Memo Random by Black and Ginger, Liverpool



With Easter right around the corner, it's the perfect time to introduce a quirky gadget made just for eggs. With a name like Golden Goose, you would expect to find it among the pages of a children's fable or scenes of "Game of Thrones" (and really, it is pretty magical), but this appliance is destined for the kitchen.


The Golden Goose, created by Chicago firm Y Line Product Design, is a surprisingly low tech method to making your own Golden Eggs—which are 1.) actual things, and 2.) scrambled eggs that are made in-shell. Golden Eggs are considered delicacies due to a gap in the "in-shell scrambled egg" appliance market, according to the gadget's Kickstarter campaign.


By using centrifugal force and a carefully designed egg chamber, the Golden Goose shakes everything up without breaking the egg's shell. After your egg has been sufficiently rattled, you're free to eat them any way you'd like—soft boiled, fried, hard boiled, deviled, pickled; wherever your taste buds take you.

Check out the campaign video to see how it works:



3D-print-happy designer Michiel Cornelissen is at it again. To create his clever ZooM lampshade, Cornelissen has adopted the trick we first saw Sklyar Tibbits messing around with, where you print something small and made out of interlocking pieces that can then be stretched out to occupy a greater volume. In this case, gravity does the work for you.


Created as a programmable object in generative design software, ZooM has a structure created from hundreds of repeating elements that together form a series of interlocking spirals.
3-d printing allows this pentagonal lampshade to be manufactured flat and completely assembled; folded out, it's flexible like a textile, while maintaining its form like a rigid product. The semi-transparent structure shields the bulb's glare, while transmitting light efficiently.

Cornelissen is selling them in two sizes, a 20-cm and 28-cm version. And as cool as it looks in blue, at press time it was only available in black or white.




While the Layers Cloud Chair might feel (and look) like you're sitting on a cloud, the bulbous lounge is anything but weightless. It's made from 550 pounds of solid wool—and its construction was a woolly beast of its own. Designed by Richard Hutten, the chair made its debut in Milan last week as part of an exhibit by the Danish textile manufacturer Kvadrat, which enlisted 22 international designers to explore the diverse capabilities of its Divina fabric.

"For me, designing is in the first place a thinking and research process," the Rotterdam-based Hutten says. "So I looked into the material. What makes it special? How does it look, feel, smell? How can I use it in an exceptional way?" Divina is a durable wool blend, and Hutten chose to focus on what he considered the main qualities of the material—its soft tactility and its availability in a range of vibrant hues.

As an added challenge, the designer resolved to use Divina as the structure for the object itself. "I wanted to use the Divina material as the sole material for the piece, not only as a cover, which is the normal way it's being used," he says. "These I called 'the rules of the game.' From there, the playing started."



We thought the PermaFLOW transparent sink trap was a pretty brilliant innovation, allowing you to see and clear those pesky under-basin clogs. But from Philippe Starck by way of Hansgrohe comes the Axor Starck V, which brings transparency up where we can see it. Starck calls it "a mixer that represents the absolute minimum: totally transparent, almost invisible, and enclosing a miracle that is the vortex."

While the impetus for the design—reportedly five years in the making—is poetic...

With the beauty and dynamism of its vortex, the mixer bridges the gap between the functional and emotional aspects of water at the washbasin, transforming it from a basic commodity to a valuable resource.
...Besides serving the technical function of making water visible, transparency aesthetically fuses the mixer body with its surroundings, thus, in essence de- materializing it. The openly designed spout contributes to the natural water experience: before the eyes of the user, the upward, swirling motion of water through the mixer's body and its "free-fall" into the washbasin trigger a feeling of joy and happiness.




Although NYCxDesign is still three weeks away, we've been lining up some of the content for the C77 Design Daily—after all, it's our very first effort at publishing our content in print and it's not going to write itself.

In the interest of verisimilitude, the Daily will feature an advice column from renowned designer Ayse Birsel. With some twenty years of experience working with leading brands and Fortune 500 companies, Ayse is the co-founder of Birsel + Seck, a New York City-based design studio, and the creator of the acclaimed Design the Life You Love workshop series.

Please submit your questions to mail[at] with the subject line "Ask Ayse" by Thursday, April 24, for a chance to have Ayse answer your questions in print when we publish the Core77 Design Daily from May 16–19.

And don't forget to submit your events ASAP to ensure that they make it into our event guide!



Winter might be coming to Westeros, but here in NYC it's the impending arrival of summer that has me worried. Your correspondent has relocated to new, poorly-insulated digs with a bank of drafty south-facing windows, and I can't afford the BTUs it'll take to keep this place cool.

While seeking inexpensive desk fans I came across this USB LED Fan Clock. Yes, I know most everything that plugs into USB that isn't a thumb drive is total junk, but it caught my eye because it actually delivers two useful functions, even if the time delivery is a bit garish.



This week in nouveau-Cold War news: MIT researchers will present plans for floating nuclear reactors, adapting existing technologies towards a goal put to rest during the Ford Administration. Floating reactors might sound futuristic—or dystopian—but they're not a new idea, having been proposed first in 1971 by Offshore Power Systems (a joint venture by Westinghouse Corporation and Tenneco). That original plan combined several of the features the new MIT design hopes to capitalize on: mass producibility, increased distance from populations and use of the sea as a buffer against damage.

This new design combines modern oil rig sensibilities with light water nuclear reactors in a package that can be mass produced and towed into position five miles offshore. A crucial benefit of oceanic operation is the protection from tsunami and earthquake damage. Deep water insulates well against both seismic waves and the destructive end of tsunami swells, making it an obvious boon for growing, catastrophe-prone energy markets like Japan.

