They say that everything comes full circle. 

Just over a month ago, Burberry’s fresh creative director, Daniel Lee, showcased his new vision for Burberry in the form of a refined logo for the brand. Embossed in a regal royal blue with the words ‘Prosum’ meaning ‘forwards’, the font has been paired with Burberry’s famous equestrian knight, which was first created back in 1901. It only was a mere five years ago that previous director Riccardo Tisci decided to dramatically overhaul Burberry’s brand identity, opting for a monogram, minimal design. Whilst Lee’s predecessor Riccardo Tisci hailed sans serif as the font of ‘modern utility’, Lee’s move is a clear indication of his desire to evoke feelings of nostalgia and, most critically, confirm ‘why’ consumers bought into Burberry as a brand in the first place.

Amidst the sea of san-serif style fonts dominating the luxury market (think Chanel, and Yves Saint Laurent), it’s no doubt refreshing to see Burberry revive their old aesthetic and rebel against this wave of ‘uniformity.’ Imran Ahmed, founder of the Business of fashion recently referred to this re-brand conundrum as ‘logomania’, emphasising how brands must now wrestle with the task of being ‘simultaneously loud and quiet.’ An ode to opulence, extravagance, and outward luxury, is Lee’s decision to lean into Burberry’s heritage a broader indication of a looming switch-up due to take place in the retail landscape?

Perhaps this particular rebrand has little to do with the future, but rather the significance of what the past means today. It seems that the maximalist and classic undertones underwriting this font allude to the revitalisation of individuality and self-expression. This sentiment is crucially reflected in broader popular culture series; the highly acclaimed ‘White Lotus’ television drama centres around the playful and prominent placement of ostentatious clothing and homeware, whilst ‘Succession’ has been praised for its emphasis of quiet opulence. It’s interesting to consider the implications of these series in consumer purchasing habits – Etsy recently reported an increase of around 20 per cent in searches for Italian-inspired pieces in comparison to a year ago.

Similarly, in the beauty department, products that play with colour and pattern have proven to impress. GUCCI’s floral collection which entails ‘pretty’ packaging detailing the brand's signature horticultural print has emerged as a cult favourite. In the United Kingdom, the demand for this product range was further propelled when Boot’s shoppers were enticed with the prospect of a free additional GUCCI pouch bag when purchasing the floral collection.

The popularity of GUCCI is also synergised in this year’s Business of Fashion’s ‘State of Fashion’ Report, which revealed that Gucci ranked as the most desirable luxury brand for this generation. Perhaps more compelling, is the fact that Gucci features on average 95% more extravagant items than Prada and Bottega Veneta, who have opted for a more minimalist, classic approach in their assortment in recent seasons. 

Whilst individuals may assume that subtle maximalism paired with a recession is a conflated issue, perhaps it is the very recession itself that spurs this trend. Amidst these tougher times that we find ourselves in, brands switching up their status in the form of bolder looks could be one potential way to keep their label firmly in the spotlight. Similarly, in light of consumers’ heightened selectiveness when it comes to product purchasing (in the US sales of clothing and accessories dropped 0.8 per cent in February compared to the month prior) brands must make a compelling case for both their products and broader brand identity. From taking a look at Burberry, perhaps a reignition of history is one step that retailers can take to further solidify both their story and strapline.