Small tags, big statements: The art and design of iconic clothing labels

A clothing label is small and inconspicuous by design, often tucked away in folds of fabric. So it might seem an unlikely place for a brand to sketch out its style philosophy. For canny designers, however, this little tag has long been just the place to set the tone, whether by adding a clever illustration, inscribing a reference to a company’s heritage or breaking the black-and-white mould with a burst of colour. Here, Monocle’s editors and stylists present a few of their favourite examples.

For each of its seasonal collections, Munich’s A Kind of Guise takes inspiration from a different country. This label, being an ode to Belgium, features the nation’s staple foodstuff: frites. In focusing on one location at a time, the brand advertises its singular sense of fun.

Régric’s labels for Arpenteur are designed like mini-comic strips. The French cartoonist has been working with the menswear firm since 2011, establishing a distinctive visual identity thanks to his ligne claire drawings. If his style looks familiar, that’s because it was popularised by Belgian cartoonist Hergé, the author of The Adventures Of Tintin.

Fiorucci’s playful cherubs are integral to the Milanese brand’s image. Originally illustrated by renowned Italian graphic designer Italo Lupi in the 1980s, they were inspired by a Victorian-era Christmas card depicting two angels – a nod to the company’s provocative blend of heritage and irreverence. 

According to the Venice-based Barena’s design team, the bright orange of its label was inspired by the city’s anti-fog signals and warning markers, and was picked for its “visually arresting quality”. 

While 95 per cent of Swedes can identify Fjällräven’s fox logo, it wasn’t the company’s trademark when it was founded in 1960. But as Swedish speakers will know, fjällräven translates as “arctic fox”. 

The bold font of Kaptain Sunshine, and the minimal lettering, highlights its clean aesthetic and distaste for loud logos. With this Tokyo brand, everything is black and white.

CYC, one of Singapore’s oldest bespoke tailoring firms, has a place in the country’s history, having dressed Lee Kuan Yew, the first prime minister. This archive collection from the 1970s recalls the optimism of the era and is paired with bright cotton and linen shirts, perfect for the year-round balmy climate. 

To mark its collaboration with fellow British firm Wales Bonner, John Smedley has designed a co-branded label. According to managing director Jess Mcguire-Dudley, this is a significant event. “[Our founder] John Smedley was a great marketeer at heart,” she says. “One of the only 19th-century manufacturing business owners to brand his products as a marker of the pieces’ superior quality, he chose to stamp both his name emblem on the inside of each garment using dark blue ink.” It is still a feature of the firm’s clothes to this day.  

Casey Casey’s bold lettering is purposefully direct. Since its inception in 2008, the Paris brand’s graphics, invitations and labels have, like its garments, been handmade and hand-finished. 

De Bonne Facture’s collaboration with Spanish knitwear atelier Knitbrary features a drawing of a stack of books. The elegant French company, whose name means “well made”, works with high-quality European ateliers, and Knitbrary is no exception. 

Sunspel’s sun and clouds motif was in circulation in the 1940s and 1950s. Now, with provenance a valued quality, the firm is once again flying the flag for brand UK.

En Soie’s playful textile label recalls the Zürich-based brand’s history as a silk trader. The colourful fringing adds texture, while the whimsical alpaca motif is a nod to the atelier’s commitment to using natural fibres.