Here is a selection of
made for small and big brands, in various fields, but always with passion and interesting people. If you think I forgot some credits, please forgive me & drop me a line.

Please choose the program

That’s all folks! But it is not too late to enjoy a lovely song. You also can read more about me here or reach me via this page.

2009—2010 Freedom

After a few years spent working at Marcel, an advertising agency owned by Publicis, I understand that advertising is not really my cup of tea. I feel courageous enough to leave this ship, start a freelancer life and work in a small boutique nested in the 10th arrondissement in Paris. Probably the most beautiful year of my life.


Chanel, Dior Couture, Hermès, Computerlove.

2010—2013 Blondie

Attracted by entrepreneurship, I found my first creative agency, Blondie, in 2010 with two partners. We decide to focus on digital-only solutions for luxury, fashion & beauty brands. It’s interesting (although a bit destabilizing) to understand that even with worldwide luxury references from Publicis, we are total strangers — read 'amateurs' — for the majority of parisian brands’ CEOs. But thanks to some hard work and big smiles, a few of them trust us; the first one is Frédéric Biousse, then fresh new-owner of ready-to-wear brand Sandro. Will follow Jean-Marc Gaucher from Repetto, Henri Sebaoun from Carven, Gerbi family from Gérard Darel & Pablo; which finally opens doors of luxury groups like LVMH, Coty, Hermès & Chanel Beauty. We deliver mainly ecommerce websites and funny (but often useless, let’s be frank) apps. The whole team becomes addicted to grid systems and my friends at Area17 explain me the principle of pixel fitting, which I’m still a big fan of nowadays. Apart from this adventure, we co-found L’Exception with Régis Pennel, an interesting way to get to the other side of the curtain and better understand our clients’ needs, but also to put our hands in real and holistic art direction: products shootings, lookbooks, packagings, typeface,... everything is handmade without any usual creative constraints except being innovative (and viable in terms of business, indeed) which is clearly a revelation to me.
But after three years and a bunch of good and bad surprises, I realise I do not feel at the right place anymore at Blondie: digital projects are cool but a bit too limiting. For most of the brands we work with, we are in the “internet” drawer and that’s it; I understand it won’t change and want to go back to my first loves: logotypes, typefaces, shapes & curves. I leave my beloved team with pain, and start a new adventure.


Hermès, Repetto, Chanel Beauty, Chloé, Moët & Chandon, Sandro, Gérard Darel, Carven, Look Collection, Baccarat, L’Exception, Pablo, Roberto Cavalli, Tag Heuer.

2013—2016 Davide Bellino

Ruling a studio is a pretty easy thing. Thanks to trustfully friends and network, clients are not long in calling me and my little new team. I try to work the less possible with agencies, and clearly prefer talking to the decision makers directly. This way, the learning curve is clearly awesome; everyday I am allowed to better understand brands’ business issues and the impact of all that on the quality of my work & ideas seems visible. People like Jean d’Arthuys from Maison Lejaby or Lionel Giraud from Vuarnet teach me a lot of things and really help me to grow and get some skills I still use and twist today.
In the meantime, I meet Peter Lindbergh and his team of passionate people to work on his website. I then have the impression to be at my place: at the crossroads of creativity and business.
The team is quietly growing too, and I have the sensation that to keep talents at my side, I need to be accompanied by someone dedicated to finding new clients & set up a stronger business strategy. The process of finding the right partner is a long one, as mistakes are easy to make in these moments: you don’t want to lose the vision and values of what you built from the ground up during years of hard work.


Peter Lindbergh, Vuarnet, Repetto, Maison Lejaby, L’Exception, Robert Clergerie, Colette, Tara Jarmon, Sephora, Apologie, Givenchy, Joop!, Chopard, John Lobb, Raphaëlla Riboud, l’Oréal, Christophe Robin, Lancôme.

