LONDON — It has become a right of passage for designers new in their jobs to retool — and put a personal stamp — on a storied brand’s logo. Kris Van Assche released a new Berluti logo in June, ahead of his first show in January 2019, and word has it that Hedi Slimane will be tweaking Céline’s for his first season at the French house.
On Thursday, Riccardo Tisci unveiled a more streamlined logo for Burberry and a new monogram featuring the initials of the British brand’s founder, Thomas Burberry. The monogram’s design was inspired by an original drawing from the Burberry archives, and the new pattern will sell alongside the traditional Burberry check.
The new Burberry London logo and the orange, white and camel TB motif will break in the September issue of British Vogue today, and will begin appearing across all of Burberry’s media channels.
Tisci, Burberry’s chief creative officer who plans to stage his first show during London Fashion Week next month, released his new creations on Instagram Stories. In the post, Tisci said he worked alongside the British art director and graphic designer Peter Saville to create the new imagery.
Saville is best known as the cofounder and art director of Factory Records who designed covers for bands including Joy Division and New Order, although he’s expanded beyond the world of music into fashion and civic projects. Last year, he redesigned the Calvin Klein logo with Raf Simons, and has also worked with Jil Sander and Yohji Yamamoto.
This is the first time Burberry has changed its logo in nearly two decades. Until now, Burberry has been using the one that Fabien Baron designed in 1999 when the company dropped its final “s,” going from Burberrys to Burberry.
For the past few months, Tisci has been dropping clues to his vision for the brand on Instagram Stories. In May, he curated a series of coed looks from the Burberry spring 2019 pre-collection, and last month, he revealed on the social media platform that he was planning a Burberry capsule collection with Vivienne Westwood in December. He’s also voiced plans to rejig the brand’s delivery cycle, with smaller and more frequent product drops and one-off collections.
Yet it’s the change in logo, the public face of the brand, that’s the foremost signal of a strategic reset when a new creative director takes charge.
Earlier this year, Van Assche enlisted the graphic design duo M/M Paris to create a logo based on the letters carved into a wooden shoe tree dating back to 1895, the year founder Alessandro Berluti established himself as a shoemaker.
The logo’s stylized font is designed to echo the slight erosion of the letters’ outlines over time, he said. “For this first campaign, I wanted to create an image rooted in the maison’s origins and emboss it with my vision,” Van Assche declared in June. “See you in January.”
Now that the creative chiefs at Berluti and Burberry have done their logo work, it could well be Slimane who’s up next. Asked about the designer’s progress on a new logo, a spokeswoman for Céline declined to comment.