This kind of mass-produced floating reactor fleet was originally scuttled due to economic instability and raging environmental concerns. The 1979 Three Mile Island accident led to over 300,000 people evacuating their homes, and left the public with a powerfully bad taste for the energy source. Subsequent catastrophic failures and willful breaches of safety (see: Chernobyl, Hanford, Fukushima Daiichi) have perpetuated nuclear power's troubled reputation, but nuclear power development is still on the rise.



The Dutch made a strong showing throughout Milan this year, including in Zona Tortona where a loose collective headed up by Frederik Roijé is returning alongside Tuttobene and Moooi to represent of a range of Dutch design from independent studios to major brands. The factually titled "Dutch at Savona 33" features four brands that fall somewhere in between: Roijé's eponymous studio; New Duivendrecht, the brand he co-founded with Victor Le Noble; DUM, returning this year; and Quodes, whom they've added to their ranks this year.

NewDuivenDrecht-1.jpgMore on New Duivendrecht below

Along with the "Smokestack," which debuted last year and has reportedly been selling briskly (or at least as well as a COR-TEN steel chimney might sell), Roijé launched several new products, including the "Texture Tray," which was inspired by hatching/crosshatching, and the "Treasure Table" (below).



Meanwhile, the "Cloud Cabinet" is intended to complement the "Storylines" and "Guidelines" series of book shelves and magazine racks.




While some may call a clear, blue sky art enough, French artist Thomas Lamadieu might say otherwise. In fact, he might call it a blank canvas. His ongoing series, Skyart, takes the blank spaces between buildings and turns them into illustrated wonderlands filled with bearded inhabitants and imaginary animals.



His illustrations started out as line drawings lacking any intense detail (see below) and have grown more cartoonish with his recent pieces. It would (almost) be easy to mistake some of his earlier work for messes of telephone lines or flocks of birds in abnormal formations.




Timers might not sound like an organizing product—but as a professional organizer, I recommend them to my clients all the time. They're great for overcoming procrastination; end-users can set the timer for 15 minutes and do some dreaded task for just that amount of time. Or they might set the timer for 20 minutes and make sure, when it goes off, that they are still on task. And, of course, timers are useful when cooking and baking, or performing any task where keeping track of time is critical.

Yes, many of us carry timers around with us on our smartphones—but not all end-users have smart phones. And for some, the timer on a smartphone is harder to use than a physical timer. And do we want our smartphones exposed to liquids, grease and chemicals?


Both this timer and the one above come from Zone Denmark. The spinning top timers catch your eye, but the other timer has the advantage of being magnetic, so you can stick it on a refrigerator door (unless the fridge is stainless steel). However, the websites for these timers leave me wondering about many crucial design issues, such as these: How long can the timer be set for? What does the timer sound like when it goes off? Does it tick as it counts down?


This basic egg timer comes from Kuchenprofi, and a number of other companies have products that look similar. This one's an hour-long timer, which is pretty common. The company says it has a long, loud ring, which is important. With the simple design, wiping it clean would be a snap. And it uses a mechanical movement, so no batteries are required.


Here's another mechanical timer with a simple design: the minitimer, designed by Richard Sapper for Terraillon. You'll find this one in MoMA's collection; it's at the Brooklyn Museum, too. With this design, the remaining time is visible both from the side and the top.

Matthaeus Krenn had a red one, and he explained how to set the timer: "Twist the two red halves in oposite directions to load a spring on the inside. Then twist back to set the timer to the desired duration." Sounds easy, right? But I wondered how this would work for someone with arthritis.



Can a single jacket be all things to all people? Of course not, but perhaps a single jacket design could be all things to all fisherman. A Japanese company called Mountain Research has developed this "Phishing Hoody," which at its core is simply a hooded vest:


But by adding removeable sleeves and a variety of extensions, the user can make the jacket longer or shorter, and choose pocket styles based on the gear they'll be carrying that day.




Had the Industrial Revolution never happened, there'd still be doctors, lawyers, farmers and merchants—but there darn sure wouldn't be any industrial designers. It's a bit of a shame that the event that enabled our very profession caused such widespread pollution, but we didn't understand the environmental effects back then, and even if we did it wouldn't have stopped men like Carnegie and Loewy.

Now that we are grasping the environmental effects of pollution, what we're learning is staggering. A new study published this week posits that pollution from Asia's industrial boom is affecting the weather in North America. The study, performed by NASA's Jet Propulsion Laboratory and reported by Live Science, finds that "Pollution from China's coal-burning power plants is pumping up winter storms over the northwest Pacific Ocean and changing North America's weather."

"The increasing pollution in Asian countries is not just a local problem, it can affect other parts of the world," [lead study author and atmospheric scientist at NASA's Jet Propulsion Laboratory Yuan] Wang told Live Science. ...Wang and his co-authors examined how the tiny pollution particles in Asia play a role in cloud formation and the storms that spin up each winter east of Japan, in a cyclone breeding ground north of 30 degrees latitude. Monsoon winds carry aerosols from Asia to this storm nursery in the winter.
...The new study finds that sulfate aerosols are among the most important drivers of Pacific storms, by encouraging more moisture to condense in clouds, Wang said.

Adobe's Typekit has just launched a new site dedicated to honing typographic skills, via a series of lessons and resources, under the name Typekit Practice...

"Typekit Practice is a collection of resources and a place to try things, hone your skills, and stay sharp," runs the site's introduction. "Everyone can practice typography."

