A landmark in Parisian cultural life

In 2019, the emblematic Théâtre Musical de Paris – Châtelet reopens its doors after two years of renovation and off-site presence. This new curtain-raiser is accompanied by a new management team with Ruth Mackenzie and Thomas Lauriot dit Prévost, and marks a new stage in the life of the theatre.

The main objective was to bring coherence to the theatre’s identity and give it greater visibility by developing awareness of the “Châtelet” brand. The institution also needed a graphic charter that could be adapted to a variety of situations, where the previous identity left little room for internal teams to intervene. The theatre’s new season is aimed at all audiences. The aim is to bring the theatre back to Parisians, whether or not they are new to the stage. The current logo was designed 12 years ago by French graphic designer and typographer Philippe Apeloig. It is now a monument in the cultural landscape. Despite a strong identity recognised by designers, the logo suffered from a lack of awareness among the public. Its discreet presence on poster campaigns, and more generally within the theatre’s communications, did not allow the ‘Châtelet’ brand to be promoted. Keeping this logo in the new graphic charter was an obvious choice. By breaking down into 3 levels, the word ‘châ-te-let’ is both sound and image. With its unique typographic composition, it invites us to draw links between arts, music, views and cultures.

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The Graphéine team takes you behind the scenes of this project. Decoding, analysis and anecdotes in your ear…

Digital first

The brief was precise: the identity now had to be fluid and adaptable to the various digital media. This was not the case with the previous identity, which was primarily designed for posters and print media. A strong technical constraint, which guided our graphic choices with simple and effective bias. Le Châtelet wanted to enter the digital age, with digital signage at the entrance to the theatre and an overhaul of its website. It was this adaptation to digital media that gave rise to our intention to change the logo created by Apeloig. A logo now optimised for on-screen display that “lifts” its predecessor while retaining its “phonic & rhythmic” concept. The theatre’s reputation means that the logotype can be separated from the baseline without weakening its image. This adaptation meets web constraints and allows the logo to be read at all sizes. By adapting the logotype to screen display, we are bringing the “responsiveness” identity principle, as well as motion design, social networks and different content platforms, into the theatre’s communications in the most coherent way possible.

A simplified logo to unleash imagination

The aim of this simplification is to revitalise the brand and give it greater potential for other uses. Parisians don’t go to the Centre Pompidou, they go to Beaubourg. Parisians don’t go to the “Théâtre Musical de Paris”, everyone goes to the “Châ-te-let”. This principle accompanies a strategy of gradual emancipation that aims to familiarise the image of the place and encourage its re-appropriation. If the Théâtre du Châtelet fails to adapt, it runs the risk of no longer being in step with the times. Making this change means perpetuating the existing image and strengthening the brand image to become an iconic reference.

The logo at centre stage

The main aim of the redesign of the graphic charter and the 19-20 season is to give new impetus to the Theatre’s identity. We wanted to give it a new lease of life, in keeping with the season’s mission of openness, eclecticism and diversity. We’ve decided to invent a new story for this sign. A story of links between artists and audiences, between people and cultures. The new graphic charter is built around playful principles that help to highlight the theatre’s identity. The dynamic colour scheme plays with geometric motifs taken from the logo design: the use of the circumflex accent, hyphens and round shapes.

A logo that’s got a mouth on it!

The first communication campaign announcing the theatre’s reopening involved the use of mischievous and poetic slogans. The emphasis is on dreaming at the ThéÂtre du ChÂtelet. A campaign based on the presence of ‘mischievous punctuation’ and the ‘circumflex’ accent gives rhythm to the words. Paying tribute to the renovated theatre and its logo, the campaign’s catchphrases invite you to daydream with the ‘Save the Date’ poster campaign.

« Châtelet la tête dans les étoiles »
« Au Châtelet s’il-te-plait emmène moi ! »
« Châlalalalalala ! »
« Enchanté, vous le serez aussi »

This first verbal campaign has been complemented by a season launch that invites you to take flight. Teasing the reopening show, the poster depicts the flight of an acrobat from Elisabeth Streb’s company for the show Parade.

Communication that goes everywhere

Divided into 3 zones, the show posters also pay tribute to the ‘Châ-te-let’ logo. An area dedicated to the logo allows immediate identification of the theatre. A photographic visual sets the tone for the show advertised. Finally, the third banner relays all the practical information, using the colourful, geometric world of the graphic charter. These posters have been designed as interfaces, to be as flexible as possible for use on all media, whether printed or digital.

To accompany the reopening of the theatre and the message of accessibility, we created a limited edition featuring the management’s message of inclusion and sharing. Working with the editorial teams at Le Châtelet, we have designed a quarterly journal that we have named “Tchât”, a diminutive of the theatre’s name and a nod to the desire for dialogue with cultural audiences. It relays the theatre’s programme and events, in the same way as the traditional programme brochure, but in a more entertaining way. Graphéine is very proud to be working with the Théâtre Musical de Paris over the next few seasons, and to be taking up the challenge of reopening the theatre with a bang!