that they are loyal to throughout their careers, so I would treat a designer to the iconic Eames bird recreated by Vitra Design Museum – simple and as poised a sculpture as you will find. For more than 50 years, the figure of a black wooden bird has stood in the centre of the living room of Charles and Ray Eames. It was an artefact of American folk art that was evidently highly treasured by the couple, since it also appeared frequently as an accessory in photographs taken by Charles and Ray. For me it marries the purity of nature with good design, made from solid alder and coming packaged in an elegant box, which is important for a designer. It’s perfect for the traditional, retro or cutting edge designer in your life!”
Rebecca Hossain, retail general manager, Design Museum
Paul Middlebrook
I would buy them a book called Hegarty on Advertising (ISBN 978-0-500-51556-3). This is a fantastic book that summarises John’s 45 years of experience and his passion for creativity and ideas. His dedication to ‘message and meaning’ is profound – he inspires with good sense and humour and reminds us that we have to believe in something to stand out and make a difference. He lets us know that as designers it is our job to turn ’‘intelligence into magic’.”
Paul Middlebrook, managing partner, The Allotment Brand Design
Matt Baxter
When Sarah at Design Week asked me for a vox pop on this subject, I replied by saying that I’d ‘get my thinking cap on’. Which immediately got me thinking about thinking. And headgear. All designers need to think, right? Good, concentrated thinking time away from the distractions of email, Twitter, Instagram and the rest. But while a spell away from the Mac to have a good think is important, a lunchtime stroll in the cold, gloom and damp of British winter isn’t exactly appealing – unless you’ve got a hat to keep your bonce toasty, incubating those creative brainwaves. So that’s what I’d buy a designer for Christmas: a good quality titfer. The question is, are fezzes still cool? Or is 2015 more of a Stetson year? I’ll get my thinking cap on and go for a ponder.”
Matt Baxter, creative director, Baxter and Bailey
Simon Manchipp
We’ve been pretty busy this year - so we have an embarrassment of riches for designers: 
On the first day of Christmas - we’d arrange a luxury holiday from Sovereign (say, Barbados).
On the second day of Christmas - perhaps a new pair of glasses - or sunglasses - from Glasses Direct? 
On the third day of Christmas - a ticket to experience the new Thameslink trains. 
On the fourth day of Christmas - perhaps off to meet our friends at Gatwick for a trip to Africa? 
On the fifth day of Christmas - some flights to Africa with our friends at FastJet.
On the sixth day of Christmas - of course, we’d donate part of the price of the gift to Cancer Research UK to beat cancer sooner.
On the seventh day of Christmas - how about a ticket to the first European Games in Baku?
On the eighth day of Christmas - perhaps a little flutter on the Football Pools could help pay for it all?
On the ninth day of Christmas – a bottle of Chivas 25 will certainly help get the party started. 
On the tenth day of Christmas - we’d get you to help out with The Children Society (come on, you’ll feel so much better about yourself).
On the eleventh day of Christmas – you could Zapp a couple of new bargains in the sales 
And on the twelfth day of Christmas? Well, we’d probably make sure we’d settled up through Worldpay.” 
Simon Manchipp, co-founder, SomeOne

(Thu, 18 Dec 2014)

Tuesday, 16 December 2014

Jump In! to Pearlfisher’s Christmas installation

Pearlfisher has unveiled a Christmas installation at its London gallery that may look like an excuse to mess around, but which the consultancy says carries a message about the power of play.
Balls
The Jump In! installation was commissioned by Pearlfisher founding partner and chief creative officer Karan Welman and features 81,000 soft white “snowballs”. The balls are all contained in “play area” with motion sensors and some contain surprise presents inside.
Balls
But aside from allowing visitors to jump around and make fools of themselves, the installation is also raising money for organisation Right to Play, which champions the power of play to educate and empower children around the world.
Balls
For every guest that comes to play in the installation, Pearlfisher will donate £1 to Right to Play.
Balls
Welman says: “Fundamentally, Jump In! is about celebrating creativity and positive human connections through the power of joyful play.”
Balls
Jump In! is at Pearlfisher Gallery, 50 Brook Green, London W6, until 31 January 2015.


