The Labour Party in the UK is facing significant challenges, not due to its policies or voter base, but rather its visual identity. Under the leadership of Keir Starmer, the party is struggling to connect with younger voters, particularly as competitors like the Reform Party present a more polished and appealing image. This shift in aesthetics is becoming increasingly relevant in the digital age, where graphic design plays a pivotal role in political messaging.
Labour’s current branding efforts appear disjointed and inconsistent. The party’s recent announcement regarding the Budget was conveyed through a series of five graphics, which featured a mix of colours and fonts that lacked coherence. While one graphic was a simple maroon design, others veered into purples and oranges, leaving viewers overwhelmed and confused. One particularly problematic graphic featured the phrase “Fairer taxes on the wealthiest homeowners” in white text against a pale peach background, which proved difficult to read.
The Reform Party, in contrast, has adopted a straightforward and recognizable visual identity. Their materials consistently utilize three signature fonts and a distinctive turquoise colour scheme. This cohesive branding extends to their social media presence, where they create engaging content that resonates with their audience. For instance, in a recent campaign for Diwali, Reform used a turquoise gradient to enhance an image of traditional candles, effectively capturing the celebratory spirit of the occasion.
A closer look at successful candidates from other regions reveals how effective branding can enhance political campaigns. In the United States, Zohran Mamdani won the New York City mayoral race using a branding strategy that emphasized a vibrant visual style reminiscent of vintage Bollywood aesthetics. Similarly, Catherine Connolly in Ireland employed hand-drawn designs and shop sign-inspired text to connect with voters on a personal level. These examples illustrate the power of a compelling visual identity in capturing public attention and building trust.
The Labour Party has struggled to establish a consistent design language, which undermines its attempts to convey a clear message to voters. At a crucial moment in the Caerphilly by-election last autumn, Labour’s social media account posted a crude drawing of a rose, along with the note, “Our graphic designer is on leave.” This incident highlighted the party’s ongoing design crisis and its inability to present a united front.
Moreover, the party’s use of the Poppins typeface—a choice that lacks historical or ideological significance—only exacerbates the issue. While the party’s branding guidelines emphasize the use of this font, social media posts reveal a chaotic mix of 17 different typefaces over a short period, further alienating potential supporters. The inconsistency is evident in Labour’s messaging, which has varied from vintage children’s book aesthetics to mid-century travel posters, ultimately diluting the party’s brand.
As the Labour Party grapples with its identity, it must consider the successful strategies of its competitors. The arts and crafts movement, exemplified by designer William Morris, offers a rich visual language that resonates across social and economic divides. By drawing inspiration from Morris’s work, Labour could cultivate a more appealing aesthetic that reflects its values and connects with voters.
In the lead-up to the next general election in 2025, Labour must address its branding shortcomings. A cohesive visual identity may not only improve public perception but also help convey the party’s vision for the future. As political commentators frequently advise, the party needs to “tell a story,” but without a clear and engaging design, that story risks going unread. The time for Labour to reassess its graphic strategy is now, as the party seeks to reclaim its position and connect with a new generation of voters.
