Identity adaptation, visual design, and no-code development for a high-profile live band
Client:
Orchestre Les Cigales
Service:
Visual Identity and No-Code Development
Agency:
iidi.fr
Year:
2024-2025
/Problem
This project involved redesigning the website of one of the most prominent live bands in Paris, specialized in high-profile event entertainment. The company provides a world-class musical service, adaptable to any style, and complemented by solo performances, dance ensembles, DJs, hosts, bartenders, and comprehensive ambience proposals.
The band’s founder and director felt that the previous website no longer reflected the scale, professionalism, or true quality of their services. He needed a modern, highly customized platform aligned with the company’s commercial expansion into the UK market. For that reason, the new website had to operate fully bilingual.
The main challenge of the project was—without diminishing his role—the client himself. A client who is both an artist and French often has a very personal, defined, and firm perspective on expressive decisions. As a result, a significant part of the work consisted of acting as a visual and functional translator of that vision, maintaining a balance between his artistic instincts and the operational needs of the website.
/Approach
For this project, I proposed working with Webflow, both for its versatility and its strong support for multi-layered collaboration—something that ultimately became essential for the content production workflow. Webflow was already part of my no-code development toolkit, but this project was my first concrete, end-to-end experience with the platform.
The first phase focused on redesigning the logotype and redefining the typographic system. I also reinterpreted the existing morphological elements to update them and bring greater coherence to the new aesthetic direction.
Translating the client’s vision was carried out through an iterative process, based on highly specific briefs that required revisions primarily related to site functionality rather than purely formal design aspects.
/Conclusions
Ideal projects do not exist—nor do ideal briefs or ideal clients. Each project brings its own constraints that shape the potential for “pure design.” What matters is identifying the opportunities within those limitations and using them to deliver the best possible outcome in each context.
Except for special cases, the culture of design created for display—competition-driven or showroom design—rarely has a place in real market conditions. Sometimes this needs to be stated explicitly, especially when working with clients from the art world, where expectations and processes often operate under a different set of codes.