Friday, 12 December 2014

V&A Dundee goes on tour

Ahead of the Victoria & Albert Museum’s new opening in Dundee in 2016, the V&A is taking a touring exhibition around Scotland to showcase the work of the country’s contemporary designers.
Bus
The V&A’s Design in Motion project will see a specially designed bus take to the roads of Scotland, bringing design to rural locations including Harris, Campbeltown and Elgin.
The project is a collaboration with Travelling Gallery, and the bus exhibition design has been created by Gabrielle Underwood.
The tour-bus will showcase the work of seven designers currently using digital technology in fields such as games, jewellery and product design.
The designers whose work will be shown are Geoffrey Mann, Sophia George, Anarkik3D, Sara Robertson and Sarah Taylor, Lynne Maclachlan, the Digital Design Studio and Holly Fulton.
V&A Dundee head of learning & engagement Sarah Saunders says: “The designers in the exhibition have used digital technologies as a means of reconstructing our heritage, visualising the unseen and creating new forms… There are some shining examples of how today’s designers are using the innovations of the past to inspire the designs of the future.”
Dundee-based developer eeGeo is creating an app for the project which will let people track the bus’s tour and find out stories about Scottish creativity.

Wheelchair design: why should it be functional and not fashionable?

“Stylish”, “personalised” and “innovative” are not often words associated with wheelchairs  - instead, they’re often seen as “functional”, “necessary” and “practical”. But for many of those with disabilities, day-to-day life is dependent on, and constructed around, the use of their chair.
Blue Badge Style founder Fiona Jarvis disability wheelchairs
Fiona Jarvis, founder of Blue Badge Style
That’s why groups such as Blue Badge Style - a website that campaigns for modern and stylish design in the production of mobility equipment - are trying to bring alternative designs for wheelchair users into the mainstream.
Fiona Jarvis, founder of Blue Badge Style, has multiple sclerosis and uses a wheelchair herself – and says that she doesn’t want to lose her identity just because of this. “The fact that you’re in a wheelchair doesn’t mean you’ve lost your sense of style,” she says. “It becomes more important in fact – you can control style, while you can’t control your body.”
Wheelcover
Jarvis isn’t the only one who thinks wheelchair designs need to be improved: she carried out research to determine what regular users of her website thought of their equipment – and 80 per cent said they were always disappointed with the equipment they bought.
Three quarters of this 80 per cent said that there was not enough choice. Many also wanted a try before you buy system, as well as stylish equipment that didn’t break the bank. “Respondents have said that there’s no innovation and that everything’s very functional and institutionalised,” Jarvis says. “There needs to be more choice in terms of style and colour.”
So now, Blue Badge Style has partnered with product and industrial design students from Brunel University on a project called “Style My Chair”, where the students have come up with 22 concepts for wheelchair improvements and accessories, based on the answers to the survey. People can now vote online for which concept they would like to be made into a working prototype.
Backpack
Concepts fall under three categories of ‘Bag’, ‘Accessory’ and ‘Innovation’. ‘Bag’ includes BackBackPack, a new wheelchair backpack with a side pocket that aims to be more stylish and secure than current wheelchair bags.
‘Accessory’ includes ideas such as personalised patterned wheel covers, a new rainproof mac and a honeycomb cup holder, which can adapt to fit any sized glass.
The Innovation category presents new technologies for comfort and convenience, such as Blueberry Lounge - a recycled car seat fitted to the chair for storage and comfort, Commute Gripper, a handle to aid comfort on long journeys, and One Hand Power, enabling users to wheel in a straight line using only one hand.
Current choices for wheelchair users are limited, Jarvis says: “Electric wheelchairs are horrible and chunky. Battery technology has come a long way but it seems to elude manufacturers of wheelchairs. Also, while children’s chairs come in trendy, bright colours, they’re always black for adults. Manufacturers just look at pure functionality - but I have to sit in my chair all day.”


