Bluemark blur the line between the artistic and the commercial. Atsuki Kikuchi, the studio’s art director and founding partner, has a background in fine art and clearly brings this sensitivity into his work. The decision to move into graphic design was in part a result of it being integrated with other disciplines. Kikuchi does not want to be isolated by practising only one speciality, and sees graphic design as a creative mediator that facilitates commissioned and self-initiated projects through its many applications, with no restrictions to limit his interest and imagination.
Beyond the conventional applications of a design studio, Bluemark support a diverse range of interconnected creative and commercial activities. They operate cafés, galleries and even a recording studio that run parallel with their graphic design clients, all supported by Bluemark design, publishing and distribution channels. This facilitates the supply and demand of Bluemark’s creative know-how and provides an alternative framework for ideas and products.
Kikuchi defines design as “a structural way of thinking. Depending on the brand I’m working for I try to adapt a different personality, almost like an actor, in order to get into the right mood for the project.” He mentally distils a project into the basic components of communication and, from this common ground, is able to build a new experience with greater clarity and efficiency. It is his adopted persona or unique perspective that develops the creative response. For this reason he is indifferent as to whether he shares a creative language with his clients. “Respect is more important than understanding. As long as we respect each other’s work we don’t necessarily have to understand each other.”
There is a quirky innocence to the work and practice of Bluemark that is particularly suited to the subtle, narrative-based designs of Sally Scott, which are often based around a single character. With a long-term relationship that stretches back to 2002, Bluemark have been responsible for the development of the label’s complete visual language. The logo was inspired by a second-hand children’s book and adds personality to the brand. “The fact that it’s not just a name and an address, but also reveals something of the personality behind fascinated me. There is already a lot of narrative in the logotype,” says Kikuchi.
This is reaffirmed in the Sally Scott lookbooks as they too reference the narrative, structure and materials of children’s books. “I begin with taking a close look at a new collection and trying to think myself into it. When the shooting is done, I do my best to make everything fit together into a harmonious overall picture. The colour of the cover is a result of earlier decisions like location, mood and styling.”
Consistency and collective appeal have always been at the heart of the lookbooks, which also utilize the seasonal nature of fashion. Kikuchi admits, “Long-term planning makes the design much more difficult because you still have to like what you created years before.” The commitment to an established format has allowed greater attention and effort to be directed towards the seasonal concept and its execution. The Sally Scott website provides specific details of garments, allowing the lookbook to function as an independent visual exercise that creatively interprets the mood of a collection. Working with the same photography team has also enhanced the creative effect. Rather than being a reinvention, each lookbook is part of a building process that enhances the bigger story of Sally Scott. “The relationship is of course very smooth, because we know and trust each other completely,” says Kikuchi.
Bluemark are pioneers in the fight against a wave of homogenous design. The designers pursue a creative intimacy in their work, and this in turn results in greater appreciation and respect from clients. Their mutual confidence and the diversity of their work ensures that their motivation remains high and that they are emotionally involved in their projects.
“I begin with taking a close look at a new collection and trying to think myself into it. When the shooting is done I do my best to make everything fit together into a harmonious overall picture. The colour of the cover is a result of earlier decisions like location, mood and styling.” The consistent format of 21 x 14cm (8¼ x 14in) and cloth hardcover has contributed to the collectability of the lookbooks. Printing direction was supplied by Takashi Ochiai (Graph).