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Global head of name and artistic Andre Le Masurier has led an overhaul of the logo from inside, clarifying its identification and adopting a brand new world marketing campaign technique whilst drawing at the affect of creators.
When Le Masurier began at Skyscanner in 2021, “there wasn’t a ton of belief in brand and brand investment and the team was mainly production oriented,” he says.
Today, a combined in-house ingenious sub-team is composed of round 12 designers, 4 writers and 3 movement designers who paintings in combination and Le Masurier is development additional capacity in strategic and conceptually targeted creatives so it has “less reliance on external advertising agencies”, he says. Le Masurier oversees logo, ingenious and marcomms, which, blended, is a broader staff of round 50 other folks.
Mainly working out of London, Edinburgh, Glasgow and Barcelona, the staff is excited by the rest from marketing campaign to design paintings.
Central to his paintings as of late is “trying to figure out where to get the most effectiveness, efficiency and return on investment as a brand,” says Le Masurier.
Spending on above-the-line has been “super effective” for the corporate, he says. “So we’re now trying to understand through the lens of owned and earned social and PR what levers we can use in above the line and what the right mix looks like for us as a business.”
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Skyscanner has had numerous successes partnering with creators running within the shuttle house thru social. “We work with ambassadors globally and you get real value while creating human, authentic, word-of-mouth, while capturing culture and local nuance.” Although that is running rather well for the logo, he says: “We need to make sure the social strategy ladders back up to the brand strategy.”
The logo technique is the most important persisted funding for Skyscanner and Le Masurier says: “Codifying the look, the tone of voice and execution globally across the business is something we’re focused on while raising the bar on the craft and execution of the brand.”
Skyscanner’s identification was once overhauled by way of Koto again in 2019 and, even supposing “there were aspects that were really good and the coding was great,” in keeping with Le Masurier: “We’ve gone through the brand guidelines from front to back to keep them up-to-date.”
This has led to adjustments being made to the wider identification gadget, even supposing now not the brand. “We minimized it and rebuilt it from the ground up, but kept some parts.” The primary reason why being “large parts of it were sat in the drive and we weren’t using them and when we were they weren’t being used that well.”
A Larken font has been offered to “differentiate ourselves,” whilst the colour gadget has been diminished, “leaning into the sky blue” as its primary colour, Le Masurier says.
Meanwhile, a sequence of templates had been created which might be “actionable and easy to use in Figma by other parts of the business outside of the in-house team,” in particular “so things don’t get misused,” he provides.
The extensive ingenious, design and logo duty that Le Masurier’s position encompasses is reflective of his occupation, which has noticed him paintings for businesses together with Maclaren McCann in Canada after which in america, AKQA, Saatchi & Saatchi, 72andSunny in ingenious director and team ingenious director roles, in addition to a VP and ECD position at R/GA in London. He was once additionally ECD at Google’s Brand Studio in London.
Ultimately, Le Masurier feels he’s been in a position to influence the strategic and artistic course of the logo on account of make stronger from Skyscanner’s CMO Clive Peoples and CEO John Mangelaars.
“Being close to the center of truth is the most rewarding and powerful thing, while understanding what the business needs day by day. You ask yourself how you, as a design and creative brand team, can execute a vision that’s been created by the execs and approved by the board.”
Consequently, in this day and age, when businesses are wanted, he says: “We go after micro or boutique agencies. Most of our money there is going towards conceptual, ideation, strategy and some execution of the creative… the actual execution of the campaigns.” He clarifies that “80-90% of the work is still happening in-house.”
