Maison Guinguet
Contributed by Margot Lévêque Typefaces on Oct 8th, 2025. Artwork published in
June 2020
.
Source: www.instagram.com License: All Rights Reserved.
Visual identity design for Maison Guinguet, a chocolate maker based in Duras, in the Lot-et-Garonne region of southwest France. Known for its orchards, vineyards, and culinary heritage, the region is central to the brand’s story, from its origins in prune production to its evolution into artisanal chocolate. The identity reflects this local savoir-faire and the gourmet culture of the area.
The branding was designed by Plus Mûrs. The logo and the branding are set in Romie Regular (designed by Margot Lévêque).
Source: www.instagram.com License: All Rights Reserved.
Source: www.instagram.com License: All Rights Reserved.
Source: www.instagram.com License: All Rights Reserved.
Source: www.instagram.com License: All Rights Reserved.
Source: www.instagram.com License: All Rights Reserved.
Source: www.instagram.com License: All Rights Reserved.
Source: www.instagram.com License: All Rights Reserved.
Source: www.instagram.com License: All Rights Reserved.
Source: www.instagram.com License: All Rights Reserved.
Source: www.maisonguinguet.com License: All Rights Reserved.
1 Comment on “Maison Guinguet”
An elegant visual identity which gives us a broad overview of the multiple supports that the exercise is required to unify in a homogeneous manner; in this, the harmonization made from a single font is successful.
A bias closer to the codes of luxury—an ostentatious academicism—, rather than, for example, a « terroir » being honored.
A far cry from “Dubo-Dubon-Dubonnet,” whose characteristics for a century have more readily reflected a joyful and popular affiliation; choices must indeed be made, and it’s not a easy job…
I’m curious to know how this appetizing box of drawers fares, if it isn’t quickly emptied of its contents.
Couldn’t the famous Agen prune, whose evocative power in this Southwest that I know well having grown up there, have been more assertive, if only through color and a more vivid palette, the carpentry of the store would have been illuminated!
Concerning the typographic work, I note here and there details which call for more delicate attention to the treatment of approaches and the management of diacritics (a very French specialty!), and which would suppose a redesign more capable of satisfying the constraints of use in headings.
Perhaps also the “RU” ligature of Pruneaux which would deserve to be redrawn more extensively, in place of the direct use of the font.
Furthermore, there is a use made on the stationery materials which may be surprising to signify here A for address, M for email and T for telephone, there again: W for web: all this seems quite superfluous and will not stand the test of time, I suppose. Or again, the marking on the window with caps for Monday, Tuesday and no fine or hyphen during opening hours: “bouducon!”