Will quiet luxury be able to replace logomania in India?

The country’s fashion set weigh in on whether logos still hold pride of place in our wardrobes

In the latter half of the 2010s, logomania in fashion was at its peak. During the early phases of his tenure at Gucci, Alessandro Michele, who took the reins as creative director in 2015, not only reimagined the Italian fashion house’s iconic double G logo but also found creative–and colourful–ways to stamp the brand’s name on everything from sneakers to sweatshirts. Around the same time, several luxury labels rolled out designs that distinctly displayed their DNA.

On the spring 2016 runways, Louis Vuitton’s monogram adorned all kinds of outerwear, and the address of Lanvin’s Paris flagship was spotted on skirts and dresses. However, today, it’s difficult to decipher whether our appetite for logos is as large as it once was. On the one hand, sightings of Bottega Veneta’s Jodie tote and Mach & Mach’s crystal-encrusted stilettos–two cult accessories devoid of logos–have only grown in number, on the other, we’ve witnessed the rise and rise of Saint Laurent’s Icare shopper–a supersized bag with a giant gold logo–and Loewe’s anagram-embossed apparel. Which out of these two contrasting aesthetics is likely to emerge victorious in the future? We got the country’s fashion insiders to weigh in.

Quiet luxury

According to Pernia Qureshi Gilani, co-founder of pre-loved fashion platform Saritoria, logos are being replaced by details that are discreet yet easy to identify. “The craze for logos is slowly fading. Instead, there’s a focus on prominent features that can be traced back to a certain brand." Seasoned buyers of luxury, she adds, are more likely to adopt an if-you-know-you-know” approach when making designer purchases.

But in addition to an evolved sartorial palette, the shift we’re witnessing could also be fuelled by a few other factors. As we attempt to become more conscious consumers, we’re starting to opt for the kind of products that will stay with us for several seasons. Logos, which are prone to routine reimagination, run the risk of eventually losing their appeal. Additionally, our inclination towards low-key luxury is a reflection of the economic crisis that the world is currently facing. When countless people are losing their jobs, wearing logo-laden pieces–an obvious sign of wealth–can seem insensitive.

All excess

However, it can be argued that what we’re seeing is a passing–rather than permanent–state of affairs. The Great Recession of 2008, a time that saw a move to subtle and simple fashion choices, was followed by a decade where logos were worn loud and proud. Moreover, Nonita Kalra, editor-in-chief at Tata Cliq Luxury, highlights that the many recent brand collaborations, which merged not only the aesthetics but also the logos of two storied fashion houses, tell an entirely different tale. “For as long as brands exist, their logos are going to be extremely important. What they are going to do is reimagine the logos, be playful with them, and use them to have exciting collaborations,” she says. Her point of view is evidenced in the wildly successful Fendace collection, a line where Fendi’s “FF” logo sat alongside Versace’s Medusa.

Entrepreneur Kalyani Saha Chawla is also of the opinion that logos are unlikely to fall out of fashion anytime soon. “When I worked at Dior, logos weren’t as popular. But today, we’re seeing a return to logomania with Maria Grazia Chiuri’s collections,” she says. During her time at the Maison, Chiuri, the brand’s current creative director, has not only introduced details such as logo-printed straps but has also revisited eye-catching elements from Dior’s archives such as Toile de Jouy, a timeless motif that’s now seen on several of the label’s accessories including the influencer-loved Book Tote.

According to HSBC estimates, the French fashion house’s sales have quadrupled since Chiuri joined–Dior’s revenue went from €2.2 billion in 2017 to €8.8 billion in 2022. Nayntara Thacker, a name that makes frequent appearances on best-dressed lists, shares that logos add to the allure of any item. “Not only do logos reveal your identity as a brand in a matter of seconds but they also instantly make any item more desirable. Everyone knows a Chanel bag from a mainstream bag,” says Thacker.

The way forward

In India, in particular, certain cities have always gravitated towards logos. For example, New Delhi, a major market for luxury goods, is known to favour bold, attention-grabbing branding. “Having lived in Mumbai, and now in Delhi, I would say that logomania is more prominent in Delhi. Not everyone is logo-crazy, but you definitely see it more,” says fashion influencer Tanya Chadha Khanna. This preference is unlikely to change drastically in the future as it’s rooted in the vibrant, larger-than-life culture of north India. “In the north, at least in Delhi and Punjab, people like to dress bright and loud, whereas in the south, people are more subtle. This is not to say that one is better than the other; it’s a cultural thing,” explains Qureshi Gilani. 

Upon closer examination, it’s evident that logos, which are often reduced to status symbols, serve many other purposes including spotlighting the values of their wearer. “We keep forgetting that clothing is our cinema, it’s our politics, it’s our affinity and our community and tribe. When we wear a logo, we are clearly signifying that these are our values without having to scream them [out],” says Kalra. Meanwhile, entrepreneur Roohi Jaikishan, whose wardrobe features a generous dose of Gucci, attests that logos will continue a lengthy reign. However, they may have to evolve and adapt to suit the needs of an increasingly important cohort of consumers. “The rise of Gen Z and how they perceive logos will be the tipping point,” she concludes. 

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