Lisbon, translated for the Gulf.
A complete brand world for a pastéis de nata house — crest, azulejo tile system, a full take-away packaging range from single-serve to 49-piece gift drawer, plus uniforms, stationery, RTD cans and in-store graphics.
Portuguese custard tarts arrive in the region with no visual shorthand. The brand had to feel authentically Lisbon while reading naturally in Arabic, across counters in Lisbon, Riyadh and Cairo.
One crest, one navy, one amber, and an azulejo tile band that behaves like a signature — vertical on bags, horizontal on boxes, floor-to-ceiling on walls. Portuguese greetings and a Fernando Pessoa line carry the voice bilingually.
A range where every format, from a sugar sachet to a 49-piece drawer box, is recognisable from two metres and rewards a closer read in hand.
Seven hot-cup variants carrying Portuguese greetings — Cómo Estás, Olá, Bom Dia — each paired with a small line illustration so the cup reads as a phrase, not a logo repeated seven times.
Stacked in service, the tile band lines up across cups into a continuous ornament strip — the detail that makes a counter look designed rather than branded.
The smallest box in the range, engineered with a die-cut ring so a coffee cup seats directly into the lid — one hand carries pastry and drink together. A Fernando Pessoa line runs bilingually along the side.
Mid-size sleeve artwork with the tile band framing top and bottom, a QR panel on the back and the Arabic tagline set as the hero — the everyday take-away unit of the range.
The gifting tier: a navy-spined drawer box with a ribbon pull, scaling across three counts without redrawing the artwork — only the tile band lengthens.
Inside the lid, a single bilingual line and a thin tile rule — the only ink on an otherwise white interior, so the pastries stay the loudest thing in the box.
Navy apron with the crest at chest height and the Arabic tagline low on the skirt, paired with plain tees carrying a single tile strip at the back neck.
Worn, the crest sits exactly where a guest looks across the counter — the mark reads at conversation distance without needing scale.
In-store: a full-height azulejo column running floor to ceiling beside the seating, with the crest and tagline held small against clean plaster so the tile does the work.
A die-cut card shaped from the crest silhouette, telling the pastel de nata origin story in Arabic and English with a QR to the full brand page.
Business cards, letterhead and envelope built on one rule: navy field or white field, never both fighting. The tile motif appears once per surface.
Two condiment sachets colour-coded for instant recognition — amber for cinnamon, white for sugar — with the crest held identical across both so the pair reads as a set.
The sachets in material: matte foil laminate, crest centred, sized to sit flat on a saucer beside the cup.
Two-colour napkin print: a tile square in one corner, the crest in the other, so the mark shows whichever way the napkin is folded.
The ready-to-drink extension — a navy-to-amber gradient sleeve with the crest at the top and a script Iced Latte lockup, designed to read cold in a chiller cabinet.
Two bag sizes with the tile band running vertically down the gusset — from the side the bag is pure ornament, from the front it is a clean white crest.
First production dieline for the revised box: a 20.4 × 32.21 cm wrap with a two-piece structure, tile bands top and bottom, and a ribbon pull for the drawer.
A deeper two-tray variant for double-layer service, keeping the same wrap graphics so both options can run off one artwork set.
The window edition: a die-cut aperture with clear film over a 12-piece tray, so the product itself becomes the graphic on the lid.
Beverage artwork issued with the box release: 8oz paper cup wrap, cold plastic cup wrap and the round plastic sticker label used to seal both.
The compact single-serve carton — an amber disc on the face, navy shoulders and a cross-shaped dieline that folds without glue on the top flap.