Buddy-Buddy capture the essence of natural beauty for organic skincare brand Good Flower Farm
Born out of founder Rachel Carpenter’s passion for holistic living, Good Flower Farm produces a range of skincare products from herbs and flowers grown on her thirteen acres of farmland in Tennessee. While this sounds like an advantageous trait in the competitive personal care category, their existing brand wasn’t successfully communicating their homegrown quality to a broader audience. In an attempt to change that, they approached Minneapolis-based design studio Buddy-Buddy with a two-part rebrand brief: to both celebrate the organic ingredients used within their products and define an easily manageable and expandable design system.
The resulting identity positions Good Flower Farm as a crafted and considered brand, with Buddy-Buddy introducing calligraphic typography, hand-drawn iconography, soft colours and delicate illustrations. At its core is the bespoke Good Flower Farm wordmark, which Buddy-Buddy’s Co-founder Andy Kaul tells us is “based on the calligraphic characters from the cover art of a 1976 book titled ‘Country Women: A Handbook for the New Farmer.'” Its elegant, flowing forms are evocative and rooted in heritage, “especially so when compared across the skincare category,” Kaul adds.
Supporting text utilises the many styles of URW Type Foundry’s Saa series, allowing the brand’s sheer variety of product titles to be comfortably accounted for. “Saa has some fun and unique attributes that allowed us to avoid using an overly-polished sans serif typeface that would feel inapt for the broader Good Flower Farm brand sensibility,” Kaul explains of their choice.
Illustration comes into the identity system through the logomark, which Kaul explains was “created to reinforce the spirit of Good Flower Farm” as an organically-grown brand offering products to benefit the whole body. Its circular format emphasises the seasonal rhythms of farming and the regeneration of ingredients, as well as Carpenter’s passion for holistic living.
As well as typographic labelling, the distinction between products is further defined by canvases of colourful organic forms; each an abstract reference to the ingredients found within. “The large graphic shapes and colours in the illustration system can be rearranged and re-cropped by their team,” Kaul explains, “allowing for variable use across new products without needing to reengage our team for a la carte assets.” The fluidity of this approach successfully distinguishes each product while clearly tying them all together within the same universe.