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IQ The Creative Issue by Interbrand #01

IQ The Creative Issue by Interbrand #01

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IQ The Creative Issue by Interbrand #01 IQ The Creative Issue by Interbrand #01 Document Transcript

  • 01.THE CREATIVE ISSUE
  • intelligence quotient Welcome to the first issue of Interbrand IQ, an experience designed to highlight the ideas and issues that are pushing the boundaries in the art and science of branding. Through the lens of great brand thinking and action, IQ will showcase some of the world’s greatest thinkers and innovators and point you towards emerging areas of interest. We will also provide insight and guidance on the challenges of creating and managing world changing brands, to ensure longevity in the world’s dynamic and ever-evolving marketplace. This inaugural issue focuses on creativity, and seeks ideas that have the power to change the world. In these pages, we hope to capture the inspirations, thoughts, and ideas that make great brands world changing. Whether it’s consumer electronics, financial services, or telecommunications, the brands that manage to change the way we behave, think, or experience life create a lasting impact on the world we live in. Above all, these brands use creativity and innovation to generate a spark of interest and desire which encourages us to invite them into our lives, earn our loyalty by fulfilling world changing promises, and justify a premium every time we pay for them. We hope you enjoy Interbrand IQ, and don’t forget to visit us online at InterbrandIQ.com, where you will find videos of many of the interviews as well as significantly expanded content that we just couldn’t fit in these pages. We welcome your feedback and hope to hear your ideas and suggestions as we continue to shape IQ into your source for brand intelligence. Jez Frampton Global CEO InterbrandOn the cover:Interior digital rendering of the Strata Tower (under construction in Abu Dhabi),designed by Asymptote Architecture
  • 4 from the editors 28 iq: the creatiVe issue IQ ON educatION sir john sorrell & 01. 6 the World Will change With or Without us 8 piVotal lady frances sorrell 32 storytellers greg IQ ON medIa 10 unite! 12 clayman paola IQ ON art 36 Katsu IQ ON street art antonelli 44 IQ ON glObal cItIzeNshIp 18 IQ ON yOuth amy stoKes jeff Kinney hani rashid 48 IQ ON archItecture massimo 22 IQ ON desIgN 56 this Way forWard 60 brands in the Vignelli Key of real 62 brandspotting 64 Who’s asKing?2 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 3
  • FrOm ThE EdITOrSOpe There are many ways to change the world. Use technology to mentor children in need a world away, or use art to blur the line between human and machine. Evolve the daily newspaper. Give schoolchildren power. re-imagine the very notion of what design is for, or what architecture can express. Even break the law, at great physical risk, to make your point.nin But no matter who you want to engage, or what you need to subvert, there is one thing you have to do: Open up and talk to someone else. You can converse in images or concepts, simple sentences or great structures. But the world only turns for real when we take our big ideas and share them, let them bounce around, and when we listen. Welcome to the conversation.gup Daniel Diez: Walk us through a little bit about the DD: Hani Rashid dives into a brand and understands inspiration for IQ’s creative issue. its DNA. It felt very similar to how you and your team go about it. How do you create something Chris Campbell: We’re living in a time of unprec- new for a brand and marry the strategic and creative edented change—in technology, societal structure, points of view? changes in the environment. I wanted to provide a platform to explore two areas: One, how is CC: The question of creativity and strategy has been creativity responding to this change? And two, asked many times. I don’t think you can separate how is creativity driving these changes? the two. They are actually one in the same, and I think in this issue of IQ we are going to show prime DD: In putting together this issue, we had the examples of that; that the strategy is creative and opportunity to speak with some creative luminaries the creative is strategic. across different fields: design, architecture, art; Massimo Vignelli, Paola Antonelli, Hani Rashid. Can DD: What led you to a creative life? you help us understand the connection between what we do creatively with brands and what they CC: I credit all my creativity to my parents who, at do in their fields? a very young age, bought me a box of Lego blocks. In those days, Lego didn’t come with predetermined CC: Great question. I think everyone we spoke to structures to build, no instructions. And I spent is all about providing experiences, and the best hours creating things purely from imagination. brands right now are providing experiences that are relevant. They are doing things in new ways that are DD: What was the most fascinating thing you built often surprising, allowing me to engage with them out of Legos as a kid? in a way that has never been done before: new channels, new opportunities, new experiences. CC: I used to build roller coasters, which was very challenging given Lego actually wants you to be in a DD: As Vignelli said: Design is design, it’s a universal rectilinear world. So I would try and bend the rules principle. We can apply it to any number of things. of what’s possible…CHRIs CAMPBELLIN CoNVERsATIoN WITH CC: Correct. It lives everywhere we live. It’s part ofDANIEL DIEz our daily lives. Chris Campbell is Executive Creative Director, Interbrand New York Daniel Diez is Director, Strategic Marketing, Interbrand North America4 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 5
  • thewOrldwillchangewith The world will change with us or without us. Likewise, we can be changed by the world, What connects all this upheaval—the or we can move to change it. thread running through the trends and the changes—is creativity. The scale of human It is just such a challenge that we are creativity today is astounding, and brandsOr facing when we think about the important provide the infrastructure, the framework, role that brands play in advancing human and the impetus for so much of the energy progress the world over. Every time a that moves the world forward. In this way, brand seeks our help navigating the mar- brands help define our world and serve as ketplace, we stare down these challenges a filter to how we see ourselves and live ourwithOut anew. Because brands really are a force for lives in relation to others. change, and if we shrink from that, we are not acknowledging a fundamental truth of In a word, brands are catalysts. the world today. Brands have long been crucial changeus read the business news, pore over stock agents, creating choice, generating loyalty, tables, or keep up with developments in and commanding a premium. But in a world culture and technology, and it’s clear: The where social media and high technology are way we live and do business around the enabling far-flung individuals to come to- world is in a state of constant flux, perhaps gether around areas of common interest and now more than ever. But less obvious is passion, brands are shaping communities, how these changes are altering each and geographically decentralized groups whose every one of us in real time. As technology alliance is undeniable and whose passion is a redefines the content of our aspirations, force to be reckoned with. as healthcare undergoes repeated seismicANDy PAyNE shifts, and as media interacts with us and It’s a responsibility that brands can take on invites us to be the story, the ground we or shirk. Our role is to help them accept their stand on is shifting—and it’s the companies power and use it to generate both profits and that deliver these new possibilities who are passion—the kind of passion that changes shaping the change. the world. Then, too, consumers reshape these products and services in new and unexpected ways, Andy Payne is Global Chief Creative Director, creating a feedback loop between brand and Interbrand community that is truly spinning the globe in new directions all the time.6 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 7
  • piVotalmaybe it happens once in a generation, maybe more toyota priusoften, but we usually know it when we see it: Something Roberto Vilchis Senior designer, Interbrand Tokyotakes the world as it was and sends it spinning in anew direction. We asked a random assortment of The events of march 11, 2011 have changed our view towards energy resources. Toyota hasInterbranders to identify just such a pivotal announced plans to install solar panels on the roof of the next generation Prius and make plug-moment, invention, or idea. in technology standard in 2014. Toyota keeps opening paths for others to follow.the pill Visual diagrams ipad FootballJane Parker Jihun Moon Mary Cabrera Cassidy MorganCEO, Interbrandhealth managing director, Interbrand Seoul Global Chief Talent Officer, Interbrand CEO, Central and Eastern Europe, InterbrandFor millions of women, the pill inspired The visual diagram is one of the most powerful On a personal level, the iPad has given my son Soccer, or the “real” football, is the most popularindividuality, role reversal, gender equality, languages, regardless of region, country or culture. (who has autism and is non-verbal) the ability to sport in the world. To play you don’t even needsexual revolution, reproductive choice, In fact, it has changed the world by sharing a communicate his needs and wants for an endless a ball. A rock will do, a crushed can. Anything.women’s rights, feminism, women’s liberation, common tool that people around the globe can number of things, as well as express himself by Football unifies and enables. Football empowersand life planning. understand easily. drawing, playing the piano, learning his ABCs, and instills confidence. Football drives democracy and “talking” to someone whenever he wants. and equality. Football is the world’s game, and it is world changing.8 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 9
