Logomania is the trend that (perhaps) we did not expect in 2021 and in 2022

  • By:karen-millen



ANALYSIS Despite the fact that there are other more powerful aesthetic currents, the big firms continue to bet on their logos in an unequivocal (and sometimes novel) way.

By María José Pérez Méndez

"In the age of social media, logos and logomania are a win-win for the brand." That claim made by the WGSN trend spotting agency is several years old, yet few could doubt its relevance. In recent times, there has been such an explosion of digital life and liquid identities that what is truly strange is what has happened during the last twelve months: that despite framing much of our time on screens, many of the spring-summer 2021 trends have been focused on well-being in all its breadth and whatever it implies (light textures? Yes. Dose of theatricality that suppose evasion? Yes. Bright colors that lift the mood? Also). With all this on the table, how is it possible that logomania is a trend that is making a strong comeback next fall-winter 2021/2022?

The most recent example to support this theory is actually in Chanel's cruise 2022 collection. In it there are various references that went from Cocteau to punk, passing through the model Stella Tennant, whose essence has inspired piercings with the iconic double C, an unusual way of using logos that raises both their presence and accessories to another level. on screen. The novelty is accompanied by another more canonical logomania, that is, the one that implies that the house's symbol is spread through accessories and, varying in size, in transparent dresses and classic-cut jackets. Those diminutive measurements (so tiny that from a distance they can pass for polka dots) are the same ones that are in the fall-winter collection, where this trend is even more visible: it is possible to see applications of metallic colors, as well as padded jumpsuits with the name of Chanel written following the seams.

The tactic of using the full name of the firm has also been present in the Gucci show, where various apparently unconnected references can also be unraveled (and which, however, acquire an absolute meaning under the prism of Michele). The presentation of the Italian house was wrapped in a series of rumors that although they were not entirely true, they did hide something true: a foray into Demna Gvasalia's designs for Balenciaga at Gucci. And it is not only that some of the pieces from the Georgian's first collection intermingle with those of Michele, but also that these silhouettes are cut into the fabric in shades of brown with the double G that, to top it off, was intervened by the name of the firm created in the 20th century by the Spanish designer. It is a complex recipe that requires sensitivity to execute, but it is also one that speaks to how synergies are publicly transforming luxury fashion, moving the idea of ​​the solitary designer further and further away from the collective imagination. Wearing one of these pieces would imply, now more than ever, transcending wearing the logo for pure economic positioning: these garments imply a certain knowledge of the industry, a statement of intent that is more aesthetic than social.

The sociocultural implications cannot be overlooked, and many analyzes have been made on the meaning of logomania during and after the pandemic, the milestone that has apparently transformed part of life. What do the experts say? That despite the fact that there is a greater focus on physical and emotional well-being, on the pleasure that fashion can bring as a means of expression, it is unlikely that logos will disappear from the scene; not even when the myth of the personal brand begins to fade in certain sectors to be replaced by a slow and conscious consumption of social networks, its main breeding ground today. Billy MacKean, the commercial manager of HTOWN, a 360-degree fashion agency, believes that this has a lot to do with the younger generations: "The clothes they wear may not be the most expensive, but they want them to be exclusive, recognizable and valuable to a specific group. It would be more of a demonstration that you're in the groove.” That's where the stamped pieces for the next season would fit in, too.

Balmain is one of the brands that have known how to navigate the ups and downs of logomania, adapting as much as possible to each moment. For this reason, seeing that in its autumn proposal there are several looks in which the logo is transformed into a print that fills the garments from head to toe is more than remarkable; idea supported by the fact that it is a monogram from the 70s that Olivier Rousteing has recovered. There is another ingredient that rarely fails when talking about this trend: nostalgia.

The idea of ​​repeating a drawing over and over again is not new either, but it is so effective that it has also been applied by Fendi or Givenchy. In the case of the first firm, the logo has been distributed discreetly on various jackets, dresses and socks; in the second, in different pieces, among which the fantasy white stockings and leggings stand out. Another case that is somewhat exceptional? Versace's. According to Vogue.com, Donatella "has created a new type of logo" that she has used as a key print of the winter collection. It doesn't matter if it's in pants, shirts, vests or jackets: it has become an unequivocal identifier of this proposal, almost like the half-moon print by Marine Serre, which she consistently includes in her creations. A pure and simple branding exercise that, why lie, continues to bring economic benefit without large investments. And isn't that the panacea for many brands?

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