{"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