  • Ustorytellers nite! It wasn’t the products that people were buying. Capitalism has endured not just because it’s a Or, more accurately, every product was a bonus good way to get products into people’s pantries, that came free with an idea. And stories are though that’s no small feat. Capitalism feeds our how those ideas and those products get tied to- appetites, but it also inspires our imaginations, gether in people’s minds. Stories are the ligaments sending blue jeans, Zippo lighters, and rock n’ roll linking notions of freedom and happiness to through the Berlin Wall, and sending Air Jordans particular products. Without stories, we are sim- and hip hop into the nooks and crannies of rough ply drinking soda or putting on a pair of shoes to streets where poor kids latched onto the dreams at protect our soft soles: so what. But add the story, the heart of the products. and we are teaching the world to sing in perfect harmony, opening (to) happiness every time we As creative professionals, we can align ourselves The deep past and drink a Coke. We are overcoming every negative with the selling of the widget, the shifting of the voice in our head and the world at large to reclaim unit. Or we can unify around moving ideas. It’s wild future of the power of our athletic bodies every time we just ideas, after all, that change the world. If you get words & pictures do it and lace up the Nikes to go for a jog. that right, the bump in sales is the easy part. The revolution will be tweeted The first brand idea And then one day there appeared in the land a We like to use the phrase “in our dNA” a lot when PETER CENEDELLA magic box, filled with pictures and words and referring to various attributes of organizations. It’s sounds. And it allowed everyone to talk to each become a marketing mantra—and sometimes it’s other, to broadcast to the world. The conversa- even true. But what really is in our dNA is story- tion that started when the designers and the telling, making meaning from the raw materials wordsmiths began cohabitating was no longer a of words and pictures. We’ve seen some of our“ We tell ourselves stories in order to live.” hidden dialogue they had before delivering their forebears’ first ads, on the walls of the caves of story to a waiting world. Now the world was in the Lascaux, in the pictograms of the mayans and the –joan didion room with them. The wall separating artist from hieroglyphs of ancient Egypt. copy whiz was nothing compared to the walls that In the beginning was the word, and it was good. right picture could lay to waste the defenses of crumbled when the Internet came of age. We should strive for nothing less totally and There was also the image, and it too was good. stingy savers and purse-minders from Peoria essentially human, every time we collaborate to Each was good at telling stories, at doing what to Peking. Now everybody everywhere is talking to everybody help create a brand. every one of us is forever doing with a fervor: else all the time, and the sound of the world in the making meaning. Let’s look at the lab where that atom got split. Two ear of the creative writer or artist has gone from Picture yourself huddled in the shadows, watching people are pacing, sitting to draw or write, gesticu- a whisper to a scream. We need to learn to join the images flicker in the firelight, depicting the But not good enough. Not for brands and market- lating wildly and then stopping to think. The sky conversations that we can’t always control. hunt that saw the tribe through another season. ers. Not on their own. So the wordsmiths and the outside grows dark, but their bulbs are burning. And the paintings alone could only convey so designers moved in together and had a family, a They are wrapped up in a conversation. That meanwhile storytelling has come completely much without someone standing by the fire family of storytellers using words and images to conversation is a story being spun. That story, and unmoored from its linear structure and is now animating them with words, primitive though make meaning. And the fruits of their labors were scores of others with the same genesis, are chang- happening all around us. Audiences encounter they may have been. so sweet and tempting they made more than mean- ing the world—little by little but undeniably. pieces of what your brand means everywhere they ing. They made desires. Whole orchards of desire turn—at the point of purchase, on a Facebook app, The words and pictures combined in that cave took root across the land, and so the storytellers Cultural moments lasted a little longer then, and in a product placement, and through their Twitter were not just about bone and blood. They told a also were fruitful, and multiplied, across ad agencies, stories blew like seeds on the wind, taking time to feed. The stories we creatives want to tell have story that connected the meat and the pelts—the brand consultancies, and marketing firms. disseminate. The powerful stories that capitalism never had to be so consistent yet so nimble and products of the hunt—to a really profound idea: started to weave in those artistic engine rooms flexible, making meaning happen across a dizzying We will live, and thrive. Joan didion penned her famous quote in 1967, blew through border crossings and under the radar, array of traditional and new media, echoing in smack dab in the cultural moment when admen literally. We watched the dominoes fall in the time and space just in time for someone to hear it, and marketing mavens were discovering the battle for hearts and minds. The me decade. The and be moved. Peter Cenedella is Creative Copy Writing power of tearing down the walls between the art New Age. The opening of China in the 1970s. The Practice Leader, Interbrand New York studio and the copy room. It was the storytelling fall of the Berlin Wall. Powerful forces tottered like This revolution in human communication and equivalent of splitting the atom, as the fissionable wisps once the stories emanating from madison meaning-making has been brought to you by material of a few well-chosen words and just the Avenue and malibu became so compelling. capitalism, no question. But where is it headed? 10 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 11
  • IQ ON ArT designs that speaK to usMoMA sENIoR CuRAToRPAoLA ANToNELLIIN CoNVERsATIoN WITHCHRIs CAMPBELL N Building, Tokyo; TeradaDesign Architects, Qosmo, Inc. Media Architecture, Izumi Okayasu Lighting Design; 200912 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 13
  • It takes an open mind to put objects have always been mean- When the Internet was born, it computers, was invented in for how to apply the brand in anyone I know, including mya working subway card vending ingful to us, even ugly heirloom was all lines of code, a dark 1981 at Xerox PArC, and it every different instance—how mom’s butcher in milan. I justmachine in an art museum things—there has always been a green screen and light green was intuitive and metaphorical many inches and feet, et cetera. send an email saying, “I’mexhibition. It’s just the sort of very strong attachment. But now letters, symbols, and numbers, because it presented you with a Now, instead, you cannot control doing this show. It’s about thegenre-expanding choice that has we expect things to talk to us. and in order to connect with desktop, with files and folders the platform anymore. The communication between peoplemade Paola Antonelli, in her After the digital revolution and other people you had to know and a calculator and a trash bin. moment of communication of and objects. Any ideas?” Androle as a senior curator for the the post-structuralist revolution, how to write code. Then marc But you realize that the more we the brand can happen in a totally then all that goes in the bigNew York museum of modern we expect things to actually have Andreessen came and created go on, the more these kinds of uncontrolled manner, anywhere, minestrone with all of this stuffArt’s department of Architecture a conversation, and if you put the mosaic interface with metaphors will not be necessary, and sometimes it would be better that I’ve cut out from magazines,and design, one of today’s most a child in front of an object or windows and buttons and because people will be able to live if it didn’t happen. There are from blogs, from the research thatinfluential culture mavens. her screen, she will start looking for hyperlinks, and all of a sudden in the digital world without bring- so many brands that have been the whole team has conducted.upcoming exhibition, Talk to Me, switches and buttons and will you and I and my grandmother ing with them the remnants or diluted by excessive enthusiasm With Talk to Me in particular,opening at momA July 24, will start touching, trying to make can use the Internet. the reminders of the physical one. by their fans. It’s so complicated since it is an exhibition aboutexplore the many ways that the image bigger. We expect that that it’s better to try to bring the communicating, we decidedobjects, ranging from the afore- kind of interaction. designers CC: It seems that there is a role CC: Eventually the Internet will brand back to being a personality to have an open blog from thementioned vending machine have a new role. They do not only for designers who are making become like electricity, and we or a character, which is, interest- beginning to document ourto a device that simulates provide form and function, they devices and technology more won’t even think about it. It’ll just ingly, what happened at the very process. We posted every singlemenstruation, communicate have also become scriptwriters. intuitive and less technological. be there like we turn on a light. beginning of branding design. suggestion as they came in andwith people. her take on the The brands that are most success- then we would try to move thingsvending machine is as simple as CC: Technology has the power PA: It’s still technological—it’s PA: Absolutely. Every designer’s ful are the brands that are able from that queue into differentit is persuasive: “It’s a beautiful to both bring people together just the interface that they are ambition is to make technology to stand alone, like human beings, categories if they passed the firstinterface that really expresses and make people feel kind of working on. machines and disappear, so you use it but you in any kind of situation. Brands muster. So we showed everybodyNew York City and the kind of disconnected. What role does programs have their own inner don’t feel that it’s there. are almost dissolved in the iden- how we filtered things, howsurprising trip you are going design have in bridging that gap? workings and then they have tity of the object so that they can organic the process is. But asto have when you descend faces, membranes, filters CC: With so much of our lives communicate by themselves. usual, when you have a blog, itdownstairs.” PA: maybe because I’m so between you and me, that they facilitated by our interactions becomes a form of enslavement, embedded in design and I believe use to communicate with people. with products, what role do CC: With so many hundreds of so the last post was in November,Chris Campbell: Paola, tell me in design so much, I always feel You don’t really have to simplify you think brand plays in those thousands of objects in the world which is a little embarrassing—about the inspiration behind your that technology makes people the program—the program is relationships? today, and new ones coming on but we’ve been tweeting.upcoming exhibit, Talk to Me. come together. Once you embrace extremely complex. What you at an increasing rate, how do it, it’s almost like a strange reli- try to make more intuitive, PA: It’s interesting because you go about selecting what is CC: But there must be a lot ofPaola Antonelli: The inspiration gion. What designers do best is more human, more analog, is it’s so hard to be a brand these in the show? pressure on that final selectionfor contemporary design shows take innovations, even disruptive the interface. For instance, the days. There was a moment when process.tends to come from the way we ones, and make them part of our first graphic user interface for brands knew what they were, and PA: I try to really cast the netlive. Talk to Me is about how we lives in a seamless way. The most computers, which then became it was almost like a science. You very, very wide. At the beginning PA: What I learned from thecommunicate with objects. See, classic example is the Internet. the interface for macintosh had a big manual of instructions of the show I pretty much tell previous show, Design and the “ Design is almost like a strange religion.”Rubik’s Cube for the Blind, Konstantin Datz, 2010 Menstruation Machine – Takashi’s Take, Sputniko!, 201014 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 15
