Name, first nameMaharani PutriYear of birth1994eMailmaharani.firstname.lastname@example.orgUniversityECALField of Interest / research fieldArt Direction in Typography / in Photography Title of projectFunction to Attitude: Ubiquitousness of Logotype in FashionAbstractFashion’s consuming passions are reflected in its typography, from Vogue’s femme serifs to sans in Chanel and the hybrid YSL logo. Most luxury brands are built on the basis of history and heritage, and the selection of a brand name for a luxury goods company increasingly requires careful handling. The origin of this practice can be traced to the French and Italian fashion designers of the 18th, 19th and 20th centuries such as Pascal Guerlain, Thierry Hermes and Guccio Gucci.1 During their time, the conception of branding was less revolutionary and focused more on differentiation through brand name and product design. However the progressing luxury market requires an adaptation of the traditional viewpoint of luxury brands to a modern stance. This has resulted in the tweaking of the logos and the brand names of several luxury companies. How far is heritage and functionality play a role in fashion nowadays? Why does in the past 10 years more than a dozen luxury brands completely abandon this homage to hundreds of years of history by introducing a completely different logotype—some involving contemporary graphic and type designers who has never been involved in the development of these fashion houses. Has the shift of culture where attitude easily trumps functionality impacted the outlook of luxury brands in terms of the use of its logo and its incorporation of typography?
In the past few years, luxury brands have turned to logos to account for their prices, and because of the swiftness in which high street is able to reproduce certain pieces, brands feel that it’s crucial to use their logo to honour their uniqueness, especially in current pressure of having streetwear-driven aesthetic. Designer brands had to take part in the game if they wanted to stay on the loop. How could you rationalize your hyper-luxury name when consumers long for banal clothing? Thus the return of logo use in fashion trend. There is an elaborate relationship and interdependence between the clarity and straightforwardness of contemporary design itself with the strikeness of logos. Both type and fashion change with the trends, representing cultural ways of thinking at any given time period.
Fundamentally it goes back to these logotypes seen as brands; they play a key role in both the brand and product recognition. How important it is to have an accurate representation of the brand concept to align all its features to show the idea behind the brand in the way that the public can understand? Does the public even need to comprehend the brand image in the era where visual codes, non-transparency and exclusivity are more important than ever.
Focusing on one trend in a vast and cyclical history of fashion wouldn’t get us anywhere. Fashion always incorporates the past and the future, it draws inspiration from the past in order to create the desire of the future. To observe how the culture in fashion evolves, I look into several trends and movements in the past decade that involves typography, including the return of logo and labeling obsession that draws back the nostalgia of retro movement in the 1980s and 90s; to the growing reconstruction of logotype from history-induced type to ‘avant-garde’ aesthetic of sans serif grotesque and an observation of collaboration and the co-existence of fashion with other creative fields such as graphic designers, art directors and type designers. As someone who is studying type design, the topic itself is motivated by my fascination on how far the fashion industry uses type as a tool of design, seasonal marketing, ads, and so on. Typography and fashion have always intermingled in a way that it represents the fashion designer and thus the wearer more than anything else—attitude over function.TutorsRoland Früh, Wayne DalyFileDownload file