This is the Modern East: situated at the world’s crossroads and comprised of diverse, mobile and ready to engage people living in a region with the world’s most international population, the world’s most visited mall and its busiest airport. In this modern setting, there are huge opportunities for brands prepared to break barriers to connect with customers in a modern approach, going beyond traditional calligraphy and visuals to create agile and creative experiences. FITCH Design Director Jimmy Kmeid will explore the richness of Arabic design and its use in a modern context, demonstrating how brands can build both local resonance and universal relevance to make them fit for the global stage.

1. JIMMY KMEID
DESIGN DIRECTOR
@FITCHDESIGN
#DUBAILYNX

2. • Brand first, logo later
• Why brand experience
• Cultural characteristics
• Globalization
• The Modern East

3. ‫المعنى؟‬ ‫ـاع‬‫ـ‬‫ض‬ ‫ـل‬‫ـ‬‫ه‬
LOST IN TRANSLATION
LOGO
‫الشعار‬
BRAND
‫التجارية‬ ‫العالمة‬
TRADEMARK
‫التجارية‬ ‫الماركة‬

4. TOP
BOTTOM
‫التجارية‬ ‫ـة‬‫ـ‬‫م‬‫العال‬ ‫ـم‬‫ـ‬‫ث‬ ،
ً
‫أوال‬ ‫ـعار‬‫ـ‬‫ش‬‫ال‬
LOGO FIRST, BRAND LATER
LOGO
BRAND

5. Logos are too often expected
TO CARRY MORE WEIGHT
THAN THEY SHOULD
HANDLE
‫أن‬ ‫ـي‬‫ـ‬‫ف‬ ‫ـن‬‫ـ‬‫م‬‫تك‬ ‫ـكلة‬‫ـ‬‫ش‬‫الم‬
THE PROBLEM IS
‫أن‬ ‫توقع‬
ُ
‫ي‬ ‫ـا‬‫ـ‬‫م‬
ً
‫ـرا‬‫ـ‬‫ي‬‫كث‬
‫ـعارات‬‫ـ‬‫ش‬‫ال‬ ‫تحمل‬
‫ومغزى‬
ً
‫ـة‬‫ـ‬‫م‬‫قي‬
‫المفترض‬ ‫ـن‬‫ـ‬‫م‬ ‫ـر‬‫ـ‬‫ب‬‫أك‬

6. ‫عادلة‬ ‫ـر‬‫ـ‬‫ي‬‫غ‬ ‫ـات‬‫ـ‬‫ع‬‫توق‬
UNFAIR EXPECTATIONS
Logo needs to tell the
WHOLE STORY of the brand
The logo will make the
BUSINESS SUCCESSFUL
A new logo should have the
SAME IMPACT AS KNOWN BRANDS

7. It doesn’t mean that
a logo shouldn’t be CREATIVE,
EFFECTIVE AND DISTINCTIVE
‫أن‬ ‫ـي‬‫ـ‬‫ن‬‫يع‬ ‫ال‬ ‫ـذا‬‫ـ‬‫ه‬
‫ض‬
َ
‫فتر‬
ُ
‫ي‬ ‫ـعار‬‫ـ‬‫ش‬‫ال‬ً
‫إبداعيا‬ ‫ـون‬‫ـ‬‫ك‬‫ي‬ ‫أال‬

8. ‫التجارية‬ ‫العالمة‬ ‫نفسه‬ ‫هو‬ ‫الشعار‬ ‫كان‬
ً
‫قديما‬
IN THE OLD DAYS THE LOGO WAS THE BRAND
And the brand was the product
‫التجارية‬ ‫ـة‬‫ـ‬‫م‬‫والعال‬
‫المنتج‬ ‫ـت‬‫ـ‬‫ن‬‫كا‬

9. Today a brand is much
more than its logo,
IT’S A LIFESTYLE CHOICE
‫فالعالمة‬ ‫اآلن‬ ‫ـا‬‫ـ‬‫م‬‫أ‬
‫مجرد‬ ‫من‬ ‫ـر‬‫ـ‬‫ث‬‫أك‬ ‫ـة‬‫ـ‬‫ي‬‫التجار‬
‫اختيار‬ ‫إنها‬ ،‫ـعار‬‫ـ‬‫ش‬
‫حياة‬ ‫ـلوب‬‫ـ‬‫س‬‫أ‬

