The salon at dusk seen wide: pale stone facade, navy fascia lettered OOH LALA SALON & SPA, a lit pointed arch doorway, palm trees against a deep blue sky
The mark

One line
holds the word
together.

The second O and the H share a crossbar. It runs straight through both, so OOH stops being three letters standing near each other and becomes one connected gesture. Nothing else in the mark is unusual, and nothing else needs to be.

The bar spans 55% of the lockup and sits at a constant height, so it can be drawn as a single unbroken stroke. That is the whole construction, and it is also the salon's own promise.

A cut that holds its shape.

printed on the navy hang tag

The lit arch doorway close and upright, the navy fascia above it, warm light spilling onto the paving
The monogram

The monogram
is the doorway.

O and L nested inside a double-lined frame whose corner radius is exactly half its width. That is not a rounded rectangle, it is an arch, and it is the one the building is cut into.

Frame
650 × 858, r325
Inner rule
offset 17.3, half weight
Letters
O and L, overlapped
Ratio
exactly 2r wide
Colour

Two pairs,
and nothing else.

Navy and paper carry the identity. Rose and blush carry the room. Neither pair is an accent on top of the other, so a surface commits to one and the mark comes with it.

The identity

navy

#0F1E2E

paper

#F6F1EA

The room

rose

#B56B79

blush

#F2E0D6

Every panel is live. Hover or focus one to swap the monogram for the wordmark: each pairing exists as both.

Pattern

The seal,
on the diagonal.

Wordmark arched above, monogram in its frame, descriptor arched below, a rule either side. Set at twenty degrees on a 760 by 1120 tile so nothing in it ever lines up with an edge.

Blush boards on a dusty rose ground, deeply debossed with the monogram and an oversized L

On board, the seal stops being a texture and becomes a deboss. Blush stock, pressed deep enough that the mark is only there in raking light.

And the same tile the other way round: navy on paper, for wrapping, liners and anything the room is not already wearing.

Print

Pressed,
not printed.

Every printed piece is a blind emboss on stock in one of the brand's own colours. The mark appears in raking light and disappears in flat light, which is the point: it is a texture you find rather than a logo you are shown.

A navy hang tag on dark curly hair, blind embossed with the monogram, the wordmark and the line A CUT THAT HOLDS ITS SHAPE, a comb behind it

A cut that holds its shape.

A blush hang tag on auburn waves, embossed with the monogram, the wordmark and the line CARE THAT LASTS BEYOND THE CHAIR, rose hair clips scattered around

Care that lasts beyond the chair.

A navy folder and a white card on dark stone, both carrying the monogram, the card blind embossed and the folder foiled
Two blush cards lying on blonde hair, each blind embossed with the stacked wordmark
Signage

Navy by night.
Rose by evening.

The horizontal lockup, single line, centred, with SALON & SPA tracked out underneath. Both colourways were drawn on the same board, so the shop can change without the mark changing. Drag the handle: it is one camera on two evenings, and only the sign moves.

The Ooh Lala fascia in navy at dusk, the wordmark and SALON & SPA in warm metal, above the pointed arch doorway lit from withinNavy
The same fascia in dusty rose at sunset, the identical camera position, the wordmark in cream above the same lit archRose
Interior

The arch again,
at furniture scale.

Every niche, mirror and alcove is the monogram's frame at a different size. The identity is not applied to the room, it is the room's plan.

A long interior of lit arched niches holding product, rose upholstered chairs, terrazzo floor and a brass mirror
The reception end: twin wall sconces, a black product wall, a marble desk, and the wordmark on plaster
A black leather wash bag open on a stone counter under a brass sconce, tools inside
A styling station: navy chair, stone counter, product shelves, and OOH LALA set into a plastered arched alcove behind
A guest at the wash basin with her eyes closed, a rose towel carrying the wordmark under her shoulder, blush bottles on the shelf above
In use

The parts a guest
actually touches.

Towels, robes and aprons carry the mark embroidered rather than printed, always in the pair the room is not wearing. It reads at arm's length and vanishes at three metres, which is the correct amount of branding to put on a towel.

Towels
wordmark, rose on blush
Robes
wordmark, tonal on blush
Aprons
monogram only, blush on navy
Method
embroidered, never printed
A blush waffle robe on a brass hook against a plaster wall, the wordmark embroidered tonally on the chest
A folded navy towel embroidered OOH LALA beside a straight razor on a dark stone counter, a navy bottle behind
A stylist in a navy apron, the monogram embroidered small on the chest, the salon soft behind
Product

Navy glass,
blush ceramic.

The retail line splits the palette the same way the signage does: the monogram alone on the small formats, the full lockup only where there is room for the descriptor under it.

Three retail bottles on a stone ledge, two navy either side of one blush, under a warm table lamp
A hand holding a blush cylindrical bottle against a plaster wall, the monogram small at its foot
A blush ceramic vessel on a plaster plinth beside a dried branch, its shadow thrown across the wall behind

One line, and a door you can see from the road.

Wordmark and monogramColour systemPatternSignagePrint and packagingTextilesInterior application

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