Gucci, Balenciaga and that logomania bet Creative laziness or iconoclastic genius?

The creative hacking of Gucci and Balenciaga, seen in the recent Aria collection show, was perhaps the most important fashion moment of the season, with all its power being conveyed through a maximalist use of the juxtaposed logos of both Maisons.  There was a rhinestone suit with the two logos in oblique lettering, the same lettering of Balenciaga's logo alone was printed through a second suit covered with Gucci Flora print, a third black men's coat with a very Balenciaga-esque cut was in turn covered with Gucci's Monogram in blue rhinestones and so on. 

So why does Gucci insist on logomania? Firstly, it should perhaps be said that Gucci's most classically logo-covered garments have disappeared from the brand's collections for years. Michele likes vintage-flavoured patterns, it is true, but one could certainly not accuse him of laziness also because he has demonstrated and continues to demonstrate that the patterns with which to tell his Gucci can be the most varied: the Overture collection for example sees a strong recurrence of creative monograms, with the most explicit logos present only on classic accessories such as belts and bags, while the name of the brand is clearly written only on some t-shirts. The strong use of "double" monograms and logos in Aria is perhaps more a reaffirmation of the strength of the logo as a cultural pillar of the strength of both brands and, why not, also a desire to push on the market already profitable categories of products that could be even more so. It's certainly no mystery that Monogram lines are the daily bread of a fashion house's sales, and if these lines have such widespread public success that lasts for generations, why deny it? Alessandro Michele has embraced him but it is still difficult, now, to say who will want to follow him.