The Scoop with Georgina Leigh-Pemberton and Miles Marshall

Global design agency Turner Duckworth is behind some of the world’s most recognisable brand identities, from Coca-Cola to Amazon and McDonald’s. Transform speaks to managing director Georgina Leigh-Pemberton and executive creative director Miles Marshall about its approach to brand design, recent work and how it continues to evolve while staying unmistakable.

Transform: In March, Turner Duckworth returned to its original strapline: “Love the Unmistakable". How does this help guide you when working with clients?

Georgina: It's funny because, in a way, we've returned to the strapline, but it's actually how we've always talked about our work. It's always been at the heart of everything we do at Turner Duckworth London. We realised we were talking about it constantly internally, but not as much externally. So it was really about making sure the way we describe our work to the world reflects how we've always thought about it ourselves.

As a principle, it's foundational to how we work because we know unmistakable brands create fame and drive preference. It also gives us a simple but powerful question to ask our clients: what is unmistakable about your brand? Once we've established that, it's about amplifying it, nurturing it and bringing the very best version of it to the fore.

Miles: Creatively, it gives us a lens to apply to every project. The most unmistakable work is often unusual, distinctive and enduring. Think of David Bowie's lightning bolt or Claudia Winkleman's fringe. They're memorable because they're impossible to confuse with anything else.

Our clients come to us because they want that kind of distinctive design. We always respect the memory of a brand, leaning into the things people remember and stripping away the generic elements or what we call the "category soup". The ambition is that every brand leaving our studio is more unmistakable, with greater clarity, intent and memorability than when it arrived.

Transform: Tell me about recent projects where you were able to apply that thinking and bring the unmistakable to life for clients.

Miles: A great example is our recent work for Maker's Mark, which we’ll be unveiling very soon. It really embodies what we mean by loving the unmistakable.

When you ask what makes Maker's Mark truly unmistakable, there are two things. The first is its iconic hand-dipped red wax seal, which stands out instantly on a bar or retail shelf. The second is its story and deep connection to Star Hill Farm.

Our creative idea was to bring those two assets together. We took natural elements from the farm – the red winter wheat used in the mash bill, the oak used for ageing and the local flora – and encased them in the brand's signature red wax. By combining Maker's Mark's visual icon with its story, we created an aesthetic that's unlike anything else in the whisky category.

Georgina: Another good example is Jim Beam. The brand had become quite cold and templated, so we wanted to rediscover its soul. We went back to the spirit of the porch, where Jim Beam was originally made and enjoyed, and used that as the foundation for the entire identity.

That idea informed everything, from the conversational tone of voice and typography to the warm colour palette and woodcut-inspired illustration style. Once we'd uncovered that unmistakable asset, every element of the brand could flow naturally from it.

We often talk about finding the embers and gently blowing on them to reignite the brand. That's exactly what we set out to do with Jim Beam.

Transform: You’ve noticed trend in recent years of brands constantly refreshing instead of building. Why do you think that’s the case, and what impact do you think it’s having?

Georgina: It's a difficult time for brands. Many of the ones we work with operate globally, so they're incredibly complex, with constant pressure to demonstrate progress, satisfy stakeholders and meet an ever-growing range of media demands. It's understandable that there's a lot of activity.

I like your use of the word building because that's how we see our role. We focus on creating strong foundations so brands can evolve while staying true to who they are. The risk is that if you don't keep a careful eye on every tactical decision, you gradually dilute the value of the brand. At the same time, it's understandable that many brands are cautious. They aren't always looking for transformational change; often, they're looking to amplify the strongest assets they already have.

Miles: The idea of refreshing is interesting because brands need to feel fresh, but they don't necessarily need to be refreshed.

Our process starts by identifying the unmistakable assets of a brand. They might be a colour palette, typography, imagery or an iconic object, like Coca-Cola's contour bottle. Once you've identified those assets, you treat them like Lego bricks. You only need a few, but you can combine them in countless ways.

Take Reese's. Its visual language is built from a handful of distinctive assets: the orange, the yellow logotype and the iconic ridged peanut butter cup. Every execution reinforces the same memory while allowing the brand to appear in new and unexpected ways. That's how brands stay fresh without constantly reinventing themselves. You build recognition through consistency and creativity, not endless change.

Transform: Turner Duckworth has developed a proud reputation over the past 36 years. How do you, as an agency, live with and evolve beyond that heritage?

Georgina: We've used the word ‘foundations’ a lot today, but that's exactly what our heritage is. It's the foundation of everything we do. Miles and I were talking about this recently: we're just as proud of the Amazon A-to-Z smile we created more than 30 years ago as we are of Khloud, the brand we created for Khloé Kardashian last year.

A lot has changed over the past 36 years, and we've had to adapt and evolve with it. But our commitment to creating unmistakable design has remained constant. It's what drives us, and it's why clients come to us.

Since joining Publicis Groupe, we've also gained access to incredible talent, new technology and new ways of thinking, which keeps us evolving. At the same time, when you're working on a brand like Yorkshire Tea, you see yourself as a custodian. You're respecting and protecting something people already love. That's how we think about Turner Duckworth too.

Miles: Having spent nearly 17 years here, including working alongside Bruce Duckworth, I can honestly say our approach hasn't changed. We've never been driven by trends; we've always been a brand-first agency. We believe that when you put the brand first, the work stands the test of time.

The Amazon smile still looks as relevant today as it did when it was created. The same goes for our work on Diet Coke, Metallica and D&AD. We aim to create work that feels timeless rather than tied to a particular era.

Some studios define the visual language of a moment, and that's hugely influential. But our ambition has always been different. We've never wanted to belong to a particular era. If anything, that's probably been one of the secrets to our longevity.

Transform: Looking at the creative industry in general, do you believe the biggest threat to design at the moment is that things are becoming so trend-based?

Miles: I’m hesitant to say trends are inherently a bad thing. In some agencies and for certain types of work, they can be incredibly useful and bring immediate attention and success. But as an agency, we’re very mindful of the pull towards what’s current – the allure of blogs, Pinterest boards or even just walking through Soho and absorbing the visual language of the moment.

The challenge is that trends can become quicksand for brands, particularly those with strong, distinctive memories. When we work with those kinds of brands, we see ourselves as custodians. Our responsibility is to ensure that clients value their existing assets as much as we do, and to steer teams away from the seductive but often short-lived pull of trends.

Georgina: My perspective is slightly different. For me, the biggest challenge isn’t trends, it’s talent. The question is how the industry ensures there are meaningful opportunities for young designers and creative talent to build careers in this space.

Our recruitment is very deliberately weighted towards junior talent. Miles is a good example; he started as a junior and is now executive creative director. We actively bring in graduates and fresh thinkers who want to build careers in the creative industries.

As it becomes harder for young people to enter the industry, there’s a real risk the sector suffers. So, alongside experience, it’s essential that agencies continue to value and invest in fresh thinking. That balance is critical to the future health of the creative industry.