Royal de Luxe is a French company founded in 1979, known for its giant puppets and street performances. The company’s founder, Jean-Luc Courty, and his team create unique performances that fill the streets of cities around the world, bringing elements of magic and dreams.

Royal de Luxe is characterized by a vibrant and memorable style. Their puppets, usually reaching up to 12 meters high, have a distinctive characteristic: they look like living beings full of emotions and stories. These giant figures, made of wood and fabric, become the center of attention in city squares, attracting spectators of all ages. The brand combines elements of theater, art and street performance, creating an atmosphere of fairy tale and wonder.

The main idea of Royal de Luxe is to connect people through art and create a unique experience of interaction with puppets. Each performance is not just a show, but a whole story that unfolds before the eyes of the audience.

Royal de Luxe also actively utilizes participatory elements, making the audience feel part of the action. These performances become not just a spectacle, but a real event that unites the community and creates shared emotions.
In general, Royal de Luxe is not just a brand but an entire philosophy based on the belief in the power of art and its ability to transform the world around us, filling it with joy and wonder. The designed identity emphasizes the grandeur of the spectacular show through the impressive size of the puppets on their carriers. It also highlights the mobility and liveliness of the characters as they appear before the audience. These puppets can bend in different directions, juggle their body parts, and exhibit almost human-like qualities—with their own personalities, dynamic movements, openness, friendliness, and sense of humor.

The identity conveys a sense of playfulness and celebration, underscoring the special significance of the performance for both its visitors and creators. The “graphic man” can appear anywhere on the street, acting as a magical companion who pops up in various locations throughout the city, bringing joy to passersby. He behaves like a mischievous prankster—climbing walls, hanging from flags, and lying on massive banners—capturing the attention of viewers and momentarily pulling them away from the monotony of daily life, reminding them that there is always room for celebration and fun.

The identity is centered on the characters, their personalities, and their stories, avoiding bright colors or distracting elements. The “graphic man” is composed of separate parts connected by threads, referencing the mechanism of the puppets in the show, which move with the help of large, controllable ropes. Rendered in black and white, he does not rely on a vivid color palette to stand out; instead, he remains clear, approachable, and charismatic, unmasked and open to the audience.

Despite the theatrical nature of the show, the core idea of the project is to demonstrate that puppets are not just lifeless toys. The moment the performance begins, magic happens—puppets brought to life by human hands become real, captivating characters.