Quietly chic: Logos are frowned upon, but prints remain fashionable

The Unikko poppy print of Marimekko is very much associated with the fashion label. Photo: Instagram/Marimekko

With the rise of “quiet luxury” as a trend, logomania is in decline. That however, does not mean you must not flaunt your favourite brands.

Can’t plaster yourself with clothing bearing recognisable logos? Iconic prints can work instead.

Yes, there are prints that are absolutely associated with certain fashion labels – even though they are not officially emblems.

Doing this is also more of a subtle brag (as the Gen Zs would tag it, #IYKYK), with the idea being only those in the fashion circle will recognise that you are wearing something branded or hip.

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Marimekko for example, is famous for its poppy print. Called Unikko, it was created way back in 1964 and is still one of the most well loved prints.

The brand started as a textile company and it was then embraced by the fashion industry after the debut of its ready-to-wear collection.

Marimekko’s logo is actually just its name in the Olivetti typewriter font. The poppy print was somehow imprinted in the imagination of fans, and it has been used several times.

Fashion houses have also sometimes co-opted specific prints as part of their identity. Again, these are not logos – just motifs that become linked to a certain designer.

The rule is to not choose prints that are instantly identifiable to the general public.

Burberry’s check pattern is one good example. It has become much too recognisable and most people are shunning it because it borders on logomania.

The Versace Baroque print is another. Having been used everywhere – from bomber jackets to dresses and scarves – it is seen to be less tasteful (in view of “quiet luxury”).

The crescent moon motif has become sort of a not-logo logo for Marine Serre. Photo: Marine Serre

Pucci made abstract patterns in colours as their 'house icon'.Photo: Pucci

Demure choices include the Marine Serre crescent moon print. It has been used by the designer since her label was founded in 2018.

While Serre loves using bold colours and embellishments, it is often the moon motif that stands out and ties all her collections together.

For accessories brand Pierre Hardy, it is the cube print. The geometric effect first entered the Pierre Hardy universe in 2006 and has become part of its heritage.

“Usually I don’t like prints or pattern – I never wear it. Even stripes – sailor stripes or shirts with stripes – I don’t wear them! For me it’s busy, and too much,” Hardy told Wallpaper magazine in 2015.

“But in the women’s collection you need to have some fantasy, something to play with because colour blocking is fine, but in the end, I was trying to find something to animate the surface, without disturbing it, like a skin (the pattern looks natural).”

Goyard, a leather goods maker, has an iconic print too. The Goyard print – a sort of a chevron print – is now also being used for other accessories such as scarves and neckties.

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It was originally crafted in black, but over the years, other vibrant colours have been added: red, orange, yellow, green, sky blue, burgundy and more.

For others like Pucci, it is not just one specific print but a general theme of kaleidoscope patterns.

The fashion house began using abstract prints in vibrant colours in the 1950s. It then became a “Pucci thing”. Today, they come in shapes inspired by African motifs, Sicilian mosaics and the banners of Italy’s famous horse race Palio Di Siena.

So if a purpose of a logo is to align yourself with a brand, then an iconic print (although it can’t be too famous) works too.