Case 001Brand Identity2024

Modni brend gde odeća govori sve, a brendiranje još manje. Izgradila sam uzdržan identitet oko ručno crtanog botaničkog znaka i jednog italic wordmark-a — nešto što šapuće, a ne viče.

Redefinisanje minimalističke elegancije
Fig. 01 Hang tags, walnut card stock. The first physical artefact — photographed two weeks after launch.
03 / BriefNuage
The Brief

A label without a logo. A brand that fit on a hang tag and a paper bag without breaking character.

03 / Wordmark
Nuage wordmark

The primary mark. Custom display serif, drawn at one weight.

04 / The System
Nuage wordmark

Wordmark

Primary. Used wherever the brand needs to speak by name.

Nuage g mark

Mark

Secondary. Used wherever space won't hold the full name.

05 / MarkHand-drawn
Nuage g mark
The Signature

A mark the size of a thumbnail.

The botanical g started as a sketch in a margin. We kept it that way — a hand-drawn signature on every hang tag, every label, every bag.

Small enough to miss on the first pass. Sharp enough to recognise on the second.

06 / Type
Typography

One carries voice. One carries information.

Display — Glitten
Aa

A display serif by Mike Lirola, set at one weight.

Used for the wordmark, product names, and headlines — anywhere the brand needs to speak by name.

Body — DM Sans
Aa

Composed cotton-linen blend, finished by hand at a small atelier outside Lyon. Cut for warm weather and slow afternoons.

Roman, light weight. Product descriptions, navigation, captions, receipts.

07 / Palette
01

Charcoal

#2A2420

Reserved. Signatures and small print.

02

Walnut

#5C4E3C

Primary. Type, marks, considered surfaces.

03

Stone

#9A8A72

Mid-tone. Supporting surfaces.

04

Sand

#C4B59A

Backgrounds. Paper bags, secondary tags.

05

Cream

#F5EFE6

The room around everything else.

08 / Applications

In use. Same character at every scale.

Nuage storefront window with wordmark
I. Storefront
A wordmark on glass.
Nuage paper bag in sand kraft with g mark
II. Packaging
Reusable by design.
Nuage business cards, recto and verso
III. Print
Double-sided, single-minded.
09 / NotesOn The Work

The hardest part wasn't the look. It was holding the line across surfaces — a small bag, a paper card, a window. Each one a chance to overdesign. We kept removing.

— Angela, On The Work
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