Last year’s visual identity for the Karlovy Vary International Film Festival (KVIFF) rested on something deceptively simple: an embrace. This year, marking the festival’s double anniversary — its 60th edition, in the 80th year since its founding — the design team has rolled out a different image entirely: a red carpet, stretching out in invitation.
Jonatan Kuna, working alongside Aleš Najbrt of Prague-based design house Studio Najbrt, is the creative force behind this year’s look, which will turn up everywhere from festival merchandise to the streets of the picturesque Czech spa town during the event itself. When organizers unveiled the design, the duo described it in deliberately open terms: “The visual has been designed as simply as possible so that it might evoke various associations and interpretations while symbolizing the festival.”
THR caught up with Kuna and Najbrt to talk through the thinking — and the history — behind this year’s KVIFF identity.
This year’s visual identity for KVIFF is celebrating a double anniversary. What was the inspiration for the red carpet theme?
Kuna We were looking for a motif that would celebrate this year’s anniversary, and our inspiration came from what happens on the red carpet at festivals. We want this year’s festival to be not only for stars and filmmakers, but for all festival visitors and film lovers.
Last year, you had an embrace as a key feature or symbol of the identity. This year, the theme is more abstract. How do you choose between more abstract or more specific subjects, and do you try to switch things up for KVIFF from year to year?
Najbrt Yes. We always try to find a new theme or visual concept. It’s not important to us whether it’s an abstraction, graphic design, or photography. We’re inspired by various themes that don’t necessarily have to be directly connected to film. Sometimes it’s the setting of Karlovy Vary, where the festival takes place, other times it’s broader social themes.
Has there been a particularly difficult year when it came to creating a visual identity for the festival, and why was that year so challenging?
Najbrt It’s challenging every year, because we always start from scratch and don’t want to repeat ourselves, but rather come up with something new. I remember the 49th edition, when we turned the number 49 into a simple drawing of a little pig. The initial reactions were very negative, but during the festival, people began to understand the playfulness and humor, and it became one of the most popular ones.
How did your team choose the exact color of red to use in this year’s visual identity, and how the red would run — vertically versus horizontally?
Kuna We chose a warm red to capture the summer atmosphere of the festival. The red carpet is oriented vertically, so that it leads forward to the festival.
Is there anything else you would like to share about your work or Studio Najbrt’s work for the festival visual identity this year or in the past?
Najbrt What’s exceptional is that we’ve been working for the festival for more than 30 years and still have the trust of the festival’s leadership. This is also thanks to the fact that the authors are various graphic designers from our studio. We have a strong relationship with film, and that too is connected to our long-standing collaboration.
