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Harry Bennett
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Saint-Urbain’s appropriately vibrant brand for Ipanema brings Brazilian energy to Connecticut 


Saint-Urbain’s appropriately vibrant brand for Ipanema brings Brazilian energy to Connecticut 
Saint-Urbain’s appropriately vibrant brand for Ipanema brings Brazilian energy to Connecticut 
Saint-Urbain’s appropriately vibrant brand for Ipanema brings Brazilian energy to Connecticut 
Saint-Urbain’s appropriately vibrant brand for Ipanema brings Brazilian energy to Connecticut 
Saint-Urbain’s appropriately vibrant brand for Ipanema brings Brazilian energy to Connecticut 
Saint-Urbain’s appropriately vibrant brand for Ipanema brings Brazilian energy to Connecticut 
Saint-Urbain’s appropriately vibrant brand for Ipanema brings Brazilian energy to Connecticut 

Within Little Brazil, Norwalk, you’ll find Ipanema; a four-decade-old family-run restaurant serving a mix of Brazilian and Portuguese food that has thrived as a result of the family’s roots. Paying homage to this rich history, and the loyal customers that have grown alongside it, NYC-based creative agency Saint-Urbain have designed a fresh identity for Ipanema – keeping their heritage and kinship in mind, alongside the bustling retrospective inspiration of Brazil’s Rio De Janeiro during the 1970s.

With everything from the identity’s joyful colours, vivid patterns, soft typography and sun-kissed symbol; Creative Director of Saint-Urbain Alex Ostroff explains “our inspiration couldn’t be simpler,” finding all they need in the vibrancy of Brazil – finding the rarity of Brazilian restaurants in Connecticut an opportunity to push what is expected.

With a distinctly vintage feel, Ostroff explains their intention for keeping a sense of nostalgia, as well as looking forward. “It’s vintage, paying homage to the history of this family-owned business,” he explains, “but it’s also modern, which the son, who’s in his late 20s, was hoping for.” This is most obviously demonstrated in Saint-Urbain’s typographic treatment, using a typeface synonymous with the advertisements and magazines of Brazil during the 1970s. “It also has a bit of deco’ness,” Ostroff adds, something powerfully exemplified in the patterns applied across the identity. “Brazil has these insanely iconic, rhythmic, and beautiful beach boardwalk sidewalk patterns,” Ostroff recalls, finding a pleasing harmony between the pavements and the typical 70s funk found within most graphic and fashion design of the decade. Cleverly using these as a supportive element to the text, and a bolstering aspect to the colour palette, the mesmerizing patterns inject a playful soul to the brand; allowing itself to be lively, colourful and jovial amongst a sea of monochromatic, minimalist restaurant identities.

This manifests no more candidly and obviously than the sun icon found within the brand; an element to represent and reflect not only the radiant city of Brazil itself but the positivity and energy Saint-Urbain have distilled into the identity. “Despite how important thoughtful design is,” Ostroff concludes, “it also just looked cool, which is all that matters sometimes haha.”

Graphic Design

Saint-Urbain

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