10. ONLIN
E
O
U
T
OFSTORE
IN STORE
Mall-based stores
present an edited version
of the range
NIKE STORES
The Flagship experience
that presents the brand
in the ultimate way
NIKETOWN
An opportunity to explore
and buy the brand at a
discounted price
FACTORY OUTLET
NIKE ID
STUDIO
RUNNING
LAB
DISPLAY
POSM POS
SIS
The majority of the retail experience
and is often the focal point of a
sports department
THIRD PARTY RETAIL
In this environment it is important to present
the brand in a consistent and dynamic way
with less physical touchpoints than owned
stores. Perfect for those exploring and
locating particular products
A vehicle that follows you
while you trial running
shoes in the great
outdoors
NIKE TRIAL VAN
A training aid that further
secures the loyalty of all the
mind states
NIKE +
Aimed at the sports
enthusiast and casual
athlete - filled with sports
inspiration and
editorial content
NIKE.COM
1948
POP UP
NIKE
6
NIKE
LEBRON
NIKE
+ RED
RUN
CITY
HUMAN
RACE
NIKE ID
APP
NIKE
TRUE CITY
APP
NIKE
TRAINING
APP
A comprehensive shopping site
NIKE.STORE.COM
A commerce site that also contains tips and
inspiration - allows explorers and locaters
to browse by sports or product type
Customise your own
pair of trainers - perfect
for dreamers who want a
personalised product
NIKE ID
Brands are made of many
elements coming together to
CREATE A COHERENT
EXPERIENCE
‫التجارية‬ ‫ـات‬‫ـ‬‫م‬‫العال‬ ‫ـون‬‫ـ‬‫ك‬‫تت‬
‫من‬ ‫العديد‬ ‫ـن‬‫ـ‬‫م‬ ‫ـوم‬‫ـ‬‫ي‬‫ال‬ً
‫معا‬ ‫ل‬
ّ
‫ـك‬‫ـ‬‫ش‬
ُ
‫ت‬ ‫ـي‬‫ـ‬‫ت‬‫ال‬ ‫ـر‬‫ـ‬‫ص‬‫العنا‬
‫مترابطة‬
ً
‫ـة‬‫ـ‬‫ب‬‫تجر‬

11. A big investment in a logo
is worthless when it is not
supported by a CONSISTENT
BRAND EXPERIENCE
‫ـتثمارات‬‫ـ‬‫س‬‫لال‬ ‫فائدة‬ ‫ال‬
‫ـعار‬‫ـ‬‫ش‬‫ال‬ ‫في‬ ‫الكبيرة‬ً
‫مدعومة‬ ‫تكن‬ ‫ـم‬‫ـ‬‫ل‬ ‫ـا‬‫ـ‬‫م‬
‫عالمة‬ ‫ـة‬‫ـ‬‫ب‬‫بتجر‬
ً
‫ـة‬‫ـ‬‫ن‬‫ومقتر‬
‫ـقة‬‫ـ‬‫س‬‫مت‬ ‫تجارية‬

12. Logos have always been
about differentiation
BUT NOW IT’S AT THE
EXPERIENCE LEVEL,
NOT JUST THE PRODUCT LEVEL
‫ـعارات‬‫ـ‬‫ش‬‫ال‬ ‫كانت‬ ‫لقد‬
‫حول‬ ‫تدور‬
ً
‫ـا‬‫ـ‬‫م‬‫دائ‬
‫ولكنها‬ ،‫ـز‬‫ـ‬ّ‫التمي‬ ‫ـل‬‫ـ‬‫م‬‫عا‬
‫ـمل‬‫ـ‬‫ش‬‫لت‬ ‫امتدت‬ ‫اآلن‬
‫التجربة‬ ‫ـتوى‬‫ـ‬‫س‬‫م‬
‫للجمهور‬ ‫ـة‬‫ـ‬‫م‬‫المقد‬

13. BOTTOM
TOP
BOTTOM
‫ـعار‬‫ـ‬‫ش‬‫ال‬ ‫ثم‬ ،
ً
‫أوال‬ ‫ـة‬‫ـ‬‫ي‬‫التجار‬ ‫ـة‬‫ـ‬‫م‬‫العال‬
BRAND FIRST, LOGO LATER
LOGO
BRAND

14. ‫متزنة‬ ‫غير‬ ‫ـة‬‫ـ‬‫ي‬‫تجار‬ ‫ـة‬‫ـ‬‫م‬‫عال‬ ‫ـة‬‫ـ‬‫ب‬‫تجر‬ ‫ـن‬‫ـ‬‫م‬
FROM:A DISORDERED BRAND EXPERIENCE
BRAND
ESSENCE
LOGO
BRAND
EXPERIENCE
SHIFT METHODOLOGY

15. BRAND
ESSENCE LOGO BRAND
EXPERIENCE
SHIFT METHODOLOGY
‫الة‬
ّ
‫وفع‬ ‫ـة‬‫ـ‬‫س‬‫سل‬ ‫ـة‬‫ـ‬‫ي‬‫تجار‬ ‫ـة‬‫ـ‬‫م‬‫عال‬ ‫ـة‬‫ـ‬‫ب‬‫تجر‬ ‫ـى‬‫ـ‬‫ل‬‫إ‬
TO:A SEAMLESS BRAND EXPERIENCE