  • “ Designers have this new role— they’ve become scriptwriters.” Top: MetroCard vending machine; Masamichi Udagawa, Sigi Elastic Mind, is that it’s okay fantastic: it’s a menstruation dreams, from astronaut to Moeslinger, David Reinfurt, and Kathleen Holman; 1999 to leave room for different machine, a contraption that you astrophysics—because when Bottom: Touch-Hear (concept), Design Incubation Centre at conclusions, especially when it can wear—it almost looks like I got my first cavity I knew the National University of Singapore, 2008 comes to contemporary design, an old-fashioned chastity belt. I couldn’t be an astronaut because if you leave the theme As a man, a child, a husband, anymore—to nuclear physics open and the questions not a transsexual, you can wear it to journalist, you name it. And completely answered, and you around your waist, and it then at some point after high let people fill in the gaps and has electrodes that give you school I decided to go to business answer in their own way, contractions, and therefore school, and for two years I was the exhibition becomes more you get cramps. It also has a really, really unhappy. Then one participatory and as pluralistic reservoir, and you take your own summer in Sardinia, I was sitting as any portrait of our present blood and put it in the reservoir, on a rock in the middle of the sea should be. Ultimately, I think so you really go through the and I remember thinking, What it’s another sign of the times whole motion: you get your the hell am I doing? I hate it so that you don’t necessarily have pain, you get all the kind of much. I came back to milan and I to make the ultimate exhibition unease that goes with it and you switched from business school to about anything contemporary. really can feel what it means to architecture school without even Quite the opposite, you have be a woman and to have your telling my parents. Now that to pose the right questions period. It’s fantastic because was a big deal because business and point people in certain it’s so poignant and so kind of school was private, disciplined, directions. scabrous—like, outrageous but guaranteed of a job at the end, also so sensitive—the ultimate and architectural school at that CC: Can you share an example of form of understanding of time in Italy was a complete what we might look forward to other people. mess, a circle of hell. There were seeing at the exhibition? 15,000 students and nobody CC: We have one more question graduated and no job when you PA: Sure, let’s talk about one of to go along with the theme of came out. my parents were not my very favorites, by a Japanese this issue. I wonder if you can very happy, but I think it was designer named Sputniko! with share with us something that the best decision of my life, an exclamation mark at the end. was world changing for you? and it’s also the only one that Talk to Me is about communica- I remember as a decision tion, the interface with the city PA: Oh yeah, I remember exactly because everything else seems and the world, but it’s also about what changed my world. As a to just have happened. trying to understand others, child and adolescent I went about diversity. This piece is through 15 different career 16 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 17
  • IQ ON YOUTh even a Wimpy Kid can change the World CHILDREN’s AuTHoR jEff kINNEy IN CoNVERsATIoN WITH PETER CENEDELLA Like many of us, Jeff Kinney had a big idea hit him while he was doing a routine chore. But Kinney actually did something about it—and how. he turned his idea into the 10-million-user-strong interactive web empire, Poptropica, which is re- defining the way kids experience media and engage online. Poptropica is often their formative web experience, literally shaping their synapses, how they process infor- mation, and what they’ll learn. And then there’s the small matter of Kinney’s game- changing Diary of a Wimpy Kid series of best-selling graphic novels that have sold over 50 million copies worldwide. his reach with the under-11 set (also known as the future) is astonishingly vast. Yet Kinney, whose miserable junior high years serve as grist for the Wimpy Kid books, is the unassuming nice guy who downplays the significance of his work at every turn. Proving that the nerd next to you in class, the geek at a lonely lunch room table, or just the quiet kid dodging the bullies and the big egos, might turn out to be the next world changer.18 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 19
  • a Wimpy Kid, and reading the idea and leave the company and Chicago World’s Fair in the Peter Cenedella: Let’s start with PC: so was middle school as bleak first lines of Catcher in the Rye get funded. But then I realized 1800s, and we know that kids Diary of a Wimpy Kid. What was as it got for you? makes me kind of wonder if it what a great blessing it was to are going to be experiencing the inspiration for you? had fallen into my subconscious have such a large audience and this type of content for the first JK: (Laughs) middle school may to create a character with this such a good company in Pearson time, so it’s inspiring to think Jeff Kinney: The inspiration for have been worse for me than it is kind of a voice. behind me already, so it felt like that we’re creating a frame of me came from years of frustration for Greg heffley. It felt, for me, a natural thing to present the reference that they will probably trying to get my comics published like a dangerous place. We went PC: you kind of nailed it with idea to the high-ups and make take with them for the rest of and not having any success. I from the safe confines of elemen- your description of being swept it happen. We were launched their lives. wanted to be a newspaper tary school to what felt like the under the rug by society, which inside of a year and now we have cartoonist but I couldn’t break prison yard to me. Where I grew Holden Caulfield felt, and which about 10 million kids, which is PC: The theme of our issue is into the syndication business. up it was called junior high and is how Greg clearly feels—under good enough for first place in world changing creativity. Did I think there was a combination it was a two-year slice, which the radar. And there’s obviously kids’ sites. you have any particular influence of things going on. Part of it was always seemed very strange to a huge identification with Greg at a young age that changed you because my work wasn’t profes- me. Elementary school was six or out there. PC: Does it ever feel like an in a profound way? sional grade and the other was seven years and then high school awesome responsibility on some that I was looking at a shrinking was four years, but there was JK: Yeah, I think it’s an level that you’re getting into JK: Well my father introduced market at the time. I decided this oddity that was junior high aspirational identification… these people’s heads at a very me to comics when I was young. I really wanted to get my work which was only two years, and early stage in their lives and in he gave me lots of Uncle Scrooge published, so I came up with it felt like they were keeping a PC: Let’s talk a little bit about their consumption of media? and donald duck comics written this idea that if I started writing secret from us. my conclusion Poptropica. How did you get by Carl Barks, and I read those and drawing as a kid, then the is that when you’re between involved in interactive online JK: It is. When I go around to from the time I was six or seven artistic merits of my work would elementary school and high media for kids? schools, if I ask how many people all the way up to now. I think be evaluated as if I was a child. school you’re in this larval stage know Poptropica it’s probably 85 they are the best example of I thought I might have a shot if and you’re swept under the rug JK: I had a few years of experi- percent, maybe more, and then storytelling I’ve ever seen, so that was the case. by society so you can gestate. ence working on interactive Wimpy Kid is probably 98 per- that had to have changed me design in integrated advertising cent. It’s a wonderful privilege to in some way. PC: Greg Heffley, the hero of the PC: some critics have compared for entertainment companies have that saturation, and I take Wimpy Kid books, takes on a life of Wimpy Kid to Catcher in the Rye and CPGs at Pearson. Then one that responsibility very seriously. PC: Comics have certainly had a his own from page one. How long because you’ve created a day I was mowing my lawn and I really believe that it is a privi- long-term stealth impact in the was he in development? Is there a character who really captures thinking about where it was all lege to write and create content world, and maybe you’re doing bit of you in Greg? a lot of the alienation that kids headed, and I kind of got this for kids. I like the dichotomy: the same. in real life are feeling. idea that was pretty full-blown Wimpy Kid is pure entertain- JK: Well something that I’ve for a virtual world that would ment and Poptropica is centered JK: I hope so. When I set out realized is that you can’t really JK: I probably don’t deserve engage kids and meet them around learning—though not in to write I wrote for adults, but I write outside your experiences. that kind of comparison, but in in their new literacy and also a way that is obvious to kids. For think that the outcome has been Even though I’m writing about a sense maybe Greg is a G-rated to create a more interesting example, we might write a story that my books have turned boys a fictional family and setting, version of holden Caulfield. experience for a client. So my about the Loch Ness monster into readers and that makes me looking back on my own child- Somebody recently said that if first instinct was to take this or Greek mythology or even feel great. hood there are similarities. there had been no Catcher in the something so esoteric as the Rye there would be no Diary of The Wimpy Kid series, five graphic For 10 million kids worldwide, novels in, has also spun off a movie Poptropica is an early exposure to and a DIY diary. everything from Greek mythology to world history.20 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 21
