1977 ad for underwear by Jockey International, Inc., starring a roster of stripped-down jocks – Jim Hart, Denis Potvin, Jo Jo White, Steve Carlton, Pete Rose, Jamaal Wilkes, Jim Palmer, Ken Anderson – and one staple of 1970s typography, ITC Machine.

In Latin America, one in four girls regularly misses school due to a lack of period products and deep-rooted stigma. Somos Martina is challenging this inequity at its root by integrating period underwear into the mandatory Colombian school uniform. By adding period care to the required list of school items, it becomes the standard rather than an extra, allowing schools to communicate directly with parents and remove the burden of uncomfortable conversations from the girls.

The visual system for El Uniforme Menstrual (“The Period Uniform”) is based on the aesthetics of a teenage diary and deliberately avoids clinical or commercial cues. The design language features custom illustrations, hand-drawn typography, and data charts rendered as scribbles to maintain a relatable feel. This identity is applied across print, film, website, and school materials, supported by photography and a short film to make menstrual care accessible and scalable by design.

Because equal education starts with dignity. And dignity starts with care.

The campaign was conceived by Serviceplan Innovation. It involved film director Claudia Barral, illustrator Adriana Lozano, and photographer Violeta Zambrano. Daniel Kuhnlein took care of the website.

The typeface Figura Normal ExtraBold by Typeverything is used across the identity for Rascals Night Pants, a diaper product brand. The typeface appears prominently in the logotype, as well as on packaging design, website titles, and social media posts. The project was designed by ZURU. Tagline and information are set in Area by Blaze Type.

Underdays is a London based underwear brand for all women of all shapes and sizes. For their branding, we created a minimalist and colorful visual identity. The fun side of the brand is reflected via the U monogram, representing a unique and strong symbol that provides a real personality to the brand. The branding reflects this through a modern and sleek design, with vibrant colors and organic shapes to represent the diversity and uniqueness of everyone. The branding of Underdays was created to visually reflect inclusivity and diversity.

The logo typeface is Mabry, with information set in Neue Haas Grotesk.
Photography by Charlie Gates.

Tired of the ongoing, unfulfilling search for the holy trinity of underwear (comfortable, sustainable and sexy), Nala decided to take things into their own hands. Nala is an Australian-based underwear brand making fun, bold and comfortable products with a sustainability focus, empowering their audience to look, feel and do good. They had the product expertise to create planet-friendly, affordable underwear without the sacrifice of quality. And they knew what they stood for – a mission to break social stigmas around women's bodies and create an ultra-inclusive lingerie brand that stood for and represented all body types, genders and races.

With this in mind, Universal Favourite created a flexible and vibrant design system that looked as good as their offering felt and championed the diversity and attitudinal tone of the audience they serve.

The brand uses simple and reliable typefaces to offset the beautiful visual rebellion of the photography and patterns. The primary typeface is Moderat Condensed – its low-stroke contrast and subtle detail providing a timeless quality suited for body text and large headlines. It pairs perfectly with Moderat Mono, whose technical flair and tactility sings as the brand’s accent font. The Nala logo is custom drawn.

Fantabody is an independent brand from Milan led by women who value inclusion and sustainability. They have recently opened Fantastudio, a creative space in Milan where you can have a closer relationship with our community, where you can touch our products live.

In recent months, they have been working on the new Fantabody's campaing and pop up store and together with their friends from Firm, have made a restyling of their image. They were offered Bastardo Grotesk and loved it right away. It is paired with Open Sans.

Bastardo Grotesk was both used as the main typeface for their new campaign “COLOR-EVOLUTION” and the temporary shop's signage and windows.

Photographer: Carolina Amoretti
Stylist: Alice Manfroni
Hairstylist: Angelo Uliani
Make up: Manuela Balducci
Video: Sofia Atzori
Fantagirls: _brownsugar16, Ornellah_, _pascaline_malou

The family-run business Essentials for Zula creates comfortable, timeless basics from sustainable materials produced under fair conditions. “Handmade, conscious, comfortable” – these values have shaped the vision of Austrian-Thai founder Delie Kastner from day one, and remain the core of the brand. Together with her father, she operates between Bangkok and Vienna to design both minimalistic and sophisticated pieces that combine the comfortable with the essential.