16. Future
STATIC DYNAMIC
PLATFORM FOR
EXPERIENCE
‫ر‬ّ‫والتغي‬ ‫ر‬
ّ
‫ـو‬‫ـ‬‫ط‬‫الت‬ ‫ـة‬‫ـ‬‫م‬‫دائ‬ ‫ـعارات‬‫ـ‬‫ش‬‫ال‬
LOGOS ARE EVOLVING

17. The logo as the primary
representation of the brand
IS DEAD
THE LOGO AS A PLATFORM
FOR EXPERIENCE IS ALIVE
‫ـعار‬‫ـ‬‫ش‬‫ال‬ ‫وظيفة‬ ‫رت‬
ّ
‫ـو‬‫ـ‬‫ط‬‫ت‬ ‫ـد‬‫ـ‬‫ق‬‫ل‬
THE ROLE OF THE LOGO HAS EVOLVED
‫كعنصر‬ ‫ـعار‬‫ـ‬‫ش‬‫ال‬ ‫ـر‬‫ـ‬‫ص‬‫ع‬
‫العالمة‬ ‫في‬ ‫ـي‬‫ـ‬‫س‬‫اسا‬
‫انتهى‬ ‫ـة‬‫ـ‬‫ي‬‫التجار‬
‫مفهوم‬ ‫عصر‬ ‫ـة‬‫ـ‬‫ي‬‫بدا‬
‫كمنصة‬ ‫ـعار‬‫ـ‬‫ش‬‫ال‬
‫للتجربة‬ ‫ـور‬‫ـ‬‫ح‬‫وم‬

18. ‫تجربة‬ ‫ـاذا‬‫ـ‬‫م‬‫ل‬
‫التجارية؟‬ ‫ـة‬‫ـ‬‫م‬‫العال‬
WHY BRAND
EXPERIENCE?

19. CUSTOMERS REMEMBER
BRAND EXPERIENCES,
NOT THE LOGO
‫مع‬ ‫تجاربهم‬ ‫العمالء‬ ‫يتذكر‬
‫وليس‬ ‫التجارية‬ ‫العالمات‬
‫نفسه‬ ‫الشعار‬

20. MODERN LIFE
IN THE GULF
‫في‬ ‫العصرية‬ ‫الحياة‬
‫الخليج‬ ‫منطقة‬

21. ‫حولهم‬ ‫من‬ ‫بالعالم‬
ً
‫اتصاال‬ ‫أكثر‬
MORE CONNECTED
We often hear about a brand for the first time
from friends ­not from brands themselves.
Experience is taking over many roles that used
to belong to the domain of communications.

22. ‫الرفاهية‬ ‫لوسائل‬
ً
‫طلبا‬ ‫أكثر‬
MORE LEISURE SEEKING
Millennial are seeking out experiences over
products. We are seeing a swing to thinking
about products as the artefacts of a continuous
shopping journey.

23. ً
‫ـاركة‬‫ـ‬‫ش‬‫وم‬
ً
‫وعيا‬ ‫أكثر‬
MORE INFORMED & INVOLVED
People are participating more and more with
products and brands ­sometimes to tailor-make
a special product and sometimes to influence
the direction of a brand.
We see people spending time to influence
the decision-making of the brands they like.

24. ‫الجديد‬ ‫الجمهور‬
NEW AUDIENCE

25. By 2020, today’s 15–19 year
olds (Gen z) will be the
LARGEST GROUP OF
CONSUMERS WORLDWIDE
Source: FITCH Gen Z Shopping: Designing retail for the constant state of partial attention
Z ‫الجيل‬ ‫ـيمثل‬‫ـ‬‫س‬
‫جمهور‬ ‫من‬ ‫ـة‬‫ـ‬‫ئ‬‫ف‬ ‫ـر‬‫ـ‬‫ب‬‫أك‬
‫حول‬ ‫ـتهلكين‬‫ـ‬‫س‬‫الم‬
‫حلول‬ ‫في‬ ‫ـم‬‫ـ‬‫ل‬‫العا‬
٢٠٢٠ ‫العام‬

26. Gen Z were born seamless
and expect a similarly
SEAMLESS EXPERIENCE
Source: FITCH Gen Z Shopping: Designing retail for the constant state of partial attention
‫في‬ ‫في‬ Z ‫الجيل‬ ‫لد‬
ُ
‫و‬
‫بالسهولة‬ ‫تتسم‬ ‫بيئة‬
‫وبالتالي‬ ‫والسالسة‬ً
‫تجربة‬ ‫يتوقعون‬ ‫فهم‬
‫الوتيرة‬ ‫نفس‬ ‫على‬

