The 17-year-old franchise has redesigned its slim A|X Armani Exchange logo to embody the brand’s provocative imagery and youthful appeal, launching a stronger symbol it hopes will stand out in various settings, such as storefronts, ads, shopping bags and labels — instead of getting swallowed up as it sometimes has in the quieter original version.
“We’re expanding aggressively globally and we wanted a strong logo that could be iconic — almost like a Nike swoosh,” said Tom Jarrold, A|X Armani Exchange’s senior vice president of global marketing and communications. By yearend, the brand expects to have four more stores, upping its count to 170 in 16 countries.
The new mark is being applied to the exteriors and interiors of A|X Armani Exchange’s stores worldwide, including 67 locations in the U.S., during the next year or so, noted Sagi Haviv, the project’s lead designer and one of two principal partners in graphic design firm Chermayeff & Geismar. The new logo made its debut in September on about 15 storefronts in the U.S. (the first was in Cherry Hill, N.J.) and roughly the same number abroad. It also can be seen on the armaniexchange.com homepage and in print ads, where it bowed in the September editions of magazines such as Vogue, Nylon, Cosmopolitan, Out, GQ and Marie Claire.
A|X Armani Exchange’s first new symbol since its founding in 1991 features a bolder A and X, inspired by the French typeface Didot, which is based in high-contrast thick and thin strokes. It also places boxes around the letters A and X. These two square shapes allow for backgrounds in different colors and textures. Enclosed in these forms, the letters can also appear as positive or negative images, looking as though they’re either printed on the boxes or dropped out of them, like a stencil.
In November, a wild posting campaign for the brand will surface in New York’s SoHo, East Village and Chelsea, and on Sunset Boulevard in Los Angeles.
Four linear and curvilinear icons, inspired by military insignia, eagles and the letters A and X — signaling Armani Exchange’s roots in Italian military exchanges — have been developed by Chermayeff & Geismar for a new range of signature A|X Armani Exchange apparel and accessories. The icons will be used in nearly all A|X Armani Exchange product categories, starting next spring and summer.
Spending for the logo and icon development, Jarrold said, ran into the “multihundreds of thousands of dollars.” Chermayeff & Geismar have designed numerous marks for the fashion world, including that of Barneys New York, as well as for the Museum of Modern Art, NBC, Showtime Networks, Chase Manhattan Bank, Mobil and the former Pan Am World Airways.
“Azzedine has been one of the biggest influences in my life. He has always been such a strong, loving, fatherly figure to me. I call him Papa. His designs are indescribably unique, they are pieces of art. He knew how to make the female form look its loveliest. I have so many memories of him; my favorite might be during my first show with him in Paris. He liked me and he wanted to help me get more work. He called all his friends at Kenzo and Comme des Garcons, and asked them to book me. They said, ‘But she can’t walk!’ And he said, ‘but she has such a great ass!' His friendship and support has been the great privilege of my career. I can't imagine life without him. Repose en paix mon Papa.” - @stephanieseymour tells @wwd. #wwdfashion (📷: @steveeichner) #alaia #azzedinealaia
Azzedine Alaïa, flanked by two of his closest friends, models Stephanie Seymour and Naomi Campbell.
He designed Seymour’s dress for her 1995 wedding to Peter Brant, and treated Campbell (who famously called him Papa), like a daughter. For more on the legendary designer, tap the link in bio. #wwdfashion #alaia #azzedinealaia
Azzedine Alaïa's “I-did-it-my-way” ethos stood out starkly at a time when brands are experimenting with consumer-facing fashion shows, coed formats and trans-seasonal collections – anything to perk up lackluster sales of ready-to-wear in an age of Insta-everything. “It’s not creation anymore. This becomes a purely industrial approach,” the late designer told WWD in an interview last year. “But anyway, the rhythm of collections is so stupid. It’s unsustainable. There are too many collections.” Read more about the iconic designer’s life and work on wwd.com, link in bio. #wwdfashion #azzedinealaia (📷: @WWD Archive, 1986) #alaia
Sneaker reselling app @goat’s latest exhibit, "The Greatest: New York," tells the story of New York's sneaker culture. To celebrate the exhibit, an intimate crowd gathered on Thursday night at the pop-up gallery space, located at Platform in Culver City, to hear guest speaker and illustrator @esymai talk about her own rise in streetwear and women in the business. "For me I'm just someone who is creative. I like to create things," said Chang. #wwdfashion
Azzedine Alaïa, one of the most iconic couturiers of the modern era whose body-con designs defined Eighties fashion, has died in Paris. The diminutive Tunisian-born designer, known for his structured knitted dresses with fitted waists and impeccably cut, figure-hugging second skin silhouettes was deeply admired by his peers, and counted supermodel Naomi Campbell - his adoptive daughter - among his inner circle, one of a gang of glamazons including Farida Khelfa, Carla Bruni and Stephanie Seymour who became ambassadors of his style. (📷: Alexandre Guirkinger) #wwdblast