Explaining Fashion’s Recent Divorce from ‘Logos’

Welcome to the 175th insertion of DEMUR®, an analytical series highlighting the intricacies of the artistic world and the minutiae lying within. In this episode, we question the logo’s future, taking a look at the evolution of monograms and how they’re changing.

In the wake of Y2K’s resurgence, we’ve watched as logos became fashion’s hottest trend. Much like the 2000s era, rhinestone Juicy Couture tracksuits came in pair with Dior trotter saddle bags, EdHardy tees and Jeff Hamilton varsities. Emblazoned across the chest, butt and back, single-hit motifs returned for the millionth time, while vintage monograms skyrocketed in value. However, at the heights of runway fashion, it feels as if the attitude towards logos has shifted, taking on a new persona atop the catwalk.

As we depart from the ultra-maximalist trend cycle social media has demanded, we’re beginning to cusp a new era for the age-old ‘logo’. No longer are we restrained by lettering and symbols, but instead pushing emphasis towards signature aspects of design. Much like Hedi Slimane's iconic waif figure, emerging designers in particular are reinventing defining aspects of their respective labels.

Daniel Lee, Bottega Veneta’s previous creative director, is a great example of this, using ‘Bottega Green’ as a distinct identifier of his work. When such a vibrant hue is seen in pair with minimalist items like puddle boots per se, this otherwise easily replicated silhouette is instantly associated with Bottega. It’s seen everywhere, through the likes of Chanel’s tweed textiles, Yohji Yamamoto’s black and often oversized cuts and Issey Miyake’s pleated design. These traits are unspoken yet iconic and entangled with brand ethos.

Beaten dead with constant reminders that you’re a walking billboard, the fashion audience has grown tired of such simplistic design, and is evidently looking for more.Logos will forever be prevalent as long as society retains socioeconomic hierarchy, but as time persists we can hope to engage with pieces that focus on cut and construction rather than this fictitious premise.