27. THEY DON’T BELIEVE
THERE WAS A DIGITAL
REVOLUTION,
they were born in it
‫يؤمنون‬ ‫ال‬ ‫ـم‬‫ـ‬‫ه‬
‫رقمية‬ ‫ـورة‬‫ـ‬‫ث‬ ‫ـود‬‫ـ‬‫ج‬‫بو‬
‫فيها‬ ‫لدوا‬
ُ
‫و‬ ‫ـم‬‫ـ‬‫ه‬‫ألن‬

28. ‫التكنولوجيا‬ ‫فضاء‬ ‫في‬ ‫يسبح‬
ٌ
‫جيل‬ ‫هم‬
THEY SWIM IN TECHNOLOGY
SOCIAL MEDIA
PENETRATION:
(active accounts)
29% in Saudi Arabia
56% in the UAE
MOBILE BROADBAND
PENETRATION:
(3G & 4G connections)
144% in both Saudi Arabia
and the UAE
Source: We Are Social’s Digital, Social and & Mobile report, 2015
MOBILE SOCIAL MEDIA PENETRATION:
(active accounts)
KSA
8M
UAE
4.6M

29. Gen Z want nothing more
than to SHARE THEIR DATA
AND INFORMATION but
most organisations currently
are unable to receive it
Source: FITCH Gen Z Shopping: Designing retail for the constant state of partial attention
Z ‫ـل‬‫ـ‬‫ي‬‫الج‬ ‫ـد‬‫ـ‬‫ي‬‫ير‬ ‫ال‬
‫ـاركة‬‫ـ‬‫ش‬‫م‬ ‫من‬ ‫أكثر‬
‫ومعلوماته‬ ‫ـه‬‫ـ‬‫ت‬‫بيانا‬

30. DATA CAN NOW TAKE
A PHYSICAL FORM
Technology has made
data accessible like never
before which extends the
conversation beyond the
brand name and logo
‫التكنولوجيا‬ ‫ـت‬‫ـ‬‫ح‬‫أتا‬ ‫ـد‬‫ـ‬‫ق‬‫ل‬
ٍ‫ـكل‬‫ـ‬‫ش‬‫ب‬ ‫للبيانات‬ ‫ـول‬‫ـ‬‫ص‬‫الو‬
‫ـبوق‬‫ـ‬‫س‬‫م‬ ‫غير‬
‫البيانات‬ ‫ـذ‬‫ـ‬‫خ‬‫تأ‬ ‫ـد‬‫ـ‬‫ق‬
‫مادية‬
ً
‫ـة‬‫ـ‬‫غ‬‫صي‬ ‫ـوم‬‫ـ‬‫ي‬‫ال‬

31. QATAR FOOTBALL
ASSOCIATION
‫القدم‬ ‫لكرة‬ ‫القطري‬ ‫االتحاد‬

32. QFA MAKES EVERYONE PART
OF THE BRAND by visualising
pure, human emotions and
energy created during
the game
‫القطري‬ ‫ـاد‬‫ـ‬‫ح‬‫اإلت‬
‫يجعل‬ ‫القدم‬ ‫ـرة‬‫ـ‬‫ك‬‫ل‬
‫من‬
ً
‫جزءا‬ ‫ـخص‬‫ـ‬‫ش‬ ‫كل‬
‫من‬ ‫ـة‬‫ـ‬‫ي‬‫التجار‬ ‫ـة‬‫ـ‬‫م‬‫العال‬
‫الطاقات‬ ‫تصوير‬ ‫ـال‬‫ـ‬‫خ‬
‫ـرية‬‫ـ‬‫ش‬‫الب‬ ‫واالنفعاالت‬
‫المباريات‬ ‫ـال‬‫ـ‬‫خ‬

33. THE QFA LOGO REACTS TO
THE POWER OF THE FANS
using social feeds to create
a living, breathing and
interactive identity
‫مع‬ ‫ـعار‬‫ـ‬‫ش‬‫ال‬ ‫ـل‬‫ـ‬‫ع‬‫يتفا‬
‫من‬ ‫ـجعين‬‫ـ‬‫ش‬‫الم‬ ‫ـة‬‫ـ‬‫ق‬‫طا‬
‫التواصل‬ ‫ـبكات‬‫ـ‬‫ش‬ ‫خالل‬
‫أجل‬ ‫من‬ ‫ـي‬‫ـ‬‫ع‬‫االجتما‬
‫تفاعلية‬ ‫ـة‬‫ـ‬‫ي‬‫هو‬ ‫ـق‬‫ـ‬‫ل‬‫خ‬
‫بالحيوية‬ ‫ـض‬‫ـ‬‫ب‬‫تن‬

34. THE LOGO IS NEVER STATIC
and continuously in motion
‫يكون‬ ‫ال‬ ‫ـعار‬‫ـ‬‫ش‬‫ال‬
‫وإنما‬
ً
‫ـدا‬‫ـ‬‫ب‬‫أ‬
ً
‫ـا‬‫ـ‬‫ت‬‫ثاب‬
‫التطور‬ ‫ـم‬‫ـ‬‫ئ‬‫دا‬

