[Former creative director] Raf Simons's role was to come in and refocus the company, but the company is called Calvin Klein, and Raf Simons is not Calvin Klein. And he said one critically important thing which was, “Peter, finding the right logo to put inside a trench coat is not really a problem is it? Ultimately I just added some weight to it. Then there's the formal establishment approach – we might call it the Buckingham Palace look – or the utilitarian establishment look such as the Home Office or maybe the National Trust. Certain developments have brought about an entirely new culture in fashion. That’s the problem.” All of the assumptions that I had about the Burberry scenario were distilled in that one statement. Introducing the Monogram collection. Peter Saville: ‘The word Burberry turned out to be a gift to work with – it has interesting letters.’ Photograph: Martin Godwin/The Guardian A s we all know, a logo can sell something. For it to go from subject to object, and to give Raf a way to identify with the brand rather than uncomfortably sitting in the chair of Calvin Klein himself. Once you have established where you're going, the next consideration is the lawyers. Become a Member today for access to the most authoritative source of global, data-led business insights. So when it did get around to it, it had the world market at its disposal, which created an enormous windfall of income into the company. Riccardo immediately orientated towards it and the utilitarian. Saville is uniquely qualified to shed light on this trend. There was nothing wrong with it – it just wasn’t robust enough in the contemporary competitive environment. The new Burberry monogram on a Hong Kong bus. We had to create 70 fully operational fonts. It needs to distil the values of the brand rather than the forms, and then it's those values which will inhabit the future. When I was commissioned to redesign the Calvin Klein logo in 2016, the situation was quite different. I grew up liking graphic art and learned to see that there was an extraordinary elegance and beauty in type, and some of that appreciation has entered the public domain now. How do you find a signature that bridges those two extremes? Luxury, for me, at this time in my life, is withdrawal. They just fall into place. The new Burberry logo came about rather out of the blue. Styling is so adroitly employed that you are no longer prepared to make immediate readings of it because it's more than likely to be artificial. There's always what people are genuinely thinking now. Can emerging fashion brands scale sustainable initiatives? If we go back just 20 years, there was still a hierarchy that said what fashion was. From my point of view, you can look at it, and it can seem expensive, or you can look at it and think, “Wow, that's reasonable.” Particularly when you can transform an otherwise regular product by putting a logo on it. Peter Saville is an artist and designer whose contribution to culture has been unique. And of course, it's actually that monogram and its diagonal colourfield pattern that has ended up being the face of the current campaign. How does it maintain momentum? It must maintain growth, which is one of the great corporate handicaps of our times. Peter Saville collaborated with Riccardo Tisci to design the new Burberry logo and monogram. People like it. There's a lot of exaggeration there for dramatic effect. peter seville burberry The Peter Saville-designed Burberry logo is part of a strategy to realign the British label on the international stage. Obviously, The Outline did not pay Peter Saville, the co-founder of Factory Records and iconic designer behind countless classic Joy Division and New Order album covers, to create a logo, because that would be very expensive. Fashion startups: Surviving and the investment potential. Tom Sachs on creative leadership and the importance of idealism, Thebe Magugu on building a global business in an emerging market. It's not radical now, it’s expected.