ADEX is a Canterbury-based civil infrastructure company known for its reliability, precision, and no-surprises approach to delivery. With new ownership, the business needed a brand that spoke to where it was heading, not where it had been — projecting capability, professionalism, and readiness for larger-scale work.

The ADEX identity is grounded in the concept of advancing forward while carving space with intent. At the centre sits the ‘X’ mark, a form that works independently or as part of a custom wordmark. Built from modular, block-like letterforms, it is designed to shift, stack, and adapt across applications.

Underpinned by the idea of 'Full Project Thinking', the identity reflects ADEX’s integrated approach — bringing people, services, and decisions together into one clear, coordinated system.

Flexible by design, the identity expands and contracts across formats while maintaining clarity and control. Confident and scalable, it reflects ADEX’s capability on the ground and its ambition to grow beyond it.

Few brands carry the weight of the All Blacks — and the jersey that carries their legacy.

Since 2007, we’ve had the privilege of working alongside the team, beginning in the lead-up to the Rugby World Cup. Through our long-standing relationship with mental skills coach — and later All Blacks Manager — Gilbert Enoka, we were asked to create something special for every new cap.

The result was a personalised book presented at the Captain’s Run. Inside were the stories behind the jersey — the history of the haka, reflections from past campaigns, and insights from All Blacks greats.

More than a welcome, it’s a reminder of what the jersey represents: excellence, humility, and the responsibility to leave it in a better place than you found it.

To raise funds beyond the concert hall, CSO teamed up with KJ & Co Distillery to create Twisted Notes — a small-batch gin inspired by the orchestra’s creative spirit.

Our bold, high-impact packaging used expressive letterforms and vibrant colour to echo the energy of the brand. The result? Unmistakably CSO — classic, but with a twist.

Only 400 bottles were produced, and with our help (mainly design but also consumption) they disappeared quickly. A run that became both a collector’s item and a spirited reminder that CSO’s influence travels well beyond the stage.

After 15 years overseas, James Fahey returned to a Christchurch building market crowded with sameness. James wanted a brand that reflected the way he works — equally at home on finely detailed jobs or large architectural builds.

We created a clean, architectural identity with a graphic system that hinted at both ends of the scale, signalling one builder capable of handling the whole journey.

The result? A steady waitlist, strong industry respect, and a modern brand architects and homeowners trust.

Craigmore Sustainables needed a sustainability report that matched the scale of its ambitions. The catch? It had to work within an existing brand platform that was starting to feel a little dated.

We sharpened the visual language, giving it a clearer focus on sustainability and innovation while turning the existing elements into a more confident, elegant framework. The result was a report built to speak directly to Craigmore’s investor community — capturing the company’s values, experience, and the results it delivers.

We also set a new design benchmark for the business, one that has guided Craigmore’s communications ever since.

Tāwhaki National Aerospace Centre was the world’s first indigenous-led aerospace initiative. Our job was to bring the brand to life across everything from RFPs and industry events to on-site wayfinding, while keeping its partnership with mana whenua front and centre.

Building on the existing logo developed by renowned master carver Fayne Robinson (Ngāi Tahu) we developed a brand system inspired by the surrounding landscape that carried the spirit of the carving through every touchpoint.

The result: a distinctive identity that positions Tāwhaki as a world-class aerospace centre with an indigenous heart.

Pacific Radiology came to us with a brand and website that was all too complicated. Our job was to simplify it — without losing the scale of the operation behind it.

What began with a recruitment campaign and international photoshoot to attract specialist talent soon expanded into a full digital overhaul. We rebuilt the site from the ground up, creating a robust framework capable of supporting 47 clinics, 100+ radiologists, secure patient results, and a nationwide booking system.

The result: a clear, unified platform that makes complex healthcare easier to navigate — for patients, clinicians, and staff alike.

The Child Well-being Research Institute asked us to bring together multiple voices and a large body of research into a single annual report for the Prime Minister and Children’s Commissioner.

