As it seeks to become an ultraluxury brand, Jaguar has unveiled a radical new design and logo that the auto marketer hyped as “fearless, exuberant and compelling.” But so far, the best word to describe it is polarizing.

The effort comes as the slumping 90-year-old British automaker attempts to change its perception as it evolves into an all-electric brand competing with the likes of Aston Martin and Bentley, rather than battling with more mainstream premium players such as Audi, BMW, Lexus and Lincoln.

Jaguar’s new logo—which was revealed on Tuesday—uses a custom font that blends uppercase and lowercase letters. The brand describes it as a “celebration of modernism” with its “geometric form, symmetry and simplicity.” Jaguar’s color palette is also changing to include shades of yellow, red and blue.

The logo appears more rounded than the previous one, which was often accompanied by a leaping jaguar. The cat is still part of the new look, but expressed separately against a striped background.

Much of the criticism has been directed at an accompanying video, called “Copy Nothing,” which features a diverse cast of people wearing brightly colored, oddly shaped clothes appearing in a purplish other-worldly atmosphere. One scene shows a man taking a brush of white paint to the words “delete ordinary.” 

Jason Torchinsky, co-founder of car culture website Autopian, called it “incredibly derivative stuff,” writing that “this kind of bold, colorful couture, these saturated-color-monochromatic backgrounds, it’s not new or bold, it’s almost the default go-to when some organization wants to prove how bold and edgy and daring they are.” 

He also went after one scene that shows a woman carrying a sledgehammer against the text “break moulds.” She is “not breaking any moulds there,” he wrote. “She’s snuggling into a mould that was first used to cast a brand identity back in 1984,” recalling Apple’s famous “1984” ad.

Also read: Jaguar’s rebrand mocked by a phone brand

Read about other redesigns and rebrands

Those mocking the ad on social media include Tesla CEO and X owner Elon Musk, who stated, “do you sell cars,” likely a reference to the fact that the video did not include any vehicles. Other criticism ranged from comparing the ad to “United Colors of Benetton” to calling it “cheap brand perfume.”

And, perhaps predictably, some people accused Jaguar of going “woke.”

As for the logo, critics suggested it did not live up to Jaguar’s premium aspirations.

TBWA\Chiat\Day CEO Rob Schwartz in a social post subtly compared the reception to the uproar over Gap’s 2010 decision to overhaul its logo by sidelining its iconic blue box—a move that was quickly reversed in the face of criticism.

Jaguar did not respond to requests for comment, including about agency involvement in the new look.

On social media, the brand was not shy about responding to the critiques. It replied to to Musk by inviting him to Miami’s Art Week in early December which is sponsored by Jaguar and where it plans to show off a new concept car, while establishing “its advocacy for artistic expression” via “a series of meticulously curated gallery spaces over two locations,” according to a press release.

In response to one person who called it an “awful ad’’ and questioned if the new look will “rescue your tarnished brand,” Jaguar responded, “Quite the opposite. This is a renaissance.”

Jaguar Managing Director Rawdon Glover in the press release described the overhaul as a “complete reset,” adding that “to bring back such a globally renowned brand we had to be fearless.”

No one is questioning that change is needed. Jaguar’s global sales peaked in 2018 at 181,329 vehicles with sales decreasing every year since, according to Automotive News, which reported that “all new Jaguars will be at least twice the price of those on sale now, all will look completely different from anything in Jag’s past and from other brands’ vehicles, and all are intended to be second or third cars for upscale families with stables of vehicles.”

Jessica Caldwell, assistant VP for insights at Edmunds, said: “Jaguar’s new brand identity seems a bit too abstract to connect with actual buyers. While it makes sense in a rebrand to go for drastic change, Jaguar still needs to read the room and even though its target demographic is young, wealthy, first-time buyers, these people are still looking for substance and value for money.” Still, she said, the rebrand has “gained a great deal of attention for its brand, which is a feat in itself (and one that it hasn’t achieved in a long time).”

Toby Barlow, CEO and partner at Detroit-based agency Lafayette American, gave Jaguar credit for swinging big. “Auto marketing can be such a dull sea of sameness, even in the luxury category. Usually it puts me to sleep. Really respect them taking some chances and making some big wild bets,” he said in an email. “The audacity of it is absolutely inspiring. I mean, who was talking about Jaguar yesterday? Today everyone is.”

Other agency and design pros suggested the branding falls short. Sunny Bonnell, founder and CEO of brand strategy consultancy Motto, in a statement credited Jaguar for betting on sustainability with its move to an all-electric fleet, but said the rebrand lacked “soul.”

