The identity features an update to the frieze magazine masthead – originally created by Tom Gidley and redesigned by Paul Barnes – with its own typeface that can be used across the board. The typeface, designed with Luke Prowse, comprises four weights, curved brackets, slab serifs and narrow uppercase characters unique to the masthead’s design language. Inspired by the typewriter and monospace features found in the existing masthead, Pentagram expanded the typographic system and created some separation between the updated masthead and the original wordmark.
Luke and Jody Hudson-Powell, along with their Pentagram team, analysed the existing brand architecture to understand what to refresh and what to scrap. The rebrand needed a strong and identifiable rethink, without loosing its balance and differentiation between the sub-brands. As such, the team created a unified identity that’s flexible and easily incorporated into the Frieze family – while still adhering to its audience of collectors, gallerists and art enthusiasts.
In celebration of its 30th anniversary, Frieze has revealed a rebrand, consisting of a new visual identity designed by Pentagram, and a custom typeface designed with typographer Luke Prowse.
Founded in 1991, the art organisation and platform consists of frieze, Frieze Week and Frieze Masters Magazine, three publications that sit alongside leading international art fairs in London, New York and Los Angeles. Expanding into the digital realm, a number of different identities have emerged over time through a variety of sub-brands. As such, Frieze’s creative director David Lane and the wider team brought Pentagram onboard to devise a consistent and recognisable identity.