Margiela Serif: A New Interpretation of the Iconic Typeface
Breathing New Life into Tradition. Maison Margiela remains at the forefront of luxury fashion, deeply rooted in a rich heritage of artisanal craft. As the Maison began refreshing its digital ecosystem, their approach to typography became a real focus.
Key to the vision was a typographic evolution and reinvention of the classic Goudy Old Style typeface. This case study delves deeper into the process of transforming Maison Margiela’s digital presence while staying true to the essence of the house.
Reimagining Tradition in the Digital Age.
Maison Margiela’s visual identity is as illusive as it is iconic. The goal was to modernise the timeless Goudy Old Style typeface while preserving its legacy. Magic as a Service in collaboration with Maison Margiela, took on the challenge to evolve the typeface for the digital era.
Designed by Frederic W. Goudy in 1915, Goudy Old Style was inspired by Renaissance letterforms. It was born in a period when craftsmanship and attention to detail ruled. Unlike the rigid geometric typefaces of the modernist movement, Goudy Old Style became known for its warm, humanist qualities, with soft curves and distinctive serifs.
A self-taught type designer, Frederic Goudy created Goudy Old Style when typography was changing from the ornate designs of the 19th century to the more simplified form that would dominate the 20th century.
“When a type design is good it is not because each individual letter of the alphabet is perfect in form, but because there is a feeling of harmony and unbroken rhythm that runs through the whole design, each letter kin to every other and to all.”Frederic W. Goudy
The 20th Century
The typeface became very popular and was celebrated for being readable while balancing tradition with sophistication. Instances of the typeface appeared across all forms of media, from title sequences in films to books, magazines and corporate advertising.
Goudy Old Style
Martin Margiela Era
Maison Margiela’s relationship with Goudy Old Style dates back to the early days of the house when it first used the typeface as part of its visual identity. Founded by Martin Margiela, the brand’s codes combined deconstruction with minimalism in a subversive approach to fashion. Goudy Old Style, with its blend of classical modernism, was the perfect contrast for Martin Margiela’s approach inside the house.
The typeface appeared on everything from clothing labels to storefront signs. As Margiela’s influence grew, so too did the association between Goudy Old Style and the Maison, with the typeface becoming as much a part of the brand’s DNA as its signature white stitches.
“Over time Goudy Old Style became ingrained in the visual language of Margiela. It was this deep connection to the brand’s history that made the task of modernising the typeface an opportunity to honour the past while adapting to the future.”Stefan Endress, Magic as a Service™
Deconstruction
The journey began with a deep dive into the anatomy of Goudy Old Style. Each letter was pulled apart in a series of remote workshops. The goal was to understand every curve, every serif, and every detail that made Goudy Old Style what it was.
The design team consisting of Stefan Endress, Andreas Faust, and Andreas Pappamikail (who worked at Maison Margiela at the time) worked through countless iterations, adjusting axes, refining curves, and rethinking proportions. The lowercase “a” for example, went through several rounds of refinement to ensure that it retained the warmth and character of the original while gaining a fresh, modern edge. The process was about giving new life to each letter, making it more suitable for today’s digital interfaces without losing its soul or heritage.
“We focused on what makes Maison Margiela’s use of Goudy Old Style unique and elevated the elements that have become synonymous with the brand. The ear of the G or the foot of L, for example, are key features that had to be treated with care and attention to detail ”Andreas Faust, Dream Type
A Typeface Reborn
The result was a new and unique interpretation of Goudy Old Style titled Margiela Serif.
Key Features
OpenType and Variable Font
The typeface incorporates OpenType and Variable Font features, allowing for adaptability across different platforms and devices. This ensures that Margiela’s typography is aesthetically pleasing and highly functional.
Refined Metrics
All core metrics were revisited and refreshed to enhance readability and display performance. This was crucial for ensuring that the typeface could perform effectively across digital screens.
Maintaining the Essence of Margiela
Every detail was carefully considered to ensure that the modernised typeface still felt distinctly Margiela.
Process Q&A
I (BM) sat down with Andreas Faust (AF), lead type designer on the project and all-round Type Wizard and Lead Engineer of Dreamtype™. We discussed the process and decision-making behind each letterform. For Andreas, the process was about respecting the heritage of Goudy Old Style while reshaping its form to work both for the Maison and the digital world.
BM: What are you thinking when you approach this kind of process?
AF: We kept asking ourselves – What makes this typeface Goudy Old Style?’ It wasn’t about simply replicating the old, but really understanding the DNA of the type. That way, we could evolve it without losing its heart.
BM: How did the team decide what to keep and what to change?
AF: We approached each letter like a sculpture. We didn’t want to alter the core essence of Goudy Old Style, like its soft curves or humanist proportions. The challenge was to enhance the typeface for a digital medium without losing its warmth or elegance.
BM: What is your focus when modernising a typeface?
AF: We kept asking ourselves – What makes this typeface Goudy Old Style? It wasn’t about simply replicating the old, but really understanding the DNA of the type. That way, we could evolve it without losing its heart.
BM: Did OpenType and variable font technology play a role in the process?
AF: OpenType is a game-changer. It allowed us to embed alternate characters and features that give designers more flexibility when using the typeface. With Variable Fonts, you’re not just working with one static design anymore; you can adjust weight, width, and other characteristics on the fly. This makes it far more adaptable to digital media without compromising on the elegance and sophistication of the original.
BM: Can you tell us about the refinement stage of the journey?
AF: The lowercase ‘g’ was a journey of its own. It had to feel like it belonged in the Goudy Old Style family, but at the same time, it needed a certain sharpness for digital clarity. That was where the craft came in, knowing when we’d achieved the right balance between heritage and modernity.
BM: What tells you something is done, and it's time to move on?
AF: There’s this moment when you look at a letter, and it just clicks. The lowercase ‘a’ went through multiple iterations, and when we finally got it right, it had this warmth and freshness while still feeling rooted in the original design.
BM: How did you pay homage to the House during the process?
AF: The goal was to make sure the typeface still felt like Margiela. We didn’t want to strip away too much of its history in favour of modernity. There were specific details—like the foot of the ‘L’ or the ear of the ‘G’—that are small but critical elements to Margiela’s identity. We handled those with a lot of care.
Unifying the Margiela experience
The success of Margiela Serif lies in its application. The typeface plays a pivotal role in ensuring a cohesive and immersive experience, from the flagship website to Lookbooks, Blockchain experiences and beyond.
A New Chapter
The rebirth of Goudy Old Style as Margiela Serif is a testament to the power of typeface design in shaping brand identity. With the right balance of respect for the past and vision for the future, this process proves that even the most iconic elements can be reborn.
Production and Licensing
Design & Engineering
Stefan Endress, Andreas Faust
Creative & Production Support
Andreas Pappamikail & Robert Horn