Commute
It can also be difficult and inconvenient having to use both hands to wheel on a manual chair, and hard for wheels to grip in wet weather, she says.
Ian Harris is a senior designer at Motivation, a group that focuses on innovative wheelchair design. He says that issues also arise in balancing the person’s ergonomic seating position with the design of their chair. “It’s really tough positioning bodies in a wheelchair so that the person can sit comfortably and get their stresses and strains out,” he says. “You’re trying to prevent worse deformities happening through time. You can build in adjustments to control problems as the person grows – but this costs money and time. The human race is very varied, so equipment has to be fairly adjustable or tailored, which can be expensive.”
But Harris also says that small additions to wheelchairs can make a huge difference. “We once attached a small table to the chair of a girl with cerebral palsy,” he says. “It was a really simple communication board, so that she could point at things such as food and drink. Her mum was completely blown away because she had thought that her child couldn’t communicate, and suddenly she had a voice.”
Motivation has also previously implemented designs such as a three-wheeled wheelchair, to aid balance and direction, and a bigger base and front wheels, for use on rough terrains. The company is also in the process of creating a three-wheeled folding chair.
Mac
“Style My Chair” was put together by Brunel’s Co-Innovate programme, which aims to increase collaboration between universities and businesses through design and innovation. Brunel University’s MSc Integrated Design programme director Stephen Green, who is working with the students on the project, says that the partnership will be beneficial for his students as well as for wheelchair users. “It’s encouraging our students to think about wheelchair users from the perspective of wheelchair users,” he says.
“Fiona tells a very compelling story about how she wants to lead a normal, fashionable life and that existing wheelchair products just don’t meet that need,” he says. “Why can’t the wheelchair make a positive, personal statement about the user? We thought this project was ideal both in terms of helping our students to think creatively about this challenge, and in developing their skills to think more empathetically about particular users.”
According to votes so far, the concepts that are currently most likely to be developed into a working prototype include the backpack, rain mac, cup holder and wheel covers. To view the full list of ideas and vote for a concept in the “Style My Chair” competition, visit the Blue Badge Style website.
Cupholder
Holders
OneHand
Recharge
WineGlass


Wednesday, 10 December 2014

New pedestrian bridge planned for London

A new pedestrian bridge is planned for central London, to connect Battersea Power Station and the Nine Elms district on the south bank of the Thames to Pimlico on the north.
The site for the planned new bridge
The site for the planned new bridge
The plan comes shortly after the Heatherwick Studio-designed Garden Bridge, which will span the Thames further east, was approved by Westminster Council. It is expected to open in 2018.
The Nine Elms to Pimlico bridge is planned by Wandsworth Council as a pedestrian and cycling bridge and is part of the £1 billion to transform the Nine Elms “regeneration area”. So far £26 million has been earmarked for the bridge, and Wandsworth says it is seeking further funding.
An international competition has been launched for architects and engineers to work on the project. Wandsworth Council says the competition will include public exhibitions and engagement with local communities on both sides of the river. 
Heatherwick Studio's Garden Bridge proposal
Heatherwick Studio’s Garden Bridge proposal
Ravi Govindia, leader of Wandsworth Council and co-chair of the Nine Elms Vauxhall Partnership, says: “This bridge has the potential to become an inspiring landmark, heralding the changes that are taking place south of the river and making vital connections to the north shore.
“This bridge needs to be designed to the highest quality standards; it must be inspiring, elegant and functional. The conundrum of creating a bridge that can be readily used by cyclists and pedestrians alike, that also provides adequate headroom for river traffic, is at the heart of the challenge. “
To find out more about the project and how to enter visit www.nepbridgecompetition.co.uk.