On offer are featured lessons, including one on using shades for "eye-catching emphasis", a list of useful online references (blogs, articles, talks etc), and a reading list of books on typography. Of course, there are also links to Typekit's own fonts and its accompanying blog.

The Practice site is designed and maintainted by Elliot Jay Stocks, Tim Brown, Bram Stein and the Typekit team.

Aimed at both the type novice and expert, Typekit Practice is certainly informative – the lesson on shades offers some good pointers as to the various shading techniques available – from 'drop' and 'close' shades to 'offset' and 'printer's' iterations – while the site itself is clearly laid out and nicely written.

As Brown writes on the TK blog, " Lessons stand on a foundation of references to articles, blog posts, books, websites, talks, and other solid resources."

"For example, John Downer explains why sign painters shade letters to the lower left, Nick Cox reviews Typofonderie's Ambroise, and Typekit's own David Demaree ruminates on Hi-DPI typography. We're working hard to accurately cite the sources of references, so that readers have a starting point for further research."

It looks like Typekit Practice could evolve into a useful collection of hints and tips for those starting to play with typographic technique, and for others looking for some well-researched information on the discipline.

"We have lots of ideas for Typekit Practice," writes Brown, "plus an extraordinary group of authors and teachers helping us think up valuable lessons and make good references. Come practice with us."


Our Ad of the Week is this simple yet captivating spot from Mother for Ikea, which sends a kitchen into a spin...

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The spot advertises Ikea's Metod kitchen system, which has been developed to allow flexibility for the various needs of families. To suggest that, the ad shows a busy family kitchen that is on a constantly moving carousel but where everything is nonetheless happening smoothly.

Agency: Mother
Director: Keith Schofield
Production company: Caviar

Harvey Nichols has launched a new magazine-style website optimised for use on smartphones and tablets. It's an interesting approach to content marketing, but the site's design seems to have divided opinion...

The new website was designed in-house and built by agency Ampersand Commerce. It aims to offer a better and simpler user experience and new features include a 'MyHN' section where users can create a profile and shopping shortlists; a 'fashion emergency' button which takes them to a live chat with a stylist and a 'click and try' service, which orders products to store for a one-on-one appointment with an adviser.

The most noticeable change, however, is the emphasis placed on content. Users can still use drop down menus to browse products by department and category but the homepage is now a mix of editorial features and social content. Articles are grouped into six categories, including trends, editor's picks, inspiration and brand focus.

Features are identified by icons and hashtags and include a mix of full-screen photoshoots, scrapbook-style grids and more traditional product lists and written content. Colour coding and symbols are also used to group products, sections and services.

The site took around a year to build and five months was spent planning design and user experience. Harvey Nichols' multichannel director Sandrine Deveaux says designers were given a fairly open brief, but asked to "make products look stunning, ensure people find what they are looking for as quickly as possible and fuse content with product as seamlessly as possible."

The new site is the brand's first designed with smartphone and tablet users in mind, and Deveaux says the re-design was driven by a change in consumer behaviour. "We have heavy usage on tablet and mobile, and the move away from desktop looks inexorable,” she says.

"[This] creates its own unique challenges, especially given that the vast majority of our customers are iPhone users, where the screen size is significantly smaller than most android devices," she says. "One of the most striking changes is the shift from traditional left hand category navigation to persistent top level. We've been heavily influenced by tablet usage where long scrolls are the norm, and felt that left hand navigation isn't fit for purpose anymore," she adds.

Harvey Nichols isn't the first brand to adopt this kind of content marketing approach - Net-a-Porter, ASOS, Topshop and Urban Outfitters' websites all feature style guides and editorial features - but these are usually confined to a particular section of the site. Harvey Nichols' takes the idea a step further, putting equal emphasis on content and product.

This does encourage longer browsing and may lead to customers stumbling on new collections, but it won't be to everyone's tastes. While the magazine format has proved successful for high street brands, there's a careful balance to be struck by upmarket shops who want to offer more content and interaction while retaining a sense of luxury.

The response to Harvey Nichols' new site was largely positive on Twitter but on retail and marketing blogs, it has divided opinion. Some likened the layout to low-cost templates, while others felt the focus on content was distracting.

But perhaps some of this criticism is a little unfair. There is still a widespread expectation that luxury brand sites should focus on white space and full-screen photos, but Harvey Nichols aim is to do more than showcase products. As Deveaux points out, Harvey Nichols is a brand that's known for its cheeky sense of humour, and the new website clearly reflects this.

“Harvey Nichols positions itself as...being exclusive but accessible. One of the joys of the brand is that it differentiates itself with humour and wit. Our challenge is to ensure that the core values are communicated to the existing customer base at the same time as offering an online customer experience that appeals to the next generation of customers," she explains.

CR has partnered with Bridgeman Studio, a new online platform representing contemporary artists, to launch the Bridgeman Studio Award 2014. To help you with your submission, Bridgeman asked creative professionals to give their insights into what's important when selecting licensed artwork...

Entrants will be assessed on their ability to translate up to five images on the theme of ‘joy' to an album cover, a book cover and fine art print, ensuring they reflect the demands within the global image-licensing industry. You could win £500 and a year's subscription to Bridgeman Studio offering professional representation for your work. 

CD/Album Cover

"When choosing the perfect image for your CD cover, don't forget to consider the physical and practical confines as well as the purely aesthetic impression that it creates."

Cass Cassidy, designer/director of Cassidy Rayne Creative

Book Cover

"Book covers need to lead a reader to want to pick the book up in the first place, so a bold image with strong composition is essential."

