U/1ST
U/1ST was created with the purpose of developing a makeup line whose properties and ingredients care for the skin, going beyond a purely aesthetic approach.
The products are designed for active, confident, and straightforward individuals who seek practical and realistic solutions. The logo, overflowing beyond the edges of the boxes, reflects this personality: powerful, even challenging. This attitude is evident not only in the packaging design but also in the brand’s presence across the web, social media, and all visual communication.
The logo is set in a sans-serif typeface that complements the advanced technology behind the products. It is presented in black on white, as the strong contrast enhances its visual impact and sets the brand apart from more conventional solutions, which often rely heavily on colour, particularly in competitors’ packaging.
A bespoke typographic system was also developed, combining a sans-serif typeface—suggestive of technology and modernity—with a serif typeface that feels closer to the world of beauty. This combination establishes hierarchy and guides the reading of the messages.
In the box design, two sides feature an oversized logo, while the other two carry the product descriptor and additional information. This structure allows the brand to choose which side faces the shelf: the most eye-catching and emotional, the more informative, or a balance of both.
Photography: L&C, Ernesto Sampons, Daniel Molina, Estudio Catorze
Massimo Dutti Blooming
With Blooming, the brand set out to create a new fragrance family with its own distinctive codes, opening the door to a slightly more daring olfactory world and elevating the image of perfumery—particularly at the point of sale.
This family of women’s fragrances is based on floral notes, which inspired the name of the collection. The client’s brief called for a warm visual identity, with amber as the main colour and an elegant, timeless aesthetic. The semi-sphere—or semi-circle—used as a floral icon is the geometric form that structures the entire packaging.
We chose a bottle with rounded shoulders and designed a bespoke stopper specifically for it. The distinctive feature of the container’s silhouette lies in the inverted curves of both the bottle’s shoulders and the stopper. A black tube adds a unique touch while echoing the colour of the stopper. The box is encased in a sleeve that features, on its lower section, a die-cut reproducing the characteristic semicircular shape of the design.
Nivea Deo Stick
In 2018, Nivea approached Lavernia & Cienfuegos with an ambitious 3D design project. The objective was twofold:
- 1. Defining a coherent packaging design language
When the brand first contacted us, it had identified that its packaging lacked a unified language capable of reflecting Nivea’s DNA. We analysed the brand’s history and values and developed a coherent formal language that would allow future packaging to be immediately recognisable as Nivea—even without applied logos or graphics. This process involved an in-depth study of three-dimensional form, its expressive potential, and its ability to convey both product and brand identity.
- 2. Establishing visual codes and resources for different audiences
In parallel, we established specific design codes and tools for packaging aimed at different audiences: unisex, family, male, and female, while maintaining consistency with the newly defined design language.
With this foundation in place, Nivea commissioned us to develop a wide range of packaging formats, including deodorants (stick, spray, and roll-on), shower gel bottles, men’s products (jars and bottles), and the redesign of the brand’s iconic body lotion bottle, among others.
The project was carried out over nearly six years and involved close collaboration with the marketing team, as well as other key departments such as category managers (body, face, shower, etc.) and the internal packaging team.
The first product launched as a result of this work was the stick deodorant. Its main challenge was to reduce plastic use by 30% compared to previous models. The design sought to convey softness and effectiveness while maintaining a unisex language, as it is intended for both male and female audiences.
La Perla
One of the defining attractions of El Capricho—and undoubtedly the source of its unique character—is that it is an author’s work. All its products, activities, and daily life are permeated by the presence and involvement of its creators: today José Gordón; before him, his father; and originally, his grandfather, Segundo. They are the ones who excavated the cave that now houses the restaurant, who buy and care for the oxen, who planted the vines, and who make the wine. Everything is intertwined with their experiences, their emotions, and their passion for what the land provides—for authenticity.
This wine is made from grapes grown in the highest vineyard planted by the grandfather. It was José’s father, deeply enamoured with this wine, who gave it its name by writing on the barrel: La Perla.
The packaging of El Capricho can only serve as a showcase for this increasingly rare quality of authorship, personal effort, and authenticity. Everything else is superfluous.
Massimo Dutti 1985
Massimo Dutti has launched a new men’s fragrance, 1985, named after the year the company was founded. The aim was to create a contemporary, youthful, and fresh scent while preserving the sense of elegance that defines the brand.
For the secondary packaging, we adopted the concept of a book, so that its in-store display resembles a library. For this reason, the information appears on one of the sides, which functions as a spine. To enhance the perception of quality, the box is wrapped in a textile-like paper and features black stamping for the brand name. In addition, a fabric ribbon facilitates the extraction of the bottle, which also carries a label on one side.
Edit (036)
- 1. Concept
Two design approaches converge in Edit 036: on the one hand, the concept of customisation—the possibility for the user to participate directly in the final configuration of the object; and on the other, the incorporation of the emotional dimension as a fundamental part of the relationship between object and user.
Postmodern design criticised the International Style for its coldness and its uncompromising focus on functionality and production, on the strict values of use and exchange. In response, it brought to the forefront the communicative value of objects—what Jean Baudrillard described as sign value: the ability of an object to represent us, to speak about us, and to convey our lifestyle. Not only outwardly, towards others, but also inwardly, to ourselves—establishing an emotional bond between the object (in this case, the packaging) and the user that transcends pure functionality.
Edit 036 combines industrial techniques with artisanal processes. This approach is increasingly relevant today, as it has a direct impact on product sustainability. At the same time, it is becoming ever more prevalent in the world of luxury goods, where the excellence and exclusivity of artisanal production—rooted in tradition, uniqueness, and the warmth of handmade objects—are especially valued.
- 2. Approach
Edit 036 is built around two modular elements, both designed under rigorous sustainability criteria: a specially designed central glass piece, available in five different finishes; and a second element that functions both as the cap and as the base of the bottle. This latter component is offered in six different geometries—hence the name Edit 036, as it allows for 36 possible combinations of cap and base.
Each of these components is available in five materials, each presented in three different finishes, enabling the user to create their own bottle by selecting the desired glass model, cap, and base. In total, this system offers 40,500 possible combinations.
The bottle features a label with perfume information and the logo, and is presented in a rigid, lined box that closes with a customisable label. The customisation process takes place through a dedicated website, where users can view and select the different characteristics of each component, actively participating in the creation of their final product.