TYPEFACE DESIGN
We invite you to explore the typefaces that define our visual language. Discover the stories behind these fonts, the designers who brought them to life, and the unique characteristics that make them an integral part of the C55 brand.
At C55, we believe in the power of design to inspire thought and provoke conversation. Typography is central to this mission, reflecting our commitment to craftsmanship and clarity. We work with top-drawer typographers—those who know their serifs from their sans and make letters hit different—and connect with you.
Our choice of typefaces reflects our dedication to quality, European heritage, and innovation. Each typeface is carefully selected not just for its aesthetic appeal, but for its ability to resonate deeply and communicate clearly. From caps on the streets of Denmark to the global stage, our use of typography aims to stand as a purposeful design.
When you wear a C55, you're not just wearing a cap. You're wearing a thoughtful piece of design, a statement, a bit of typographic brilliance. At C55, we don’t just slap any old font on our gear and call it a day. We’re all about that crisp type that pops out of the fabric and connects with you. And, we reckon if you’re gonna wear the cap, it better be worth a second glance—and a third, and a fourth.
TYPEFACE DS 737
DS 737 is a typeface rooted in the official Danish signage typeface, first released in 1954 by Dansk Standard as ‘Danish Standard no. 737’. If you've ever wandered the streets of Denmark, you've likely encountered it. This typeface is everywhere, guiding you through the city, telling you where to go, what to do, and what not to do. It's a bit of a mystery, really—remarkable how such an integral part of everyday life can remain so unassuming.
Originally, DS 737 existed in just one cut with a limited character set. Now, it's been digitized and expanded into a fully-fledged, highly functional family with 18 styles across three widths—Condensed, Normal, and Expanded—totaling 54 styles.
Designed for signage, DS 737 has one clear objective: to communicate with clarity. This is evident in its stroke contrast and the vertical, somewhat open counters. The distinctive detailing and proportions make it instantly recognizable, even in all caps.
The origins of DS 737 are shrouded in mystery, with the original designer remaining unknown. However, the story of its rediscovery and revival is just as compelling. In the early 2000s, Playtype founder Jonas Hecksher was immersed in creating Fru Olsen, a serif typeface inspired by classic Danish signage. During his research and scavenger hunts for examples of street signs, he stumbled upon another typeface—unassuming yet intriguing. Despite his efforts to trace its origins, the trail went cold. Calls to signage companies and local council offices yielded no answers about the font's creator or its history. It was a classic case of not seeing the forest for the trees. The more they looked, the more they realized they had overlooked this widely used piece of utilitarian design. This only fueled their determination to uncover its story. Eventually, on a hunch, they contacted Dansk Standard and struck gold. The font was created for them in 1954 and was named ‘Dansk Standard 737’. Thanks to Playtype's efforts, DS 737 has been given a new lease on life, digitized and expanded to meet modern demands while retaining its classic appeal.
DESIGNER/FOUNDRY
Schibsted Grotesk is a custom typeface born from the Schibsted media group’s need for a digital-first font with a bit of character. Norwegian design studio Bakken & Bæck took on the brief, building a type system made to handle the demands of modern platforms — with a bit more bite.
The result? A proper digital workhorse: 496 glyphs, 12 styles, and built using OpenType variable font tech. It’s designed for flexibility — across screens, sizes, and languages — but still carries a nod to Schibsted’s 186-year history in print.
The old font stack just wasn’t up to scratch — too stiff, too quirky, and not made for digital. Bakken & Bæck saw the gap and built something from the ground up: soft but structured, shaped by both heritage and forward motion.
Schibsted Grotesk plays well with Material 3’s size and group system, ditching rigid rules in favour of a more fluid, readable rhythm. The scale follows a 1:1.2 ratio (a minor third), starting at 18.5pt — clean, clear, and consistent across devices.
It’s not just about looks — it’s about how the type sits on screen. Carefully tuned vertical metrics mean better legibility, smoother dev handoffs, and a typeface that behaves itself in the wild.
From regular to extra bold, with true italics to match — Schibsted Grotesk is expressive, versatile, and made to move.
Foundry / Designer
Henrik Kongsvall is the designer behind Schibsted Grotesk — a graphic designer at Bakken & Bæck with a knack for making type feel fresh without losing its roots.
The process kicked off with a brief from the brand elevation team: something digital-first, clean, and built to last — but still carrying a bit of the weight and warmth of Schibsted’s long print history.
Henrik dug deep into that legacy — leafing through archives from titles like Aftenposten, one of Norway’s oldest newspapers, and tracing the type DNA back through the group’s 19th-century origins. That research led him to the early grotesques that helped shape Schibsted Grotesk:
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Monotype Grotesque – USA, 1926
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Breite Halbfette Grotesque – Germany, 1890
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Venus Grotesk – Germany, 1907
These typefaces had just enough grit and charm — built for utility, but never boring. The result? A type family that’s flexible, expressive, and gives designers the room to move. Schibsted Grotesk doesn’t preach; it works.