Swiss Grids and Unity - Visual Identity Unveiled for Eurovision 2025

With excitement building ahead of Eurovision 2025, branding and design agency NOT Wieden+Kennedy today unveil the visual identity designed for this year’s competition.

The idea for the identity focuses on what makes Eurovision such an incredible and beloved event - millions of people from across the world, united by music, coming together to create something beautiful - and it aims to bring this to life visually and behaviourally.

This is expressed through a twist of the iconic Swiss grid, which is also a celebration of this year’s hosts. A purpose-built grid system for design made up of hearts can be used in a plethora of ways by the event, to create images, typography, flags, symbols, lighting and more; representing people coming together around the world to experience the event.

The identity is completed by a vibrant colour palette celebrating the life, energy and eccentricity of the event, and features a typeface designed by Swiss Typographer Ian Party - known for recently working on the widely-acclaimed new Swiss Passport design.

The identity will be used far and wide across the event from its opening ceremony on 11th May, with comprehensive design guidelines for the identity given to local council, stage design and event partner teams. This will translate to the dressing of Basel itself including building, stadium, and tram wraps, broadcast graphics, social media content, interactive voting systems – and much more.

Artur Deyneuve, art director of Eurovision 2025 commented, “They say, ‘Once a Wieden+Kennedy, always a Wieden+Kennedy.’ As someone who’s worked there before, it truly felt like coming home, collaborating once again with such a talented and passionate team was an absolute joy. This project was a perfect reminder of that spirit. It was a real pleasure working with NOT Wieden+Kennedy on the Eurovision 2025 identity. They delivered something truly special: a deceptively simple design system that’s incredibly rich, flexible, and perfectly suited for an event of this scale. It gave us the freedom to explore so many creative directions, while still holding everything together with a cohesive and instantly recognisable visual language. This kind of design thinking is unlike anything done in previous years. It’s playful, it’s pure Swiss and it’s perfectly Eurovision.”

Adam Rix, head of NOT Wieden+Kennedy commented, “In the past, Eurovision has created individual logos for each event; but in recent years, it took the decision to build recognition around a consistent core event brand. This was a key part of our brief – to create a distinctive identity for Basel, whilst building equity into the Eurovision brand. For a show that has so many eyeballs on it, but in such a short and intense period of time, it was crucial that our visual identity was flexible enough to adapt to countless applications, but simple enough to create cohesion and make anything it was applied to, instantly recognisable as Eurovision Basel 2025. We’re very proud to be a part of the huge global cultural phenomenon that is Eurovision.”

Lilia Quinaud, senior designer, NOT Wieden+Kennedy, commented, “I love that as soon as the identity was out, we saw fans using the heart grid to recreate flags and graphics. It shows how flexible and simple the system is, and how it grows and develops together with the community. It’s really special to be a part of something that touches so many people — and create work for fans who care so deeply.”

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