The decline of the logo and the return of the code
Why luxury is once again returning to design rather than printing
Logos in the luxury industry have long functioned as symbols that not only guarantee quality but also communicate affiliation and success over short distances. From the late 1990s through the 2000s, monograms and large lettering became associated with the trend toward conspicuous consumption and moved forward to the center of fashion. Then, in the 2010s, logos were reignited on the runway and in the vintage market, and "visible strength" once again became a value.
Meanwhile, in recent years, the value of luxury has shifted from the size of a logo to something quieter. The angle of a stitch, the movement of metal fittings, the shadows of a weave, the proportions of a shape. Codes that are not apparent from a distance but can only be confirmed by those up close have begun to take center stage again. Hermès, CHANEL, and Bottega Veneta are proof of this trend in very contrasting ways.
Hermès: Handcrafted craftsmanship comes before the logo
Hermès began as a saddlery workshop in 1837. What's important here is that Hermès' "understandable to those who know" was not created to coincide with trends, but was "the craft itself" from the very beginning. Its symbol is the "point sellier" (saddle stitch), a traditional technique of sewing with two needles that has been at the heart of the Maison. Even today, this stitching remains the foundation that supports Hermès' leather products.
The Hermès code does not depend solely on the strength of the bag's name. For example, the silk scarf "Carré," created in 1937, marked the beginning of the saddlery house's acquisition of a new vocabulary for "color and iconography." Hermès's signature early work, "Jeux des Omnibus et Dames Blanches," demonstrates that "patterns" at Hermès are not simply decorative, but represent a culture steeped in collecting, craftsmanship, and printing.
Furthermore, the orange box is also not spoken of as an "advertisement," but as a code established for historical reasons. Multiple commentaries share the view that it was triggered by the material situation during wartime and later became symbolic.
Rather than seeing Hermès's resurgence as a trend, it would be more honest to see its craftsmanship resynchronized with the values of the modern era. It may be quiet, but if you look closely, you can see that it has a "foundation." That is its strength.
CHANEL: The code came first, the logo was "enhanced" later
CHANEL is also a house of codes. However, unlike Hermès, CHANEL's strength lies in the "memory created by materials and shapes." Its representative example is the 2.55. This bag, created in February 1955, is said to be a "structural masterpiece" that incorporates the use itself into the design, with quilting, chain straps, and multiple pockets.
It's important to note here that CHANEL bags weren't established by their logo. The Classic Flap (11.12), created by Karl Lagerfeld in 1983, inherited the lineage of the 2.55, but clearly brought the double C turnlock to the forefront, tuning it into a recognizable symbol that suited the 1980s vibe.
In other words, at CHANEL, the code came first, and the logo acted as an amplifier to meet the demands of the times. That order is now once again persuasive.
The same goes for apparel codes: CHANEL's trimmed tweed suit is a landmark in the House's own timeline, and has long supported the image of a woman who is "well-dressed but not too stiff."
The camellia is not just a flower, but a recurring motif that symbolizes CHANEL's "scentless, simple, yet memorable" aesthetic, and continues to be updated to this day.
CHANEL's "understandable to those who understand" concept is based on the rationality of the details and the memory of repeated motifs.
Bottega Veneta: From the beginning, the company made it a policy to not place a logo.
What's unique about Bottega Veneta is that the anti-logo approach isn't just a "current trend," but has defined the brand as a core element. Even the official description places the brand's founding in 1966, with "intrecciato" (braiding) and the slogan "When Your Own Initials Are Enough" dating back to the 1970s.
Here, instead of a logo, the stitches themselves have become the identifying symbol. They are recognizable by touch, and change appearance when light hits them. In other words, the "information content of the material" has taken over the role of a logo.
This attitude has also continued in the digital age, as seen in Bottega Veneta's decision in 2021 to remove itself from social media and move to its own digital journal. Creative Director Daniel Lee explained the decision by commenting that social media homogenizes culture.
Instead of "winning with a striking logo," they decided to "re-select the speed of the medium itself." Bottega's revival of the code extended not only to the product but also to the design of its communications.
The logo hasn't weakened, but the way it's read has changed.
It's easy to misunderstand that logos aren't dead. They're still relevant and recurring strongly over time. What's changed is what consumers consider evidence to be true.
A logo is conveyed in an instant. But it is also consumed in an instant. What tends to become valuable these days is the amount of information that gradually becomes apparent after purchase: the stitching, the metal fittings, the weave, the shape, the story. Luxury is returning to a "language of intimacy" because it is more likely to be loved for a long time and can be explained.
A Spoonful of MOOD
Rather than discussing whether a logo is superior or inferior, MOOD wants to carefully consider "at what distance does the clothing or accessory appear beautiful?" Is it a strong symbol from a distance, or a design that transforms into conviction up close? The current atmosphere is favoring the latter, and for this very reason, we believe that deciphering the "code" can quietly enrich an outfit.
