DutchScot’s identity for Soho’s Sucre restaurant celebrates the migrant legacy of its founding

Historically informed and founded, London-based restaurant Sucre not only inhabits its legacy-tinted halls – located in a 310-year-old concert hall on Great Marlborough Street – but champions the heritage of its head chef Fernando Trocca and the transatlantic migration from his Argentinian homeland. Due to his background, Sucre’s menu uniquely explores the combination of Latin American and European cuisine.

Turning towards ‘old world’ references for their inspiration whilst branding the restaurant and bar, DutchScot studied an international plethora of typographic references while keeping an eye on the future – ensuring the identity would last the test of time. “We referenced bygone typographic signs and type samples from the main locations relevant to European immigration to Argentina,” Creative Partner Ross Goulden tells us, discussing the bespoke logomark crafted by the London-based agency, citing countries important to the diaspora – notably Spain, Italy and France. “We wanted to make something that felt composite and influenced from multiple sources,” Goulden explains, “but still trying to craft it to feel balanced.” 

The result utilises multiple graphic and typographic styles – such as woodcut lettering, monospaced type and hand-rendered imagery – united by the tactility of each medium. This prominently includes the work of illustrator Rebecca Sutherland, whose subtle, warm scenes perforate the identity’s editorial-esque output. “We’ve worked with Rebecca on a few projects over the years and really love how flexible she is,” Goulden recalls, “on this occasion, we actually co-developed this particular style to fit the brief,” rather than opting for a pre-existing style Sutherland had done previously. “She’s an incredibly capable, intelligent and patient illustrator,” he notes, “so it was a real pleasure working closely with her to achieve something new.”

Supporting Sutherland’s tactile illustrations is the charming use of Colophon Foundry’s Garton as the primary typeface, harnessing the practicality of its monospace design whilst harkening back to typographic history through its typewriter-like appearance. “We wanted something pared back and utilitarian but with some personality and charm,” Goulden explains, “we liked that about Garton as it’s a typewriter font with some loveable quirks,” sitting neatly alongside both Sucre’s main logomark as well as its secondary script monogram.

“We wanted the brand to feel like a more fluid thing that could have several expressions,” he adds, detailing the need for a second logomark. “As one of the tango monoline figures looked a bit like an ‘S,’” Goulden notes, “it made sense to us to carry this through as a sort of secondary mark used sparingly,” conveying a mostly European energy in contrast to the Argentinian inspired use of hues. “For the colour palette we were influenced by the colourful patterns of the Andean people,” Goulden concludes.

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Sucre