Weezevent Brand Guidelines: A 2008 Self-Service Box Office, Cashless Bracelets and a New Blue

Event organisers who could not find the sign-up tool they wanted.

Weezevent is a French events-software company, founded in April 2008 and registered in Dijon, in Burgundy. Its legal notice gives a correspondence address in Clichy, just outside Paris, and Pollstar listed a Paris office among its European bases in 2025. French Wikipedia names three founders: Pierre-Henri Deballon, Sébastien Tonglet and Yann Pagès; Deballon is chief executive.

The company tells its origin through its own timeline, the “Weez Story.” In 2006, it says, Deballon and Tonglet were organising an event of their own, Velotour, and could not find an online registration system that suited them. In 2007 other organisers turned out to have the same problem; the two left their jobs and Pagès joined them. The business site Maddyness, in a long profile in November 2022, dated the resignations to September 2007 and the company’s articles of association to April 2008.

The company says it tested its system in beta in 2008 on a concert at the Sorbonne in Paris, with about 1,000 spectators, and began selling in 2009. La Dépêche du Midi reported on 30 April 2009 that since March that year Weezevent had offered what the paper called the first French self-service online ticketing solution, aimed at small associations and clubs that could not build a box office of their own: an organiser creates an account, describes the event, sets up the ticketing and starts selling online, with card payment. The company says early clients included the Patrimonio festival in Corsica and a student gala at the École polytechnique.

From online tickets to cashless bracelets.

Weezevent’s timeline lists a steady run of additions. It says it launched a second version of its ticketing system in 2010, the year it was named a laureate of the City of Paris’s Grands Prix de l’Innovation, and added ticket sales through Facebook in 2011. In 2012 it took in Wooticket, another startup, whose founders took over technical direction, and released an access-control app that ran on a smartphone with a professional barcode reader. In 2013 it added an on-site sales counter built on a tablet and a thermal printer. In 2014, the company says, it won a place in the Deloitte In Extenso Technology Fast 500 EMEA and opened an office in Montreal.

The larger shift came with cashless payment. Weezevent says it joined forces in 2015 with Nemopay, a cashless specialist, to combine ticketing and cashless in one system. Le Figaro reported on 11 July 2015 that the Vieilles Charrues festival in Carhaix, Brittany, would use “Moneiz,” a plastic bracelet with a built-in chip designed by Weezevent, which festival-goers could load with credit and use at the bars; the paper said the bracelet was free and that unused credit would be returned after the festival. The company says its cashless system ran in the Euro fan zone in 2016, and that in 2017 it passed 100,000 organisers and opened offices in London and Madrid.

Today Weezevent groups its products under the Weez prefix. Kaboodle’s website presents them as WeezTicket for ticketing, WeezAccess for scanning at the door, WeezPay for cashless and WeezCrew for staff and accreditation. Weezevent’s British website says organisers can customise e-tickets, event mini-sites and confirmation emails in their own branding and colours, and embed a ticketing widget in their own websites. It says 500,000 event organisers use the system and describes it as trusted by 1 million events.

How ticketing platforms present themselves.

Ticketing and event platforms sit between the people who put on events and the people who go to them, and their design has to serve both sides at once. Some are primary agents that sell on behalf of promoters, venues and festivals; others run resale marketplaces where fans and traders list tickets they already hold. Each kind presents itself differently, and each is worth reading on its own terms rather than as a single category.

The interface is where most of the brand lives. Event pages, seat maps, ticket wallets and checkout screens carry the name more often than any advertisement does, and the companies publish these flows in their own apps and help pages. In the United Kingdom, a 2018 court order secured by the Competition and Markets Authority required one resale site to show seat details, face value and the identity of the seller, so for resale brands some page elements are set by regulators as well as by designers.

Around the interface sit the smaller marks: app icons, short wordmarks and the photography used on event listings. Much of that photography belongs to artists, promoters and venues rather than to the platform, which means the platform’s own colours and type often act as a frame around other people’s posters, line-ups and stage shots.

Corporate pages tell a further story about owners and markets. Ticketing brands are often bought and sold, merged into larger live-entertainment groups or kept as separate names inside one company, and their about pages, trade-press announcements and regulator filings are the plainest record of who owns what, and where each name trades. The guides in this group read those records alongside each brand’s public identity; every palette shown is our own unofficial interpretation.

A new logo at ten, and a group across Europe.

Ownership has changed hands twice. In 2015 the online retailer Vente-privée, now Veepee, took 60% of the company, buying out an investment fund while the founders kept running the business, Maddyness reported in 2022. The founders later bought the stake back: Maddyness dates the end of the arrangement to 2020, while French Wikipedia, citing the magazine Challenges, places the buy-back in 2021. In the same period Weezevent combined with PlayPass, a Belgian cashless company. In September 2023 the investor Naxicap and Banque Populaire joined its shareholders, Le Journal des Entreprises reported that December, when the Montpellier start-up Recrewteer, founded in 2021, which makes staff-management software for events, joined the group through a majority stake.

In 2025 the group grew abroad. In March the Dutch platform Eventix announced that it had joined Weezevent and renamed itself Weeztix; in April Pollstar reported Weezevent acquiring Weeztix and the British ticketing company Kaboodle, with both keeping operational autonomy, and counted 260 staff across Europe and Canada. The same report quoted the company as saying that since 2008 it had served more than 500,000 event organisers and processed more than 150 million tickets across 30 countries. Kaboodle’s website now presents the Weezevent product range.

The visual identity was refreshed at the company’s tenth anniversary: its timeline says that in 2018 it gave itself a makeover with “a new logo, a new blue and a new website” (our translation). Its slogan, quoted by French Wikipedia and on its own pages, is “La techno c’est nous, l’événement c’est vous !” — roughly, “We do the tech, you do the event.”

For a design guide, Weezevent shows how a self-service ticketing tool can grow into a family of products under one prefix. Compare Eventix, now its Dutch arm Weeztix, and Eventbrite, another self-service ticketing platform. For this guide we use a bright cobalt, an ink blue and a warm amber with a sans, an unofficial interpretation; no product or logo is reproduced.

Keep Weezevent’s identity on hand — save it to a board in the Made Good inspiration library.