Who doesn’t love a brand mascot? For BD&R, the mascot came from the abbreviated letterforms we designed, but the idea and name itself came from the story of how the founders first met through business. That’s why I never start a project thinking about what the logo should look like. I ask questions. How did you meet? Why did you start? What makes you different? What stories have shaped the business? Because without that context, you’re designing on assumptions. And assumptions usually lead to work that blends in. My discovery process is personal to every founder we work with. The process might be similar, but what we uncover never is. Sometimes the best ideas are already sitting inside the business. You just have to discover them.

Great work

I went into The Met's open access archive looking for a textile. I found the pattern I wanted on a suit of armour instead.

Greenwich, 1586. George Clifford was Queen's Champion to Elizabeth I, and his garniture is etched and gilded with her cipher, two E's back to back, repeated across every plate from helmet to sabaton without a break. Not a badge on the chest. A repeat running over an entire body, worn by royal licence, three hundred years before any house put its initials on a bag.

So I took it off the steel and put it back on a body.

RUNNING CIPHER is one woven matrix and eight streetwear pieces cut from it, shot on Yorkshire moorland in winter with the sun never higher than eighteen degrees above the horizon. My first matrix was wrong: I kept the cipher at armour scale and it collapsed into generic damask. Enlarging it four times was what made it read as a garment print instead of wallpaper. That failed version is still sitting on the canvas next to the one that worked.

The casting carries the argument. Clifford's only child, Anne, was written out of the inheritance when her father left the northern estates to his brother. She spent thirty-eight years in court, won in 1643, and rebuilt the castles herself. The mark he borrowed from a queen is now worn by the women who took the land back.

Everything is on the canvas: the Met plates that fed the matrix, every rejected generation, the casting tests, the frames that did not make it.

Original work: https://www.metmuseum.org/art/collection/search/23939

Armor Garniture of George Clifford, Third Earl of Cumberland. Jacob Halder, royal

workshops at Greenwich, 1586. The Metropolitan Museum of Art, 32.130.6a–y. Open Access.

Canvas: https://app.flora.ai/view/js78s0ypjspgsg3t3pjf5xd6d98dkwrb

@floraai #FLORAMuseum

this is such a unique concept!