So far the logo compositions effectively communicate the brand's aspect of 'material manipulations' through the process of manipulating a singular 'M' and communicates a certain level of quirkiness through the unconventional combinations and representations of the letters M and W. What it does not communicate so far is the clients process of using colour and texture. These were the points of discussion during feedback.
Adding colour to the logo itself however may or may not be ideal for the brand. A neutral colour scheme seen on most fashion logotypes is beneficial as it allows the colours of the products to be the focus on promotional material. Silver and grey hues were suggested as an alternative to the typical black and white.
Colour can also be introduced through filling the logo with the designers content. Communicating a logo that is versatile, dynamic and tailored specifically to the designer and it also allows it to change according to the collection. This idea can also be used to add texture.
Screen printing the logo and scanning it in on textured stock, recreating it with cut tape, painting it and digitally adding noise were other ways commented to add texture to the logo.
Stacking the logo was an option presented however the overall form of the logo does not communicate 'MW' as well as setting it horizontally. The vertical set type causes a clash between the two letterforms, reducing readability.
The problem with this version of the W however is that it is reminiscent of the Emperio Armarni eagle logo, which was unintentional and unfortunate. The logo should not be reminiscent of any other brand. It should stand alone and be recognisable through its own design. The relation between the two only demonstrates Armani's equity and effectiveness in establishing itself.
There was a comment on how these brands communicate a sense of Britishness about them which led to the idea of possibly relating the logo to the client's nationality.
Surprisingly this composition was well received, being described as contemporary and futuristic because it is unlike most fashion logos seen today. The large flat forms allow the logo to sit boldly on the shopfronts, the brands collateral and imposing itself onto the consumer, generating appeal and curiosity.
Second most commented on was this composition as this still retains the original idea of having an optical zig zag line going through the logo. The subtly of the asymmetric M and W communicates a playful and quirky representation of the brand.
Ultimately, presenting these logos to the client will narrow down the range of logos to develop further.
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