“In the past two years of the global epidemic, we believe there are more things that help us to be introspective in what’s been happening around us and plan for the future.” These events have also impacted O.OO’s output. It seems a lot has happened in three years for the studio. Only when audiences get close do they see the “weaving” or “patchwork” within the details. From a distance, O.OO’s identity looked like mere text. The exhibition focused on the theme of textile art and quilting, “splicing” techniques from seven different countries in the process. O.OO has similarly innovated with an exhibition identity for Unconstrained Textiles: Stitching Methods, Crossing Idea. When layered together, the shapes reference the layering of tea itself, “the stacking of flavours over time”, explains Pip.īut packaging is just one area the studio has been excelling in. The collection comprises four boxes, and each side features gradient colours that evoke a roof or tea cup. O.OO responded by setting up promotional activities, but also creating packaging that can be stacked horizontally or vertically to create “a gift box wall” – a jigsaw of intersecting visuals. In the case of the Buddha Tea House set, the clients were a family tea house business passed down through generations the second generation wanted to switch up marketing methods. O.OO has not just been avoiding similarity with its designs but is trying to advance the market itself, pushing the boundaries of what packaging can achieve.
#Visage tea box full#
“The current market is full of similar product packaging, and even the emergence of so-called “template design”, says Pip. In each, traces of O.OO’s signature experimental techniques are there, but the studio seems to be embracing the new even more – hence the “coldness”. Take its work on Mangology, providing the packaging for a brand selling gift boxes containing six “giant” mangos, or its work for Buddha Tea House, another gift set, this time for gently fragranced tea. It might be because we don’t want to only satisfy customers, but want to bring a little change to the overall market too.” Pip says that if you look through some of its packaging projects, you’ll find “non-traditional” modes of communication laced throughout – although, we’d add that these surprising twists and arrangements are everywhere in the O.OO portfolio. We’re discussing packaging, an area of the studio’s practice that, since our last catch-up in 2019, has been a mainstay in its output. “We remember a customer once telling us that ‘Your design keeps people at a distance, and it looks cold’,” Pip Lu, co-founder and art director of O.OO, reflects.
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