Edmond Huot is the Chief Creative Officer of Forward Studio, a New York City–based global branding firm focusing on the airline, aerospace, and transportation sectors. A true AvGeek from small-town Canada, Huot began his career in the 1990s with a graphic design firm that evolved into a multifaceted branding practice. In 2007, he moved to the US, transforming his childhood fascination with aviation into his career.
Edmond has worked on diverse airline projects, from Hawaii to Alaska to California, enhancing brand concepts, passenger experiences, and liveries. His projects include digital campaigns for Singapore Airlines, livery programs for startups like Northern Pacific Airways, rebranding Hawaii’s Island Air, and transforming regional mobility with Tailwind Air. Outside of aviation, Edmond has also worked with global brands such as TD Bank, Honda Cars, and Experian.
Edmond has been featured in leading news and media publications like Business Insider, The New Yorker, CNET, and PRINT Magazine, and appearing as a guest on AIGA’s Design Podcast, Edmond’s design philosophy centers on creating authentic, resonant brand experiences.
MM: What sets airline design apart from other hospitality niches such as hotels and restaurants?
Design work for airlines is uniquely challenging due to its multifaceted nature, high and contentious visibility, space constraints and an overriding regulatory safety mandate. Unlike hotels and restaurants, I like to think of airline branding as a game of designing ‘moments in motion’. As an example, airline livery programs (i.e. the graphic decaling that adorns most commercial aircraft we see on the tarmac or in the air) must consider functional and operational constraints, such as weight and aerodynamic efficiency. The design must harmonize with the aircraft’s shape and adhere to strict aviation standards. Additionally, livery designs serve as moving billboards seen globally, requiring a universal appeal and immediate recognition. This involves a consistent brand image across various touch points from the exterior aircraft to uniforms, and in-flight materials. The high stakes of airline branding, with aircraft costing upwards of $100 million, demand precision, creativity and a certainty that requires getting it right the first time. Furthermore, airline design must consider the constraints of space, safety regulations, and the need for functional yet aesthetically pleasing interiors that enhance passenger comfort during travel, requiring a seamless integration of technology, ergonomics, and branding within confined spaces.
MM: How has aviation-related design changed since you first started out, and where do you see it heading?
There have been a lot of exciting changes over the past 30 years. Initially, liveries were often elaborate and colorful, as seen with airlines like Southwest. However, there has been a shift towards more minimalist designs, such as the “Eurowhite” schemes, which use a predominantly white fuselage with accent colors on the tail and rear. This trend is driven by practical considerations like heat abatement, damage detection, and cost efficiency. Looking ahead, I see a continued emphasis on sustainability, innovative use of materials, and digital integration, enhancing the passenger experience both visually and functionally. One area of opportunity and need deals with accessibility. How are airlines and respective travel companies and institutions crafting their brand experiences in a way that resonates and responds to the unique challenges of more than 1.6 billion disabled travelers around the world?
MM: What does “brand experience” mean to you, and what measures does it take to move today’s discerning travelers?
“Brand experience” is really about holistically surrounding the customer. It’s about the idea of selling emotions not products or experiences. By creating a cohesive and immersive interaction between the brand and its customers, we go beyond visuals in order to touch and impact every sensory and emotional aspect in the customer journey. For today’s discerning travelers, this means delivering consistency and relevance across all touchpoints – from the digital booking experience to the physical onboard environment – and ensuring every interaction reflects the brand’s values and promises. This requires meticulous attention to detail, an understanding of customer needs, and a commitment to authenticity.
MM: Which projects are you most proud of?
I am really proud of what I accomplished for Northern Pacific Airways and Island Air. These projects enabled me to imagine and re-imagine respectively these airlines’ comprehensive brand expressions and experience. While each project was distinctly unique, both required a hands-on approach that included extensive travel, deep-dive research and meeting with locals on their terms. Actually, this is where some of my most insightful and meaningful ideas come from. Seeking out those unexpected moments where you have real people speaking with you, face to face. Their thoughts are unvarnished and often reflect a more honest relationship to the brand. They will tell you things that corporate professionals and consultants won’t.
MM: What are some of the most exciting things you are working on now?