35. CLICK HERE TO PLAY VIDEO

36. ‫الثقافية‬ ‫الخصائص‬
CULTURAL
CHARACTERISTICS

37. Every culture has its own set
of symbols associated with
DIFFERENT EXPERIENCES
AND PERCEPTIONS
‫مجموعة‬ ‫ـة‬‫ـ‬‫ف‬‫ثقا‬ ‫ـكل‬‫ـ‬‫ل‬
‫الخاصة‬ ‫ـا‬‫ـ‬‫ه‬‫رموز‬

38. Excessive use of these symbols
runs the risk of producing
CLICHÉD REPRESENTATIONS
of the local culture
THIS WAS PROMINENT IN
THE MIDDLE EAST OVER
THE PAST DECADE‫الزائد‬ ‫ـتخدام‬‫ـ‬‫س‬‫اال‬
‫يؤدي‬ ‫الرموز‬ ‫ـذه‬‫ـ‬‫ه‬‫ل‬
‫إنتاج‬ ‫مخاطرة‬ ‫ـى‬‫ـ‬‫ل‬‫إ‬
‫نمطية‬ ‫ـرات‬‫ـ‬‫ي‬‫تصو‬

39. ‫المتحدة‬ ‫ـة‬‫ـ‬‫ك‬‫الممل‬ ‫ـم‬‫ـ‬
َ
‫ل‬
َ
‫ع‬
UK - THE UNION FLAG

40. SIMILAR TO THE GULF,
the art of calligraphy is
at the core of the Chinese
cultural heritage
‫الصين‬
CHINA
‫الخط‬ ‫فن‬ ‫ـي‬‫ـ‬‫ت‬‫يأ‬
‫التراث‬ ‫صميم‬ ‫ـي‬‫ـ‬‫ف‬
‫الصيني‬ ‫ـي‬‫ـ‬‫ف‬‫الثقا‬

41. TRADITIONAL MODERN GLOBAL
By Qian QianBy Haji Noor Deen By Nod Young

42. WITH THE CONCERN OF
WESTERNIZATION it is
interesting to see how
ancient Chinese art and craft
could adapt to the modern
context and started to have
a global visual language‫ـاهد‬‫ـ‬‫ش‬‫ن‬ ‫أن‬ ‫ثير‬
ُ
‫الم‬ ‫من‬
‫الفنون‬ ‫ف‬ّ‫تكي‬ ‫ـدرة‬‫ـ‬‫ق‬
‫القديمة‬ ‫ـة‬‫ـ‬‫ي‬‫الصين‬
‫المعاصر‬ ‫ـم‬‫ـ‬‫ل‬‫العا‬ ‫ـع‬‫ـ‬‫م‬
‫التأثر‬ ‫ـاوف‬‫ـ‬‫خ‬‫م‬ ‫ـم‬‫ـ‬‫غ‬‫ر‬
‫الغربية‬ ‫ـة‬‫ـ‬‫ف‬‫بالثقا‬

43. TRADITIONAL MODERN GLOBAL
By Qian QianBy Mamoun Sakkal By Tewfik Tewfik

44. TRADITIONAL MODERN GLOBAL

45. ‫ـري‬‫ـ‬‫ص‬‫ع‬ ‫أو‬ ‫ـدي‬‫ـ‬‫ي‬‫تقل‬
TRADITIONAL OR MODERN
Arabic calligraphy has and
continued to be the key
element TO REPRESENT
A STRONG ARABIC IDENTITY
‫العربي‬ ‫ـط‬‫ـ‬‫خ‬‫ال‬ ‫ـزال‬‫ـ‬‫ي‬ ‫ال‬
‫المقومات‬ ‫ـد‬‫ـ‬‫ح‬‫أ‬
‫ـيد‬‫ـ‬‫س‬‫تج‬ ‫في‬ ‫ـية‬‫ـ‬‫س‬‫الرئي‬
‫العربية‬ ‫ـة‬‫ـ‬‫ي‬‫الهو‬ By Khawar Bilal

46. That shouldnt restrict
us from taking a
CONTEMPORARY
APPROACH whilst keeping
a link to the culture in this
modern globalizing world
‫ـا‬‫ـ‬‫ن‬‫يمنع‬ ‫أن‬ ‫ـب‬‫ـ‬‫ج‬‫ي‬ ‫ال‬ ‫ـذا‬‫ـ‬‫ه‬
‫معاصر‬ ‫نهج‬ ‫ـاع‬‫ـ‬‫ب‬‫ات‬ ‫ـن‬‫ـ‬‫م‬
‫على‬ ‫الحفاظ‬ ‫ـع‬‫ـ‬‫م‬
‫مع‬ ‫العالقة‬ ‫ـر‬‫ـ‬‫ص‬‫أوا‬
‫في‬ ‫ـة‬‫ـ‬‫ي‬‫الثقاف‬ ‫ـم‬‫ـ‬ّ‫القي‬
‫الحديث‬ ‫العالم‬ ‫ـذا‬‫ـ‬‫ه‬