Monday, 8 December 2014

Royal Mail targets small businesses with 3D printing service

The Royal Mail has announced that it is investing in a 3D printing service targeting small businesses.
Royal Mail 3D printing service
Initially operating as a pilot scheme in the Royal Mail’s Central London delivery offices, the new service is a partnership with 3D printing specialist iMakr and will allow customers to print their own designs or ready-to-print items.
Although 3D printing is a growth industry research by Gartner Inc shows that by 2018 only 2.3 million 3D printers will have been sold.
The analysts suggest that the majority of these printers will be used for prototyping by large industrial firms, pricing smaller businesses and consumers out of the market.
Royal Mail 3D printing service
Royal Mail chief customer officer Mike Newnham says:  “It can be prohibitively expensive for consumers or small businesses to invest in a 3D printer so we are launching a pilot to gauge interest in 3D printing to sit alongside Royal Mail’s e-commerce and delivery capability.”
The pilot starts today at the New Cavendish Street delivery office, near London’s Oxford Street.

Royal Mail 3D printing service

Saturday, 6 December 2014

Nursery school’s building blocks logo allows its name to be misspelt

South London’s Noddy’s Nursery Schools has a new identity made from a triangle of building blocks.
Misspelt
Noddy’s Nursery Schools has schools in Putney and Wimbledon. The rebrand has been created by consultancy Offthetopofmyhead at the organisation marks its 30th anniversary and following refurbishment of both schools.
The Noddy name apparently has nothing to do with the Enid Blyton character, but comes from the childhood nickname of one of the nursery’s founders.
The+previous+logo
Offthetopofmyhead creative director John Spencer says: “The old building blocks logo was clunky, lumpy and tired. But it had been around a long time and was well-loved by staff and parents. It was also very different to their competitors’ logos.”
Logocolours
The new identity uses the same building block concept, but “greatly simplified” says Spencer. He adds: “I’ve focused on the most important part of the name and sent the children to their rooms. And I’ve sorted out the troublesome apostrophe (which has to be there – it’s a school after all).”
Window
The new arrangement of letters forms a triangle and allows the name to be read down as well as across. The letters can be inverted and the name misspelt “because,” says Spencer, “that’s what happens when kids play with building blocks.

Friday, 5 December 2014

Pantone's colour of the year for 2015 is… Marsala

Pantone has named its colour of the year for 2015 as 18-1438 Marsala, which it calls “a naturally robust and earthy red”.
Pantone 18-1438 Marsala
The colour has been chosen as it will “enrich our mind, body and soul, exuding confidence and stability” according to Pantone Colour Institute executive director Leatrice Eiseman.
Eiseman says: “Much like the fortified wine that gives Marsala its name, this tasteful hue embodies the satisfying richness of a fulfilling meal while it’s grounding red-brown roots emanate a sophisticated, natural earthiness.
Pantone 18-1438 Marsala
“This hearty, yet stylish tone is universally appealing and translates easily to fashion, beauty, industrial design, home furnishings and interiors.”
Pantone claims that in graphic design Masala will prove “eye-catching but not overwhelming” and that consumers would be drawn to the colour.
Pantone 18-1438 Marsala
Pantone sees that as packaging becomes increasingly more artistic, Marsala will work well on high- and low-tech materials, particularly periodicals and printed material like calendars and stationery.
Pantone 18-1438 Marsala
For interior design Masala will prove “complex and full bodied without overpowering” and has the ability to unify interior spaces by adding elegance through paint and accessories.
Pantone says when the colour is enhanced when applied to textured surfaces making it a good choice for rugs and upholstered furniture.
Pantone 18-1438 Marsala
Last year’s Pantone colour of the year was 18-3224 Radiant Orchid.

