{"id":160793,"date":"2019-01-02T09:00:32","date_gmt":"2019-01-02T09:00:32","guid":{"rendered":"https:\/\/www.theindustry.fashion\/2018-farewell-to-the-year-of-the-rebland\/"},"modified":"2021-08-12T13:54:44","modified_gmt":"2021-08-12T13:54:44","slug":"2018-farewell-to-the-year-of-the-rebland","status":"publish","type":"post","link":"https:\/\/www.theindustry.fashion\/2018-farewell-to-the-year-of-the-rebland\/","title":{"rendered":"2018: farewell to the year of the \"rebland\""},"content":{"rendered":"

At the end of a tumultuous year for traditional retail, and at the start of another, which doesn\u2019t appear to offer much respite, there\u2019s been a distinct trend in rebranding for both luxury and high-street brands.\u00a0<\/strong>While you\u2019d expect them to want to stand out, it seems as though they all want to blend into one another.<\/p>\n

This homogenisation is a case of an expensive \u201creblanding\u201d exercise. Rebranding means creating a different identity for a brand, from its competitors, in the market, which, in fashion, is even more important especially when you're trying to flog luxury goods and the idea of difference and individuality. This feels like the opposite.<\/p>\n

The recent rebland list is long: Belstaff, Celine, Calvin Klein, John Lewis, Burberry, Berluti and Balmain<\/strong> have all gone for simple and bolded logos without any of the details and distinct serifs. Playing it safe, what these new logos and fonts say is a lack of confidence and often change for change\u2019s sake.<\/p>\n

\"Rebland\"

Luxury brands go sans-serif and they all end up looking the same<\/p><\/div>\n

In August, Burberry unveiled its new logo. Replacing the Burberry Equestrian Knight logo with its bespoke Bodoni font, which had been used by the clothing company since 1901, the new logo is the work of celebrated British graphic designer, Peter Saville.\u00a0It\u2019s also worth noting he rebranded Calvin Klein with a similar font when Raf Simons took over and wanted to refresh.<\/p>\n

\"The new logotype is a complete step-change, an identity that taps into the heritage of the company in a way that suggests the twenty-first-century cultural coordinates of what Burberry could be,\" Saville exclusively told Dezeen. Somewhat cryptic and full of marketing speak, he describes what he and Riccardo Tisci, the new Burberry chief creative officer, settled on as \u201cmodern utility,\u201d adding, \u201cIt looks like it\u2019s been there forever, but it\u2019s still contemporary.\u201d<\/p>\n

Tisci said on Instagram: \"Peter is one of our generation\u2019s greatest design geniuses. I\u2019m so happy to have collaborated together to reimagine the new visual language for the house.\"<\/p>\n

\"Burberry\"

Burberry London England's new logo and monogram<\/p><\/div>\n

Burberry is in the throes of changing everything way before the new chief creative officer\u2019s impact has been proven.<\/strong> As his first collection hits stores to a rather muted response by the fashion press, it\u2019ll be interesting to see how it sells, especially the items with this new logo on.<\/p>\n

Seb Law, Fashion Copywriter & Journalist, says: \u201cI really hate that they\u2019ve added\u2019 ENGLAND\u2019 to the Burberry logo<\/strong> after London. As if it\u2019s London, Texas or something.\u201d<\/p>\n

\"It seems like an attempt to look \u2018international\u2019 and more premium, but also it\u2019s now becoming an established way of a new designer starting at a different house to mark the start of their chapter. Does the general consumer care about this, or is it dive behaviour?<\/strong> Also rebrands cause plenty of chatter in fashion circles and build publicity \u2013 see Hedi\u2019s previous rebrand of Saint Laurent Paris. All press is good press, apparently,\u201d says Law.<\/p>\n

Hedi Slimane is a designer who likes to put his mark onto a brand and in September it was announced that the French house, Celine would be, controversially, losing its accent. Law and others have been defacing the brand\u2019s posters by returning the accent to the first e.<\/p>\n

\"Celine\"

Hedi Slimane controversially dropped the accent in Celine<\/p><\/div>\n

\u201cFor me, it\u2019s a matter of good use of language. As a copywriter and journalist (with a degree in French), diacritics aren\u2019t just a pretty typographic tool to be played around with at the will of a designer, they\u2019re an integral part of the word.\u201d says Law. \u201c\u2018Celine\u2019 and \u2018C\u00e9line\u2019 are different words, pronounced differently (\u2018sell-een\u2019 and \u2018say-lean\u2019, respectively),\"<\/strong>\u00a0he says.<\/p>\n

\u201cIt\u2019s a continuation of the cult of personality over brand, in both cases. Causing a splash, in whatever way possible, seems to be the aim of the game. With Burberry, I\u2019m disappointed that the logo doesn\u2019t have a more uniquely British feeling, which the old one did IMO \u2013 I do love the interlocking TB print though.\u201d says Law.<\/p>\n

\"They\u2019ve succeeded at building publicity, but is that what a logo redesign should do?\"<\/p>\n

Fashion journalist, Seb Law<\/p><\/blockquote>\n

\u201cWith C\u00e9line, it\u2019s a classic case of Hedi doing whatever he wants.<\/strong> Brands should be aiming to exercise their unique personalities; this uniqueness is what attracts customers and maintains a brand\u2019s personality. Homogenisation might attract sales, at least initially, and while change is obviously necessary, and often good, these two rebrand exercises feel like they\u2019re a bit half-arsed. They\u2019ve succeeded at building publicity, but is that what a logo redesign should do?\u201d he says.<\/p>\n

\"John

John Lewis and Waitrose unveiled new branding<\/p><\/div>\n

On the high-street, John Lewis, in September, rebranded as John Lewis & Partners at a reported cost of \u00a310m.<\/strong> Its first rebrand in 18 years and inspired by the company's 1960s \"diamond pattern\" motif, John Lewis managed to not only complicate its name but also lose its trademark dark green. Opting for safe black, it was yet another example of this reblanding trend.<\/p>\n

In an age when these brands should really be trying to expressive confidence in themselves, these boring logos show a striving for safety and an anti-criticism blandness.<\/strong> It\u2019s hard to be critical and negative about something so simple, yet they aren\u2019t memorable or standing out. These aren't utility companies. Fashion\u2019s current love of the sans-serif is definitely missing something.<\/p>\n","protected":false},"excerpt":{"rendered":"

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