A simple solution to a complex problem
Karl Gerstner's 1978 logo for Swissair.
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When Swissair introduced its modernist corporate identity programme in 1953 it was seen as significant achievement. Through the pioneering work of Rudolf Bircher, the airline was able to clearly express itself as a modern, resolute and dynamic airline visually through a cohesive design system, consistently applied to aircraft, vehicles, ground equipment, offices and advertising.
However, by 1978, air travel had significantly changed. Airlines had upgraded their fleets for the jet age and falling fares saw commercial air travel take off. The airline management felt that, to meet these cultural and technological shifts, it was necessary to update the airline’s values and image.
In the process of modernising their fleet and ahead of their upcoming 50th anniversary in 1981, Swissair commissioned Swiss designer Karl Gerstner to develop a fresh new livery for its aircraft. Gerstner went all in, presenting Swissair with a completely new visual identity and logo design.
Gerstner explored a number of ideas. These included warping the name to give the impression of flight; a reinterpretation of Bircher’s winged arrow; and an outward pointing cross.
Known for his simple solutions to complex problems, the final design proposed by Gerstner took something Swissair had always had, the Swiss cross, and emphasised it. Prior, the Swiss cross had featured on the tail-fins of all of Swissair’s fleet, rather than Bircher’s logo, which was positioned at the front.
By placing the Swiss Cross within a parallelogram Gerstner emphasised the national character of Swissair, its position as the nation’s flag carrier, and represented Switzerland more plainly than any other logo could do. Further, within a parallelogram the cross gained distinction, a dynamic character and, outside the context of the aircraft tail, connected all materials produced by the airline to the image of flight.
A series of tests were conducted around typographical perceptions (style, weight and typesetting) and measured these on a scale of one to twelve and between polarities:
Clear – Unclear
Progressive – Conservative
Hard – Gentle
Elegant – Commonplace
Original – Unoriginal
Exciting – Boring
The readily available and economical choice of Futura was well-favoured in these tests. It rated highly and was described as young, dynamic and self-assured. This was used as the airline’s display typeface and was applied from twelve point upwards. Times was then used for body text and type-only advertisements up to twelve point.
The colour red was an obvious choice for the national airline and flag carrier of Switzerland. Gerstner pushed the red away from what was known as ‘fire department red’ towards a 'pure, warm rich cinnabar’. Recounting this change, Gerstner noted that he didn’t have any trouble changing this as it was nuanced, and barely perceptible to many yet, when flooding the tail of the aircraft, appeared more active and modern.
Bert Diener, Manager of Corporate Identity at Swissair, was responsible for developing and working with Gerstner’s design, rolling this out across the many communications materials, ground equipment and throughout the international operations of the airline.
During a speech to airline staff ahead of Christmas 1978, the then President of the Swissair Board of Directors, Armin Baltensweiler (who initiated the image change and had followed its development closely), announced the implementation of the new visual identity. And from the 1st January 1979, Swissair advertisements, printed materials and publications appeared with the new logo, with the first aircraft, a DC-0-81, rolling into service with the new look in July.
The logo remains in use, in a slightly modified form, changed in 2002 when Swissair became Swiss International Airlines. The change saw the extending of the left lower point of the rhomboid to make the logo appear more like a tail fin.
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A simple solution to a complex problem: always the hardest to uncover. And the most enduring.