The launch of Makan, a Singaporean restaurant nestled in the vibrant culinary landscape of Mexico City, has drawn significant attention not only for its unique gastronomic fusion but also for its groundbreaking brand identity crafted by the Singapore-based design agency, Foreign Policy. Eschewing conventional approaches often associated with cross-cultural ventures, the branding for Makan, at first glance, presents a mosaic of elements—from chintzy rose motifs and a bright, dusky pink palette to multifarious wordmarks and seemingly haphazard, painterly decorative flourishes, alongside an approach to letter sizing that borders on the unconventional. However, what could have easily devolved into a chaotic or "terrible" aesthetic, according to initial observers, has instead emerged as a masterclass in sophisticated design, thanks to the deft hands of Foreign Policy, renowned for their work on projects such as Park Bench Deli, Project Send, and Critical Mass.
The Genesis of a Culinary Crossroads
Makan, a name derived from the Malay/Indonesian word for "eat" or "food," embodies a culinary and cultural dialogue between Singapore and Mexico. The restaurant is the brainchild of its founders, Mexican Mario Malváez and Singaporean Maryann Yong. Their paths converged in Singapore, where a shared vision for exploring Southeast Asian cuisine and extending its reach beyond geographical confines took root. This drive, as stated by Makan, was "to dive deeper into Southeast Asian cuisine and take their experience beyond borders." This bi-cultural partnership naturally led to a restaurant concept that marries the rich culinary traditions of both nations, creating a "weirdly seamless" integration of flavors and experiences in the heart of Mexico City.
Mexico City, a metropolis celebrated for its dynamic food scene and receptive palate, offered an ideal setting for Makan’s innovative concept. The decision to establish a Singaporean-Mexican fusion restaurant in such a diverse and competitive environment speaks to the founders’ ambition and belief in their unique offering. The restaurant aims to introduce the nuanced and often complex flavors of Singaporean cuisine, enriched by Southeast Asian influences, to a Mexican audience, while subtly integrating local elements. This ambitious undertaking required a brand identity that could authentically represent this intricate cultural blend without resorting to superficial tropes or clichés.
Foreign Policy’s Anti-Cliché Philosophy
The challenge of translating two distinct and rich cultures into a cohesive brand identity without "leaning on clichés," as Foreign Policy articulates, became the cornerstone of their design philosophy for Makan. The agency’s approach was defined by "translating culture… The identity begins with vernacular," a methodology that prioritizes authentic, everyday influences over generic or stereotyped visual signifiers. This commitment is particularly salient given that Foreign Policy itself hails from Singapore, providing an inherent understanding and a critical perspective on how Asian cultures are often misrepresented in global branding.
Historically, branding for "ethnic" or "fusion" restaurants has often fallen into predictable patterns, utilizing readily recognizable but frequently inaccurate or superficial symbols of the represented cultures. Think generic bamboo motifs, stylized dragons, or overly simplistic calligraphic elements that homogenize diverse traditions. Foreign Policy consciously steered clear of these "tried and tested, sad, boring, and frankly largely inaccurate visual signifiers of Asia." Instead, they embarked on a deep dive into the tangible, lived experiences of both Singaporean and Mexican daily life, drawing inspiration from the mundane and the magnificent alike. This involved a meticulous study of everyday objects, materials, colors, and patterns that form the backdrop of quotidian existence in both nations.
A Deep Dive into Vernacular Inspirations
The brand identity of Makan is a meticulously curated tapestry woven from subtle, yet profoundly specific, cultural influences. From Singapore, Foreign Policy drew inspiration from "utilitarian ceramics, shophouse typography, market packaging, traditional floral wedding trays, rooster bowls." These elements are deeply embedded in Singaporean heritage, representing functional beauty, historical architecture, bustling marketplaces, and enduring traditions. Shophouse typography, for instance, evokes the distinctive letterforms seen on the facades of traditional shophouses, a common architectural style in Southeast Asia that blends residential and commercial functions. Rooster bowls, a staple in hawker centers across Singapore, symbolize everyday dining and a connection to street food culture.
Mirroring this approach, Mexican influences were similarly drawn from the vernacular: "street markets, hand-painted signs, tiles, colour-blocked walls, domestic patterns, and the visual confidence of public space." These elements reflect Mexico’s vibrant urban and rural aesthetics, characterized by bold colors, artisanal craftsmanship, and a strong sense of community expression. Hand-painted signs, common in Mexican street markets and small businesses, embody a folk art tradition and a personal touch. Colour-blocked walls and decorative tiles are ubiquitous in Mexican architecture and design, contributing to the country’s distinctive visual flair. By focusing on these authentic, grassroots elements, Foreign Policy ensured that the Makan brand identity resonates with genuine cultural depth rather than superficial mimicry.
The agency’s overarching goal was to create a brand that is "grounded, specific, and legible — Singapore, spoken with a Mexican accent." This statement perfectly encapsulates the essence of the branding: a respectful and integrated dialogue between two cultures, where neither dominates but rather enriches the other, creating a unique third entity that is more than the sum of its parts.
The Vibrant Palette and Expressive Illustrations
The visual language of Makan is characterized by a "loud and proud" color palette that immediately commands attention. Vivid bubblegum pink, fire hydrant red, deep green-turquoise, and mustard yellow burst forth, reflecting the exuberance and energy inherent in both Singaporean and Mexican public spaces and cultural celebrations. This bold selection defies the often-muted or monochromatic trends in contemporary restaurant branding, opting instead for a celebratory and inviting chromatic experience. These colors are not merely decorative; they are strategically employed to evoke specific cultural associations and create a memorable visual impact that is both playful and sophisticated.