  • IQ ON dESIGNthetrainedeyeneVertiresLookingaroundwith adesignlegendDEsIGNERMAssIMo VIGNELLIIN CoNVERsATIoN WITHCHRIs CAMPBELLmassimo Vignelli is one who really earned it. From the start, he had to work athis obsession. And his obsession was design—in all its forms and functions. In the1950s you couldn’t ogle centuries of architectural treasures by clicking on a coupleof websites, or read Wikipedia bios of the great designers, or Google up capsulehistories of the essential schools of architecture. If you were a young “architecturegroupie,” as massimo Vignelli describes his youthful self, you had to seek it out,passionately and with purpose. And so Vignelli did.Born in milan in 1931, his diverse apprenticeship included formal architecturetraining, a stint with a master glass manufacturer and furniture building—allbefore age 26 when a fellowship to Chicago’s Institute of design brought him acrossthe ocean. “milan is a sort of machine that produces designers—dot, dot, dot, dot,like that,” he says. But he is no cookie cutter designer. his decades-long quest for Knoll package design, Massimo Vignelli, 1967new ways to meet essential human needs through smarter, more cohesive, andelegant design has changed the course of daily life for millions of people.22 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 23
  • Chris Campbell: It’s an honor to be talking to the CC: you often talk about design with purpose. Which legendary designer Massimo Vignelli. company or brand do you think is actually doing a good job of that today? massimo Vignelli: You know one of the finest things in life is to leave a general façade and your name mV: I think that by far the best one ever is Apple. becomes legendary. It’s not massimo, its legendary. To me that is the company that, better than any other one in the world, really shows how important CC: Well you are a legend. the role of design is to the industry. Steve Jobs is the Voltaire of design, he personifies the digital mV: maybe I’m legendary because I started so early Enlightenment just like Voltaire personifies the to be interested in architecture. At 16 years old I Enlightenment. he is the most enlightened person went to work in an architectural office in milan, in the world in terms of companies, and not because the office of the Castiglioni Brothers. I thought he has a vision in an aesthetic sense, but because architects do buildings and that’s it, and instead his vision is total. It involves the business. I discovered that they could do anything because the premise is basically the same. They were Actually, every other company could be so good. working the whole field of design, from tableware The problem is the buyers of marketing asking to architecture, from interiors to exhibitions, the people. Can you imagine if Steve Jobs was asking whole thing. So when we opened our own office, we people what they want? At the most you might designed all kinds of things, but always rooted in get a product like dell or any other one of those, architecture—as a process, as an interest. It helps you know, competitive companies. They believe in to have that common platform. marketing—they ask people what they want. They shouldn’t ask, they should just give people what CC: What are you working on these days? they need. Steve Jobs doesn’t ask, and that is why his creative marketing is successful. mV: Well as usual, all kinds of things, and that is what I like. We do signage, we do project design Unfortunately, we are surrounded by companies and, of course, books all the time. who have a fear of losing their share of the market, and, therefore, they lower their pants all the time to We used to have a huge office and 10 years ago marketing wants rather than needs. You know I live we scaled down. Now we work at home. We sleep with a hope that eventually even these companies upstairs and work downstairs: I get out of bed and will understand the importance of branding in an get to my table, I get off of my table and go back to ethical and philosophical sense rather than as a tool bed. It’s great commuting. for profit, which, you know, demeans really what they are and the rest of society that supports them. I work with a couple of associates—they share the language, the same discipline. Not that we don’t We, as professionals, have been fighting all of our argue—arguing is very important. With Lella lives for improvement, and we get the clients that [Vignelli, wife and design partner], I argue all my we deserve, just like anyone gets the clients they life because you are provoked by a new project and deserve. We get very good clients: people that have you apply whatever you know to that particular vision, courage, and determination, which are the issue, but there are always different interpretations. three most important things to have for a company It is okay, Lella and I share so much, we have so and for a profession. You know, without that, much in common. Actually, you know, in today’s forget it. language, we are not an office, we are a brand. CC: Do you believe there is a role for research CC: yes. in design? mV: It doesn’t matter who designs anymore—if I mV: definitely. It is very important. Now, there are design, if she designs—we’re a brand. And the same many ways of doing research. research can be by is with my associates. We are all so close together, lifelong, continuous interest—that is my kind. I am and the voice is really one, you know, and that researching all the time. I am analyzing everything is really what you want. I’m not interested in I see, and I file these feelings so whenever the time personal expression, I am interested in language. comes, I might be ready with a lot of observations I’m interested in developing a language, even for about whatever it might be. don’t miss any opportu- our clients, and teaching them how to speak that nity for thinking about what surrounds yourself. language. Then in whatever they do, that language will be reflected, and that is called branding. I do not believe in that kind of research that is dominated by fear, like focus groups and research CC: That is branding. of that kind, things to justify the ineptitude of management. But the research to go in depth, mV: And this is what we have been doing all of for instance, to better understand a context our life, under different names, different corporate where a product or a company or a message or identities—but that’s branding. a communication should be is very important.Richard Meier and Partners, Complete Works 1963–2008;Taschen; designed by Massimo Vignelli; 200824 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 25
  • CC: so much of what you design touches all parts of everyone was adding, adding things. You do some-our lives. What is the role of design in everyday life? thing then you add a decoration on top and then you add this and you add that, and mies, instead,mV: Well I tell you, it’s one of the things I say just worked by subtracting and subtracting untilall the time: politicians take care of nations, city you can’t take out any more.planners take care of the city, architects take careof the buildings, designers take care of everything When I was young it was incredible just to learn thethat surrounds us. Chairs, tables, glasses, cameras, relationship of the walls. It was so exciting to put aeverything, you name it, is designed by a designer. wall here and a wall there and a gap in between—It is the most pervasive profession; in a sense the the tension becomes the new language of elements.most antique as well, when you think about it. The The tension is one of the things that we talk aboutcave man was the first designer. Can you imagine all the time: margins on the book that have tensionwhen he came home and invented the wheel? Like and otherwise they look like flat tires, and most ofa Flintstone. That person was a designer, not an the time no one pays attention to that. Everyonearchitect or an engineer. he just dropped this thing thinks that typography is the typeface; typographyand said, “Look at that. Isn’t that great? When is not a typeface. Typography is the relationshipit’s flat you can make a table. If you put it up, you between the white spaces, what is not printed. Whatcan roll it. If you put two together, you begin to is printed is nothing. When you draw lines, thathave a cart.” he was a designer, you know? is not type, but the structure is there and that is typography.CC: yes, yes. Well, I just have one final question. So the process is to work by subtraction. That wasmV: It’s too bad, I like it. Keep going. the most important lesson in my life, and, of course, there were many others. When you live as long asCC: The theme of the issue is the idea of world I have so far, and when you have the passion, youchanging creativity. What person, place, or thing keep finding things that are exciting, because thechanged your world? eye is more trained to look at things, so it never tires. Everything becomes stimulating.mV: I think the person that had the biggestinfluence on my life was mies van der rohe, who I tell you, if you don’t like design, just do somethingI met in Chicago. For me it was incredible to else, but don’t mess up with design.discover that the creative process could be doneby subtraction instead of addition. You knowNew York City Subway Diagram, Heller Compact Stacking Dinnerware, A Few Basic Typefaces exhibition poster, Massimo Vignelli, 1991Massimo Vignelli with associates Beatriz Cifuentes Massimo Vignelli, 1964and Yoshiki Waterhouse, 200826 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 27