“Jaguar has always been more than just a car—it’s been an icon of British elegance, unapologetic performance, and wild spirit,” she stated. “The rebrand feels calculated, not visceral. Where’s the swagger? The pulse-quickening connection?”

Ad Age reached out to other design pros for their take. Below, a sample of the feedback we received:

Lee Rolston, chief growth officer, Jones Knowles Ritchie (JKR)

“As a lover of the Jaguar brand and its heritage, I’m hoping this is a spoof to drum up PR. If it isn’t, here’s my professional point of view: This rebrand completely misunderstands what a brand is—and what branding is. It’s impossible to reinvent a brand like Jaguar while ignoring its legacy. Imagine representing Snickers in the image of a pineapple—your brain simply wouldn’t accept it. Brands transform through what they do and how their audience experiences them, not just by rebranding. Apple convinced us that a computer company could not only dethrone Sony Walkman but also take on HMV and Netflix—all without rebranding. Tiffany convinced us they were ‘not your mother’s jewelry’ by streamlining their range and associating with Jay-Z, Beyoncé, Basquiat, and Nike—not by rebranding. Jaguar could have convinced us their cars now run on electric, not gas, by staying true to themselves—not by trying to be someone else.”

Satoru Wakeshima, partner, CBX

“Jaguar’s new rebrand (and let’s be clear—it’s a rebrand, not a refresh) feels like what happens when you draw influences from outside categories but lose yourself in the process. Few automotive brands have rebranded themselves successfully with this dramatic of a change. I find it ironic that Jaguar quotes their founder, Sir William Lyons’ belief that ‘A Jaguar should be a copy of nothing.’ It’s a bold statement but the new look, logo and ‘Copy Nothing’ campaign look like they took design inspiration from categories like graphic design software, photography, printer ink, and spoof 1990 sci-fi flicks depicting fashion in 2025 and mashed it all together.”

Scott Wilson, design director, Daughter Creative

“I have learnt to be skeptical of my first impressions of rebrands; they often change. However, my feelings about this new work compound with a collection of unmoved frustrations with car makers departing from the legacies of their brands and models rather than choosing to create something truly new of its own—top of mind is the Corvette losing its iconic silhouette in the C8, and likewise the Mustang being diluted with the addition of the Mach E.  These aspects have been so integral to those models for decades, it seems short-sighted to let go of them. I feel no different towards the new Jaguar brand as a whole. If the heart (read: engine) is changed, the body and styling are changing, the audience and price point are changing and the visual identity is completely overhauled—what of Jaguar is left?

I do commend Jaguar’s desire to ‘delete ordinary,’ and I look forward to that promise being fulfilled in the new models themselves, as I don’t feel the new marks and logo achieve this. But that may be an intentional contrast so I will eagerly await to see that proven true.”

Adriana Ivory, executive design director, The Garden 

"So, I get it. I understand the excitement and possibilities that come to mind when a brand briefs with the goal of shedding the old and embracing the new. The list of cutting-edge, disruptive visuals and messages that can come out of a brief like that is endless. But as creatives and designers, we have the responsibility to evaluate, problem-solve, and ensure that the soul and ethos of a brand remain intact when it’s all said and done. In this case, I worry that this new ‘aggressive play’ to bring about change has turned into an exercise in gratuitous art rather than strategic problem-solving (and future-proofing) design and creativity.

Aside from the clear issues with: a) not showing a vehicle or elements of a vehicle (which I can overlook if the spirit of the brand is visible), and b) a new logo that feels more fintech than luxury vehicle—honestly, it wasn’t necessary—my main struggle with this entire approach is the apocalyptic-chic nature of it all. Somehow, Jaguar has managed to take something as sustainable and positive for the future as moving to electric vehicles and make it feel like we’re living in a dystopian world straight out of ‘The Handmaid’s Tale’-meets-Hunger Games’ Capitol, where the villains with the most money get the spoils.

The push for edgy, avant-garde aesthetics, aimed at an audience that is, yes, incredibly demanding in terms of high visual standards, does seem right at first glance. But executing it in a way that feels formulaic rather than intuitive and natural can be the kiss of death for a smart, young audience that needs an emotional connection to a brand now more than ever to commit to it.”

