Chris Trotman

The interiors team and the branding team work on projects together, which I think is a better way of doing it. Otherwise you take the brand one way and the interiors another, and it takes longer, because you have to do it sequentially.

We're harking back to the golden age of Japanese film in the 1960s and 1970s, but also a bit of Western noir too, in the shadows created by window blinds and things like that. We wanted it to be moody, and the colour palette was set early on: deep blues and reds, contrasting.

They didn't want any clichés or tropes. So there are lots of Japanese touches—crosswork, wooden slats and things like that—but it's more subtle.

The Wolves aren't a stabby gang. They're more like a West Side Story, PG-12 gang.

Like they've set foot into another world. Like they've been transported out of London to somewhere else, because the best restaurants do that.

It's invisible branding. It's not about sticking logos everywhere. All of the art we've created is from the same song sheet, so it all comes together to create a sense of occasion. Because a night out these days is a treat, isn't it?

It lets the work carry sun-warmed freshness, movement and salt-spray atmosphere, without tipping into postcard cliché.

We built a system, not a set of one-offs. It means the identity can flex and grow, while always remaining unmistakably Olimera.

The last thing we ever want to produce is something that looks 'twee'. Going more abstract gives it a bit of edge.

We designed the logo to be timeless and elegant, intentionally to feel more premium than the product's price point might suggest, offering skincare lovers a pleasantly unexpected touch of luxury.