Our in-house graphic designer Zofia Sobota joined Aequill in the autumn of 2021 and has undertaken an all-round rebrand, as well as designing the packaging for our upcoming range of perfumes.
Hi Zofia, before joining Aequill last year, you’d just moved from Warsaw to London, how are you finding the city?
It’s great, I feel at home already. Without knowing much about the different London districts, I ended up living in Hackney Wick which has an environment of creativity that I really like. I couldn’t have been luckier. I absolutely love the vibe of East London, it’s diversity and the alternative scene.
You’ve worked with a variety of different companies: a food design studio, the editorial office of a magazine, for a film festival, and local radio station. What inspired you to work in-house for a niche upcoming perfume brand?
I like to work with innovative brands and organisations regardless of their field. Brands have a big responsibility these days- both in shaping the perception of society with their visual communication choices, and recognising their role within a capitalist society, questioning themselves, and being able to justify the production of yet another thing.
It’s just good to work with companies that thrive to do things differently, look for their own independent path, have inclusive communication, lay emphasis on the quality of their products, and try to make production locally, sustainably and ethically. All of these values I found in Aequill and it's here that I actually fell in love with scent, learning how powerful it can be and discovering how outstandingly good a niche perfume is.
Could you tell us a bit about your typographic design for the Aequill logo?
Typography is a fascinating part of graphic design. It’s full of it’s own technical rules on how the letters should be constructed, as well as optical illusions that should be applied to make lines appear symmetric and of the same thickness.
The discipline of type design is a very experimental and progressive part of graphic design, but at the same time, there’s not that much space for changing the shape of letters, as researches on readability show that the easiest to read is the form that we already know.
Aequill's logo experiments with this concept. It coexists in a context of the fashion industry, full of simple, but boring, typographic, serif font logos. Aequill communicates its otherness and progressiveness and that aligns with London’s alternative scene. It works as a graphical image of name, represented in old-school geometry. It shows the dynamic of movement that's in core of Aequill’s new identity – the transformative nature of perfumes.
Has working with scent influenced your approach to graphic design? Could you tell us a bit about your contribution to the upcoming range of perfumes?
I became more conscious of my full range of senses, not just sight. I joined Aequill at the same time as their first artist residency in which Ecka Mordecai was translating sounds into scent, and then fine artist Ekaterina Adelskaya was translating the scent into hand-cast sculptures. There was a lot of inter-sensory research going on. So I wanted to design packaging that would represent the work of these Artists In Residence, honoring their research, experimentation and product development. In the packaging, I expressed these sensual forms through the use of tactical paper, embossed elements of print, and colour.