  • IQ ON EdUCATION designing children DEsIGNERs sIR joHN soRRELL AND LADy fRANCEs soRRELL IN CoNVERsATIoN WITH ANDy PAyNEThe Sorrell Foundation teaches schoolchildren as young as five how to develop their own creative The past 35 years in Britain have seen a revolution Lady Frances Sorrell: Some of the young peoplebriefs for designers and architects. in the visual arts. The cultural ferment that has from our earlier projects, who are now in their attended the rise of the Tate and the emergence twenties, got inspired by working with fabulous of world-changing artists like damien hirst has architects and went on to do things like structural also had a commercial design counterpart in the engineering at Cambridge. And then we’ve helped husband-and-wife team of Sir John and Lady them get placements with good architectural Frances Sorrell. The Sorrells launched their now- practices, and these relationships have gone on. legendary agency, Newell and Sorrell, in 1976. They What we’ve discovered in the early years is being are behind the groundbreaking redesigns of many fed on to the next generation. of the U.K.’s most renowned organizations, includ- ing British Airways, the BBC, and the royal mail. AP: What led to the founding of the sorrell In 1999, they established the Sorrell Foundation to foundation? help inspire creativity in schoolchildren through- out Britain by teaching the importance of good JS: A long time ago, we were being asked to do design—often from the client’s perspective. free work for schools and we did this for 20 years on and off. And we became quite familiar with the Andy Payne: What is the goal of the sorrell way schools work. We got to the point where we foundation? felt slightly uncomfortable about the way we would set a project, the kids would do some work, you Sir John Sorrell: Well, it says on paper, the aim of would put it on the walls, and everyone would say, the Sorrell Foundation is to inspire creativity in “great,” and you would go away. We didn’t think that young people and to improve quality of life through was right for the kids, so we had the idea of a role design. It was 11 years ago when we wrote that. That reversal. Instead of going into schools to set projects hasn’t changed, but what’s been added now is to for the kids to do, we decided to go into schools help young people get on the pathway to studying and ask the kids to set the brief for a design project art and/or design and then getting careers in the that would improve quality of life in the school for creative industries. everybody. Once they created a brief, which we helped them with, we would assign a designer to28 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 29
  • work for them, literally, like a client team in any AP: What’s your main inspiration for doingorganization in the world—except this time they this work?might be as young as five or six, or 12 to 14. JS: What we’re really interested in is what the youngFS: It worked for every child, but there were people are getting out of this engagement, which ismarked improvements in the disaffected kids. really three things. First, we’re interested in develop-That was all through being responsible, through ing their critical appreciation of design. Second,managing the project. The fascinating thing is, as they’re all consumers of design, so helping them tosoon as they had to represent the school, instead be better consumers and more aware consumers, Iof rubbishing it, they would talk it up, so that was think, is very important. The third thing is that someabsolutely delightful. of them will be clients of designers, and we always say that the best work is when you have a greatJS: One of the tricks is to make the kids informed relationship between the client and the designer.and inspired clients. For example, if they want tore-do their school canteen, they probably haven’t AP: Is it important to you to be able to share yourbeen to many restaurants, so they’ve got no refer- passion for design?ence points in the conversation with the designer.But of course school food is the fastest fast food FS: Working in our own practice, you just realizein the world, so you go to fast food restaurants, that design touches everything. It absolutelyand the kids talk to the manager. They take photo- touches everything. But working in the Foundation, Sir John Sorrell and Lady Frances Sorrell: “We think a world where there is better design is bound tographs. They film it. They ask questions. They the excitement has been seeing that moment of be a better world.”find out how it all works. They talk to the staff, realization with young people when they suddenlythe customers, and in the end, they’re experts on find what it is they want to do. And that’s thefast food restaurants, and they can engage in a thing—that’s the magical bit.conversation with their architects or designers. JS: Absolutely everything made by human beings JS: We’ve developed an extraordinary amount of JS: So what we hope to see is a kind of legacyFS: So you’re sitting in a restaurant, and they’re is designed by someone. So we think a world where knowledge about the way young people use design from the work we’ve done, which is happeninglooking around realizing that everything around there is much better design is bound to be a better in their lives, and over the last few years we’ve been in different ways and in different places.them has been designed. They’re starting to develop world. I think the earlier you start to notice design approached by quite a few organizations who’dtheir own critical awareness and they are starting and see what a difference it can make in your life— like to access it, especially researchers looking at AP: for those who are seeking creativity in theirto realize if something doesn’t work or if they really whether it’s good or bad—the better. the way young people behave and think. So right lives, where should they go for inspiration?don’t like it. It enhances their whole life, because now we are working on how to do that. The othersuddenly they are seeing things. AP: Where do you see the sorrell foundation in two things we see for the future are, first of all, the JS: I think exposure to great art is something the future? National Art and design Saturday Club, a grand that is absolutely inspiring and enriching and Gilbert and Sullivan title for something which is rewarding for anybody. If you’re in the design actually very simple: We are reviving the idea of world, it feeds understanding and knowledge and Saturday morning classes for 14- to 16-year-olds. the ability to create great design. It’s great to see We’ve given it this grand name to give it a serious, these kids standing in front of art, and they come national image, and as of today we have 14 colleges and say to us, “I’ve just seen this amazing painting.” and universities providing classes in different parts of the country. FS: It’s actually very true though, when you’re creating a brand or an identity or you’re creating a FS: About 400 kids at the moment are involved. design for a client, the first thing you do is look for reference points. You try to find inspiration. You JS: If we can get a critical mass of people joining this open art books. You go and see an exhibition. You initiative, there could be several thousand kids every try to find something that will trigger an idea, and Saturday morning benefiting. I think it’s the same for young people when they’re starting off: They’re like blotting paper, you dip FS: And the other one is design Club, which is this them in as much as you possibly can and let them idea of an in-school club for design. The students soak up whatever might inspire them. watch a film about a specific piece of design, whether it’s fashion or a piece of furniture or a AP: What do you hope the lasting effect of the sorrell car, and they understand the whole process. They foundation will be? understand about how the design was conceived, how the product is made. They can then debate it. FS: Just to inspire some kids. That’s it. They can do a criticism of the design, whether they like it or not, and then they submit it. JS: Yeah, that’ll do.By working on creative briefs the kids are awakened to the world of design: “It enhances their wholelife, because suddenly they are seeing things.”30 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 31
  • IQ ON mEdIA neW media pioneersDIGITAL PuBLIsHERGREG CLAyMANIN CoNVERsATIoN WITHjEff MANCINI does it feel like a new day rising every time you power up your iPad, as bright and promising as the early days of the PC revolution? It should. We are only beginning to come to grips with the unexplored frontiers of content delivery the iPad opens up. And charging headlong into the future is News Corp.’s The Daily—the first iPad- specific daily publication. Like frontiers past, this one is likely to go all Wild West before settling, so perhaps it’s unsurprising that rupert murdoch’s troops are planting their flag and setting up the first tricked-out fort on the horizon. We caught up with The Daily’s publisher, Greg Clayman, and asked him to help us map this world-changing terrain.32 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 33
  • Twenty-four hours after Elizabeth Taylor passed away, The daily published an 80-page tribute to the legendary star.jeff Mancini: What was the jM: your tagline is “new times we sent our 360-degree pho- GC: The entire thing. We amount to be said for real-life jM: Maybe he’ll get discovered.creative spark, the inspiration demand new journalism.” Today tographer to Egypt. It was one couldn’t do what we do without interaction, but our contentbehind The Daily? we are telling stories in very of the most amazing things I’ve the technology that exists. We management system is in the GC: he could (laughs). different ways, and often in a very ever seen; you really, really felt are a technology product. We cloud.Greg Clayman: The funny thing non-linear fashion. How is The like you were there. There were have built a digital newsroom jM: Can you share with us anyis, the inspiration was the iPad Daily contributing to this evolu- some places that were smashed and production flow that allows jM: How has the customer feed- creative experience that hasitself. When we all first got iPads tion of information sharing? up, some places that weren’t; you people access across all different back been so far? changed your world? or changedand started really seeing what saw the soldiers there with their forms and formats. They can the world in general, in yourwas possible, how it changed GC: Exactly. Instead of, “Let’s guns. So I think we are allowed store everything in our system. GC: Fantastic. We find ourselves opinion?the way people interacted with start with a piece of writing that to be more creative with the me- Our whole system sits in the appealing to a really wide audi-media, it became clear that it somebody has and put some dia that we use to tell the stories cloud. You can contribute if you ence. Believe it or not, it maps GC: Can I go with my world?really called for products that interactive elements onto it,” because our product is custom are a writer or a photographer, almost exactly to the U.S. Census That’s easier. do you usewere custom designed for it. If some stories begin their lives as designed to enable the use of all you can edit it, publish it from in terms of where our subscrib- Instapaper?you really want to engage the images, some begin their lives as those different media. an iPad, from anywhere in the ers are. We are specifically anaudience and take advantage of videos, some begin their lives as world. And, of course, there’s editorial product, we are a cura- jM: Don’t use it, but know it.the platform, our thinking was tweets. Stories are being told in Another example: Elizabeth the application itself, which tor, so people are reacting wellyou need to start