In November 2024, Jaguar did something that luxury brands almost never do: it burned everything down and started again.
The leaping cat (one of the most recognised marks in automotive history, an emblem that had adorned bonnets from the E-Type to the XJ) was retired from primary use. In its place, a geometric, uppercase wordmark: JAGUAR, set in a custom typeface with exaggerated letterforms and a double-A ligature that looked less like an automaker and more like a contemporary art gallery. The colour palette abandoned British Racing Green for a spectrum of saturated hues (electric pink, tangerine, cobalt) that would have been more at home on a Frieze booth than a showroom floor. A teaser campaign, tagged "Copy Nothing," featured models in fashion-editorial styling and not a single car.
The reaction was immediate, enormous, and almost uniformly hostile.
Social media posts dissecting the rebrand accumulated hundreds of millions of views within days. Automotive journalists called it brand suicide. Design commentators were divided but loud. Elon Musk, never one to leave discourse unjoined, asked whether the company still sold cars. Even within the design industry, an audience typically sympathetic to bold creative decisions, the consensus tilted heavily toward scepticism. The overwhelming sentiment was that Jaguar had abandoned its heritage for the sake of differentiation, and that the resulting identity could belong to anything from a fashion label to a fintech.
A year and a half on, the picture is quieter and considerably more complicated. The initial outrage has subsided, the brand has begun showing actual vehicles in the new visual language, and the question has shifted from "Is this terrible?" to the more interesting one: "Is this working — and for whom?"
The Problem Before the Solution
To judge the rebrand, you have to understand the position Jaguar was in before it happened.
By 2024, Jaguar was a luxury brand in name and heritage, but not in commercial reality. Sales had been declining for years. The XE and XF saloons had been discontinued. The F-Pace SUV was the sole volume product, competing in a segment where it was outgunned by Porsche, BMW, and a rising cohort of Chinese electric vehicle manufacturers. Brand consideration among younger affluent buyers, the demographic Jaguar needed to survive the next decade, had fallen to historically low levels. The brand's cultural footprint had shrunk to nostalgia: a vague association with Britishness, vintage racing, and a golden era that ended before most of its target buyers were born.
Jaguar Land Rover's leadership, under managing director Rawdon Glover, diagnosed the problem as existential. Jaguar was not losing because of product quality or engineering. It was losing because it had become invisible, a brand that occupied a space between mainstream premium and genuine luxury without owning either position. The strategy that emerged was radical: relaunch Jaguar as an ultra-luxury electric brand, competing not with BMW and Mercedes but with Bentley, Porsche, and the upper reaches of the market. Prices would start above six figures. Volumes would be deliberately low. And the brand identity would need to signal that shift unambiguously.
The brief to the brand team, then, was not "refresh the identity." It was "create an identity that makes it impossible to confuse the new Jaguar with the old one." That distinction matters. Most rebrands seek evolution. This one sought rupture.
The Design Decisions
The identity system that emerged was designed by Jaguar's in-house creative team, working with external collaborators across fashion, art direction, and type design. Several decisions were deliberately provocative.
The wordmark. The new logotype replaces the italic, calligraphic script that had been in use since the 1950s with a geometric sans-serif set in uppercase. The letterforms are exaggerated: wide-set, with unusual proportions that prioritise visual impact over conventional legibility. The double-A ligature, where the two As in JAGUAR share a crossbar, is the mark's most distinctive feature and its most divisive. Supporters read it as a confident, ownable detail. Critics saw it as an affectation that prioritised cleverness over brand recognition.
The maker's mark. The leaping cat was not eliminated but repositioned, demoted from primary logo to a "maker's mark" that would appear on vehicles and physical products. In digital and marketing contexts, the wordmark leads. This was the single most emotionally charged decision. The leaping cat carried decades of accumulated meaning, and moving it from hero to supporting role felt, to many observers, like a repudiation of the brand's most valuable asset.
The colour palette. Perhaps the most startling departure. Jaguar's heritage palette (greens, silvers, blues, the muted tones of the English countryside) was replaced by a saturated, high-contrast system. Bright pink. Deep yellow. Electric blue. The palette was described internally as "exuberant modernism," and it drew directly from contemporary art and fashion rather than automotive convention. In a market where every premium brand defaults to monochrome sophistication, the colour strategy was either the bravest element of the rebrand or the most self-indulgent, depending on who was judging.
The "Copy Nothing" campaign. The launch campaign featured human figures in editorial styling: no cars, no interiors, no product at all. The tagline, drawn from a 1959 quote by Jaguar founder Sir William Lyons, was deployed without context, and the absence of any automotive content in a car brand's relaunch left audiences confused and, in many cases, angry. The campaign was designed to generate attention and provocation. It succeeded at both, but the ratio of attention to goodwill was not what the brand had anticipated.
The Backlash Economy
The scale of the public reaction to Jaguar's rebrand was disproportionate to the brand's actual market presence. Jaguar sold roughly 49,000 vehicles globally in 2023 (retail volumes; wholesale figures differ), a fraction of BMW, Mercedes, or even Porsche. Yet the rebrand generated more online discussion than any automotive identity change in recent memory, and more than most identity changes in any category.
This disparity reveals something about the dynamics of brand discourse in the social media era. The Jaguar rebrand was not primarily a conversation about Jaguar. It was a proxy argument about a set of broader tensions: tradition versus disruption, heritage versus relevance, design legibility versus design ambition, and, underneath all of it, a cultural anxiety about whether institutions people remember from their childhood are allowed to become something unrecognisable.
