Barkas has designed the identity for Amundsen Sports’ latest campaign, “Hero’s Hide”, which reinvents the merino baselayer for a new generation of adventurers. The campaign celebrates Amundsen Sports’ philosophy of merging traditional craftsmanship with modern innovation—an approach reflected in both their products and visual language.

For “Hero’s Hide”, the unique Dual-Surface SkipStitch Knit technology creates an ultra-light base with a distinctive openwork pattern, combining warmth and breathability. This design pays homage to the refined Norwegian mountain lifestyle, reimagined for those who embrace adventure year-round.

The campaign’s visual identity is set in Store Norske Leif Mono, Store Norske Magi Mono, and Store Norske Magi from Skriftkompani. These typefaces introduce a utilitarian, contemporary edge, echoing the technical sophistication and rugged quality of Amundsen’s garments. The pairing of these helps solidify a brand narrative that is both rooted in tradition and built for the future.

Molberger has crafted a new brand identity for Baylon, an emerging line of high-quality clothing for adults launched by the team behind Lillelam. Continuing the commitment to ethical and conscious production, Baylon’s identity builds on trusted values while establishing a distinctive and contemporary presence for the brand.

The updated visual language, tone of voice, and communication strategy reflect Baylon’s focus on quality, responsibility, and modern style. The use of Store Norske Geita and Store Norske Leif from Skriftkompani shapes the brand’s character: Geita brings a dependable, structured foundation to key messaging, while Leif adds warmth and approachability, ensuring the identity feels both refined and inviting. Photographs by Johanne Nyborg.

This artist’s book explores memory, migration, and belonging through drawing, writing, textile art, and archival research. Tracing the artist’s grandfather’s journey from a mountain village in southern Poland across post-war Europe, it layers personal reflection with political history, landscape studies, and family artefacts.

The typographic design combines the contemporary serif ABC Gaisyr (with Mono) by Fabian Harb (Dinamo) with the ornate Amster Versal Iluminada by Francisco Gálvez Pizarro (PampaType). This pairing creates a dialogue between modern clarity and historical ornament, underscoring the book’s negotiation of past and present. Chapter headings are hand-drawn, inspired by frescoes on the arcaded ceilings of Via Indipendenza in Bologna, which add a gestural, site-specific element.

The book juxtaposes text with archival photographs, reproductions of artworks, and full-bleed visual material. Layouts range from dense text spreads to spacious pages with floating captions, creating rhythm and breathing room. Images are annotated with precise figure labels, recalling both the language of academic research and the intimacy of a family album.

Printed digitally on Munken Pure 100g/m² and Pashmina Light Grey 120g/m², each copy is hand-bound with silk and wool. The materiality emphasizes tactility and fragility, echoing the themes of displacement and endurance.

Made in an edition of 5 at the Faculty of Fine Art, Music and Design, University of Bergen, 2025.

WOAL is a project/brand related to the combination of ‘wool’ the material, and ‘wall’, the space that welcomes. WOAL comes from the experimentation and intuition of Maddalena Selvini, a Milanese designer, and the creativity of Anna Bodini, who has imagined a world made up of special spaces.

For the visual identity of the project Selvini mainly used two typefaces: Baustraße by Fantasia Type and Arial by Monotype. From their website:

Every piece is the result of a long process that starts with the design of each detail, the choice of which and how many pockets to create, and the part that makes every piece unique, that of hand-cutting all the modules one at a time, following the natural lines of the felt, opening the pockets and finally embossing the WOAL logo.

The decision to put the logo on view is because the word WOAL precisely embodies the philosophy of the project, which is to experiment with and investigate matter in order to produce pieces capable of interacting with the space that will welcome them and with the people who will live in those environments.

GOBI is a 100% Mongolian cashmere brand, combining centuries-old craftsmanship with modern manufacturing expertise and styles designed for comfort and longevity. From working closely with local herders to manufacturing exclusively at their one facility in Ulaanbaatar, every garment is sustainably produced in Mongolia, by Mongolians.

They approached Mucho to help tell this unique story to the world. Established over 40 years ago, and the largest cashmere company in Mongolia they wanted to reposition themselves, and appeal more to the US, european and global marketplace as a leader within the cashmere and fashion industry.

The GOBI logotype is custom, designed in-house by Mucho, with Tomato Grotesk used as the brand typeface.

YanantinCo. is a fashion brand that seeks to elevate appreciation for the yanantin philosophy, Peruvian textile heritage, and the incredible alpaca superfiber. Design studio VVORKROOM comments:

Cecilia Ramirez was born in the cold mountains of central Peru and raised in sunny California. She has spent her life traveling between the two places internalising the concept of duality and harmony.

She entrusted us with the important task of transmitting through branding her vision of transcendence and the luxury that her garments really represent, since they are not only to be worn for life, but to be inherited.

The visual identity uses Voyage for the logo. Information is set in Brandon Grotesque.

Slogan and brand message by Juhi Baig
Model photos by Joseph Robert Krauss
Stylist: Cain Lee
Studio photos by C129

Lamantera is an Italian company that recycles and transforms organic wool into footwear, scarves and capes, such as the mantera, a word that in the Italian Abruzzo dialect indicates the felted wool cape, for centuries the shepherd’s companion during winters and transhumance.

Cemer was chosen for the logotype, the letters of which were also used as modules for the design of the trademark icon. See also Lamantera’s Instagram account.