Lily Richards is Picture Researcher for Vintage, at Penguin Random House

Fine Art Print

"Images depicting gardens, flowers and seascapes and British wildlife are enduringly popular and suit many rooms. I have also recently noticed more demand for graphic art and illustration."

Georgina Angless, Bridgeman Account Manager, London office

Advice from Bridgeman Marketing

"With book cover design, album artwork and a stand-alone piece of art you are looking at very different formats. My advice would be to craft your idea into its simplest form and be true to yourself rather than trying to create something you think people will like. An emotional response is what you are trying to gain from the audience, and in the case of the Studio competition, it is the very specific emotion of ‘joy.'

I remember a quote by Fairfax Cone (a legend in the advertising world) who was once quoted as saying, "Speak to millions and you reach no one. Speak to one individual and you reach millions.""

Alan Firmin, Bridgeman Digital Marketing Director, London office

Advice from Bridgeman Studio Team

1. Look at what is trending in the licensing world. For top tips visit our monthly Studio wish list of subjects/areas that our sales team have identified as being 'in demand'.
2. Consider anniversaries and annual celebrations. There will always be a licensing demand around celebrations like Easter, Christmas and sporting events etc.
3. Clear use of colour and medium. A clear, bold image has more chance of working across multiple types of licensing deals.
4. A good number and range of works within your portfolio. You never know, a client may be struck by an image they see of yours, and then on visiting your artist page, decide to license multiple images or 'book mark' you for future use. We therefore encourage our artists to submit work with a good range.


To enter, submit up to five single pieces of original artwork on the theme of joy, which will be assessed on their ability to be licensed on all three of the following products: Book Cover, CD/Album artwork, standalone piece of art. Deadline: May 20. Send entries to

Licensing example of Bridgeman Studio artist for calendar: The directors of multinational food and shopping corporation Lotte Co. chose Rebecca Campbell's artwork as the face of their 2014 calendars for clients.


Prizes and judges

Judging will take place on 21 May. The winner will receive £500 and one year's free subscription to the Bridgeman Studio portal, offering professional representation for your work. Five runners-up will each be given a free one-year subscription on Bridgeman Studio or £100 (at Bridgeman discretion to decide which). Results will be announced in the CR's July Issue and across all Bridgeman social channels, website and newsletter.

Victoria Bridgeman - CEO (Bridgeman)
Lucy Innes Williams - Bridgeman Studio Manager
Patrick Burgoyne - Creative Review editor
Pixie Andrew - Curator at Will's Art Warehouse
Jenny Wen - Director of Merchandising at

• Maximum of 5 entries per artist.
• All artwork entered into the competition remains 100% copyright of the artist.
• All artwork can be used in marketing and advertising the competition from Bridgeman and third parties (Creative Review) .
• Entrants must give permission for their names and photographs to be used for publicity.
• The entry can be photography, illustration, digital art or fine art.
• All artwork must be 100% original copyright owned by the artist and not use any third party copyright material.
• Entries must be supplied as two files, one high resolution .jpeg sized between 3MB and 5MB, and one low resolution version, sized between 250KB and 500KB.
• By submitting an entry, each entrant agrees to these terms and conditions.

Further details here

It's almost a year since Bangladesh's Rana Plaza clothing factory collapsed, killing more than 1,000 people. To mark the event, the Guardian has released a powerful interactive exploring life in Dhaka's factories and the journeys our clothes make from factories to shop floors.

The shirt on your back: the human cost of the Bangladeshi garment industry combines compelling video footage with photography, infographics and written editorial. It's a thought-provoking look at both the impact of the fast fashion industry, and the tragic events that took place on April 24 last year.

The interactive is divided into six sections: it opens with a video showing the frantic pace of daily life in Dhaka and goes on to introduce three factory workers who survived the collapse. Editorial and infographics also explain the growing demand for cheap labour that has led to hundreds of factories being built illegally or without planning permission and the daily pressures factory workers face.

Full-screen video footage of the collapse includes some harrowing scenes of bodies being pulled from the wreckage, interspersed with survivors' accounts of searching for their friends and family. At each stage of the feature, viewers are reminded how little a factory worker has earned, and how much retailers have made, in the time they have been reading.

The piece ends with a look at the aftermath of the collapse and international reactions to it, as well as how survivors' lives have changed since. Readers are also invited to comment on issues raised on the Guardian's website, or share photos of their clothes and details of where they were made on its user generated content platform, Witness.

Thirteen staff have been working on the interactive since October. Footage was shot by director Lindsay Poulton and director of photography David Levene, who travelled to Dhaka in November.

Francesca Panetta, executive producer and special projects editor at the Guardian, says: "As well as being a major news event, this story seemed to fit the interactive treatment very well - it's complex and there's a lot of detail, but it's also very visual.

"Covering it in this way allowed us to add some historical context and a look at where we are now, as well as some more nuanced details. Of course, there are a lot of challenges with this you need a large team with very different skills and it uses new technology that has to be tested and refined," she adds.

The responsive platform is the same one used by the Guardian to mark the 50th anniversary of Martin Luther King's I Have a Dream speech last August, and the interactive was designed by Daan Louter. The muted colours and simple graphics reflect the feature's sombre tone, without distracting from Levene and Poulton's photography.

Panetta says it was also important to ensure the design is intuitive and that viewers are aware of their progress throughout. "It had to be clear so people didn't feel lost and knew where they were in the story and how long [it] was going to take," she says.