from scratch. different ways and in different Taylor passed away, and we allows the magic to happen. The to the things that we curate and GC: It’s a creative piece of mediums. The nicest part about were looking at all the images challenge has been tying all of the content itself. You can com- software in that it brings onlinejM: so how did you go about this platform is that it lets you we have of her and we had like a these together seamlessly. We ment within the app, audio and/ articles and reading to the tabletthat? bring all those together into one gazillion images from her entire built the app, we built the back or text, and our more popular in a way that’s stripped down, place, into one product. career. And we were like, “We end, and we built the publishing articles get hundreds, sometimes very clean, and basically turnsGC: We put some of the best should make a custom issue, an system, all in six months, which thousands of comments. One guy them into pages of a book or awriters, photographers, videog- jM: How does your creative image book of Elizabeth Taylor. is insanely fast. But we are very rapped! We do this thing called magazine. It is the opposite ofraphers, designers, infographic process open up these new We have the platform for it.” nimble and very aggressive. “sound off” and we let people lots of color, garish bells and“ninjas” and animators into a ways of telling stories in a daily Twenty-four hours after she respond. We had a question two whistles, all kinds of crazy “looklarge room and said, “We’d like publication? passed away we had an 80-page jM: Wow, so the editors and days ago about the Beastie Boys, at me, look at me.” It basicallyto come up with 100-plus pages book on the market that was just journalists can all work remotely and we said, “how old is too old takes the important informationof original content every day. GC: With the recent situation in images and video clips. So we on their pieces. to be a hip-hop star?” And one out of this article—the words—What can you guys do? What Egypt, you read lots of stories have a tremendous amount of guy, an older dude himself, and puts them on your iPad ordoes that look like to you?” If about the Cairo museum being flexibility in how we tell stories. GC: Yes, they can. Again, we responded by recording an iPhone in an incredibly elegantthe iPad is the palette, let’s start looted, then other stories said tend to come together in a audio, in rhyme, rapping about and a very creative way. It hasthere and then back into what not, then some stories said, jM: What role does technology room because you get a lot of how it was okay, and that was fundamentally changed the waycontent makes sense. “Actually there were soldiers in play in delivering on the creative benefit from having an active terrific. I consume content online. It has there.” So we said, “Okay, what vision? and engaged newsroom of people changed my world. does it feel like in Tahrir Square yelling across the desks at each during the actual protests?” So other. There’s a tremendous Jeff Mancini is Senior Director, Digital Strategy, Interbrand New York34 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 35
  • IQ ON STrEET ArT Words like “disruption,” “guerilla,” and “subversive” get thrown around a lot by marketers and intellectuals. But very few of hacKing them have ever scaled a barbed wire fence at 3:00am with a bag of Krylon cans slung over one shoulder, or sussed out the right the third moment to use a fire extinguisher to spray 20-foot-high tags on the wall of a government building. dimension KATSU, on the other hand, insists on illegality and danger as precisely the point of graffiti. Like generations of graffiti writers before him, KATSU knows about subversion—and risk. Since the late 1970s and 1980s, graffiti artists like Jean michel Basquiat (SAmO) and Keith haring have used walls and subways as their “gallery” to explicitly challenge the artificial divide between graffiti and art. Like them, KATSU subverts the way society wants to consume and contain its artists. In conversation it becomes clear that KATSU, perhaps even more than many others of this outlaw breed, cannot be contained. GRAffITI ARTIsT kATsu IN CoNVERsATIoN WITH ALAN RoLL36 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 37
  • Alan Roll: How did you get started with graffiti? KATSU: Growing up in a rural town, my family would take trips to the big city once in a blue moon. On those trips I would stare at everything that didn’t exist in the rural setting. I was fascinated with the homeless, alleys, drunks, and especially graffiti. I remember seeing a fluorescent yellow-and-black graffiti piece in a construction site in the city center. I was blown away by the graphic quality and placement of this amazing visual. I decided I just had to create a secret identity for myself and get good at spray painting. AR: How has graffiti culture evolved over time? Is it becoming more conceptual? K: Graffiti culture has evolved into many different sub-categories. There are bombers, taggers, piecers and street artists. All of these groups use old school graffiti traditions and apply more modern ideas to make them more efficient. Overall, graffiti has become much more conceptual. Getting noticed now demands more than simply repeating your logo everywhere. Other graffiti writers and artists demand more Photography: martha Cooper creativity for their attention. This pushes everyone to think outside the box. AR: To the blind eye, your work seems impromptu and adrenaline-fed. How would you describe your creative process? K: I do not have one specific process. All my work is about experimen- tation. I’m always trying to push myself and how KATSU is viewed. There is a quantitative system in judging the validity and strength of graffiti. I try to re-work that system every time I activate KATSU. AR: Can you elaborate on your quantitative analysis? What factors do you consider? K: For me, personally, it’s all about different risks. how risky is the location? Are there night watchmen? Will you get your ass beat or shot by locals or building owners? how easily could you fall to your death? how risky is what you installed? did you use spray cans? did you use an extinguisher? did you paint a giant portrait of Osama bin Laden making out with hitler? how much time did you have to spend on location, working? Was it a large stencil that took five minutes? Was it a giant bubble letter that took 20 minutes? I like to also weigh how In an attempt to “test Jeffrey Deitch’s motives” for putting on an exhibition of graffiti art, KATSU risky or challenging the piece is based on the artist’s history. If it’s used a fire extinguisher to spray a 30-foot tag on the side of the LA MoCA during the show. a new young writer and they put their ass on the line to execute something difficult, I may value that more than a person I’d expect something risky from. At the end of the day, if you blast a police precinct with a bright pink fire extinguisher, I’ll like you. AR: your skull character—who is he? K: The goal was to create a single stroke skull. At the time that I created my skull in high school, I believed that a single stroke tag “At the end of the day, if you blast a police precinct with a bright pink fire extinguisher, I’ll like you.”38 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 39
  • KATSU says his proliferating fake phone booth ads “represent the surrendering of opinions by us consumersin the face of celebrities and corporations.”40 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 41
  • would look and feel efficient and beautiful. I also liked the idea of of finding loopholes and secret entrances into physical places and marking buildings with a skull as if condemning them. The skull is delivering messaging through unexpected ways. hacker graffiti has a a very powerful symbol. It represents human mortality. The skull nice ring to it. is a logo. AR: you have a few fake videos online—your White House tag and your AR: Do you view graffiti as a social messaging platform? Picasso at MoMA. How important is perception versus authenticity in your work? K: Absolutely. Graffiti writers communicate in distinct coded ways with multiple social groups. We communicate with each other, K: Graffiti writers are very serious about what they do. You can expressing opinions, challenging each other, questioning each other’s definitely die, get beaten up, arrested and locked in a cell for doing decisions. We communicate with law enforcement, creating the graffiti. Graffiti artists risk being charged for every vandalism they atmosphere they are hired to clean up. We communicate with the have ever committed in a given jurisdiction, not just the one tag general public, angering property owners, bewildering passers-by, they might get caught doing. Graffiti has to be authentic. letting the public know that there is an underbelly to their culture that transgresses security, fences and walls. The videos ask the question “What is authentic and why does authen- ticity matter?” I was trying to get graffiti artists to rethink the method AR: your latest series of phone booth faux-ads features celebrities, one could use in getting notoriety. The videos themselves were tags, well-known brand logos, and either your tag or your skull character. just in the form of video and on the Internet. The fake videos were also What message were you trying to convey by bringing these together? a way for KATSU to show off his After Effects skills…which are much Why did you choose to pair those particular brands and celebrities? better now. K: There were different messages for different audiences. For graffiti AR: you need to remain anonymous to avoid jail time, but your craft writers, the message was “YUP, KATSU’S dOING SOmEThING WITh requires that you be authentic. How do you balance that? ThE mOmA ANd JAY-Z.” For the general population the message was, “KATSU IS ImPOrTANT.” The pairings felt appropriate in K: Being authentic comes through crime. displaying my face does communicating that KATSU was valuable as a commodity and as a nothing to authenticate my graffiti. creative entity. I used the celebrities as props to draw attention and give narrative to the ads. Whatever the general population wanted to AR: A few weeks ago, MoCA in LA showed the first major graffiti exhibit, say about the ads was all completely correct. If you thought they were called “Art in the streets,” and a certain point has been much debated: dumb, you were right. If you thought they were brilliant, you were Is graffiti art? What’s your take? right. They represent the surrendering of opinion by us consumers in the face of celebrities and corporations. K: Graffiti is the expression of a special population of humans that didn’t get enough breast milk when they were young. AR: you have an app for the iPhone. Why move tagging from walls to the web? AR: Will you ever move tagging from walls to canvas? K: I was introduced