Featuring the typeface Reckless by Displaay for the logotype creates an elegant, timeless look, combined with Aperçu Mono by Colophon Foundry for brand values and Neonoir Slim by Phospho for fun little moments.

A series of characters inspired by the world of ’70s comics and TV shows; they wear their underwear over their clothes and their powers are connected to the colors of Diesel’s Fresh & Bright collection.

The campaign typeface is PAG Revolucion, used with perspective 3D effects and other modifications. The Fresh & Bright logo uses ITC Souvenir. Design by Mari Carmen Gainza at DoubleYou. Photography by Robert Bartholot.

The superhero lineup as seen on the Diesel website.

Pluto in use by Karel Vaca for his poster design for Víkend bez rodičů (“A weekend without parents”). This Czechoslovakian movie from 1982 was directed by Jiří Hanibal, starring Marcel Vašinka, Milena Steinmasslová, and Vladimír Menšík.

The image is borrowed from Albrecht Dürer’s Adam and Eve (1507), with added underwear (never trust a fig leaf) and an enlarged and partly peeled apple. Pluto is used in all caps, with partly colored letter parts to reinforce the dimensional look. The acute accent in “víkend” is just a thin flat line, as it was commonly done with DIY diacritics on Czechoslovak posters and beyond. I don’t know if the extrabold shaded letters in the speech balloon are from a typeface or custom drawn. Black Body is close, but no cigar.

Detail.

em quedo a casa no torno a sortir
no dic t’enyoro per no repetir
se’m fa difícil recordar el teu cos
que em dóna vida

(“I stay home and don’t go out again
I’m not saying I miss you for not repeating
I find it hard to remember your body
which gives me life”)

Artwork for the single “per avorriment” created during the quarantine by the duo Jo Jet i Maria Ribot and the actress and singer Laia Fontàn. The title is written in Parabole by Dávid Molnár (2019) and the artists' names are set in Syne Bold by Bonjour Monde and Lucas Descroix (2017).

Underwear Made Of Swedish Wood

This is Allvar. Underwear originating in Swedish wood. Carefully processed from the trees, to a fabric of the highest quality. Designed to achieve the highest comfort. Contoured to fit like you want it to. — Allvar

Designer Albin Holmqvist used Alias Harbour for the logotype and title graphics.

Luxury underwear. The idiosyncratic BC Falster Grotesk for big type, with the related but more reserved Univers for small text. A solid pairing.

Another nice identity for the Ghent-based lingerie brand. See the previous identity.

The website of La Fille d’O, Belgian designer Murielle Scherre’s lingerie label, uses Lineto’s LL Brown and its infamous reclined italics.

Detail: LL Brown Reclin in use on the Stores page.

A 1974 television ad for Dici, a Wonderbra brand for teens.

The Wonderbra is a type of push-up underwire brassiere that gained worldwide prominence in the 1990s. Until recently, ITC Grouch has been the foundation of the brand’s logo, undergoing various revisions since the early 1970s.

The company has recently switched to another high contrast serif (this time, of the 1980s): ITC Fenice.

A 1979 television ad for Wonderbra directed by Richard Avedon.

Dici packaging and logo designed by Vance Jonson, circa 1974.

Logo until the mid-1980s.

Previous logo set in a modified ITC Grouch. This version was introduced sometime in the 1990s.

Current logo set in ITC Fenice. Introduced around 2011.

Print ad, circa 2010. Attributed to sudhakar etrouth.

Print ad, circa 2010.

Animated GIF. Click to view.

“The name of the undergarment brand Escuyer comes from ‘Esquire' in old French. As its name suggests, Escuyer is dedicated to serve and facilitate the life of the busy working & entrepreneurial men. We created a visual solution based on the heraldic system. This typographic reinterpretation of heraldry is not only strongly linked to the brand's name, but it also conveys the brand's world.” — DesignPractice