At 20 minutes, it's a long piece and one that demands undivided attention, but the mix of content and varied narrative structure ensures it doesn't lose pace. "With any kind of narrative, you need to think about the momentum of the piece and whether you should be using writing, film or sound," explains Panetta.

"It's important not to lose that linear continuity or tension, so you have to really think about where to switch from text to video. We also used cinematic techniques with sound and music to provide some added continuity," she says. Music composed for the piece is based on location recordings made in Dhaka, and Poulton says it is designed to grow from the sounds of the city.

It's a moving interactive, and one of the Guardian's best to date. The mix of audio, video and written copy is much more immersive than any of these mediums could be alone, and the layered narrative provides a look at the clothing industry and its impact on Bangladesh's economy, as well as an insight into factory life.

See the full piece for yourself here.

Aesop has created a playful pastel identity system for new Camden street food outlet, Toastits.

Toastits opens on Monday at Camden Lock Market and will serve a range of gourmet toasties, including the intriguingly named Bloody Mary. Owner Phillie Kenyon Shutes asked Aesop to create an identity that would convey an artisanal feel, but with a little added personality.

The brand logo features a 'T' in a slice of bread marked with grill lines. As Aesop designer Danii Maltman explains, it had to be simple, versatile and instantly recognisable.

The marque has so far been applied to coffee cups, napkins, wrapping paper, stationery and loyalty cards, which also feature a series of graphic patterns. Napkins and stationery play on the brand's name, with phrases such as 'nice raclette' and 'you're drooling', while cups are marked 'D cup' and 'C cup'.

"The brief was very open – there were no limitations – which was great as we managed to put in a few discoverables that play on the Toastits name…[to] keep it playful and cheeky whilst still looking contemporary," explains Maltman.

The pastel palette may seem an unusual choice for a sandwich stall, but Maltman says the aim was to stand out from the brightly coloured, hand written signs found around Camden Lock.

"The colour palette was [also] inspired by chalk colours from market chalk boards, but is ultimately young and fresh, which reflects the personality of the owner," Maltman adds.

It's a simple scheme but a distinctive one, and Maltman says the idea was to create "a scalable design that could start a bit more lo-fi and easily expand and grow as the business grows."

Iain Sinclair, American Smoke. Cover by Nathan Burton

Penguin Books has launched a partnership with WeTransfer where selected book covers for new titles will be showcased via the full screen backgrounds to the file transfer website...

The first series to be shown via the website is for the publisher's Street Art Series of novels which feature covers by artists: ROA, gray318, Nathan Burton, Sickboy and 45rpm. The series actually launched last year – details on the ten participating artists are here – but today's launch will pilot what looks to be an ongoing collaboration between the publisher and WeTransfer.

Zadie Smith, Embassy of Cambodia. Cover by gray318

For the Street Art series the covers are photographed as still lives, surrounded by objects which reflect the subject of the books. If users click on the image they are taken to Penguin's online store.

While the project isn't launching with an entire set of brand new cover designs (three from this series were released in June last year), the tie-up is an interesting way of promoting forthcoming editions. WeTransfer has 20m monthly users so the cover artwork – and the book, of course – has the potential to reach a wide audience. The next series of covers will be premiered on WeTransfer later this summer.

Nick Cave, And the Ass Saw the Angel. Cover by ROA

Zoë Heller, The Believers. Cover by Sickboy

Joshua Ferris, Then We Came to the End. Cover by 45RPM

WeTransfer have also recently collaborated with the British Fashion Council, designer Nelly Ben and Where's Wally.

The Bank of England Museum's latest exhibition offers a look at some fascinating items from its archives, including bank note test prints and sketches by designer Harry Ecclestone.

Curiosities from the Vaults: A Bank Miscellany is open until July 11 and features items collected by the bank since it was founded in 1694. Alongside paintings, rare ceramics and an 18th century sculpture of its emblem are a series of illustrations and tests for notes created by Ecclestone, who was the bank's first in-house designer.

Top and above: Paste-up of Ecclestone's Series D £10 note; the complete note (front and reverse)

Ecclestone worked for the bank for 25 years and was responsible for designing the 'D' series of notes, issued in 1970. A president of the Royal Society of Painter-Etchers and Engravers, he was awarded an OBE for his services in 1979, and he died in 2010.

Designing and printing notes is a complex process: to make counterfeiting as difficult as possible, specialised inks are produced on site and some images are engraved by hand onto metal plates, while others are created digitally and laser etched on to film. Watermarks are engraved using wax and, like the metal foil in bank notes, are embedded during the paper manufacturing process.

Intaglio and obverse litho test prints of the £10 note

Tests on display at the museum demonstrate the various stages of the printing process, which uses a mix of intaglio, letterpress and litho printing, while Ecclestone's character sketches offer a rare glimpse at the early stages of bank note design.

Original sketch of Nightingale and a master drawing of the Scutari Barracks

Other items in the collection include high value notes signed by Nelson Mandela and George Eliot, a ballot box designed by architect John Soane and a leather trunk used for 'carrying gold across deserts', which is thought to have belonged to army officer TE Lawrence (Lawrence of Arabia). Lawrence was offered a job by the bank in 1934, a record of which is also on display.

Curiosities from the Vaults: A Bank Miscellany is open at the Bank of England Museum, Bartholomew Lane, London EC2R 8AH until July 11. For details see

Maclise Britannia £5 note

A thousand pound note signed by the Chosu Five, a group of Japanese nobility who studied at UCL in the 1800s after illegally leaving their home country.