The backlash was also fuelled by a pattern that has become depressingly familiar in brand discourse: the reduction of complex design decisions to binary judgments. The rebrand was either "genius" or "disaster," with almost no public space for the more accurate assessment that it was a high-risk strategic bet with defensible logic and debatable execution. Nuance does not travel well on social media, and the Jaguar rebrand became a Rorschach test rather than a design discussion.
What the Critics Got Right
The criticism was not all noise. Several structural concerns about the rebrand have proven legitimate.
Recognition cost. The new wordmark, whatever its aesthetic merits, abandoned decades of accumulated visual equity. The italic script was instantly recognisable. The new geometric type requires active reading: a higher cognitive load that, as the Tropicana case demonstrated, can carry real commercial consequences. Whether this matters for an ultra-luxury brand with deliberately low volumes is an open question, but the recognition trade-off was real.
Category confusion. The complaint that the new identity "doesn't look like a car brand" was, from Jaguar's perspective, partially intentional: the strategy was to escape automotive visual conventions. But there is a difference between transcending your category and leaving your audience unable to place you. Early consumer research suggested that exposure to the new brand materials without context left viewers uncertain about what Jaguar actually sold, which is a problem for any identity system, regardless of how artistically sophisticated it may be.
Heritage as asset, not liability. The rebrand treated Jaguar's legacy as something to be overcome rather than reinterpreted. Yet the leaping cat, the racing heritage, and the association with British design were not just aesthetic baggage: they were the primary reasons anyone still cared about the brand. Several competitors have demonstrated that heritage and modernity can coexist: Porsche's identity has evolved continuously without ever abandoning its crest. Rolls-Royce's visual language is unmistakably contemporary and unmistakably Rolls-Royce. The question was not whether Jaguar needed to change, it clearly did, but whether the change needed to be so total that it severed the connective tissue to what made the brand emotionally resonant in the first place.
What the Critics Got Wrong
The backlash also missed several important points.
Doing nothing was not an option. Critics who called for a more conservative evolution ignored the commercial reality. Jaguar's existing identity was presiding over a brand in terminal decline. A gentle refresh (new typeface, updated colour palette, same visual territory) would have produced a nicer-looking version of a brand that fewer and fewer people were buying. The strategy required a signal strong enough to break through the market's existing perception, and polite evolution was unlikely to deliver that.
The target audience is not the commentariat. Much of the backlash came from people who were never going to buy a Jaguar: automotive enthusiasts attached to the brand's heritage, design commentators evaluating the rebrand as a portfolio piece, and social media users participating in a discourse event. The actual target (affluent buyers in their 30s and 40s who are currently cross-shopping Porsche, Bentley, and high-end electric vehicles) were largely absent from the conversation. Early signals from that cohort, based on order interest for the forthcoming GT and the reaction at private viewing events, have been more favourable than the public discourse would suggest.
The identity is not finished. A common error in brand criticism is evaluating a system before it has been fully deployed. In November 2024, the only materials available were the wordmark, the colour palette, and a campaign with no cars. By late 2025, the identity had begun appearing on the Type 00 concept, in showroom environments, on physical materials, and across a broader range of touchpoints. Assessed as a complete system (wordmark, colour, photography direction, spatial design, motion) the identity is considerably more coherent and more compelling than it appeared in its initial, deliberately provocative rollout.
The Metrics That Matter
The ultimate test of the Jaguar rebrand will not be design opinion. It will be whether the brand can command the prices, margins, and cultural position it has claimed.
The early indicators are mixed but not unfavourable. Order interest for the forthcoming Jaguar GT (the first vehicle under the new strategy, priced above six figures) has reportedly exceeded internal targets, though the company has not released specific figures. Brand awareness among the target demographic has increased significantly, partly as a direct consequence of the controversy. And the brand's cultural visibility (its presence in fashion, art, and design conversations) has expanded well beyond the automotive press, which was precisely the strategic intent.
The risk remains substantial. Converting awareness and controversy into sustained commercial performance requires Jaguar to deliver vehicles that justify the brand promise. The identity system is, in the end, a container. If the product fills it (if the cars are genuinely desirable, genuinely luxurious, genuinely worth the premium) then the boldness of the rebrand will be retroactively justified, just as BMW's controversial grille was eventually absorbed into the design language. If the product falls short, the identity will be remembered as a case study in creative ambition detached from commercial reality.
The Structural Lesson
What the Jaguar rebrand ultimately illustrates is the difference between a brand refresh and a brand repositioning. A refresh updates the surface. A repositioning changes the substance: the market position, the price point, the target buyer, the competitive set. Jaguar attempted the latter, and the identity was designed to be the visible signal of that structural change.
The mistake the public conversation made was evaluating a repositioning identity as if it were a refresh identity, asking "Does this look like Jaguar?" when the more relevant question was "Does this look like the kind of brand that can command £100,000 for an electric GT?" Those are different questions, and they produce different answers.
Whether Jaguar's bet ultimately pays off will take years to determine. But the identity, for all its controversy, did exactly what a repositioning identity must do: it made it impossible to see the brand the same way again. That is either its greatest achievement or its most expensive mistake. The cars will decide which.
WeLoveDaily is a design publication for people who care about how things look, work, and feel.
Sources and data notes
Jaguar 2023 global retail volumes of roughly 49,000 units, Car Sales Statistics, https://www.best-selling-cars.com/brands/2023-full-year-global-jaguar-land-rover-worldwide-sale-by-model/, retrieved 2026-09-04. Wholesale figures reported by JLR differ; the basis is named in the text.
The November 2024 reveal and the Copy Nothing campaign are documented in Jaguar's own press materials, https://media.jlr.com/jaguar/, retrieved 2026-09-04
