BRÓG.

What we did

Phase one — selling what was already in stock. The first collection didn’t need redesigning. It needed a story that let the right audience understand what they were looking at. We redeveloped the logo, rebuilt the voice, and put a new narrative around the existing range. The Irish heritage angle was the unlock — BRÓG is Gaelic for shoe, the name was already there, the founder’s commitment to Ireland was already there, but nothing in the brand was carrying it. We built it in. Same shoes, new reason to exist.

Phase two — designing everything that came next. From the second collection onward we took on full design, every shoe built specifically for the audience the rebrand had identified. More defined, more deliberate, designed against the brand the buyers and editors were now ready to read. Two signatures became the throughlines, both mine: the gold metal hardware that recurs across every silhouette, and the fada — the accent on the Ó — debossed into both the insole and the sole. Small, recognisable details that turn every shoe into a piece of the brand, so each new season reads as the next chapter of the same story instead of a fresh start.

Production has moved with the work. Italy first, in the Marche region where Dani had originally trained. Then Spain. Now aligned with one of the best shoe manufacturers in Europe, in Portugal — the right hands for where the brand is heading. Each move sharper than the last, the craft never compromised.

And underneath all of it, three pillars to design and merchandise against — Heritage, Elegance, Empowerment. A frame Dani could brief into, a buyer could see, a press editor could repeat. The voice came with it. From nothing to something a wholesaler in Japan or a Paris department store could recognise as a brand with a point of view. Editorial, restrained, confident in its craft — LWG-certified leather, slow-fashion small batches, made by hands that have spent decades on it. The product story was always real. We made the brand match it.