47. CULTURE
VALUES
Communication in the Gulf is still
focused heavily on symbols
‫الثقافة‬ ‫ـر‬‫ـ‬‫ص‬‫عنا‬
ELEMENTS OF CULTURE
LANGUAGE
SYMBOLS
OF CULTURE

48. ‫العولمة‬
GLOBALIZATION

49. Skyscrapers dominate almost
every major city in the world.
Should they be considered
‘Western’?
OR IS A GLOBAL STYLE
EVOLVING?
‫ـحاب‬‫ـ‬‫س‬‫ال‬ ‫ناطحات‬ ‫نرى‬
‫الكبرى‬ ‫ـدن‬‫ـ‬‫م‬‫ال‬ ‫كل‬ ‫ـي‬‫ـ‬‫ف‬
‫العالم‬ ‫ـي‬‫ـ‬‫ف‬

52. Global design is usually
criticised for LACKING
ELEMENTS OF LOCAL
CULTURE
‫العالمي‬ ‫ـم‬‫ـ‬‫ي‬‫التصم‬
‫من‬ ‫ـر‬‫ـ‬‫ص‬‫عنا‬ ‫ـه‬‫ـ‬‫ص‬‫تنق‬
‫المحلية‬ ‫ـة‬‫ـ‬‫ف‬‫الثقا‬

54. THE ISSUE IS...
Global design is considered
A WESTERN IMPORT in an
Arabic context
‫العالمي‬ ‫ـم‬‫ـ‬‫ي‬‫التصم‬ً
‫غربيا‬
ً
‫ـرا‬‫ـ‬‫ص‬‫عن‬ ‫ـر‬‫ـ‬‫ب‬‫عت‬
ُ
‫ي‬
‫في‬
ً
‫ـتوردا‬‫ـ‬‫س‬
ُ
‫م‬
‫العربي‬ ‫ـياق‬‫ـ‬‫س‬‫ال‬

55. HOWEVER...
People in the Middle East
WELCOME WHAT THEY FIND
RELEVANT to their culture and
reject what is not
‫في‬ ‫األفراد‬
‫ـرق‬‫ـ‬‫ش‬‫ال‬ ‫منطقة‬
‫رحبون‬
ُ
‫ي‬ ‫ـط‬‫ـ‬‫س‬‫األو‬
‫يمثل‬ ‫ـه‬‫ـ‬‫ن‬‫يجدو‬ ‫ـا‬‫ـ‬‫م‬‫ب‬
‫ويرفضون‬ ‫ـم‬‫ـ‬‫ه‬‫ثقافت‬
‫ذلك‬ ‫غير‬ ‫ـو‬‫ـ‬‫ه‬ ‫ـا‬‫ـ‬‫م‬

56. TOM FRIEDMAN
American journalist, columnist and author
Friedman believes that
GLOBALIZATION SERVES
MORE TO ENRICH AND
PRESERVE CULTURE
than to destroy it
‫العولمة‬ ‫ـتهدف‬‫ـ‬‫س‬‫ت‬
‫تعزيز‬ ‫ـر‬‫ـ‬‫ب‬‫أك‬ ‫ـكل‬‫ـ‬‫ش‬‫ب‬
‫والحفاظ‬ ‫ـة‬‫ـ‬‫ف‬‫الثقا‬
‫محوها‬ ‫ـس‬‫ـ‬‫ي‬‫ول‬ ،‫ـا‬‫ـ‬‫ه‬‫علي‬

57. THERE IS AN EXCHANGE
BETWEEN THE EAST AND
THE WEST not only change
is happening in the east
‫تبادل‬ ‫ـاك‬‫ـ‬‫ن‬‫ه‬
‫قائمة‬ ‫ـات‬‫ـ‬‫ق‬‫وعال‬
‫والغرب‬ ‫ـرق‬‫ـ‬‫ش‬‫ال‬ ‫بين‬
‫ليس‬ ‫التبادل‬ ‫ـذا‬‫ـ‬‫ه‬‫و‬
‫فقط‬ ‫ـرق‬‫ـ‬‫ش‬‫ال‬ ‫في‬

58. Koeweiden Postma Dolce and Gabbana hijab and abaya collection Romon Yang

59. TRADITIONAL GLOBAL
‫الجديدة‬ ‫ـة‬‫ـ‬‫ي‬‫الثقاف‬ ‫ـة‬‫ـ‬‫ي‬‫والهو‬ ‫ـج‬‫ـ‬‫ي‬‫الخل‬ ‫ـة‬‫ـ‬‫ق‬‫منط‬
THE GULF AS A NEW CULTURAL IDENTITY
NEW CULTURAL
IDENTITY