Kurt Geiger launches 'No Christmas Window' charity campaign

Kurt Geiger launches 'No Christmas Window' charity campaign
Luxury footwear label Kurt Geiger has its sights set on a more noble cause this holiday season with the launch of its 'No Christmas Window' campaign.
Rather than splashing out on a high-end holiday window display this Christmas, the footwear retailer has decided to team up with charity Hope and Homes for Children and pledged to donate its festive holiday window funds to the charity, which aims to end the institutional care of children around the world.
Hope and Homes for Children works around the globe to ensure that one day all children will be able to grow up with the love and protection of a family. Therefore, instead of showcasing festive window displays, Kurt Geiger's UK stores will instead feature a single scarlet Christmas bauble which represents the “love for every single child.”

Wednesday, 3 December 2014

All 80,000 pieces in the Wedgwood Collection are saved

The historic Wedgwood Collection – a body of more than 80,000 historical pieces – has been bought by charity the Art Fund after it was in danger of being separated and sold off.
Wedgwood
The Wedgwood Collection was built up over a period of 250 years. It was started by Josiah Wedgwood in 1774 and in 1906 Wedgwood & Sons set up a permanent museum to host the collection.
Alongside samples of Wedgwood Pottery are rare manuscripts and letters, pattern books, works of art and photographs.
The collection was at risk of being sold off to cover the debts of the Wedgwood Museum Trust, which inherited £134 million in liabilities following the collapse of the UK subsidiary of Waterford Wedgwood Plc.
The Art Fund set out to raise the £15.75 million needed to buy the collection with a public appeal – and hit its target two months ahead of its deadline. It also received support from the Heritage Lottery Fund.
Administrator Begbies Traynor has now completed the sale of the collection to the Art Fund.
The Art Fund will now gift its collection to the Victoria & Albert Museum, which in turn will allow it to stay at the Wedgwood Museum in Barlaston, Staffordshire.
Tristram Hunt, MP for Stoke-on-Trent Central and Shadow Secretary of State for Education, who played a role in negotiations to save the collection says: “It’s absolutely fantastic news and I would like to congratulate all of those who have worked so hard over the past few years to preserve this incredibly important piece of heritage.
“The items contained within the Wedgwood Collection chart a significant part of Britain’s cultural development over centuries and play a crucial part in defining our national identity today.”

Saturday, 29 November 2014

Child/Baby Trend Research 2016

I recently worked on a project; to design a print for a baby stroller for 2016. Here's my Trend Research leading to my theme.





Thursday, 27 November 2014

Happy Socks to open first UK store

Happy Socks, the Swedish brand best known for its bright and colorful socks, is set to open its first UK flagship store in Covent Garden, London next week.
The accessories label will open a 600 square foot stand alone store on Neal Street, in Seven Dials, stocking Happy Socks full product range, including its limited editions and designer collaborations, on December 3.
“We chose to open our first London flagship store in Seven Dials as we love the line-up of international brands already positioned there and see it as a great destination which will bring us the fashion forward locals as well as the tourist demographic,” said Chris Stratos, director of CM Delta, the UK distributor of Happy Socks, to Drapers.
The Swedish label currently has over 100 UK and Irish stockists, including Urban Outfitters, House of Fraser, Selfridges, John Lewis, and Dover Street Market. The London store opening comes after Happy Socks launched a series of pop-up stores in a number of European cities, including Amsterdam, Paris, Milan and Berlin earlier this month.

