Alior Bank identity
The reason angels can fly is because they take themselves lightly.
[G. K. Chesterton]

Carlo Tassara International, an Italian financial group, is setting up a new bank. The Alior Bank is planning to launch with a total of 200 outlets across all voivodships, targeting at 2-4 percent of the market share. The scope of the enterprise makes it one of largest FDI projects in Poland. With the initial capital of of 400 mln euro, it is the biggest financial venture Europe has seen in the last 25 years.
The new brand is presumed to stress innovation, simplicity and the high speed of its services. As Wojciech Sobieraj, the bank’s CEO, states it: “We’re certain, that our logotype thoroughly demonstrates our values: passion, professional approach, innovation and respect. At the same time it relates to tradition, confidence and trust.“
The logo, based on cropped, baroque-like angel symbolizes safety and security, whereas yellow/gold-burgundy color scheme represents, well, gold, sun and prosperity (for gold), and experience and quality (for burgundy). The illustration itself was crafted to resemble copperplate and guilloche patterns usually featured on banknotes to add the brand some credibility. The typeface is classically roman in proportion, yet contemporary. The visual identity was designed by the White Cat Studio. As for the name, Alior is said to connote the classics and or means gold in french.
So much for official press releases.
The logo certainly is elegant and resembles banknotes and such, successfully balancing between being friendly and having the authority, which is a good thing for a retail bank. The illustration is direct and confident, easily delivered on newsprint or any other applications. Additionally, it won’t lose its appeal when rendered in black and white (although I can hardly imagine it on a pen).
I’m not particularly struck by typography though. The A serif supposedly was designed as a fine touch, but it brings additional clutter to already unstable wordmark composition. Setting bank in a lighter typeface and darker colour makes the alior part wavering somewhere between the middle and the bottom.
The mark risks being broken into two separate parts, the angel side being treated as an imagery rather than a logo per se. Implementation design will be definitely important as the burgundy square wordmark itself will not ensure strong visual presence.
In spite of minor flaws, the overall effect is quite impressive and undoubtedly stands out in the conservative financial brandscape.
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