Currently, I am involved in several groundbreaking projects in combination with our public relations group that are set to redefine the future of air travel. One of our key initiatives is the development of the Airhart, a next-generation small aircraft designed to make flying easier and safer for individuals who prefer flying their own airplanes over driving. This project focuses on enhancing user-friendliness, safety, and accessibility, making personal aviation more attainable.
Additionally, we are collaborating with Aero, a Los Angeles-based semi-private airline, to redefine luxury in the sky. This partnership aims to elevate the passenger experience by integrating advanced technologies, sustainable practices, and unparalleled comfort. These projects prioritize sustainability, efficiency, and passenger comfort, setting new standards in the aviation industry and showcasing our commitment to innovation.
MM: How did you expand your boutique aviation firm into a major player with corporate clients, and how did you stay grounded during the process?
Expanding our business has always meant staying ahead of industry trends. By fostering strong relationships with industry decision-makers and influencers while at the same time paying close attention to areas of innovation and growth, we often find ourselves on the radar of clients in corporate and institutional spaces. Staying grounded depends on keeping our focus and vision on people and ideas. Staying grounded means staying open.I am constantly assessing creative potential with both new talent and ideas regardless of where and when they happen.
MM: As you also work with other companies in the finance and automotive sectors, how does your passion for aviation inform your other projects?
I use a cross-disciplinary approach to all our creative challenges that transcend my affinity for all-things airline and aviation. From tech start-ups and online businesses to large institutional companies like banks and universities, I look for nuggets of truth and perspective that will serve as foundational building blocks for a newly inspired narrative or look and feel. The same depth of research and account planning that is used for our aerospace clients serves our non airline clients.
MM: How old were you when you realized design was the route you were going to take to get into aviation?
I was about 8 years old when I stayed up late to watch the larger-than-life 1970 jet-age blockbuster: Airport. The movie focused on a tense and dramatic series of events at a major international airport, including a suicide bomber’s plot, a snowstorm, and various personal crises, all converging to create a high-stakes situation for the airport staff and passengers. As a young boy growing up on the prairies on a rural farm in Canada I spent countless hours conjuring up my own real-life storytelling and drama with newly built model planes in hand, wandering the fields flying the plane. I would squint my eyes in an effort to emulate the camera angles I’d see on the big screen, imaging that my plane as its own microcosm of drama and intrigue. Who could have predicted that this childhood love affair would drive and inspire my present-day skills as an illustrator, graphic designer, art director and creative director – in a constant quest for the next bold concept or big idea that would help elevate a clients’ business.
My present day career specializing in aviation PR and branding was definitely born out of my early fascination (obsession) with all things airline. Of course, more specifically, after highschool I deliberated for a brief moment about the prospects of pursuing architecture. Unfortunately my abilities in math were less than stellar and I decided, with help of my long time business partner and friend, Peter Clark to start a graphic design business. Ten years later we had grown that small shop into a sizable branding and design agency which was invited to lead a coveted naming, brand and advertising campaign for a newly proposed international airport in Winnipeg, Canada. Looking back, I would say that was our first foray into aerospace related work. Most of our airline clients over the years have noted and were impressed by our level of knowledge and interest in planes. They could see that for Peter and I it was personal, and this perhaps helped build stronger bonds and connections.
MM: What universities and other places did you study your craft?
I didn’t. While I have a Bachelor of Arts degree from the University of Manitoba in Canada, my craft has largely been cultivated through years of self-directed learning and exploration. I never went to design school for formal training but instead relied on my own artistic and entrepreneurial skills as an illustrator to translate and bring to life my ideas on paper for clients. Additionally, I spent hours of my own time learning the various Adobe design programs in order to work on graphic design assignments involving layout, type and image treatment.
MM: As a Canadian, were there any artists, firms, or other entities that inspired you, which you carried over to your US company?
Oh for sure. There have been so many influential forces in my professional and personal life that feed and inspire my artistic outlook and sensibilities. From agency founders like Paul Lavoie of Taxi (who graciously met with Peter and I once- unannounced) to Frank Palmer (who boldly ran Palmer Advertising and later ran DDB Canada) to the incredibly talented illustrator: Maurice Vellekoop whose style was featured in Swissair, Air Canada and LVMH ads. I remember back in the 90’s, when Peter Clark and I ran our Canadian office, this Toronto adman by the name of Geoffrey Roche popped onto the scene. He ran a small but scrappy shop that seemed unstoppable – winning many coveted accounts. The work his agency delivered for Canadian Airlines instilled in me a real love for the written word. The ads delivered such holding power, with compelling, witty headlines and elegant images and layouts which really made their competitive mark against the country’s mainline carrier, Air Canada. Since then, I have always rallied around the importance and use of copy as a powerful communication tool. Since my background stems more from the art direction side of the business, it seemed unusual frankly that I would work over the years to cultivate and refine my skills as a writer.