Wednesday, 26 November 2014

The Partners creates hidden pattern branding for Tusk Conservation Awards

The Partners has created a new identity for the Tusk Conservation Awards, based on a geometric pattern that contains the letters T, U, S and K.
Full+pattern
Reveal
The awards are run by charity the Tusk Trust and aim to recognise achievements in African conservation.
The Partners says the pattern used in the identity is inspired by traditional African designs. The branding aims to focus on “the emotional connection between the Tusk Trust and the communities and individuals dedicating their lives to the preservation of African heritage”.
Tusk
The pattern looks like an abstract series of orange, black and white shapes, but can be cropped into to reveal the Tusk name.
Graphics can be used in applications such as website design, event design and vehicle wraps.
Tusk
A series of patterned wristbands were created by the “Mamas” of Enkiito village in Kenya, to be  by nominees and celebrities, including Bear Grylls and Katherine Jenkins, to raise awareness of the cause.
Tusk
The Partners creative director Stuart Radford says “It’s great to to see the new identity being rolled out, particularly the applications which employ traditional African techniques. It has been a rewarding process both in terms of what we’ve achieved from a design perspective and ultimately working for such a good cause.”
The branding was created over a six-month period as a pro-bono project by The Partners.

Tuesday, 25 November 2014

Creative Industries Federation launches

More than 200 companies across the fashion, publishing, TV, film, music and arts industries have united to form a new independent body bringing together the public and private sector to provide a "single and independent voice" for Britain's fastest-growing sector.
The Creative Industries Federation was unveiled last night, November 24 in London, and features support from fashion houses Alexander McQueen, Burberry, Issa, and Mulberry, as well as retailers Harrods, Harvey Nichols, Liberty, Net-a-Porter, and Selfridges. The organisation, which aims to represent the UK's cultural sector, also has the support of the British Fashion Council, University of the Arts London, the BFI, Design Council, Creative Skillset, Victoria and Albert Museum and Walpole British Luxury.
As well as the host of businesses supporting the group, there are also a number of founding supporting individuals including Liberty managing director Ed Burstell, Whistles chief executive Jane Shepherdson, Nicole Farhi owner Maxine Hargreaves-Adams, Issa chairwoman Camilla Al Fayed and the British Council chairman Sir Vernon Ellis.

What does it take to be a successful freelance designer?

In 2010 exhibition designer Rebecca Shipham was made redundant from her job at a studio in London and moved back home to Hull to set up as a freelancer. Five years and she has won a nationwide competition run by IPSE to find the best freelancer in any business.
We spoke to Shipham about the challenges she faced when she set up as a freelance designer and how she managed to make it a success.
Rebecca Shipham meets Prime Minister David Cameron after being named as the UK's best freelancer
Rebecca Shipham meets Prime Minister David Cameron after being named as the UK’s best freelancer
Design Week: Why did you decide to set up as a freelancer?
Rebecca Shipham: In all honesty, it was a case of “sink or swim”. I was made redundant in the recession, while working in London, and so, I took a gamble of setting up alone and moving back home to Hull. I’d been missing my home city for a while anyway, so being made redundant gave me a chance to go home. Rather than returning with my tail between my legs I came back with a couple of clients from London and the start of a little business that would keep me busy and happy for the next five years and counting.
DW: What was the most challenging aspect of setting up?
RS: When I first set up I had no idea of how to run a business. As a freelancer you’re not just the designer, you’re the accountant, the marketing department, the sales team, all in one, and it took a good 18 months before I had settled in to each of these roles. I also found it challenging knowing just how much to charge for my work. It’s not something they really teach you at university. The other challenge was related to confidence in my own work. When I first started sending my designs off to new clients I always imagined they’d think it was rubbish, but one by one they all started coming back for more work, so I must have been doing something right! I’m so much more confident now in what I offer in terms of a design service, and in my style of work.
DW: What sort of support was available to you at the time?
RS: Very little really. I was lucky in that my boyfriend has run a business for 14 years, and he is always on hand to give advice. My old design director was also a great help in my first year as he’d worked with freelancers for a long time as part of his job. I think it’s important to seek advice when you set up alone from someone already in business.
DW: How did you initially win new clients?
RS: Initially it was a case of cold-calling – which I hated, but it’s a necessary evil! It actually worked out really well, it seems that companies are often looking for new freelancers to work with. Now that I’m more established I tend to get business from word-of-mouth. It’s quite a small industry really and a lot of people are connected within the trade.
DW: What are the advantages of being freelance in design?
RS: Probably the fact that it doesn’t feel like work. My friends think I’m mad when I tell them I can’t meet at the weekend because of a big deadline, but to me happiness is sitting here churning my way through a creative problem and getting to grips with a design. I do have a life, [honest!] but, as we all know, design can be all-consuming. Being able to crack open a bottle of red while working is a pretty good part of it too. And the pyjama days. Anyone self-employed who says they don’t have pyjama days is fibbing!
DW: And what are the disadvantages and challenges?
RS: Designers and solitude don’t mix! Having no one to bounce ideas off was a killer in the first 18 months. I felt like I was going mad! But the joys of Twitter, and slowly building my own contacts in the industry have settled that one, and I now feel like I have a network of four or five designers who I can call on when needed to talk through a creative problem or to just share a worry. It’s a bit like having a design studio but because it’s via the internet you don’t feel obliged to make everyone a cuppa. I think not knowing when to stop is another one, which really links to the “best thing about working alone”. Yes, it’s fun, and yes it doesn’t feel like work, but because I [and most designers] throw my all into a creative proposal, it can be hard to say when enough is enough.
DW: What advice would you give to someone thinking about setting up as a freelancer?
RS: Now that I have won this award I welcome the challenge of promoting freelancing and working for yourself. I particularly feel that we should encourage young people to see working for themselves as being a viable career path from an early age, and set them in good stead for a future in independent business. In the short term I intend to do this by reinvesting my knowledge and experience through offering creative workshops in schools and colleges, backed up with information on how freelancing or self employment can work in the real world. Freelancing in the UK is on the increase, and the stats show no signs of this growth slowing down. To anyone considering freelancing, my advice is to be clear about what services you are offering: don’t try to be all things for all people, do what you are a good at, be strict with clients and their expectations of what you can do within their deadlines, don’t sell yourself short, don’t let work run your life… and invest in some thermals.
Rebecca Shipham runs Ships and Pigs Creative Design. She has just been named the UK’s Best Freelancer by IPSE, the Associate of Independent Professionals and the Self-Employed.