Thousand pound bank note signed by author George Eliot

Wally Olins, co-founder of Wolff Olins and chairman of Saffron Brand Consultants, has died aged 83. CR editor Patrick Burgoyne pays tribute

The Financial Times once described Wally Olins as "the world's leading practitioner of branding and identity" and it's hard to disagree with that assessment. Certainly Wally didn't as, in typical style, he placed it in a prominent position on his website.

Under the What I'm Like heading, he described himself thus: "I try to be direct and clear. I simply tell my clients the truth as I see it, without too much gloss or varnish because that's what I'm there for. Of course it's nice to be nice. But it's also nice to be straight. I can't stand people who don't return phone calls and are generally sloppy, but apart from that I'm told I'm reasonable to work with. And I like having a bit of a laugh."

Direct, intelligent and with a wickedly mischievous sense of humour, I'd say that sums Wally up to a T. He was one of those people with whom spending time was an absolute joy. He always had an opinion and would always let you know it. But he would do so with huge charm.



Wally began his working life in advertising. In the early 60s, he ran Ogilvy & Mather in what was then Bombay, living there for five years. It was the start of a life-long attachment to India, a country he loved and where he worked and taught extensively. In fact, the first I heard of his passing was from Rajesh Kejriwal, the founder of the design conference Design Yatra, who was his great friend and business partner.

In 1965, Wally co-founded Wolff Olins with Michael Wolff. The two of them would change not just the design industry but industry itself. Wolff Olins was perhaps the first design consultancy in Britain, in the sense that we now understand that term. It introduced the idea to UK corporate life that this thing called ‘brand' was vitally important and that it influenced everything that organisations did and said about themselves.

Wolff and Olins' relationship was likened to a marriage and like many marriages it would eventually break down with Wolff leaving the consultancy in 1983. In 2001, Wally also left and set up Saffron with a former Wolff Olins colleague, Jacob Benbunan. There, he continued to work with many of the world's largest companies on branding and identity.

He also began to explore an interest in place branding, a field in which he was a pioneer and which he expounded on in his many books. Indeed, he became a prolific author on branding: his latest book, Brand New: The Shape of Brands to Come, launched last week.

Not everyone agreed with Wally on the positive contribution of brands to our world - Eye magazine, for example, ran a famously withering review of On Brand by academic Terry Eagleton. On our part, the March issue of CR featured a review of the new book by Nick Asbury which took issue with several of his key arguments. But Wally relished an argument and he was more than happy to engage with his critics. And he was not afraid to criticise the design industry either, referring to the larger design consultancies as "machines devised to produce mediocre rubbish" and calling some of their actions "despicable" in an interview in 2009 (see Design Yatra videos below)

I suspect that, for most of our readers, it is as co-founder of Wolff Olins that Wally will mostly be remembered, and rightly so. Anyone who currently earns a living advising or designing for brands owes Wally a debt of gratitude for his pioneering work in establishing the credibility and value of brand identity design.

From a personal point of view, I will always treasure the conversations I enjoyed with this brilliant and charming man. And I can thank both Wally and Michael for one of the highlights of my time at CR. In 2009, the pair were reunited for the first time since their split on stage at Design Yatra in Mumbai. I was fortunate enough to be asked to compere. Here's what happened.






Olins in CR

Wally Olins, the Grand Old Man of Brand, by Nick Asbury, from CR April 2014

Wally Olins debates the branding 'turf war' between ad agencies and design consultancies with CHI+Partners' Dan Beckett from our December 2011 issue


Statement from Saffron

"With immense sadness we announce the passing of our Chairman Wally Olins, who died on the 14th April after a short illness.

Anyone who ever met Wally will remember him well and those of us who knew him well will remember him forever. A man who lived four lifetimes in one, he was insatiably curious, infectiously charming and occasionally infuriatingly impatient!

A genuine pioneer, Wally was one of the leading individuals that helped carve out the business of branding - he would always say he did it ‘with colleagues' but those of us that were lucky enough to have been his colleagues know that this is only partly true.

Oddly for a man who was so defined by his prolific talent, he will perhaps be remembered most for his incredible generosity and optimism. Whether advising a young student looking for advice on getting ahead in branding or advising presidents on ways to enhance their nation's brand, Wally was always willing to give more than he expected to receive.

Incredibly, at 83 Wally was still able to manage to go out on a high with the release of his latest book ‘Brand New, published by Thames & Hudson' only last week. Full of his characteristic wit, insight and humanity it's arguably his best yet.

We miss him tremendously. And will continue to be inspired by him every day."



We'd like to encourage CR readers to use the comment space below to share their memories of Wally Olins


Fashion designer Jean-Paul Gaultier comes to London with a new major retrospective at the Barbican and an additional exhibition of ephemera at the Fashion Space Gallery. It's a rare and fascinating opportunity to get inside the creative mind of one of fashion's most daring designers, whose work celebrates the pleasure of looking, sexual empowerment and the diversity of real beauty...

"The exhibition is a study in pure creativity," says Jane Alison, head of visual arts at the Barbican. "All that he does is infused with a genuine love of life, which I find deeply infectious. But the humanity and humour which are his trademarks are also underpinned by discipline, professionalism, and a skill that is second to none."

The Barbican show, entitled The Fashion World of Jean Paul Gaultier From the Sidewalk to the Catwalk, explores Gaultier's exuberant inventiveness, his long-standing reputation as fashion's enfant terrible, and his embrace of cultural and sexual difference and beauty in all its shapes and sizes.