60. GABER ASFOUR
Professor and former Minister of Culture of Egypt
We should not resort to
preserving identity in its
form of origin but rather
USE IT AS A POTENTIAL FOR
CREATIVITY
‫المفترض‬ ‫من‬ ‫ـس‬‫ـ‬‫ي‬‫ل‬
‫الحفاظ‬ ‫ـى‬‫ـ‬‫ل‬‫إ‬ ‫ـأ‬‫ـ‬‫ج‬‫نل‬ ‫أن‬
‫بهيئتها‬ ‫ـة‬‫ـ‬‫ي‬‫الهو‬ ‫ـى‬‫ـ‬‫ل‬‫ع‬
‫من‬
ً
‫بدال‬ ‫ـة‬‫ـ‬‫ي‬‫األصل‬
‫كفرصة‬ ‫ـتخدامها‬‫ـ‬‫س‬‫ا‬
‫لإلبداع‬ ‫ـة‬‫ـ‬‫ل‬‫محتم‬

61. ‫الحديث‬ ‫الشرق‬
THE MODERN EAST

62. The GULF has one of the
fastest-growing populations
in the world and THE VAST
MAJORITY WILL BE UNDER
25 YEARS OF AGE BY 2020
© The Economist Intelligence Unit Limited
‫الخليج‬ ‫ـة‬‫ـ‬‫ق‬‫منط‬ ‫ـع‬‫ـ‬‫ت‬‫تتم‬
‫يعد‬ ‫ـكاني‬‫ـ‬‫س‬ ‫ـداد‬‫ـ‬‫ع‬‫بت‬
‫على‬
ً
‫نموا‬ ‫ـرع‬‫ـ‬‫س‬‫األ‬
‫العالم‬ ‫ـتوى‬‫ـ‬‫س‬‫م‬

63. Today there are MORE
CULTURES PRESENT IN
THE MIDDLE EAST than
almost anywhere in
the world
‫ثقافات‬
ً
‫ـا‬‫ـ‬‫ي‬‫حال‬ ‫ـد‬‫ـ‬‫ج‬‫تو‬
‫األوسط‬ ‫ـرق‬‫ـ‬‫ش‬‫ال‬ ‫في‬
‫آخر‬ ‫مكان‬ ‫أي‬ ‫ـن‬‫ـ‬‫م‬ ‫ـر‬‫ـ‬‫ث‬‫أك‬
‫العالم‬ ‫ـي‬‫ـ‬‫ف‬

64. QATAR
85%
UAE
88%
KUWAIT
69%
BAHRAIN
52%
KSA
32%
‫الخليج‬ ‫دول‬ ‫ـي‬‫ـ‬‫ف‬ ‫ـن‬‫ـ‬‫ي‬‫الوافد‬ ‫ـدد‬‫ـ‬‫ع‬
NUMBER OF EXPATS IN THE GULF
OMAN
44%
Source: The Gulf labour markets and migration. National institutes of statistics.

65. Expats in the UAE make up over
200NATIONALITIES
88%
POPULATION
‫الوافدون‬ ‫ـل‬‫ـ‬‫ث‬‫يم‬
‫من‬ %88 ‫ـن‬‫ـ‬‫م‬ ‫ـر‬‫ـ‬‫ث‬‫أك‬
‫اإلمارات‬ ‫ـكان‬‫ـ‬‫س‬ ‫تعداد‬ Source: expo2020dubai.ae

66. JACQUE BERQUE
French Islamic scholar and sociologist
”EAST IS THE HOME
OF THE WORLD”
‫العالم‬ ‫موطن‬ ‫ـو‬‫ـ‬‫ه‬ ‫ـرق‬‫ـ‬‫ش‬‫ال‬” ”

67. ‫محلي‬ ‫ـح‬‫ـ‬‫ب‬‫أص‬ ‫ـي‬‫ـ‬‫م‬‫العال‬
GLOBAL IS LOCAL

68. ‫يتمتع‬ ‫الجديد‬ ‫الشرق‬ ‫أن‬
‫محلي‬ ‫عالمي‬ ‫بطابع‬
THE MODERN EAST
IS GLOCAL

69. There is a desire to CREATE
BRANDS THAT APPEAL TO
INTERNATIONAL AUDIENCES
built on values from the
Arabic culture
‫في‬ ‫رغبة‬ ‫ـاك‬‫ـ‬‫ن‬‫ه‬
‫عالمات‬ ‫ـكار‬‫ـ‬‫ت‬‫اب‬
‫ـرائح‬‫ـ‬‫ش‬‫ل‬ ‫تروق‬ ‫تجارية‬
‫العالمي‬ ‫ـور‬‫ـ‬‫ه‬‫الجم‬