F37 Wicklow Stencil by F37 Foundry is used in a brochure designed by Inklab for Trust in Australian Wool. Information is set in Freight Sans, and quotes are set in Freight Big. The handwriting-like “Wool” is set in Marison Brieny, and the monospaced sans used for page navigation is Maison Neue Mono.

Thierra Nuestra is a Peruvian artisan brand of exclusive knitwear. The name means “our land”, referring to its place of origin; Peru, because it connotes a feeling of pride towards the roots of the brand and its desire to share it with the world.

Peru has many experts in knitting, due to the talent of the artisans and the quality of the threads. Alpaca fibers, used by the brand, are one of Peru's largest knitwear exports, due to the abundance of alpacas in the Cusco region (home to most of their artisans). The brand empower its artisans and bringing them to the forefront, letting them guide the production process and allowing them to inspire the designs themselves, thus giving them the freedom to tell their own stories through their talent.

That is why the greatest challenge for the identity design was to reflect prestige and exclusivity without losing the human and meticulous touch of a handcrafted product, taking into account the level of detail that they possess. The greatest source of inspiration was, on one hand, the wool fabrics and how they were intertwined with each other to create these wonderful pieces and, on the other hand, the actual hands of our community of artisans who play a fundamental role in the excellence of the garments.

The logo uses Albra in all lowercase letters.

Product photography by Daniela Barrio.

Some knitting, a wool ball, a skillful and focus monkey, here are the foundations of the new identity of “Le singe qui tricote” (“The knitting monkey”). With the help of Marion Hermet (a creator from Lyon) and illustrator Nono Ampuy, we thought about an identity which could renew the image of knitting and represent the studiousness necessary for crafting it. This relaxing, manual, and creative activity needs an identity which stimulate the desire to launch into it!

The monkey represents the creator comfortably snuggled up to shape her new creations. The rounded ball of wool serves as a body for the hidden monkey and emphasizes the importance of the ball of wool which is the raw material to realize multiple creations. The monkey tail is shown by a simple thread going out from the wool ball. The whole thing is sober and draws its inspiration from traditional Japanese elements like the seals (hanko/inkan), or the bow belts (taiko musubi/obi) in order to adapt later the content to various format.

To avoid the pitfall of typefaces classically used for knitting and to revisit its image, we have opted for a non-gender-oriented visual sense, and used two typefaces:

To give a new image to knitting and give it more character, we have chosen Viksjø by Monokrom. This typeface is mainly of architectural inspiration, but also includes a research directed towards bringing some round shapes to severe and stiff lines. By using it only for its’ warm and original shapes we take somehow the opposite view. To complete the identity and bring real comfort to the reading, I used a traditional Elzevir (a serif font), Spectral by Production Type, including characteristics which allow the typeface to be rendered perfectly in a website. The typeface is inspired from François Rabelais’s book The most horrific life of the great Gargantua, father of Pantagruel (1534).

Schaf und Mensch (“Sheep and Man”) is a magazine about the complex relationship between mankind and its earliest farm animal. The publication features stories about conservationists, shepherds and textile designers and explores the meaning of sheep and landscape in modern Europe, from Rococo paintings to today’s nature protection.

Inspired by old history books, the magazine's typography is mostly set in Schneidler. Its elegant features reminded me of sculptures from Ancient Greece as well as sheep hooves (if that is even possible). Suisse Int’l Mono appears for captions. Made as Master thesis project at HfK Bremen.

New branding, designed by Guillaume Ruiz for Trente Trente – Les rencontres, a festival about dance, performance, circus, music and installation art that takes place in Bordeaux Métropole and Nouvelle-Aquitaine. “Trente Trente” is conceived and organised by theatre group Compagnie les Marches de l'Été, aiming to give a voice to various artists linked with contemporary creation, offering an hybrid programmation. This 16th edition gathers twenty different bold proposals in dance, performance, circus, music, staging, movies and installation.

At the Arco Iris crochet shop, wool and threads are woven and transformed into amigurumi, little give-aways, and home decoration.

Great care was taken with the letterpressed and die-cut material, which was produced by Studio On Fire.

Debossed merchandise cards, info cards, and leather details in harmony.

A 3D-logo with the same felted feel as the mobile case, along with a pair of AIAIAI’s TMA-1 headphones.

The type follows suit: Ole Schäfer’s FF Zine Serif Display is employed in the wordmark, grafted at the serifs to form bespoke ligatures. Playing counterpart to this masculine, square-jawed logo is our whimsical friend FF Mister K from Julia Sysmäläinen. Of a less European pedigree, Hoefler & Frere Jones’ Sentinel appears in print splash images, with New Century Schoolbook as the webfont stand-in. Futura plays the neutral (yet still European) tone on headlines in the site. And, as these two founders have their fingers on the pulse of the Hypebeast, the recently fashionable Orator is used for splash metainfo. (The Futura used as a webfont is a questionable digitization called Function. It does not hold up to the task nor does it fit with the otherwise impeccable attention to detail.)

Hand-drawn details playing well with FF Mister K.

Broad assortment, narrow aesthetic. See a full-size view of Hard Graft’s product line.

Hard Graft could be criticized for using too many typefaces (or praised for their typographic eclecticism?), but much like their product line, the texture of the typography gives a richness that grey and brown can’t shoulder on their own. Personally, I would axe either Orator or Futura, and would be quick to upgrade Schoolbook to Sentinel once H&FJ webfonts are available.

Patch Hofweber is a young multidisciplinary designer living in southern Sweden. His latest work is the typeface Trim Poster in collaboration with Göran Söderström and Letters from Sweden.