The fonts
What would a brand be without fonts? Probably not a brand. Often seen as an underrated asset, they're the true soul of an identity. At least according to us. Our type system runs on three fonts, each pulling its weight.
For titles, we went with Review Condensed Bold, the squarish, commanding face Berton Hasebe drew for T: The New York Times Style Magazine. We needed something bold and big enough to hold its own laid over imagery, whether that's a photo or a moving frame, so the headline still lands with real impact. To us it also nailed that 80s automotive vibe, the kind of lettering you'd find on a vintage car speedometer.
The accent font is Simplon Norm Bold, a Swiss take on the European road-sign letter with elongated, signage-rooted proportions. Used all-caps, it carries that technical, vintage, automotive personality while behaving almost like a monospace, which makes it perfect for small annotations and eyebrows.
And for body copy, Roobert from Displaay, a clean, geometric mono-linear sans. It's endlessly versatile and premium, with an engineered feel, but those slightly unusual "bent pipe" curves give it just enough fun and 80s warmth to keep it from feeling cold.
Across all three, the goal was cohesion: a type system that feels technical, slightly vintage, and tied to that automotive aesthetic.