The show is split into eight thematic sections - The Odyssey of Jean Paul Gaultier, Punk Cancan, Muses, The Boudoir, Metropolis, Eurotrash, Skin Deep and Urban Jungle. Each features a series of mannequins dressed in Gaultier's dazzling apparel. Some have faces projected onto their heads, unnervingly bringing the figures to life, as they blink, sing, chat and appear to make eye contact with visitors. Originally touring from Montreal Museum of Fine Art, the Barbican show also includes three new rooms for London, devoted to Gaultier's muses, including Kylie, Madonna, Kate Moss and Amy Winehouse.

Alongside these haute couture living dolls, there's a mechanical catwalk; archive video footage from the shows; some beautiful fashion photography, from the likes of Stéphane Sednaoui, David LaChapelle, Pierre et Gilles, and Sølve Sundsbø amongst others; Eurotrash memorabilia; and even the spitting image Gaultier puppet, on show for the first time.

The vast array of dramatically-lit couture, sits tantalizingly within arms reach, in this exciting chance for visitors to experience the work in the flesh."If you think about it, it's easier to see a Van Gogh or a Monet, than it is to see haute couture. You have the impression that you see haute couture because you see many illustrations, and great photos, but you don't have the opportunity to see the skills, to see the objects, the pieces," says Director of Montreal Museum of Fine Art Nathalie Bondil.

"It's not really about fashion, its about his humanist vision. And I want you to see it as a really open minded, tolerant vision of our society," she says, describing the "magical and meaningful" translation of his ethos into the exhibition. "And the animated mannequins, they pay tribute to the people who have inspired him, the people he loves, by making them human."

In conversation with the show's curator Thierry-Maxime Loriot prior to the preview, self-taught Gaultier traces his love for sketching glamourous women back to school-age, and describes his incredibly wide and diverse set of influences - seeing his grandmother's corsets at a young age, which he saw as "abstract" objects; the theatricality of the Rocky Horror Picture Show; and his Hasidic Jew inspired collection of men's skirts. He talks passionately about his long love affair with London and "its characters - the different and beautiful". First visiting the city in the 70s, he was inspired by the subversive spirit, humour and radical experimentation of the countercultures he discovered, particularly the punk scene.

Alongside the Barbican show, is another smaller exhibition of Gaultier's graphic design work, Be My Guest, at Fashion Space Gallery, part of the London College of Fashion, curated by Alison Moloney from LCF, alongside Loriot. Having worked with the Barbican in the past, LCF approached them about organizing a satellite show, which Fashion Space has put on before in collaboration with other major museums' fashion exhibitions, such as Yohji Yamamoto at the V&A in 2011. Working with the Montreal Museum of Fine Art, and Maison Jean Paul Gaultier Paris, the Fashion Space show was put together, on loan, from Gaultier's extensive archive.

"When you have an exhibition of such an intense and dense body of work, at the Barbican, how do you begin to tell a different story, because we didn't want to recreate a mini version of a major exhibition. We wanted to tell a different story about the same man and his work," says Moloney.

The show features iconic ad campaigns from throughout Gaultier's career, and invitations which have never been on show before, so it's a rare opportunity to access these usually unseen relics and often lost fragments of creative activity, from iconic moments in the history of fashion.

The work demonstrates how, from the outset, Gaultier translated his vision for his collections into all his creative work. "Its great for the students to see how from the beginning of his career, Gaultier developed his own advertising campaigns and invitations, so they can think about how they too can brand their own image," says Moloney. "And I think its nice for a wider public who never have access to seeing such material, because the invites were only ever sent to industry insiders."

Not all the invitations have survived over the years, but the exhibition includes ones from seminal shows, such as the Dada collection where he presented his corset bras and jumpsuits for the first time. Moloney's personal favourite is the ad campaign for A Wardrobe For Two, with a figure dressed in the classic blue and white Breton stripes, and a 'crack' down the middle of the image. "It's from when he was first talking about his ideas around androgyny. You need to look twice at the image and then you see that it's a man and a women. It's so simple but its genius," she says.

They decided to show ad campaigns from the 80s and early 90s because this was when Gaultier was photographing the campaigns himself, working closely with his collaborator, and former boyfriend, the late Francis Menuge, with whom he established the business.

"The concepts for the invitations to the catwalk shows were devised a month in advance and referenced the inspiration for the collection. The Constructivist or Russian Collection show invite perfectly captures the inspiration behind the collection which was based on this art movement." Moloney says. "The Frida Kahlo tribute collection ad campaign was illustrated by Fred Langlais who has worked with Gaultier in his atelier for many years and reflects the diverse approaches and styles which the designer adopted."

Part of Gaultier's appeal is his relationship to visual culture; how he continues to work within a creative feedback loop drawing from a melting pot of high and low culture, religion, art movements, politics, and more, and in turn his work transcends the fashion world. As echoed in these shows, he has the power to inspire creative minds whatever your background, and remind us that humour and risk, alongside skill and discipline, are often what produce truly unforgettable work.

