MOX opened a brand design division. Formula E hired it

MOX opened a new division on 17 July and announced it with a client already attached. The division is called MOX/WORLDS, it covers brand design and experiences, and its opening job is a global branding and design brief from Formula E. Jaś Rewkiewicz runs it from the London office.

The order of those two facts is the story. The work was sold before the department had a name in public.

The hire tells you the brief

Rewkiewicz was Creative Director at MOX before he left for ALTAVA, the South Korean tech company, where he became Chief Creative Officer. At ALTAVA he led immersive and interactive projects for Roblox, LVMH and LaLiga. Put those three clients in a row and you get the shape of the job: a game platform, a luxury house, a football league. One identity, three very different surfaces, none of them a poster.

He's back at MOX now, and MOX put the announcement on its own news page rather than leaking it to the trades first.

That page is worth a look on its own terms. The layout splits hard: a black column of every news item on the left, the open story on the right in white, with a serif at display size doing all the hierarchy work. No card chrome, no numbered index. The date sits in caps at 12px above a headline running at maybe 60. It's a magazine index rendered as a two-pane app, and it reads faster than the scrolling feed most studio sites default to.

Brand design keeps getting wider

MOX built its reputation on culture work for Nike, LEGO, SEGA and Salomon. Founder and Creative Director Matt Bolton frames the practice as world-building, and he's specific about where it lands: "That may become a campaign, a community initiative, a platform, or a content series. Increasingly, it's something people can physically step into."

That last clause is the reason the division exists. When a brand ships a product, a retail space, a broadcast package and an app in the same quarter, the identity has to hold in all four. Rewkiewicz says the same thing from the other side: "The most interesting brands today aren't just communicating with audiences. They're creating things people can enter, interact with and be part of."

For anyone making digital products, that's a scope change with real consequences. The brand system you inherit is now expected to survive a physical activation and a broadcast graphics package, which means the tokens, the type ramp and the motion rules have to be defined tightly enough to travel. Loose brand guidelines break the moment someone builds a stage set from them.

The motorsport work already exists

Formula E didn't hire a studio guessing at racing. Race Louder, sitting at 002 in the work index, is the PUMA x McLaren platform MOX shot in Austin ahead of the 2025 race with Oscar Piastri and Lando Norris. MOX describes it as a platform and a visual system: bold typography, amplified graphics, and a mark built to flex across retail, social and race day.

That phrasing matters. A mark that flexes across three contexts is a design system problem, not an art direction problem. Someone had to decide how the logo behaves at 40 metres on a garage wall and at 44 pixels in a story sticker.

The Race Louder page opens on this: a grain-heavy macro shot in sodium orange, no headline, no scroll cue. MOX lets the film hold the top of the page and puts the case study text behind an Info toggle in the floating pill nav. It's a confident piece of restraint and it depends entirely on the footage being good enough to carry it.

What it signals

MOX also expanded into the US market recently, and the site now lists London, New York and LA. A division launch with a signed global sports client on day one reads as a studio building capacity for briefs that used to be split across four vendors.

Whether Formula E gets a full identity system or a design language for one season, we'll see it in public. Electric racing has a broadcast graphics package, a live app, a fan token layer and a paddock. That's four surfaces and one brand.

Credit: MOX, London, New York and LA.