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MK: Base has been around for over 25 years — which is rare for a design studio. I'm always struck by the range of culturally driven projects the studio takes on. Is that something the team actively seeks out, or has it just become part of the studio's DNA over time?

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RG: Since its inception, cultural projects have been at the heart of Base Design. But in answer to your questions, I think it's a bit of both.

A deep fascination with culture is very much part of [Base founders] Thierry and Dimitri's DNA, and that passion is alive across all of our studios. Alongside that, and also because of it, we actively seek out projects which offer opportunities to shape culture and build brands with real cultural impact.

What makes these projects extra fascinating is that cultural institutions aren't a monolith. Museums, private art foundations, galleries, auction houses, theaters, operas, festivals. The sector is such a rich, diverse ecosystem of perspectives, disciplines and content. But, just like commercial brands - they all need a distinct identity to stand out in a cluttered visual landscape.

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MK: Every project has its own rhythm. Was there anything about the process of building 12 that felt different from other branding projects you've worked on?

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RG: We believe that every person, brand, or organization brings something entirely unique to the world. That's why, for us, no two projects are ever the same. Each one carries its own distinctive flavor (no pun intended). When it came to working with 12, the experience felt less like a traditional branding exercise and more like building an entire world from the ground up.

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From the very beginning, we partnered closely with the team at 12 to shape the foundational strategy and craft the name—what we called "the physics of the world." This early collaboration laid the groundwork for everything that followed, setting a clear, imaginative framework for what 12 could become.

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From there, we designed the identity and graphic system; our way of creating "the elements from which all things can be made." Working alongside a collective of masterful collaborators, we helped shape every detail of the interior, the store experience, and the packaging. These became "the geography, the weather, the cities" of the world we built together.

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MK: There's Cha Cha Matcha across the street, Matchaful, Isshiki. How do you hope 12 stands out in that landscape?

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RG: In today's matcha landscape, most offerings are just that – products. They focus solely on what's inside the tin, often overlooking the experience, the story, and the sense of identity that can elevate something from a commodity to a brand. 12 sets itself apart not only through the exceptional quality of its matcha, but through its ability to embody a brand in the fullest sense.
The matcha itself is crafted for those who demand the highest standards, yet the brand speaks to a much broader audience. Whether you're a seasoned matcha enthusiast or just beginning your journey, 12 invites you in.

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MK: The logo is killer — and it really bucks the blanding trend of geometric sans serif wordmarks. How did the team land on that direction, and what were you hoping it would signal about the brand?

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RG: Thank you! Our goal was to create a logo that felt both iconic and deeply unique to the brand. We looked to the philosophy behind 12 and the essence of matcha itself as our guiding inspiration. We wanted to craft a visual identity that would reflect the brand's depth, simplicity, and intention.

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So, we drew from the full journey of matcha: from whole leaf to fine powder, and the moment it begins to mix with water. That transformation – subtle, vibrant, alive – inspired us to design a mark where every element feels organic and in motion.

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It was important that each individual particle felt organic and alive to capture the essence of matcha. The stippling motif took a lot of trial and error to ensure the perfect balance of pattern density and color consistency across various sizes and applications. The reality was that we faced a few technical challenges, think program crashes and memory usage, in the pursuit of staying committed to artistry!

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MK: Base didn't just create the identity — you helped assemble a "collective of masters", from architects to chefs to scientists. What did that level of collaboration look like from your side?

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RG: The process was truly collaborative from start to finish. We stayed in constant dialogue with the interior designers, industrial designers, and the store team, ensuring that every decision was made with a shared vision in mind. This close partnership allowed each discipline to inform and elevate the others, creating a seamless and unified experience.
Throughout, we used the brand strategy as both a filter and a guide, directing every choice, from the spatial design to the smallest material detail. It ensured that nothing was arbitrary and that every element, no matter how subtle, reflected the deeper story and intention behind 12.

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MK: I know you're a bit of a sci-fi fan — what's the best piece of sci-fi media you've seen or read lately?

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RG: At the moment I am actually on a bit of a fantasy kick :P. Brandon Sanderson's latest novel Wind and Truth recently came out, and I'm enjoying that very much.

If you are looking for a good sci-fi recommendation, Ursula K. Le Guin's The Dispossessed is extremely relevant and a great meditation on the limitations of ideology.