70. Emirates has maintained
its position as both the top
ARAB BRAND, AND MOST
VALUABLE NAME IN GLOBAL
AVIATION
‫طيران‬ ‫ـركة‬‫ـ‬‫ش‬ ‫ـتطاعت‬‫ـ‬‫س‬‫ا‬
‫تحتفظ‬ ‫أن‬ ‫ـارات‬‫ـ‬‫م‬‫اإل‬
‫عالمة‬ ‫ـل‬‫ـ‬‫ض‬‫كأف‬ ‫ـا‬‫ـ‬‫ه‬‫بمركز‬
‫وأفضل‬ ‫ـة‬‫ـ‬‫ي‬‫عرب‬ ‫ـة‬‫ـ‬‫ي‬‫تجار‬
‫على‬ ‫قيمة‬ ‫ذي‬ ‫ـم‬‫ـ‬‫س‬‫ا‬
‫خدمات‬ ‫ـتوى‬‫ـ‬‫س‬‫م‬
‫العالمية‬ ‫ـران‬‫ـ‬‫ي‬‫الط‬

71. TO BUILD A SUCCESSFUL
GLOBAL BRAND WITH
LOCAL RELEVANCE...
‫عالمة‬ ‫ـيس‬‫ـ‬‫س‬‫لتأ‬
‫ناجحة‬ ‫ـة‬‫ـ‬‫ي‬‫عالم‬ ‫ـة‬‫ـ‬‫ي‬‫تجار‬
...‫محلي‬ ‫ـع‬‫ـ‬‫ب‬‫طا‬ ‫ذات‬

72. CULTURE
VALUES
Shift of focus from symbol to values
to deliver unique experiences
LANGUAGE
SYMBOLS
OF CULTURE
‫الثقافة‬ ‫ـر‬‫ـ‬‫ص‬‫عنا‬
ELEMENTS OF CULTURE

73. SUCCESS IS DRIVEN BY A
BRAND’S ABILITY TO LISTEN
TO ITS CUSTOMER
‫على‬ ‫ـاح‬‫ـ‬‫ج‬‫الن‬ ‫ـد‬‫ـ‬‫م‬‫يعت‬
‫العالمة‬ ‫ـدرة‬‫ـ‬‫ق‬
‫تلبية‬ ‫ـى‬‫ـ‬‫ل‬‫ع‬ ‫ـة‬‫ـ‬‫ي‬‫التجار‬
‫عمالئها‬ ‫ـات‬‫ـ‬‫ج‬‫احتيا‬

74. With an international audience eager to
be entertained and inspired, BRANDS NEED
TO PROVIDE UNIQUE AND MEMORABLE
EXPERIENCES TO MEET THEIR EXPECTATIONS
THEY NEED TO FEEL IT IS TAILORED FOR THEM,
infused with purpose, meaning and character
relevant to their culture while making it ready
for the world
‫العالمات‬ ‫ـاج‬‫ـ‬‫ت‬‫تح‬
‫تقديم‬ ‫ـى‬‫ـ‬‫ل‬‫إ‬ ‫ـة‬‫ـ‬‫ي‬‫التجار‬
‫وبارزة‬ ‫فريدة‬ ‫ـارب‬‫ـ‬‫ج‬‫ت‬
‫ـعر‬‫ـ‬‫ش‬‫ي‬ ‫أن‬ ‫ـور‬‫ـ‬‫ه‬‫الجم‬ ‫ـاج‬‫ـ‬‫ت‬‫يح‬
‫مم‬
ُ
‫ص‬ ‫تقدمه‬ ‫ـا‬‫ـ‬‫م‬ ‫ـأن‬‫ـ‬‫ب‬
‫أجله‬ ‫ـن‬‫ـ‬‫م‬
ً
‫ـا‬‫ـ‬‫ص‬‫خصي‬

75. IT DOESN’T
MATTER HOW
YOU LOOK
IT’S WHAT
YOU DO THAT
COUNTS
‫يقتصر‬ ‫ال‬ ‫ـر‬‫ـ‬‫م‬‫األ‬
‫ـكل‬‫ـ‬‫ش‬‫ال‬ ‫على‬
‫على‬ ‫وإنما‬ ‫ـط‬‫ـ‬‫ق‬‫ف‬
‫والتجارب‬ ‫ـال‬‫ـ‬‫ع‬‫األف‬

76. IN SUMMARY
THE ROLE OF THE LOGO HAS CHANGED
CREATE UNIQUE BRAND EXPERIENCES
THE MODERN EAST IS GLOCAL
EMBRACE YOUR CULTURE, INSPIRE
AND INNOVATE
DESIGN THE FUTURE
OF THE MODERN EAST

77. THANK
YOU
JIMMY KMEID
DESIGN DIRECTOR
@FITCHDESIGN
#DUBAILYNX