We approached it as something more considered than a typical report. Drawing on the traditions of harakeke weaving, we built the design around a handcrafted binding created by master weaver Paula Rigby. Bound with harakeke, pounamu and shell, the binding informed the colour palette, textures and visual language throughout the publication. Feather motifs reference the korowai that wraps around our most precious taonga — our tamariki.

The result is a carefully crafted publication that carries the institute’s thinking with the care and respect it deserves.

Te Rūnanga o Ngāi Tahu needed a clear, cohesive identity to replace years of ad hoc creative. We refined the brand, refreshed Tahu FM, and created assets from roadshow collateral to the national mosque memorial symbol. The result is a cohesive, authentic identity that connects Ngāi Tahu people wherever they call home and speaks to whānau with warmth and unity.

Choir’s work with Balvonie — Scottish for 'farm in the foothills' — began with a sentimental brief for a family wine rooted in Scottish heritage. As we spent time with the third-generation McLauchlan clan in Marlborough, it became clear that sustainability and guardianship of the land sit at the heart of the venture. Today the farm produces beef and wine — including Marlborough’s only prosecco.

To capture those generational ties, we created a timeless marque built from a single, continuous Celtic knot — a simple symbol of unity, land and lineage.

As industries search for more sustainable, ethical materials, wool is stepping back into the spotlight. From carpets and filtration to cosmetics, insulation and printing, wool’s properties make it an almost limitless resource.

From the ground up, we developed the name, brand identity and messaging, along with a website designed to engage its communities and markets. A simple typographic treatment carries the idea of transformation and sustainability, with the double “oo” forming an infinity symbol — a nod to wool’s enduring, versatile and boundless potential.

New Zealand’s clean, green reputation is all well and good, but the reality is that each Kiwi generates around 3,200kg of waste a year — and only about 28% was being recycled.

Changing behaviour at that scale requires clear communication, visible problems and practical actions. A behemoth task — especially for an organisation whose brand had lost focus.

Which is where we came in. We refreshed the identity and built clear, practical brand guidelines spanning website, social and communications. Campaigns like 'Humans of EcoCentral' helped humanise the message and connect with communities.

We tidied up the brand, so they could help tidy the up planet.

Breaking away from a global parent, Oxford Edge needed a brand that felt distinctly local. Not just another accounting firm, but a connected, collaborative team offering deeper commercial insight.

We developed the name, strategy and brand platform to reflect that shift — grounding the business in Canterbury while signalling a move beyond traditional accountancy into business intelligence and advisory.

The result: stronger client trust, more high-value advisory work, and a brand that clearly signals Oxford Edge’s specialist edge.

ShapeShifter began with a deceptively simple question: how do you pack garment patterns more efficiently to reduce fabric waste and control costs? The answer lies in complex, deeply unfashionable mathematics. Their software computes optimal cutting plans in a fraction of the time, helping global fashion manufacturers use fabric far more efficiently.

We started working with ShapeShifter when it was a small, home-based operation. As the company grew into a multimillion-dollar international business, we evolved the brand to match — refining the identity, imagery and video to reflect the precision and scale of the technology behind it.

Today ShapeShifter is trusted by global brands like Nike and Calvin Klein — with a brand that reflects the efficiency and intelligence at the heart of its software.

In 1988, I got a tennis racket for xmas. I couldn’t stop looking at it in admiration and wonder on the car ride home from my aunt’s place. It’s the same with this design. 1988 all over again."

Dr Hamish Dean
Founder & CEO

The New Zealand Bird Atlas is the country’s largest citizen-science project, with thousands of everyday observers contributing to a living map of Aotearoa’s birds. More than 3,200 grid squares. One checklist per habitat. A five-year effort built on collective participation — data gathered by community, for conservation.

We created a small identity for a nationwide movement. The logo merges avian form with the geometry of a map pin, with wing and beak sharing a single recognisable shape — a symbol of tracking, discovery and place. Inspired by some of Aotearoa’s more elusive birds, the silhouette belongs to no single species, leaving room for every endemic bird within it.

