When designing the typeface, Caciotti experimented to create letters ‘as a metaphor for individuals within society.’ To do so, she imagined capturing two opposing attitudes inside one typeface; one that adapts to societal expectations, while the other refuses to conform. She notes: 'The decision to design a font family is a conscious one. One that acts against the limiting logics and discriminants of gender binaries.’
Reflecting on her hopes for the future of the design sector, Caciotti says: ‘It’s deeply important that we change the way we approach typefaces, as these outdated tropes divide people into two specific and very opposite groups.’ She also explains that flipping the script isn’t the answer either. ‘Designing a font that simply and only flips the typical associations means adopting the corrupted perspective of the stereotype itself: if you’re not pink, you’re blue and vice versa. But what if you feel purple?’
As we shift into a society that shuns traditional gender roles, and with it, gender tropes, the creative industry will need to rewrite outdated design processes. Brands and designers need to ask themselves why they are attaching the physical attributes of gender to branding, colour, architecture and advertising. Instead, the creative sector must step up to create truly representational products and messaging that reflects diverse global communities. Visual communications have long been used as a tool to shape our social narratives, making it the perfect stage to advocate gender equality.
Beatrice Caciotti is an art director and web designer specialising in typography and collage.
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