to a programmer who was interested in designing K: I will never quit doing illegal graffiti. That will always be the true digital tools for graffiti artists. I felt that an iPhone app would do form of tagging. Creating graffiti work for galleries and exhibitions me real well and double in promoting KATSU. For one, graffiti is always good promotion for your tag as long as you don’t quit fanatics would really appreciate the app and associate KATSU with real graffiti. Art movements have always taken place in a studio and the progressive tool. Secondly, I now had a way to place my tag on within the arena of academics and law. Graffiti always involves the risk people’s iPhones. The app icon is the KATSU skull. Thousands of of arrest and that really changes the traditional artistic process. people worldwide have my tag on their iPhones. AR: Can you share with us a creative experience that changed AR: In this hyper-digital age, where do you think the next life for your world? graffiti is? K: during the installation of the moCA graffiti show, the museum was K: Graffiti will be where the highest reward for risk is. Public and outfitted with a team of security officers and surveillance cameras. private property will always be the best arena for this. I think that how Graffiti artist KATSU flew to LA and scoped out the moCA. KATSU your marking and message arrives is going to involve new technologies. distracted the security officers with the help of fellow graffiti I think techniques are going to come straight out of sci-fi movies. I’m gang members, and in broad daylight, using an enamel-filled fire very excited when graffiti is considered a form of hacking. It is a way extinguisher, tagged the show with 30-foot-high letters. KATSU tagged the exhibition in an effort to test Jeffrey deitch’s motives behind the show. Graffiti artists installing their work, including Shepard Fairey, Neck Face, and Barry mcGee, were all amazed at what had happened and asked that the giant KATSU tag be left up as part of the exhibition.“The skull is a very powerful Jeffrey deitch had the tag scrubbed and buffed that night. symbol. It represents human The stunt was filmed and photographed and leaked to the web. The grafiti-ing of the graffiti show went viral and people began talking: “Why would Jeffrey deitch destroy graffiti if he felt it was a beautiful mortality. The skull is a logo.” art form?” Alan Roll is Creative Director, Interactive, Interbrand New York 42 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 43
  • IQ ON GLOBAL CITIZENShIPLives Some say that it takes a village to raise a child. So what happens when there is no village? If you’re Amy Stokes, you create one on a global scale. Her groundbreaking initiative, Infinite Family,on connects some of Southern Africa’s neediest children with mentors half a world away through video conversation offering them the adult support they lack at home. As the organization’s website puts it: “Being a teenager is tough. Being a teenagerthe without a strong and stable family in sub-Saharan Africa is really tough.” The program’s brilliance is the simplicity of its core idea: In the 21st century, distance should be no barrier to making a difference.LineWeaving a global family, NoNPRofIT fouNDER AMy sTokEs IN CoNVERsATIoN WITH ToM zARA Video conferencing bridges physical distances to bring at-risk children together with much-needed mentors.one video chat at a time44 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 45
  • Infinite Family staff Infinite Family staff with with the first group mentees at the launch of mentees from of Tsogang Sechaba Alexandra Childcare Community Project Support Centre in in Soweto Township, Johannesburg, Johannesburg, South Africa, February 2010. February 2010.Tom zara: Where did Infinite family come from? from the south side of Chicago at the intersection reason Infinite Family exists is that there have been Tz: As you look around in the marketplace, whatDid someone lead you down the path or is this of four different gangs as part of ShoreBank, a four or five hundred people involved since we got other non-profit brands inspire you? Which ones dosomething that has just been part of who you are? community development bank. I thought I was started. We are so conscious of the fact that we need you think are doing things that are truly innovative teaching them business skills and entrepreneur- everybody because none of us are direct experts. and truly creative and changing the space that theyAmy Stokes: It is absolutely something that I am ship, but what I learned very quickly was that I was Everything we’re doing is new. work in?and have always been, but I think it also comes the first person who sat down with them every dayfrom how I was brought up. I grew up in a very and listened to where they wanted to go and helped Tz: Is there a lesson that you have learned that AS: Save the Children is a world leader in helpingsmall town, very rural in nature, and I watched figure out how to get there. If you flash forward to would help others understand that charity is about kids in thousands of different communities inboth my family and the people around us building when we were adopting our son, and when I returned creating healthy and sustainable relationships? thousands of different ways, and they’ve created athings, fixing things and making things that didn’t in 2005, I was walking around the orphanages and worldwide brand so that people know exactly whoexist, because you couldn’t just go to the store and seeing hundreds and hundreds of kids. I knew how AS: I think we learn every day from our partners. I they are. There is another organization in Southbuy them. my dad is a consummate builder, fixer, important a relationship with an adult is in getting mean we’ve tried things they told us not to try and Africa that is starting a new school system, and weproblem-solver. I was a studio artist for a little you to make decisions about your own life as a we tried anyway, and they were so right. If there is are really looking forward to working with them.while and I realized that creativity and problem- teenager. I think that’s where the spark was lit something that we value and have at the core of They have completely turned what school is on itssolving are two words you can’t have without each that I had to find a way to help these children every decision that we make, it’s that our relation- end and how you develop children from brokenother. I had a vision of what I wanted to create, and build real relationships, despite geographic and ships and partnerships make this work. There are families —not only academically but holistically.every action I took was to solve a problem towards cultural boundaries. That’s where Infinite Family lots of people doing really good work, lots of NGOs They’re called LEAP schools. When I think fromsomething that had never existed before. So if came from. doing amazing things for kids, but the scale of the a branding perspective, the red Cross has theyou’re asking what is the driving force, it’s just problem is so immense. We are trying to provide amazing ability to be the first-line respondersimply: Things shouldn’t be like this, so what do Tz: How do you transfer this extension of yourself to support that doesn’t exist in sub-Saharan Africa to a crisis and to get people to donate. They’rewe need to do to fix them? others such that they protect it and propel the idea because a big part of a generation of young parents astounding. I would love to have their world the way you intended? is gone. So we are filling in, trying to bring to the recognition someday.Tz: so where is the genesis for the heroic things that table something that supports the whole commu-you do? AS: From the very beginning, Infinite Family has nity: the kids, the NGOs, and the guardians in the been about the team—that this is not just Amy’s community. There are a lot of really smart people Tom Zara is Global Practice Leader,AS: I think that I have always known, since I was a crazy idea, that there is a large group of people who out here that want to do something, especially if Corporate Citizenship, Interbrandteenager, that there was something I was supposed have offered their talents and insight to make this they can be involved in a direct way, so we are in theto do and my job was to find it. It wasn’t until we work. Early on, the team was asking questions of process of creating something bigger than any ofadopted our son from South Africa that I under- our partners and the people we needed to work with us, but it’s only because we are building this tightlystood where the greatest need was for me to offer us, to the point where we based Infinite Family, not knit set of relationships. It’s not an I or a me, it’s awhatever I had to offer: skills, time, whatever it was only on the needs of the mentors or the kids, but we—it’s all of the mentors, it’s all the kids, staff, thethat could be useful. I had worked with teenagers based on the needs of all our partners. The only NGOs, it’s the board, it’s the volunteers.46 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 47
  • IQ ON ArChITECTUrE architecture forensic ARCHITECT HANI RAsHID IN CoNVERsATIoN WITH BRIAN kENET48 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 49
  • Previous page: Inside the Yas Hotel in Abu Dhabi, designed by Asymptote Architecture. The Yas Marina Formula One racetrack, home of the Abu Dhabi Grand Prix, passes around and under the Yas Hotel.The word architect doesn’t quite capture hani rashid. The Brian kenet: I know you’re always busy with multiple projects. What’s the latest?founder and principal, along with partner Lise Anne Couture, hani rashid: Well, I’m a little jetlagged because I just got back fromof Asymptote Architecture, rashid prefers to think of himself Asia where we presented a proposal to a major automobile manufac- turer for the future of their brand from an architectural point of view.as a “spatial engineer.” It’s hard to classify someone whoseprojects have ranged from a future-focused art installation to Bk: What kind of methodology do you use to grasp the identity of a client like that?a master plan for 28 hectares in central Prague; from a virtual hr: When we start a project I always tell my staff that we have totrading floor for the New York Stock Exchange to the sweeping spend a little bit of time extracting the dNA of the brand. BecauseYas hotel straddling a Formula One racetrack in Abu dhabi. our world is predominantly visual and tectonic, it usually means looking for visual cues to their core aesthetic and their approach toWhat can be said with certainty is that rashid is as much an space. With this manufacturer, we looked at the aesthetic of their cars, but more importantly, at the aesthetic of their logo, their market-artist as an architect, and by venturing to truly understand ing. We looked at all their advertising because the branding exercise done by advertising companies tends to be a sort of distillation of whatwhat makes his clients tick, he’s forging new ground for his the company is after. It’s like we walk into a forest and start to tap theprofession—whatever its name. syrup from the trees that have already grown there, and we present back to them a portrayal of their company in a physical form that we think is timeless. Our job really is to make things more concrete, more stable, and perhaps more permanent.50 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 51
