Coca-Cola unveiled a new brand identity this week aimed at unifying its visual presence across more than 200 global markets, introducing a custom serif typeface that has drawn unexpected comparisons to the font used on Marlboro cigarette packaging.

The new font, featured prominently in promotional materials, uses a white and red color scheme that led some observers to liken it to the Neo Contact typeface seen on Marlboro packs. This association has reignited discussions about "fridge cigarettes," a term referring to sodas being the contemporary substitute for cigarette breaks. However, experts in graphic design and typography stressed that despite superficial similarities, the two fonts are distinct.

Coca-Cola’s new typeface, called Better With, was developed by Brody Associates, a respected design firm, as part of a branding project led by Jones Knowles Ritchie (JKR). Brody Associates initially created the font for Coca-Cola’s 2023 holiday campaigns. According to the firm, the typeface family was designed to capture the brand’s unique personality, movement, and playful character, featuring wide and narrow styles with pronounced, rounded serifs and softened joins in the letterforms.

Elizabeth Goodspeed, a graphic designer and adjunct professor at the Rhode Island School of Design, said the core of the Marlboro comparison lies in the type and color palette, but affirmed the typefaces are not identical. James Edmondson, owner of Ohno Type in San Jose, California, pointed out that Marlboro’s Neo Contact is much more condensed and features slab serifs with sharp, angular terminals. In contrast, Coca-Cola’s Better With type includes brackets—rounded transitions connecting the serifs to the main strokes—giving it a softer appearance.

Observers have speculated whether the resemblance was intentional, possibly to tap into nostalgia associated with Marlboro’s legacy. Neither Coca-Cola nor Altria, Marlboro’s parent company, responded to requests for comment on the matter. However, in prior discussions with design-focused media, executives involved in the refresh emphasized their commitment to honoring Coca-Cola’s heritage. They cited a detailed review of an investor book from the 1970s that outlined core components of the brand’s visual identity, including the Spencerian script logo and distinctive white ribbon on a red backdrop.

Creative director Dave Balsamello of JKR described the process as a meticulous deconstruction of Coca-Cola’s iconic elements, testing their size, cropping, and color to distill the brand’s essence for modern use. The redesign aims to balance tradition with contemporary branding needs, despite inevitably drawing scrutiny due to Coca-Cola’s extensive cultural presence.

Mark Pendergrast, author of a detailed history of the company, suggested that the controversy highlights the passion Coca-Cola evokes among fans and critics alike. He noted that the company likely did not anticipate the comparisons, and that the criticism reflects the ongoing fascination with Coca-Cola’s legacy—stretching back to its origins more than a century ago. In Pendergrast’s view, the reaction amounts to exaggerated sensitivity over what is, at its core, a minor typographic coincidence.