A lesson in subtle branding.
That cosmological print has been peppered throughout her collections since the brand’s inception in the spring of 2018 and has become synonymous with her label. While “logomania” is on its way out of the cultural zeitgeist, we haven’t lost that need for the status the logo conveys. With fashion trending toward understated minimalism in this strange moment, Serre seems to have bridged this gap in an expert (and timely) fashion.
Photo: Tanguy Poujol
“Logos and prints allow consumers to easily visualize their social status, likes, affiliations, and other aspects which make up your identity. In a world with a declining attention span, anything that makes it easier and quicker for people to showcase aspects of their identity will be appealing,” adds Shakaila Forbes-Bell, fashion psychologist, writer, and founder of Fashion Is Psychology.
“The purpose of a logo is for consumers to recognize the brand and its history, and a print can do the same.”
According to Dr. Michelle Finamore, fashion and design curator, the first designer logo actually emerged from Louis Vuitton and their steamer trunks, which were originally done in a checkerboard pattern. Unable to copyright a pattern alone, the fashion house came out with the LV quatrefoil monogram in 1896. Coco Chanel later invoked her iconic double C’s in the ’20s, but mass logomania didn’t really come into play until the ’70s and ’80s, when luxury fashion became more accessible.
Then, as mainstream designers like Gucci and Lacoste toyed with the idea, Dapper Dan was questioning the concept, appropriating those labels for his own designs. He created prints out of logos like the Gucci G’s, the Fendi F’s, and Louis Vuitton’s LV. Karl Lagerfeld later reinvigorated the concept in the ’90s when “his collections were dripping with the double C’s.” Streetwear in the 2010s ushered in the most recent wave of “logomania” that is just beginning to die down, although there’s probably still a line of people waiting outside the SoHo Supreme store today.
“Recognizable pieces and logos are what many first-time designer consumers purchase.”
“Prints are more understated than logos and place more emphasis on the product [as] opposed to the brand.”
“Especially after COVID-19, consumers are looking for self-expression, but have been moving toward more minimal and timeless designs,” adds Herson. “[They] are more focused on the cultural history of fashion pieces rather than just logos.”
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