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The controversial rebranding of $10 billion digital home rental company AirBnB was an internationally trending topic on Twitter for 12 hours after it was launched last year. In terms of social media, where the average tweet has a lifespan of 18 minutes, that kind of airplay for a seemingly innocuous company logo, is the equivalent of an eternity.
News of the logo, ungraciously compared to female body parts, which gave way to countless memes, wasn’t all bad for business. It also generated 170 million hits to its website Airbnb.com.

“I always knew from the minute we won the pitch that we were working on a very high profile job and that would gain a lot of attention when it was released,” UK-based creative director James Greenfield said. “It was also the first time one of the big Silicon Valley brands had performed a massive visual transformation that wasn’t completed by an internal team. We changed every aspect of the brand and inherently people are adverse to change.”
Greenfield, an internationally recognised digital and branding designer, is visiting Australia for the first time to discuss the AirBnB rebranding from start to finish. The presentation, which covers the brief through to completion, will be shared for the first time ever at this year’s Sex, Drugs & Helvetica design conference.
The popular annual conference for industry and creatives opens in Brisbane on September 5 and in Melbourne on September 11, where it began in 2011. A group of six handpicked national and international creatives, including Greenfield, will present a single design case study they have worked on, discussing the details from start to finish, without glossing over the setbacks or hiccups to provide a “warts and all” insight.
Greenfield’s presentation on AirBnB’s logo “Bélo” a symbol designed to capture a universal sense of “belonging” is already attracting significant interest after its 2014 launch attracted columns of editorial space and hundreds of online comments for its comparison to female genitalia.
“They’ve seen it have great success and it has been part of the push forward they are on as one of the world’s most valuable hospitality companies,” Greenfield says.
“Both trained as designers so they recognise the value of design and design thinking in what they do every day. I felt the company owned the conversation on social media and that to me is a testament to their faith in the rebrand.”
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The final result allowed Greenfield to realise a long-held ambition to launch his own creative studio, Koto, which comes from the Japanese for having an experience of a brand or object.
As a small team of 10 spread across four continents they’re able to respond and move quickly while being a lot more creative. He says it’s the experience and the emotional response to the world’s best products and ideas that inspires him.
“We’re working with some big global clients on some very interesting projects as well as some fascinating startups,” Greenfield says. “Working with company founders is incredibly satisfying and their energy is infectious. In these cases our thinking can have such a positive tangible effect on these young businesses that the reward is great to see.”
His ambition was to establish a “different” design conference, one that would provide attendees with practical advice and inspiration on how to resolve their own issues they might be facing.
He describes the first year as the “virgin of conferences” without show bags or water bottles for the sellout crowd of 200 attendees. He remembers distinctly turning up late as ticket holders queued to get in. It was entirely about the content.
Initially aimed at students the high calibre of almost 40 speakers and exclusive content has attracted a wide number of participants from Australia’s leading creative agencies.
“We wanted to do something more practical, so we reverse engineered the problem and thought about what it was we wanted the audience to walk out with,” Hallam says. “Ultimately it’s about getting ideas to apply to their business or career the very next day. Like most professions the end product is the result of a lot of barriers and hurdles. Industry professionals get a lot of praise for being amazing, and they are gifted creatives, but often people think they’ve never faced challenges and nothing bad ever happens to them.”
In addition to Greenfield, this year’s speakers include Cheryl Heller (US), Interbrand creative director Ben Miles, Eskimo founder Zoë Pollitt, Projects of Imagination founder Nick Cox and August co- founder Daniel Banik. Hallam says a lot of research goes into each presenter, who are not chosen because of their name or project but relevance and industry appeal.
In 2014 attendees were given a behind the scenes look at the new logo for outdoor brand Kathmandu and the $3 million rebranding of Telstra into a new, younger, identity, which had previously never been discussed from start to finish.
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Hallam says the Sex, Drugs & Helvetica blog, established to address industry issues and topics year round and help designers become better problem solvers, has been the subject of a 12-month experiment with significant resources spent on attracting writers, designer and artists to help publish significant new content. Despite the success of the conference the blog project would be scaled back due to the expense involved and nature of the space, with a new avenue for educating creatives and students a possible new outlet.
“We are interested in quality and it’s hard – and expensive – to produce a lot of stuff that’s of high quality,” he says. “I think on the whole we need more designers than less. Consumers want better looking, better feeling things and at the end of the day it’s designers that come up with that sort of thing. We need more designers than ever but we need to go back to teaching people how to think.”
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