Logos represent everything a brand stands for, its emotional impact, invoking the imagery and emotions associated with it, triggering and constituting them ad infinituum, Gertrude Stein won’t contradict me here, I hope. Nike would be the very same without its swoosh, though we’d all miss it intensely, it has become part of us, just like the double C created by Coco Chanel, worth millions, our synonyme for style, class and luxury. Logos are all roses to us, the flower of flowers, so don’t change it, don’t ever change it, rules sometimes aren’t made to be broken, so, I dare to ask, who dared to change Christian Dior’s logo? And more importantly, why? Who put the star from Avenue Montaigne’s legacy in question, the man who created a new look, a look new for all eternity? Harper’s Bazaar’s Carmel Snow did not exaggerate, however démodé the famous 1947 Bar dress might be, or not, its allure has stayed on, even survived Hedi Slimane’s turning it upside down when Berlinizing it, the classic letters stamped everything with style, however contradictory to Monsieur Dior’s bourgeois taste some of the later collections were, his logo did its job, emphasising every new idea with the house’s heritage, ennobling every new attempt of modernité, consequently, these classic mixed letters seemed to be made for all eternity – or weren’t they? Who felt the need to capitalise them, in some new indifferent typo, different enough though to scream ‘man over board!’. Obviously, Christian Dior’s spirit has left the building for good, taking the Avenue Montaigne allure with him, and we look at the evil banality that is left.