2016—2019 Bonjour Paris

After finding my new associate, it’s partnering time again. A new name has to be found to get rid of any personal identification clues; the company’s name will be Bonjour Paris (I’m still pretty proud of it today), and we start using the word “agency” again (it should have alerted me, hehe). Some clients follow us, like Vuarnet or Repetto, and new ones ring our bell, like Cartier, Double magazine and Longchamp.
While working on Vuarnet’s new website, we develop our own ecommerce solution, named Shop Chop, mainly because we are tired of design constraints of existing platforms like Magento or Prestashop (and probably because we are a bit crazy too). That’s how we start working with small or bigger brands on ebusiness topics: Carolina Ritzler, Fauré Le Page, Sessùn or Andrew Gn.
Some pretty big fishes call us on different kinds of subjects: Ruinart wants to launch a limited edition of an exceptional 1998 Vintage, Le Printemps wants to make a beautiful online capsule to prepare Christmas, Ralph Lauren has to celebrate the 50 years of the brand... it’s cool, I hear my team giving phone calls in english more and more and I must admit I feel a bit proud about that.
On my side, at the end of the day, I don’t feel like my workday is over and I need to continue working until late to still learn more and more about drawing shapes of some letters, logotypes from the ground up. I can, on a daily basis, test what I learn discussing with entrepreneurs acting in a ton of different businesses (a respected heritage brand, a pure player of luxury, a crazy jumpsuit stylist) or brand directors or CEOs, like Blandine Franc & Thomas Mulhiez at Degrenne Paris wanting to dive deep in discussions about what a well designed shape can say discreetly but surely about a brand. I feel usefull to these people and feel like I have something to say in the field of branding. Some of them even let me work on the objects they create.
In the meantime, my team at Bonjour Paris benefits of our success and grows a lot. Way too fast for me, actually. By always recruiting in a hurry, the risk is to not recognise yourself in your own home; and paying a team growing too fast also means accepting clients you wouldn’t have talked to more than one minute in a dinner.
One day, tired of faking some interest during endless meetings about some cheesy daily Instagram posts, I finally decide to run away.


Andrew Gn, Carolina Ritzler, Cointreau, David Mallett, Degrenne Paris, Double Magazine, Duvelleroy, Fauré Le Page, Hermès, Repetto, Longchamp, Louis XIII, Cartier, Moët Hennessy, Nose, Printemps, Ralph Lauren, Roger Vivier, Ruinart, Sessùn, Y.

2019—∞ Freedom, again

Here I am, free again. Free to work on projects I really like, with the many passionate people surrounding me. I’m now able to show all the work you will discover on this website with a bit of humor, some nice songs & little personal insights on the way I created them. Enjoy your visit, thank you for being here.


Dom Pérignon, Duvelleroy, Madame C•, Monsieur Jean, WADP.

The end, almost.

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David Polonia is a Paris-based designer, creative director, art director, graphic & type designer. He specializes in visual identity and solutions mainly for fashion and luxury brands. Read more

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Ten years of images, shapes, curves & letters

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Dans la peinture, la sculpture et tous les beaux-arts, l’essentiel c’est le dessin... le goût ne doit pas être basé sur ce qui flatte la sensation, mais sur ce qui plaît par sa forme. Les couleurs qui illuminent l’esquisse font partie de son attrait ; elles peuvent animer l’objet mais ne peuvent pas le rendre beau et digne d’être contemplé ; au contraire, elles sont limitées par les exigences d’une belle forme et même, quand l’attrait existe c’est la forme qui ennoblit.

— Kant, Critique du jugement esthétique, 1790

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Client Peter Lindbergh

Year 2015

Discipline(s) Typeface design


Back in 2015, I had the honor to work with Peter Lindbergh and his fabulous team on his visual identity and online presence . Beside spending good time with this funny, gentle and so-humble man, I designed a typeface, named Peter Sans (hehe).


David Polonia Type Designer

Alexis Pineau Designer

You like what you see? Fine, thanks. (any share on Twitter is indeed appreciated). You can now go back to the lovely song, discover all my projects involving Typeface designor click wherever you want below.