Jack Maycock, associate strategy director, Shape History

“Jaguar’s biggest mistake wasn’t the visuals they’ve put out, it’s the timing and the lack of a coherent narrative to go alongside it, basically allowing critics to fill in the gaps about ‘why?’ Some brands can lean into their heritage without sparking any controversy. But by simply taking a more expressive and future-facing approach, Jaguar is now being called ‘woke.’ Surely there’s room for both approaches without turning progress into a cultural battleground. All this to say, brands must know what they’re walking into. For many, it seems like the only way to ‘win’ is to stick to the safety of their heritage, even if it means staying in their comfort zone and missing the chance to evolve. We need to move past the view that all branding is cultural commentary and instead just treat the rebrand on its merits for the message or values it is trying to portray. Clinging to the past might keep critics quiet for a while, but it won’t solve the challenges brands face today—or tomorrow.”

Brian Collins, co-founder, designer, Collins

“This Jaguar work is so audacious and, even, mad, that I am dazzled by its uncommon conviction. I have flipped from love to hate to love three times in three minutes.  Which means it is interesting in a world where very little in this conversation is interesting.I worked on Jaguar at Ogilvy for several years in its late heyday. Our team there wrote the brand idea ‘A Jaguar is a copy of nothing.’ This line was never used as customer-facing language. And yet, here it is. And damn, they are dancing, swinging and walking their talk. Now, let’s see if Jaguar can drive their talk too. That’s when we should really judge this unignorable rebrand.”

Matt Sia, executive creative director, Pearlfisher

“Jaguar’s redesign is theatrical, evocative, colorful and definitely bold, almost hyper-future forward in its approach … if it were meant for a tech, fashion, beauty, or wellness brand. It is a car brand, right? I appreciate the opportunity to ‘copy nothing’ and reset to stand out—even break the rules of the category. However, it should be for the right reasons. One of the most critical elements of a luxury brand like Jaguar is its ability to evoke a sense of timelessness. This new visual language feels more trendy than enduring, which risks making the brand feel more transient rather than classic, driven by a campaign in the moment vs. a repositioning. Jaguar deserves a more timeless and thoughtful approach, preserving its legacy while evolving as a progressive electric-focused vehicle brand.”

Jason Miller, creative director, Siegel+Gale

“If the goal was to use a rebrand to create ‘buzz’ around its product launch, job done, even if said buzz is negative to neutral in tone. If this is meant to say anything compelling about the future vision of the brand, it’s a pretty confusing start. Going tabula rasa with a 100-year-old brand is a pretty bold bet. Especially when they could otherwise be (rightfully) defining a POV around luxury power, danger, performance and British-ness—and what those things can mean in the EV future. But when you ‘delete ordinary’ and ‘break moulds’ you still have to fill that void with … something. This is bold simplicity, yes, but then Barbie-meets-Zoolander aesthetic reads more like a grab bag of fashion tropes than a radical new future. And for all its ‘disruptive’ intent, the logo suite is kind of awkward and bland. The rounded typography has zero danger or personality in it. And how will it look on the vehicles? Maybe it will all make more sense when we see the product?”

Yihuang Zhou, senior designer, Mother Design 

“As a type designer, I’m always excited to see another custom type project. But this one is strange. The new logo is naturally the center of the discussion. I’m sad to see the ‘Growler’ gone. I hope it finds a way to live on the actual vehicles alongside the new geometric uni-case wordmark. In the press release, Jaguar mentioned a new design philosophy called Exuberant Modernism, which makes me want to link the design decisions here to the type of experiments that came out of the Bauhaus. So the use of uni-case might be somewhat justified, but the letterforms still feel unresolved—they need either more refinement or a more primitive approach. Right now, it lacks confidence and feels not quite well-crafted.

The new typeface does look very confident and well-crafted in the brand videos. It works stunningly as display type and pairs well with the bright art direction. Initially, I thought the all-lowercase approach would be applied across the brand. However, I was surprised to find this new typeface (named Jaguar Exuberant) actually had an uppercase character set! But it was underwhelming—just another geometric sans-serif that feels flavorless.

But that’s all details, I think we are all asking ourselves: will this work for Jaguar? I think it comes down to whether this change comes from a solid strategic foundation, or is it just chasing the EV design trends? The design industry has long cycled through trends of evolution vs. revolution, famously evident in fashion over the past decade or so. For automakers, there’s a clear storyline connecting EVs, progress, younger generations, and a willingness to move away from brand pedigree. But a complete overhaul is not always the best solution. How do brands balance newness with heritage? The best answers will always emerge from a brand’s authentic identity, and the strategic decisions thereafter. Not from design trends.”