In 1997 British Airways (BA) adopted a new livery. One part of this was a newly stylised version of the British Airways "Speedbird" logo, the "Speedmarque", but the major change was the introduction of tail-fin art. Also known as the Utopia, World Tails and world image tailfins, they used art and designs from international artists and other sources to represent countries on BA's route network. The signature of the artist was carried near the design on the tail. The new corporate logo was created by the London-based design agency Newell & Sorrell, who also oversaw the implementation of the tailfin designs. The German designs refer to the BA subsidiary Deutsche BA, the French designs refer to the BA subsidiary Air Liberté, and the Australian designs refer to BA's alliance with Qantas. History Launch and reception The adoption of this aircraft livery was seen as a move away from the traditional British image of the carrier. BA claimed that the previous Landor Associates scheme carried an air of arrogance and detachment, and insisted that the new tailfins were popular with international travelers. In addition to the new tail art, the crest and motto "To Fly. To Serve." were dropped from the livery to make the airline appear more "global and caring." In his speech at the launch, Chief Executive Robert Ayling declared that BA needed "a corporate identity that will enable [it] to become not just a UK carrier, but a global airline that is based in Britain" and the airline should better reflect the international image of the UK as "friendly, diverse and open to other cultures." The total cost of the rebranding was estimated at million, of which m was paid to artists and the Newell and Sorrell design firm. The initial rollout consisted of 15 distinct tail art designs. Quentin Newark later called the initiative "incredibly brave" and praised the work of Newell and Sorrell as "expressive [and] gleeful". However, they were unpopular with many traditionalists in the UK, despite nine of the designs being inspired by either England, Scotland or Wales. Flight crews derided the new designs as "Air Zulu." Jonathan Glancey criticized the Utopia project as "muddle-headed and messy - ethnic designs turned into the equivalent of doll's-house wallpaper, things applied but not belonging", failing to give the airline a cohesive identity. Glancey added the ethnic designs "had the net effect of trivializing art and design