Has it really been three years already since the world exploded into a furious rage over the release of Wolff Olins‘ logo for the 2012 London Olympics? Seems like it was only yesterday, doesn’t it? Now that there’s been some time between then and today, and that’s the sort of distance that tends to heal all wounds, the beloved Alice Rawsthorne decided this week to check back in with the 2012 logo, to see if it had aged into a kind of familiar acceptance. Unfortunately, she finds that not much has changed, that she and others like her, are still repelled by it. Although they’ve made some steps here and there, “evolving the design” as was explained when thousands of design writers called for the heads of Wolff Ollins’ employees, Rawsthorne still doesn’t feel any warmth toward the branding:
…I wish I could say that the London 2012 logo has grown on me, as the organizers predicted, but it hasn’t. Everyone else I’ve asked feels the same — designers and “civilians” alike. Far from being “ahead of its time,” it looks increasingly like the graphic equivalent of what we Brits scathingly call “dad dancing,” namely a middle-aged man who tries so hard to be cool on the dance floor that he fails.