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Founded in 2011, Westwing pioneered online home and living retail and has since become Europe’s definitive destination for design and lifestyle. A shoppable magazine where design lovers across twelve countries find inspiration, discover premium interior brands, and bring home pieces from a carefully curated private label.

This rebranding marks the first significant evolution of Westwing’s visual identity since its founding. As Creative Director at Meiré und Meiré, I worked closely with Westwing’s creative team — mainly Rik Strubel, Lydia Kind, and Jesse Becker — to refine the brand together. The focus was on strengthening its premium appeal while preserving the editorial, ever-evolving sensibility that defines the Westwing experience.

Rather than arriving with a fixed solution, the identity was shaped as a shared framework. One that enables Westwing’s in-house team to move with confidence, make strong creative decisions, and evolve the brand from within. The result is a system designed for that kind of velocity: flexible enough to hold across every format and occasion, without ever losing the editorial confidence that makes Westwing worth looking at in the first place.

No existing typeface quite worked. The name is too particular, the letterforms too specific. A custom solution was the only honest answer, so we drew it by hand.

The reimagined wordmark is defined by a quiet, distinctive detail. Two subtle wings — one embedded in the W, the other in the G — face west, creating a restrained but memorable nod to the literal brand name. This small typographic gesture gives the mark its character: unmistakable without being loud. Easy to miss at first. Impossible to unsee after. The kind of nuance a premium brand needs to support both its design ambition and its claim to cultural relevance and scale.

Westwing brought the claim. We made sure it fit — literally. The wordmark and “Live Beautiful” share the exact same proportions, so they can swap places or sit side by side without either one giving ground. Deceptively simple. It doesn’t define beauty so much as hand it back, to whoever is living it.

A wordmark alone can take a brand a long way. But the real test comes at scale — on packaging, on product, in the thumbnail-sized contexts where every pixel is a decision. So we distilled the wing concept into its most concentrated form: one W, pointing west. Unmistakably Westwing, immediately legible, and designed to hold its own anywhere the full wordmark can’t go.

Turquoise was never up for debate, it carries too much brand memory to abandon. But it needed reconciling with itself. Over time, the physical and digital versions had quietly drifted apart, producing two slightly different brands depending on where you encountered them. We resolved this into a single, incrementally brightened tone. A colour you might actually paint a wall.

What’s been equally rewarding is watching the Westwing team run with it. The turquoise has since found its way into brand spaces that double as photographic backdrops, into stores as a defining spatial gesture, onto merch, wrapping paper, and brand gifts — and, perhaps most memorably, into ice cream at store openings. The kind of detail that stops children in their tracks and stays with everyone else. There’s something genuinely satisfying about a colour choice that keeps finding new places to belong.

From this core, we developed a supporting palette that never competes with the turquoise, but accompanies it. Colours versatile enough to hold across every format and occasion, yet grounded enough to feel at home in an actual home. Each one could live on a wall as comfortably as it does in a campaign.

Berlin-based Type Foundry Dinamo have a habit of releasing exactly what the moment needs — and when they launched ROM and Gaisyr, with only minor tweaks, the search was over.

ROM is the primary voice: Grotesk rationalism meets Gothic texture, wide and assured in capitals, refined in lowercase. Gaisyr introduces tension and movement — geometric but with something almost hand-held in its details. Loud enough to matter, and sharing the transitional serifs of the hand-drawn wordmark, it ties the whole system together.

Two typefaces, a handful of weights. Enough range for an editorial designer to play with headlines playful and freely, enough discipline to cover everything else.

Westwing’s turquoise boxes have become a kind of urban shorthand — spotted in building hallways and at kiosk pick-up points across Europe, they signal that someone, somewhere, has treated themselves to something they’ll love. That quiet cultural presence was something we took seriously.

The packaging system we developed works across a spectrum of visibility. At full scale, the turquoise hits bold and immediate. On larger boxes, it pulls back to a label — precise and considered rather than overwhelming. On gift bags, it steps back further still, making room for a different kind of moment.

The finest detail lives in the surface pattern: real voices on what “Live Beautiful” means to them, set in the most delicate typography and printed small on silk paper. Up close, it reads. From a distance, it becomes texture — a quiet layer of meaning that rewards attention.

Westwing’s output is relentless. Homestories, launches, collaborations, YouTube series with genuinely devoted audiences. Every frame is a brand moment. So when the identity changed, everything in motion had to follow.

We developed a comprehensive motion library from the ground up: intros, lower thirds, thumbnails, CTAs, animation principles — across every temperature the team would need. Elevated and considered where the content calls for it, warm and entertaining where it doesn’t. Delivered, tested, optimised. Now running at scale, every day.

The final deliverable wasn’t a PDF. We built a living digital brand hub that brings the complete identity together in one place. Documenting principles, decisions, and applications as an evolving system that grows with the brand. Clear structures, templates, and concrete examples give every team the clarity and confidence to apply the identity consistently, across every touchpoint, from day one.

Watching what the team has built since the handover is something else entirely. The identity finding its feet across every touchpoint, the Westwing stores appearing across Europe with the logo above the door — and if you haven’t seen what 1zu33 have done with the interiors, please do yourself a favour. Collaborating with everyone involved, at Meiré und Meiré, at Westwing, and across every project partner, was as rewarding as anything the brief asked for.

This case study is also very much alive because of everything that came after the redesign: the campaigns, the stylings, the photography from some genuinely talented people doing some of their best work. That’s what makes the whole thing worth looking at.