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Elliott Moody
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Plus Mûrs' identity for Wasted Paris plays on an important piece of German typographic history


Plus Mûrs' identity for Wasted Paris plays on an important piece of German typographic history
Plus Mûrs' identity for Wasted Paris plays on an important piece of German typographic history
Plus Mûrs' identity for Wasted Paris plays on an important piece of German typographic history
Plus Mûrs' identity for Wasted Paris plays on an important piece of German typographic history
Plus Mûrs' identity for Wasted Paris plays on an important piece of German typographic history
Plus Mûrs' identity for Wasted Paris plays on an important piece of German typographic history
Plus Mûrs' identity for Wasted Paris plays on an important piece of German typographic history
Plus Mûrs' identity for Wasted Paris plays on an important piece of German typographic history
Plus Mûrs' identity for Wasted Paris plays on an important piece of German typographic history
Plus Mûrs' identity for Wasted Paris plays on an important piece of German typographic history
Plus Mûrs' identity for Wasted Paris plays on an important piece of German typographic history
Plus Mûrs' identity for Wasted Paris plays on an important piece of German typographic history
Plus Mûrs' identity for Wasted Paris plays on an important piece of German typographic history

Founded in 2012, Wasted Paris is a French clothing label that cites skateboard culture and ’90s indie imagery as an inspiration. Their rock and roll merch inspired apparel combines comfortable silhouettes with technical materials to form a sporty aesthetic. It is available internationally through retailers such as HBX and Urban Outfitters as well as their own website.

To reflect their growth as a brand, Nantes-based studio Plus Mûrs was commissioned to redesign their identity and online presence. The studio came up with a typographic system that uses the ‘ST’ as a magnet for the rest of the letters. The Antiqua-Fraktur typographic dispute that occurred in Germany in the early 20th-century inspired the use of Fraktur for the calligraphic letterforms. During that time, both the German Fraktur and Latin Antiqua typefaces had ideological connotations in Germany, which led to long and heated disputes on what was the ‘correct’ typeface to use. The eventual outcome was that the Antiqua won when the Nazi Party chose to phase out the more ornate-looking Fraktur.

Graphic Design

Plus Mûrs

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