The Fashion World of Jean Paul Gaultier From the Sidewalk to the Catwalk runs until 25 August at the Barbican Art Gallery, London. Jean Paul Gaultier: Be My Guest runs until 31 March at Fashion Space Gallery, London College of Fashion. See and


Picture credits

Image 1: Ad campaign for the Tribute to Frida Kahlo collection, 1998 (Jean Paul Gaultier/LCF). Images 2-6: The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk exhibition (Barbican). Image 7:Jean Paul Gaultier, 1990. Images 8-9: From the Barbican exhibtion. Image 10:Body corset worn by Madonna (Jean Paul Gaultier). Image 11: Tanel Bedrossiantz, by Paolo Roversi, 1992 (Jean Paul Gaultier). Image 12: By Miles Aldridge (Jean Paul Gaultier). Image 13: By Stéphane Sednaoui for The Face, 1989. Image 14: Advertising campaign for the fin de siècle collection, 1995 (Jean Paul Gaultier/LCF). Image 15-19: From the LCF exhibition. Image 20: Invite for Constructivist (or Russian) collection, 1986-1987 (Jean Paul Gaultier). Image 21:Advertising campaign for the Elegance Contest and Casanova at the Gym collections, 1992 (Jean Paul Gaultier/LCF). Image 22: The Concierge is in the Staircase collection, 1998 (Jean Paul Gaultier/LCF). Image 23: Advertising campaign for A Wardrobe for Two collection, 1985 (Jean Paul Gaultier/LCF). Image 24: The Virgin with the Serpents (Kylie Minogue), 2008, by Pierre et Giles (Jean Paul Gaultier). Image 25: "Aow Tou Dou Zat" single covers, design by Jean-Baptiste Mondino (Jean Paul Gaultier). Image 26: Invitation to the Dance with Elena Sudakova, Numéro, 2008, by Sølve Sundsbø (Jean Paul Gaultier)

Paintings by Johnny Abrahams Title: C. L. Moore Atley
Photographs by Luca Zanier Title: Pessoa Will 50 Watts
Typography, design and illustration by SasakiShun Title: @aqqdesign Folkert
Photographs by Sarah Schönfeld "Sarah Schönfeld squeezed drops of various legal and illegal liquid drug mixtures onto negative film which had already been exposed. Each drop altered the coating of the film. Much like the effect of some of these substances on humans, this can be a lengthy process – sometimes one that can barely be stopped. "She then enlarged these negatives including the chemical reaction of the particular drug, to sizes of up to 160 x 200 cm. All of the substances behaved very differently: the shapes and colors that appeared showed unique characteristics and revealed unique internal universes. Schönfeld explores the possibilities of photography at the frontiers of what can be visually portrayed– the interface between representation and reality." From the top: speed+magic, MDMA, ketamine, valium, opium, heroin. Will 50 Watts
Paintings by Philip Govedare via Planetary Folklore Will 50 Watts
Photographs by Jean de Pomereu Title: Tarjei Vesaas via Invisible Stories Will 50 Watts
Photographs by Kacper Kowalski Title: Pessoa Will 50 Watts
Aerial photographs of Iceland by Emmanuel Coupe-Kalomiris “What is it for you then, the insistent now that baffles and surrounds you in its loose-knit embrace that always seems to be falling away and yet remains behind, stubbornly drawing you, the unwilling spectator who had thought to stop only just for a moment, into the sphere of its solemn and suddenly utterly vast activities, on a new scale as it were, that you have neither the time nor the wish to unravel?” —John Ashbery, from “The Recital” Iceland on But Does It Float Will 50 Watts
Typographic works by Jessica Svendsen Title: The Julie Ruin Atley
Photographs by Katrin Freisager Title: Proust Folkert

It looks like Lydia Nichols has mastered her fine arts - and how! Check out these projects and more (thirteen total!) from her corner of the Good Measure MFA Thesis Exhibition at the Tyler School of Art Graphic and Interactive Design. Her colors and her facility with the printing process and layering make her work bright and crisp, and it all looks like wonderfully functional work as well. From her description of the projects:

Tyler’s program focuses heavily on authorship, so most of the projects include research, authorship, design, and illustration.

Personally, I don’t have the authority, but Lydia: you’re hired!

Scott Gwynn hurt his drawing hand so his left hand is picking up the slack.

Love the looseness of these drawings. Might be a good exercise to try switching hands every once and while. Forces you to think about shape and over all design rather than surfacey stuff like line and texture.

Hope your hand gets well soon, Scott!

More great work on Scott’s tumblr.



Koyama Press is putting out issue 3 of Ryan Cecil Smith’s S.F. later this year.


Ryan Cecil Smith is one of my favorite cartoonists, period, and S.F. is at the top of my must-buy list—you can still get #1 and 2, along with the excellent S.F. Supplementary File(s), at his site. Very excited to see him get the Koyaman treatment. I don’t know who designed that cover, but oo-wee!


Elliot Alfredius Ghibli Tribute. Magic Registry + 3 Colors. 

Elliot set out to create characters that would fit into an imaginary Ghibli movie. I’d say he nailed it.

More great work on his tumblr:

And here too:


It’s here! Destination X by johnmartz out now! A sci-fi parable about obsession and singlemindedness. It’s debuting at TCAF and available exclusively now from 

I’m going to take the opportunity to toot my horn, and spread the news about my new book from Nobrow. So: hey, check out my new book from Nobrow! It’s called Destination X. It has rocketships and cryo-chambers and aliens and you should buy a copy or two!

It debuts at TCAF in May, and will hit stores in June, but if you’re impatient you can order it directly from Nobrow this very instant.


“Kairos” animated trailer by La Cachette studio (for the promotion of Ulysse Malassagne’s comic book)

This is pretty cool.

Adam Rex: How I Make a Picture Book:

The ridiculously talented Adam Rex shares his hilarious process for picture book making. 

MOTYF - Moving typography festival coming:

This is being operated by a particularly active and excellent typography programme in Poland.


I have made a music video for Toh Kay, aka Tomas Kanolky. I would appreciate it if you watched it and stuff.

I wrote a bit about it here.

Preorder the album here.

Download the track here.

Coyote by JooHee Yoon