Complementing this vibrant palette is an expressive and versatile approach to illustration. The illustrations expand or contract depending on the specific touchpoint or application, demonstrating remarkable adaptability. Sometimes, they manifest as gentle yet defined linework, offering a delicate touch. At other times, they transform into painterly depictions, such as a proud rooster, a nod to the iconic rooster bowls found in Singaporean hawker culture and a symbol of good fortune in many Asian cultures. The illustrations can also adopt a more decorative and "pretty" style, a term often used pejoratively in design discourse but here intended in its purest, most positive sense. This versatility ensures that the brand remains dynamic and engaging across various mediums, from menus and packaging to interior décor and digital platforms.
A Symphony of Typography: Challenging Brand Conventions
Perhaps the most radical and intriguing aspect of Makan’s brand identity is its audacious approach to typography. Foreign Policy deliberately "eschews all inherited wisdom about any sort of singular, unifying brand mark." Instead of adhering to the conventional wisdom of a single brand font, Makan’s wordmarks and logos are set in a diverse array of typefaces and colorways, each distinct in style. This multitude of fonts, rather than diluting the identity, paradoxically strengthens it, illustrating how a strategically rigorous tone of voice can "transcend the inherited wisdom of using one logo, one brand font, and so on."
The roster of fonts employed is a testament to this maximalist yet controlled approach. It includes the venerable American Typewriter, a classic that brings a touch of vintage charm; Smiley Sans by Shanghai-based Atelier Anchor, which injects a contemporary, playful spirit; Moche from Toulouse and Paris-based foundry Pépite, contributing a unique European design sensibility; and the sublimely odd letterforms of Nanook, designed by Lucas Le Bihan, which add an element of quirky individuality. Adobe fonts such as Chippewa Falls and Baileywick Gothic are also featured, notably transforming their often-criticized aesthetics into surprisingly effective elements within Makan’s context. The original article notes the "masterstroke" in making these "universally vile" fonts "actually quite nice" and "somehow it works," underscoring Foreign Policy’s exceptional skill in typographic curation.
Completing this eclectic stable are the open-source font Junicode, TT Tricks Stencil by foundry TypeType, and crucially, Getai Grotesk. Designed by Sylvester Tan and released by the foundry Death of Typography, Getai Grotesk is a display typeface inspired by the unique calligraphic Chinese characters found in Getai (歌台) culture. Getai, a phenomenon unique to Singapore, is a form of popular, boisterous live street-show stage performance primarily held during the annual Hungry Ghost Festival. These performances, often featuring elaborate stage designs, flamboyant costumes, and distinctive hand-painted banners, offer a rich visual vocabulary. Incorporating a font directly inspired by this vibrant, ephemeral cultural tradition further grounds Makan’s identity in authentic Singaporean vernacular, demonstrating a profound understanding of its cultural roots.
The Art of Intentional Maximalism
The confluence of such diverse elements—a bold color palette, expressive illustrations, and a seemingly endless array of typefaces—could easily lead to a "cheap and tacky" outcome. Yet, Foreign Policy masterfully orchestrates these components into a coherent and "resolutely classy whole." The success lies in the intentionality behind every choice. This is not a case of "throwing everything at something and hoping for the best." Instead, the "colours are so thoughtfully paired, the illustrations so well placed, the typography combinations so skilful," resulting in an identity that is "totally gorgeous with it."
This approach stands in stark contrast to the often-depressing predictability of mass-produced, faux-artisanal branding that saturates the market. Unlike the "scripty serifs imploring us to live, love, and laugh" or the "faux-naïf stylings of some cafe in Dulwich luring in the lucrative gaggle of yummy mummies," Makan’s brand identity avoids being a "facsimile of everything that’s crafted by actual human hands." It resists the "depressingly predictable" and "patronising in their pretence of being something they absolutely are not." Instead, Makan’s branding is genuinely crafted, drawing from authentic sources to create something truly original and deeply resonant.
Broader Impact and Implications
The branding for Makan by Foreign Policy represents a significant paradigm shift in how cross-cultural culinary establishments can present themselves. It challenges conventional wisdom in brand design, particularly the dogma of singular brand consistency, by demonstrating that multiplicity, when expertly managed, can enhance rather than detract from brand strength. This "everything everywhere all at once" aesthetic is not chaotic but a carefully constructed maximalism that reflects the richness and complexity of the cultures it represents.
For the restaurant industry, Makan’s branding sets a new benchmark for authenticity and creative expression. In an increasingly globalized world where culinary fusion is common, the ability to translate cultural essence without resorting to stereotypes is invaluable. Makan’s success, both in its culinary offerings and its visual identity, likely contributes to its prominence in Mexico City’s competitive dining scene, attracting patrons who appreciate both gastronomic innovation and thoughtful design. This distinct visual identity helps Makan stand out, creating a memorable experience that extends beyond the plate.
Furthermore, Foreign Policy’s work serves as a powerful case study for the wider design community. It illustrates that true creativity often lies in challenging established norms and embracing complexity with strategic intent. By meticulously researching vernacular influences and daring to combine disparate design elements, the agency has not only created a compelling brand for Makan but has also provided a blueprint for how design can foster genuine cultural dialogue and appreciation. The meticulous attention to detail, from the selection of obscure typefaces to the thoughtful pairing of vibrant colors, underscores a commitment to depth and originality that elevates branding from mere commercial tool to a form of cultural expression.
In conclusion, Makan’s brand identity is more than just a collection of design elements; it is a meticulously crafted narrative that celebrates the seamless fusion of Singaporean and Mexican cultures. Through Foreign Policy’s visionary approach, it stands as a testament to how authentic cultural translation, executed with daring creativity and strategic precision, can create a brand that is both uniquely captivating and profoundly meaningful. It is a vibrant, sophisticated "Singapore, spoken with a Mexican accent," that redefines what cross-cultural branding can achieve.