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Jenny’s Bakery has been part of the furniture in Adelaide since 1992, growing from one store into a multi-location staple that has fed generations. “Jenny’s was not known for its existing identity; it was known for its high-quality products and its place in the community,” Creative Director Isabella McRae tells us. That left Australian creative agency Divide close to a blank slate when the bakery approached it for a rebrand, briefed to honour more than 30 years of history without leaning into predictable or stale nostalgia.

During the discovery process, Divide considered giving Jenny’s a mascot, but set the idea aside. “A retro character might dull the brand’s heritage; it felt way too kitsch for such an established business,” explains Lead Graphic Designer Georgia Butterworth. Rather than pinning the personality to one character, the studio invested it in a wider system, building what Butterworth describes as a world “where everyone and everything that goes through Jenny’s comes out smiling.”

“We’re advocates for broad logo suites, particularly in hospitality,” McRae notes, the aim being that people “become familiar with the visual language when they encounter the brand, rather than relying on a primary logomark to spark recognition. The last thing we want to do is plaster a logo on every surface and call it a day; this supports the world-building instead,” she adds.

At the centre of it all sits a smiling face. “You can spot the little ‘J’ used as the nose, a nod to Jenny’s,” Butterworth observes, the mark proving versatile enough that you can “basically tuck it in everywhere.” The same face reappears across a suite of pastry illustrations that includes a smiling croissant, cinnamon roll and sponge cake. “Each illustration fits within specific dimensions so that as new items are illustrated, they remain consistent across the collection,” Butterworth explains, with more characters planned as the menu expands.

Divide paired Gobold for headings with Westmount for subheadings, both also part of the logo suite, and set body copy in Manrope, choosing all three for their minimal decoration and clean lines. “These fonts teeter on the edge between modern and classic, with a slight midcentury feel,” Butterworth details; the pairing is meant to sit beyond any one era so that, to a regular customer, “they’ll feel familiar without feeling dated.”

“We landed on a rich chocolate brown, a warm cream, a sweet cherry red and a puff pastry tan, with each hue strengthening the brand’s connection to what it does best,” Butterworth reveals. The brown and cream anchor the identity across every asset, while the cherry red and tan add distinction in smaller quantities. A recurring geometric pattern utilises the full palette, made to be recognisable in its own right even where the name is nowhere in sight.

Around all this sits a broad logo suite whose wordmarks and lockups are built to be used interchangeably and sized to the task – pared back for signage bound by strict facade dimensions, louder and more decorative on merchandise that can afford it. Divide modernised the primary logo from one that the bakery had held before, expanding it into that wider set, so the identity works on a flagship shopfront and a paper napkin alike. The cohesion comes, as Butterworth puts it, from “the subtle threads that hold all the marks together”: a look “balanced in classic minimalist design while still feeling a little fun and quirky.”