Kessler Display

Kessler Display In Use

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  Florae is an exhibition organized by Van Cleef & Arpels in Paris. It takes place from the 10th of September to the 14th of November 2021. The brand invited the famous Japanese photographer and film director Mika Ninagawa for a carte blanche that would relate the brand’s famous floral jewelry with her saturated and colorful imagery. Ninagawa’s work is full with colors, natural patterns and, of course, floral settings: the world of Van Cleef & Arpels is transformed into this girly pop universe, shedding a new light on its key pieces. The exhibition is structured into three parts, each one presenting a different approach of the craft of jewelry: naturalist aesthetics, bouquets, and stylized aesthetic. The scenography of the exhibition was designed by Japanese architect Tsuyoshi Tane, founder of the studio ATTA in Paris. He conceived an immersive setting based on light and mirrors: for example, some panels displaying Ninagawa’s photographs would suddenly fade and the image vanish to turn into the reflexive glass of a mirror. This dream-like labyrinth makes the visitor feel like Alice in Wonderland. Besides, the exhibition takes place in the Hôtel d’Évreux, a former mansion house in the center of Paris: the Hôtel is a treasure of classical architecture, which identifies Van Cleef & Arpels as a luxury brand. No wonder that Kessler from Production Type was chosen for the exhibition logo. Even though Kessler is inspired by stone-carving and inscriptional typefaces, its thin upstrokes and serifs, the unusual proportion of its capital R and its very much recognizable A also evoke typefaces and publications from the Ashendene Press and more widely, from the Arts & Crafts movement, and their margins saturated with floral patterns. Accompanying text on poster, invitation and other items is set in Gotham.

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  Kessler Display Regular

  Florae, Van Cleef & Arpels
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  In my graduation project at École Supérieure des Arts Visuels de Marrakech (ESAVM), I initiated a study exploring the profound story of mapmaking and cartography, introducing Up-side Down. The first part of the project is a bilingual Arabic and English book, featuring three major subjects. The first one explores a brief understanding of the impact of cartography on our lives and its political power; the second part accentuates the north and south’s pre-12th-century history, the Arab Golden Age, studying a number of Islamic maps and manuscripts and revealing how the Arabs used to see the north; and the last section of the book covers the attempts of representing the world on a two-dimensional surface using the map projections, transferring the spherical network of parallels and meridians of the globe into a flat surface, these attempts had various intentions and some of them have deceptively represented the world in order to draw a contrast between religions and races. The book is a paperback double-sided halves bound together with one part rotated 180° relative to the other (also known as the dos–à–dos binding), serving the script direction of each language, and emphasizing the Up-side Down notion. On the second part of the project comes the posters, following the third chapter of the book, featuring a set of three parodical map projections that have been grimly distorted to accentuate the subject. The digital calligraphy that I used is in Naskh script, composed with a design software for Arabic calligraphy called eMashq.com. The font used for the Arabic body text is Nassim Arabic. For the English texts I paired Kessler and JJannon. See more images on my Behance and Instagram accounts.

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  Kessler Display Italic

  Up-side Down

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