Designed to sit confidently alongside established conservation organisations while remaining accessible to the volunteers who power the project, the identity connects data, community and conservation — reflecting the shared responsibility of caring for Aotearoa’s birds.

Axiom trains the people who keep industry moving — from first-time forklift operators to large corporate teams. The problem was their old brand spoke convincingly to neither.

We created the new name, identity and messaging, then built a course-booking website capable of handling multiple locations, pricing tiers and account customers.

The result is a confident, industry-ready brand designed for real-world learners — and the companies that depend on them.

Ngāi Tahu identified a need to reconnect with whānau living beyond the region, developing the concept of a travelling roadshow across Australia and the North Island. Our role was to bring this to life through a cohesive brand and experience that could carry a sense of home wherever it landed.

Built around the theme 'Ka Tū Te Tītī', the wandering muttonbird that always returns home, the experience celebrated identity, roots and belonging. The brand centred on an illustrated tītī created by Murihiku artist James York, developed with the Choir team, and supported by a narrative supplied by Ngāi Tahu about journeys away and the pull of home.

Designed to move easily from venue to venue, the exhibition combined digital storytelling with physical displays, merchandise and activities for all ages.

Less a corporate event, more a travelling reminder of where you come from — and that home is never far away. 

ANZCO needed a premium identity for its top-of-the-line, grass-fed beef range — something that would feel at home on the country’s best tables.

Drawing inspiration from the textures and forms of pounamu and river stones, we developed a series of organic shapes and layered marks that became the foundation of the brand’s visual system. A deep, considered green paired with elegant typography signalled rarity, care and craftsmanship — reinforcing the sense of a product that is carefully selected and confidently presented.

Photography played a central role. Working with local talent, we created imagery and recipes designed for chefs and discerning food lovers — compositions that celebrate the product as much as the plates it inspires.

The result is a refined, high-end brand that positions Greenstone Creek as ANZCO’s flagship expression of quality.

In 2012, renowned architect Sir Miles Warren gifted Ōhinetahi House & Garden to the nation. Set above Governors Bay, just 20 minutes from Christchurch, the estate is internationally recognised for its art collection, sculptures, architecture and magnificent 1.25 hectares of gardens.

We developed the identity and brand system, along with the website, garden maps, sculpture markers and supporting collateral. Over the years we’ve also overseen extensive photography and are currently developing two on-site galleries.

The brand takes its cues from the historic house, built between 1863 and 1867, with patterns inspired by mid-to-late Victorian floral design. Rich, detailed motifs reflect the period while ensuring the experience still feels considered and contemporary.

More than a project, it has been a long-standing partnership with Sir Miles Warren and his family — over a decade supporting the garden, its events and communications, and helping share this remarkable place with the wider world.

ChristchurchNZ promotes the city as a place to live, work and play, and we partnered with them across a wide range of projects designed to showcase the city’s energy and ambition. Work included SailGP, cricket tournaments, mountain biking and the NZ Suffrage 125 Lantern Festival.

Alongside these initiatives, we developed a campaign encouraging locals to rediscover their central city — to imagine, explore and discover what’s next.

The platform invited residents back to wine, dine, shop and experience a city that is constantly evolving. Built to support ongoing activations, the platform helped reconnect locals with a central city that continues to evolve.

One of Choir’s greatest honours has been working with the Taiko Trust, whose work to protect and restore the natural environment includes safeguarding one of the world’s rarest seabirds — the Chatham Island Taiko.

Our response was an identity shaped by the bird itself.

The mark takes its shape from flight. Sweeping curves trace the Taiko mid-air — recognisable, but softened into something more emotive than literal. The bird’s habitat is woven quietly into the identity too, with lines drawn from the rolling cliffs and ocean swells of Rēkohu / Wharekauri, the Chatham Islands.

This project was an absolute privilege to work on — the kind of brief that reminds you why design matters, supporting people doing genuinely valuable work.