(Mon, 24 Nov 2014 Design Week)

Monday, 24 November 2014

The Allotment helps Quality Furniture Company ask questions

The Allotment has looked to help the Quality Furniture Company reposition as an innovation-led business and has created a Q device containing a hidden question mark to show the company is always “asking questions”.
QFC
Quality Furniture Company makes more than 250,000 sofas a year, and supplies to companies including John Lewis, Laura Ashley and DFS.
Following a period of growth QFC approached the Design Council to see how it could improve product design, development and employee engagement.
QFC was seconded to the Design Council’s Designing Demand programme, which made recommendations, one of which was to improve brand perception.
QFC
After The Allotment was commissioned it found that customers expectations around product innovation were increasing.
The Allotment says it looked to “bring the brand back to a sense of inspiration that would engage and enthuse everyone involved with the business.”
QFC
A new brand proposition, identity and marketing touchpoints needed to be created while retaining the name of the business, known to many as QFC.
The Allotment says the “Quality” in QFC is both a supposition and a given, and so therefore had little meaning.
QFC
Instead the consultancy focused on the idea of asking questions, being one of the “key drivers” for innovation.
The Allotment says: “The Q in ‘QFC’ became the question and the big idea for the business. By asking questions the business would continuously deliver better products and in-turn become indispensable to its customers and delight the consumer purchasing the sofa.”
A new set of values have been defined – Imagination, Achievement, and Support – and an identity forged, which was launched to employees in the form of a film and a book to show “the power of questions”.
QFC
The book features stitched binding and stitched typography. Stitching is also used as a motif across other communications.
QFC
There is a new website, signage has been designed for the two QFC manufacturing sites and brand assets include giant Q-shaped sofas.

(Tue, 23 Sep 2014 | By Tom Banks )