Logotypes of emerging fashion brands

Craig Green is an British fashion designer who's self named brand is only 4 years old. The logotype is unlike most brands with its pictorial representation and thick angular stem lines which give the logo a simplistic more rugged look. Overall the logo has a lot going on visually which makes it hard to identify a main recognising element. Logotypes of Balenciaga and Chanel are recognisable as a whole because of its use of a singular typeface, whilst Craig Green has numerous elements that conflict one another and fight for attention. 

Nevertheless, despite how characteristic Craig Green's logo is, what largely determines these brand's identity is the clothes they sell. Each brand or designer create clothes that best communicate their vision of what the brand be. Certain audiences will therefore go to certain brands because they associate themselves with their image. The role of the logotype acts the face of the brand, what the audience associates the clothes with. Whilst the clothes are the body, the main product of the brand.

Sunnei's logotype uses both a characteristic typeface and colour. The contrasting thick and thin stems are like those of a modern serif, giving the name a slight elegance. The less than typical choice of typeface however creates a trendier logo that gives the brand a less serious tone of voice, whist also helping it stand out amongst its competition. The typeface is youthful in its appearance and subsequently attracts a youthful audience as reflected in the model casting. 

Liam Hodges's self titled brand is a logo style that may not be as elegant as previous examples yet it communicates directly what the brand is about. The letterforms look like they were cut from paper and scanned in, creating irregular letterforms that communicate a 'cut and paste', rugged, mix match identity of the brand. These qualities are translated through the loose silhouettes of the clothing, layered styling and use of graphics.  

Started in 2014, ADER error is a fashion brand that is designed through a collective rather than a sole designer. The word “Ader” is the phonetic Korean pronunciation of “other,” and plays into the brand’s search for unorthodox style and “near-missed things”—or the things that we almost take for granted. (Kim, 2016) 

The use of colour in the logotype focuses ADER's identity. Typical 'black type on white background' fashion brands adopt does not create a personality. For those logotypes, the neutral colour scheme puts emphasis on the typeface and the name.  

The use of a colour however allows the brand to build an association with the consumer without having the need to show their name. For example how a consumer can assume a red can to be a Coke can. 

In terms of ADER's logotype, the shade of blue is an energetic colour, communicating a lighter tone of voice which is representative and aimed at towards their younger demographic. This is added on through the playful type setting which requires more work from the reader to comprehend the name. 

This playfulness is extended through to multiple compositions of the logo, where the typeface remains as the consistent element which creates the logo's identity. 

When applied to their clothing, the logotype does not remain consistent. Different typefaces, type setting and sizes are used depending on the garment or collection. This combined with the clothes design, keeps the brand exciting for the consumer, communicating a constantly evolving brand that is more conceptual than commercial. 

Helen Kirkum is footwear designer whose logotype is a reflection of the products concept. 

Helen creates new sneakers through a collage of old trainers from recycling centres.  She "explores unexpected constructions within footwear, investigating the extremities of structure and texture. Her work is a spontaneous reaction to society, conceptualising our connections with commerce and materiality through textures, graphics and silhouette." 

The disjointed stems of the typeface and the combination of curvilinear and linear forms communicate her concept of collage making because the logotype looks like it was 'put together'. The simplistic letterforms and increased tracking retains legibility against the haphazard forms. 

From these examples, it is clear that there is a difference in logo styles between the bigger, more established fashion brands compared to newer, more independent ones. Commercial and even high fashion brands have to appeal to a wider, international audience, hence their less characteristic typefaces that allow a multitude of meanings be put on through its level of ambiguity. It doesn't pigeonhole the brand into one specific identity, which in the fashion industry is risky as the industry is constantly changing. Pared back logotypes are able look relevant for longer despite the various trends.

Independent, smaller brands cater toward a more specific audience because their collections are specific in their look and overall concept. They don't fit in with the everyday fashion people wear. Hence the logotypes are more characteristic and can afford to be more playful as they don't have to cater to everyone. Furthermore, because these smaller brands are often a product of that single designer, the audience are buying into their name, and thus their personality as well. As a result these logotypes are more explicit in representing their attitudes.  



Kim, M. (2016). This Cult Fashion Collective Is Korea’s Answer to Vetements. [online] Vogue. Available at: https://www.vogue.com/article/ader-error-korean-fashion-collective-jeans-socks [Accessed 18 Nov. 2017].

Kirkum, H. (n.d.). About. [online] Helen Kirkum. Available at: https://www.helenkirkum.com/about [Accessed 18 Nov. 2017].