The Gown and the Shipwreck (Dutch: De Jurk en het Scheepswrak) tells the story of a remarkable 17th-century dress discovered in the Palmhoutwrak, or Palmwood shipwreck, off the coast of Texel. The wreck lies in the Burgzand Noord area of the Wadden Sea, where strong currents and low visibility make diving challenging. Since its illegal retrieval in 2014 by amateur divers, the dress has attracted global attention, symbolizing both the allure and the controversy surrounding underwater archaeological treasures.

The project is multi-faceted, including a three-part documentary, a podcast series, and an interactive website where visitors can explore a virtual reconstruction of the wreck. The design of the project draws inspiration from the natural transformations objects undergo underwater, such as erosion and corrosion, which lend them authenticity and a sense of history. Even the variable font used for the project reflects this process of change over time.

To design this project, Superaarde used the typefaces Exposure (Federico Parra Barrios, 205TF) and Sharp Grotesk (Sharp Type).

Holise and Inter in use for the brand identity of Exrcst.

Description of the project by Adelt:

Exrcst is a handcrafted clothing brand built on the idea of personal freedom and sensuality. It rejects standards and boundaries, giving you the freedom to decide what to reveal — and what to keep hidden. Here, clothing isn’t just worn – it’s felt. It becomes an extension of the body, of mood, of presence. Exrcst doesn’t need to be found. It’s simply recognized – not by labels, but by instinct.

The book Worth. Inventer la haute couture, published to coincide with the eponymous exhibition, was presented at Petit Palais in Paris from 7th May to 7th September 2025.

From Boutiques de Musées:

The exhibition is devoted to Charles Frederick Worth, founder of a haute couture house that quickly became a symbol of Parisian luxury and a key figure in the fashion world. Over 400 works (paintings, clothes, objects and accessories) are presented.

The book is typeset in Lexicon No.1 by Bram de Does and Antique Legacy by François Rappo.

Clément Le Tulle-Neyret designed a lettering for the cover and interior based on a perfume box designed by La Maison Worth, and handled graphic design and book production.

Dolly Parton: Behind the Seams celebrates the country music legend’s “passion for fashion” and provides an inside look at her distinctive fashion style. The tome features 450 photographs and includes items from Parton’s private costume archive.

Designed by Annie Marino, the book’s design and typography translates these rhinestones and floral patterns into graphic form. It is primarily set in Commercial Type’s Canela, designed by Miguel Reyes. Ilham Herry’s Caniste and EFCO Songster are beautifully set on the bright pink cover and title page.

And I am thrilled to see Crayonette DJR (my revival of the 1889 typeface Crayonette) used throughout the book as an accent typeface. Its ornate and whimsical design are a perfect fit for the subject matter, and it echoes Parton’s previous use of Crayonette’s older cousin, Crayon, on her 1990 album Home for Christmas.

Many thanks to Dana Chen for alerting me to this use and for taking these photographs.

Japanese brand Things That Matter has just launched, but there is already a number of lookbooks in their socials. The brand picked Base&Bloom by NaumType for the logo. It is shown on trouser waistbands and elastic ribbons.

From Bullock Museum’s website:

Hilos de Tradición: Dresses of Mexico is a collaborative exhibition with the Brownsville Historical Association that presents Mexican textiles as living traditions with roots that can be traced back thousands of years to the earliest peoples in Mesoamerica. The tools, patterns, materials, and techniques of crafting these textiles have evolved over the centuries. European influences and modernization have contributed to these changes. But the common thread in all of the textiles is the link they represent between Mexico’s past and present.

The original vinyl LP cover

Private Dancer is a 1984 album from singer Tina Turner, her fifth solo album after leaving the Ike & Tina Turner duo. The album is credited with launching her to solo stardom, and produced hits like the title track and “What’s Love Got To Do With It”. It was selected by the Library of Congress in 2020 for preservation in the National Recording Registry.

While the cover images of the original vinyl LP and CD releases were significantly different, they both featured similar typography, with the exclusive use of Onyx, with a mix of roman and oblique for “Tina”. This typographical identity was carried over to posters, advertisements, single covers, tour booklets, and other contemporary materials. The track listing on the back cover was also set in Onyx.

Tina Turner died last week, aged 83.

[More info at Discogs]

Vinyl LP insert with lyrics

Vinyl LP back cover

The original CD cover

Double page from the CD booklet, with lyrics

Back cover of the CD

Print advertisement, with headline in oblique Univers Ultra Condensed and copy in Univers Condensed Oblique

Poster

45 sleeve for the “Private Dancer” single, b/w “Nutbush City Limits”

1985 souvenir program for the Private Dancer tour, with “Private Dancer Tour 1985” set in Univers Ultra Condensed.

Lunar Grace rents out dresses and other garments for photoshoots and other events. It offers a variety of unique and inclusive designs at an affordable fee while refreshing their clients in body & spirit through the customer experience.

The brand strategy, brand identity, catalogue, and website design is by Adrienn White, using La Mango as the primary typeface. For the logo, the typeface is used with its alternate swash g and an ra ligature, and some modifications made to L and g. It’s supported by Quiche which is mostly used in all caps. The website additionally uses Montserrat.

As Lunar Grace is committed to providing a truly unparalleled experience for their customers by offering a curated selection of luxury, one-of-a-kind, and size-inclusive designer garments, it was essential for us to distinguish them from other traditional clothing rental companies. In order to truly embody the inclusive spirit of their brand, we strived to seamlessly blend the elevated, luxurious vibes with approachability through their brand strategy and messaging.

We drew inspiration from their new brand positioning that focused on the unique selling point of their clothes:

For all women, no matter their shape or size, Lunar Grace is a dress rental salon offering inclusive, handmade designer clothes that float in a breeze, fly with you as you move, and - unlike traditional formal dresses – set you free from any boundaries.

We aimed for an elevated and timeless look while maintaining an effortless, carefree, and playful vibe, just like their clothes.

In 2018, a typographic dress, decorated with characters of TilburgsAns, was designed by Paul Urbanus (execution by Jeanne’s Self Making) for local musical Tilburgse Revue. In 2021, this unique dress is exhibited as part of an ‘art walk’ event.

The crew of Tilburgse Revue, with the dress worn by actress Hind Hakki.

For Love & Lemons is a Los Angeles fashion brand. The website typography brings together IvyMode (The Ivy Foundry) for headlines and banners with Untitled Sans (Klim) for text, menus, and other smaller elements.

Founded in 2011 by best friends Laura Hall and Gillian Rose Kern, For Love & Lemons was cultivated on the principles of confidence, femininity and individuality. It is for the woman unafraid to take risks, forge her own way and embrace a bit of adventure. Now offering five lines including Ready-to-Wear, Lingerie, Knitwear, SWIM and Lil’ Lemons (for our stylish little ones), it is our mission to design clothes that inspire women to embrace their uniqueness in all aspects of life.

Shayne is a size inclusive luxury dress brand focused on adaptability and flexibility. The website pairs Beausite Grand and Fit.

Dolce & Gabbana's "Amalfi" dress belongs to the Spring Collection of 2016. The background image comes from a tourist postcard, complete with the text printed in the Brush Script typeface designed by Robert E. Smith.