The theme of “duality” drives the design approach for the 2024 London Design Festival, led by Pentagram partner Domenic Lippa, who has helmed the design festival’s creative direction for the past 17 years. This year’s look presents an interplay of black, white and the festival’s signature red; a shade that Lippa describes as “the colour of London.” The concept of duality is conveyed through the pairing of two contrasting typefaces, creating a layered design that mirrors the complex and diverse nature of the design world.
“Duality has always been a recurring and compelling theme in design,” says Lippa. “It creates a sense of tension, which keeps the visual experience fresh and engaging.” This year’s aesthetic captures this concept, demonstrating how opposing elements can coexist to produce an outcome that inspires curiosity. The dual typefaces, stacked atop each other, embody a balance between different principles, such as tradition with avant-garde, rigidity and fluidity and local versus international, where the graphic design becomes a metaphor for the increasingly hybridised nature of global culture.
Beyond the logo, this year’s design direction covers everything from the festival’s signage and digital applications to long-standing printed materials like the Red Book and the custom-designed red notebook with the LDF logo debossed onto the cover produced by PithSupply, United Kingdom. These familiar staples reinforce the overall goal of creating a recognisable, cohesive look for the London Design Festival that draws immediate connections with audiences, affirming the city’s role as a global design hub.
As in previous years, this identity builds on the evolving framework established in 2007. Every edition of the showcase not only reaffirms its place on the international stage but also pushes the boundaries of visual communication. From the pandemic-inspired identity of 2020 to the cinematic flair of 2023, while the key colour palette has remained the same, the design exhibition brings relevant updates to reflect current shifts in aesthetics and broader societal movements. This year’s focus reflects the diverse and multifaceted design community that defines the London Design Festival. In conversation with STIR, Lippa shares insights on the theme’s inspiration, the evolution of LDF’s visual language and the ongoing impact of duality on the design week’s creative narrative.
Aarthi Mohan: With the 2024 edition of LDF focusing on the theme of ‘duality’, how did you conceptualise and develop the idea of contrasting typefaces?
Domenic Lippa: We initially started with the idea of contrast rather than duality. Given that there are so many different viewpoints within design, contrast felt relevant. However, contrast can sometimes be interpreted through many visual ideas and might seem negative. Therefore, we wanted to explore a more positive solution, which evolved into ‘duality’. The notion of elements that complement each other felt interesting. If you look at solving this through imagery, the idea becomes quite limiting and I believe that it can be more polarising. Whereas, using different typefaces has more compatibility. Then the choice of fonts came down to what worked best. Anthony Morgan, my senior designer chose the fonts. Clarendon, which I have used before, feels generous and confident. Gravity, on the other hand, is new to me but provides a fascinating contrast to Clarendon.
Aarthi: In what ways does this design capture and celebrate the diversity within the design community?
Domenic: On a simple level. If you try to make a design that addresses everything, you will fail. The strength and power of the festival lie in the diversity it encompasses. The role of the identity is purely to highlight the breadth of the content.
Aarthi: Looking back at the past 17 years of you creating LDF’s visual identity, how do you reflect on the overall journey? What are some of the most memorable campaigns for you and how do you believe the identity has contributed to shaping the festival’s global recognition?
Domenic: The work has always been a collaboration between us (Pentagram) and the festival. The festival’s success is primarily due to the content, not just our design. The campaign has been effective because we needed to have a focused approach and Ben Evans and John Sorrell have consistently trusted me to develop new ideas for them. Some campaigns have been stronger than others and I have been particularly proud of the work in recent years. I have especially liked the 2011 campaign (Perspectives) for its visual distinctiveness. Other notable years include 2014 (Maze), 2017 (Neon) and since 2019, which I feel have all been strong. It’s difficult for me to gauge how much the design has contributed, but I believe our goal is to cut through the visual noise that exists in London and engage people.
Aarthi: The 20th and 21st editions of LDF were particularly significant milestones. How do you view the legacy of these special editions in shaping the festival’s visual identity in subsequent years? In what ways did the experience of designing for these anniversaries influence your approach to the 2024 identity?
Domenic: In some ways, we didn’t treat these milestones any differently. We always start by thinking about an idea or theme that we can connect to. Since we are also part of the audience, it’s like designing for ourselves. We always aim to do more but it’s not about the budget constraints; ambition drives us all. As for the future, we need to continue pushing ourselves and not become complacent. Each year, different designers in the team contribute to the visuals. There was no specific impact from these anniversaries on this year’s identity. The focus was on making each design as simple and effective as possible.
Aarthi: Over the years, LDF’s visual identity has maintained a consistent colour palette, yet the designs have evolved. How do you strike a balance between honouring the tradition of its signature red and innovating each year’s identity to keep it fresh and relevant? What are the core elements that you believe should remain constant and which aspects are open to experimentation?
Domenic: The core red is one of our primary assets if not the main asset. I recommended using only red and I still believe this was one of our best decisions. Keeping the original logo designed by Vince Frost has allowed us to focus on the reinvention. The campaign identities we have created have almost become as strong as the main logo. However, each year, the festival, its partners and the audience expect to see the progress. It’s like a new cover for a monthly magazine each year, with the colour and main logo remaining constant. Everything else is open to experimentation. Design should always strike a balance and have an element of tension, so we keep pushing for legibility and the ideas we are communicating. Themes are internal drivers for what we want to say; they are not curated themes but are invisible influences.
Aarthi: The London Design Festival attracts a diverse audience, from locals to international visitors. How does the 2024 visual identity cater to this while maintaining the festival’s core message? What strategies were implemented to ensure that the identity is both accessible and impactful across various platforms, from physical signage to digital media?
Domenic: By keeping the solution relatively simple we hope to attract a broad and diverse audience. We are sensitive to many accessibility issues, which is a given in all our projects. We don’t rush into anything. Each year we begin conceptual work in January, allowing plenty of time for ourselves to review and make sure we hit the right tone.
In its 22nd edition, the London Design Festival—including its 11 design districts, partners and the design fair Material Matters—stirs the city with a dynamic programme of installations, exhibitions, workshops, talks and more. Follow STIR at London Design Festival 2024, as we continue to bring the best of the festival’s offerings along with our own initiatives across the city, including our partners Shoreditch Design Triangle, Mayfair, the Global Design Forum, and more across Brompton, Battersea, Chelsea, Dalston to Stokey and Bankside.
