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The central idea behind Love Die Late was the need for the venue to transform from a coffee shop serving quality espresso based drinks by day to a bar with craft cocktails at night. This had to extend beyond simply dimming the lights and changing the music; it was critical that the atmosphere shift dramatically.


Furthermore, a long transition time would not be possible, nor would the venue close down during the alterations. Instead, watching the transformation would be part of the draw. In addition to an aesthetic shift, the functional needs presented challenges -- particularly storing and obscuring what is relevant by day at night and vice versa. Budget restrictions required that solutions be low-tech leading to the development of a key furniture pieces that articulate to provide a different function and aesthetic.

The client, Robin Ejsmond-Frey, had no preconceived notions as to the general look and feel of his cafe & bar. In fact, the venture had no site, name of even funding when Ejsmond-Frey approached. 


Instead, through an iterative process we would develop a concept that would then be taken to investors. After funds had been raised, Ejsmond-Frey would secure a site in central London. Therefore, the concept needed a perspective developed enough to draw investors in while remaining flexible enough to fit an undecided space. 


To kick everything off, four concepts that would drive the aesthetic of the venture were presented to the client. Ejsmond- Frey selected the post-war, pre-digital concept named ‘Cartland’ after the British romance novelist. 



After further development of the concept, a name was selected for the future cafe and bar. Then, the process of creating the graphic identity commenced. Again, a series of iterations and refinements allow us to build up to the final logo. Experimentations with the font, layout and illustration style of the logo facilitated in creating a graphic style that would be striking in various formats and across different media. The result guided the look of everything from coffee cups and business cards to the infographics used in the investor pitch document.


Next the attention turned to the future interior. Without a physical site in mind, developing adaptable features for the transformation became a priority. Rough, three-dimensional renderings allowed for the quick generation of ideas. When the site was finally secured, a quick turnaround would be required. Therefore, early research into materials and furniture helped save time in addition to informing the final renderings. Finally, interior aspects were combined in a loose, collage-style 3-D rendering to provide a rough idea of the projected completed space. 

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