If the basic rules of marketing dictate never to alter the logo of an established brand, Tesco rewrites the playbook.
In its new OOH campaign “Icons”, the logo vanishes to make room for fresh produce. The only unmistakable feature? The five blue chevrons, unmistakably affirming the identity of the UK’s number one retailer.
A provocative campaign that offers passersby a playful puzzle to solve, letting the food truly speak for itself.
The truth is, this idea is more logocentric than ever. Tesco has built such a strong brand recognition over the years that it no longer needs to sign its name to be recognized. The Tesco logo has shifted from the page into consumers’ minds with the ease of a brand that can afford it.
“You need icon status to play with your logo with such confidence,” says the Creative Director of agency BBH.
Blending visual art, technology, and genealogy, De.Coded is a Human Capital Atlas of Silicon Valley. The result is a vivid tapestry telling the story of a diverse yet enlightened community. Born in the early 20th century from Frederick Terman’s idea—father of Silicon Valley—of encouraging Stanford graduates to stay in the area and launch their own companies rather than seek work in more established cities, this approach sparked a culture of unprecedented innovation and entrepreneurship.
But what is the human heart that beats behind the innovation of the world’s smartest ecosystem?
De.Coded is an innovative research initiative that explores and highlights the human capital behind Silicon Valley’s ecosystem. Even in this brain-powered valley, it took a rigorous nomination process lasting over a year to identify the 101 individuals who have made the greatest contribution to this virtuous model.
Led by British artist Marcus Lyon, the project captures the diversity and depth of human impact in the region, showcasing figures from all fields—activists, scientists, public servants, and artists—who play key roles in the social and cultural fabric of the community.
Now available as a book and an app, the project will soon become a multimedia exhibition featuring photographic portraits, audio stories, and ancestral DNA mapping.
Inspired by the Daci Temple, nestled at the center of Taikoo Li’s historic Chinese alleys, the developers at Design Bridge have created a digital platform, The Temple, allowing users to immerse themselves in art, culture, and contemplation—turning their screens into a place of worship.
The Temple is divided into three rooms: The House of Light, The Blossom Garden, and The Infinity Tower. Each draws inspiration from rituals once practiced at the Daci Temple: observing the movement of light and shadow to discover hidden meanings, releasing a koi carp, or listening to interactive Tibetan bells while meditating on water.
On this platform, anything is possible.
With The Temple, Design Bridge aimed not only to preserve cultural interest in Taikoo Li but to make a space of artistic and spiritual expression globally accessible.
Whether the experiment succeeds is a highly subjective matter. After all, Buddhist spirituality is rooted in principles and practices that seek to develop deep awareness. And awareness, as we know, is neither objective nor measurable.
In recent years, brands like Gucci, Hermès, Barbie, and Hello Kitty have starred in exhibitions at major museums around the world. For the first time in Germany, Nike also opens up its brand story and archives to the public.
The exhibition, titled Form Follows Motion, chooses the Vitra Design Museum as its stage to showcase Nike’s journey—from its beginnings as Blue Ribbon Sports in the 1960s to becoming a global icon in sportswear—with a particular focus on the link between identity and design.
While some brands may feel out of place in a museum setting, Nike manages to carve out a meaningful presence, gaining widespread public appreciation—especially in the wake of heightened interest in sports following the World Cup and the European Championships.
“I think it's important to distinguish between design museums and art museums; if you think about it, almost all design has a relationship with companies,” says Adamson, the exhibition’s curator.
In this sense, hosting a Nike exhibition that explains its creative and production processes is perfectly aligned with the Vitra Design Museum’s mission—and even more so with Nike’s brand positioning. Just do it. Coined in 1988 by Wieden+Kennedy and inspired by the last words of a death row inmate, Nike’s iconic slogan never feels out of place.