The cultural and creative environment in Canada provided a rich foundation that I carried over to my work in the US. The Canadian concept of multiculturalism profoundly shapes my work, particularly in aviation design. Multiculturalism, which celebrates and promotes the coexistence of diverse cultures, aligns with my philosophy of creating authentic brand experiences that resonate deeply with people. This inclusive design philosophy ensures that my creations are visually appealing and culturally sensitive, catering to a growing global audience.
MM: What are some design trends that you predict will spread across the aviation and hospitality industries?
I predict that sustainable design will become a dominant trend, with airlines adopting eco-friendly materials and processes. There is also a trend towards digital integration, enhancing the passenger experience through seamless technology. Additionally, minimalist and clean design aesthetics will remain popular, offering a modern and sophisticated look. These trends reflect the evolving preferences of travelers and the industry’s commitment to innovation and sustainability. For example, I love what Qantas is doing with the launch of their new long-haul product using the Airbus A350-1000. This aircraft can fly anywhere in the world without a refueling stop. Because of the extreme number of flying hours for passengers, the airline has introduced a dedicated “Wellbeing Zone” that serves passengers in economy class providing a dedicated space that allows for stretching, video-guided exercises, self-serve snacks, and hydration bar.
MM: What artists, airlines, or design firms first inspired you to specialize in the airline, aerospace, and transportation sectors?
My inspiration to specialize in the airline, aerospace, and transportation sectors came from a blend of innovative design firms and visionary artists who pushed the boundaries of what was possible in these fields. Influences include firms like PriestmanGoode, known for their futuristic and passenger-centric aircraft interiors, and renowned designers like Raymond Loewy, whose work in transportation design has been simply iconic.
As a designer, I have been profoundly inspired by the legendary Paul Rand, whose work for IBM, ABC, and UPS set a high standard in the industry. His redesign of United Airlines’ logo in the 1970s, with its clean and modern “U” symbol, exemplified a blend of simplicity and elegance that conveyed reliability and professionalism. This iconic design resonated deeply with me, highlighting the power of minimalism in creating strong, lasting brand identities that align perfectly with a company’s values.
Ivan Chermayeff’s work, particularly the blue globe logo for Pan American World Airways, also left a significant impact on my approach to design. His ability to create a universally recognized symbol that encapsulated the airline’s global reach and prestige is truly remarkable. Similarly, Lindon Leader’s design for Alaska Airlines, featuring a stylized Eskimo face, beautifully captured the essence of Alaska’s spirit and heritage. These examples, along with Saul Bass’s dynamic “jetstream” logo for Continental Airlines and Mary Wells Lawrence’s vibrant rebranding of Braniff International Airways, have collectively influenced my creative vision, demonstrating how thoughtful and innovative design can transform and elevate a brand’s presence in the competitive airline industry.
MM: What are your thoughts on lifestyle trends such as “flight cruises,” where passengers take multi-stop vacations by plane instead of boat?
I see lifestyle trends like “flight cruises” as an interesting and timely development in the travel industry. These trends offer some unique opportunities for airlines to create memorable and engaging experiences for a top-tier strata of luxury customers. Flight cruises provide firms like ours the chance to really bring to life the particular interests that luxury travelers engage with such as history, culture, wildlife, or culinary adventures, by providing a creative platform from which enriching and immersive experiences can be themed and expressed. By designing specialized livery and branding for these multi-stop vacations, airlines can enhance their appeal and provide a distinctive travel experience. Embracing such trends can help airlines differentiate themselves and attract a new segment of travelers seeking adventure and convenience. Brands like Abercrombie and Kent, Aman Hotels and Four Seasons Hotels and Resorts all provide their own flavors of high-end travel experiences aboard their custom-designed private jet, offering exceptional service and exclusive itineraries.