  • Bk: Do you find when you extract this DNA and present it back to theclient that you surprise them with conclusions that are maybe differentthan what they thought?hr: more often than not. I remember with the New York StockExchange, Lise Anne and I were presenting, and they turned andoffered her a job on their board because, they said, “You understandour business better than we do.”Bk: What was the project?hr: It was their virtual-reality trading environment. That was one ofthose projects where the architecture community was telling us thatwe were crazy and that it wasn’t architecture and blah, blah, blah. Itwas a very big, ambitious virtual environment, and then we also builta small physical trading floor that tied it all together. But yeah, theywere pleasantly surprised by how deeply we dug into, not just theirbrand, but also into their business model. Something like advertisingskims the surface of the brand, while we have to go many more layersto find the things that we want to push forward for these clients.And that’s where I find it ironic, because in an advertising campaignone understands the payback on a $10 million investment; in ourbusiness it’s like pulling teeth to have people understand the returnon a $5 million investment in an interior, but… Asymptote was commissioned to design a physical command center toBk: And usually most designers are not capable of calculating that, complement their pioneering design of a virtual-reality trading floor foreither conceptually or… the New York Stock Exchange.hr: We do, and I am very cognizant of it. I remember selling Carlosmiele his store idea. he was hesitant on the budget, and I said to him,“Look, you can buy this store, or, for what it’s going to cost to build it,you can put a billboard in Times Square.” his eyebrows lifted, and hewent ahead and invested in the store. And it wasn’t a fickle investmentbecause that store has been far more powerful in terms of its return tohis brand because it’s a three-dimensional billboard. Even the way welit it, the way it is presented in the window, it is very purposefully doneas a kind of spatial diorama off of 14th street that you can’t help butnotice. So changing hats and play acting at advertising a little bit helpsus a lot in formulating a project that speaks to the client in a moreaggressive and eloquent way. Architects, historically, have not done thatvery well. They sit on their high horse and claim that this is what youneed, with no explanation—just, “I’m an architect.” Generationally,we’ve learned that we are equals with our clients in the sense that wehave to get in the trenches together.Bk: My assumption is you didn’t learn this in design school, so thequestion is, where did you learn it?hr: really the best answer is that I learned it from the clients.Working with the Stock Exchange, I remember sitting with them inthe first meeting, and I thought it was very strange, because at thetime we were used to circulating in the art world. I remember howamazed I was to be in that domain and listening to those people talkabout things that were so foreign to us as artists but so intriguing tous as architects. That’s when our ears perked up to how much thesecompanies need us, quite frankly, even though they don’t realize it. “It’s like we walk into a forest and start to tap theThere is a lot there in terms of how we as a discipline have to shapeshift to suit what the situation is today.Bk: Well it does seem that, in general, there has been a steady declinein the influence of architects. As projects become more complicated syrup from the trees.”and more money is at stake, they seem to be less and less a part of thatdecision making.hr: Yeah, and from our point of view it’s actually very healthy,because it means the discipline has to shift to stay relevant. When52 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 53
  • you get into things like the environment or urban space, cultures, citizenry, what makes a great city—if you see a city as a brand it puts it in a very different position. You’re not imposing a master planning attitude, you actually have your ear on the track trying to figure out what makes this place click: Why do they need a new transport system, why do they need housing and central business districts and parks? We’re doing two big projects now in China and those are the conversa- tions we’re having. Bk: Are these master plans for new cities? hr: One is the beginning of a new city project, and the other one, I guess it is technically a new city, but we’re working on an existing master plan. Bk: so what are the similarities and differences you find working on a master plan for an existing city than from, let’s say, one you are creating from scratch? hr: Well I think in the end there isn’t a lot of difference, because you’re involved in the same complexities of local governments and public opinion and clients who have financial needs. On the one hand, it all sounds very nice: my romantic view of extracting dNA and working with the city to give them the artistry, poetry, sensitivity, and a bit of madness maybe. On the other side of that is a juggling act with hardcore commerce—return on the dollar, square footages, how many hotels are they going to fit in. It’s a really strange kind of double identity that you have to play. Bk: so it’s not as if one is heavily constrained by the past and the other has no constraints? hr: No, ironically, the past is not constraining enough—it just tends to be a kind of template. When we work on a city plan, we don’t start with the origins but tend to fast forward to a period where we are now. It’s a lot more difficult to go in and say, “Oh no, you don’t really need this, you can do different modes of transport, you can have different relations between green space and physical space, you can even think about different ways of building your buildings using modeling and computing.” Or take the Yas hotel. It may not look like it on the surface, but our battle cry was to find something that is culturally pertinent and specific to that part of the world, as opposed to just a kind of wholesale importation of Western architecture—another glass tower that could be in Chicago or des moines. You think that would resonate with the sheiks and the local ex-pat CEOs, but they are looking at you like you’re strange and they say, “Well, no, we actually want what’s in Chicago and des moines.” On that one we fought it tooth and nail, and we actually won it because of how fast track that project was. We did so much stuff under the radar that we got it out of the ground and built in 16 months—it was kind of a shock to every-Asymptote’s proposals for Mercedes Benz and BMW were conceived as body. I remember walking with the CEO, a British guy, a very nice guy,physical extensions of their rival identities: “They are like city states in and he looked at me, and in his English accent said, “had we knownMedieval Italy watching each other like hawks.” what you were building, we probably would have stopped you, but we had no time.” And he said, “It’s amazing.” Bk: It’s definitely not Des Moines. hr: Well, we’ve come a long way from simply building a building and sticking the word Pan Am on it or something. We find ourselves in a very different conversation by virtue of the clients’ maturing under- standing of what they need and a more disarming approach to those clients by the architect. But we still like to stick their name on it. Brian Kenet is a Lecturer at the Harvard Graduate School of Design and Consulting Principal at the Environmental Financial Consulting Group54 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 55
  • this Way forWard changing the world from a brand perspective CRAIG sTouT Change takes courage Consider the courage required to forgo advertising People don’t like change. The survival instincts of on the homepage of the world’s most popular search human beings make us adverse to difference— engine. Or telling the world your servers and tech we need to know our basic needs are going to be consulting are going to save the planet by making provided for safely and regularly. historically, it smarter. brands have sought to soothe our anxieties with promises of consistency and reliability. Powerful brands redefine markets by reimagining human desires. They have the courage it takes Conversely, we are excited by the thrill of some- to anticipate, drive, and embrace change. In the thing new and better—the promise that lies on interaction between brands and the world, this is the other side of upheaval. Today’s markets are the definition of the creative spirit. characterized by both flux and abundance, and the desires of consumers are constantly shifting. Change takes vision Brands now have a choice: drive this process or Change is hard. It has perceived risk and tangible lapse into irrelevance. expense. But not changing is riskier and more expensive in the long run. To survive, brands need to offer difference and newness as surely as they offer their particular Established companies have a tendency to get com- product or service. And that requires a substantial placent after initial successes, and often new ideas investment of time, money, and creative energy, and investments fall by the wayside. hugely often with dividends difficult to measure. But look successful brands in a variety of industries— at the companies on Interbrand’s annual Best Internet service providers, manufacturers, record Global Brands list, like Google, IBm, or Coca-Cola. labels, newspapers, and magazines—have failed They all take the risks required to stay relevant to innovate and been superseded by new regimes. in the minds of their customers and clients. It takes powerful, magnetic change agents within56 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 57
  • an organization to overcome the inertia gripping a Every organization has the untapped capacity Change takes inspiration and work. Nike is an idea that if you have a body,business and to make innovation a reality. of its own people as its greatest potential asset. The economic events of the past several years have you are an athlete. Visionary leaders are able to Unlock that asset by engaging and energizing dramatically altered the rules of brand creation tap into universal human truths through creativeThose who undergo a branding change are, in your team, and you are positioning yourself to and evolution. What has become clear is this: ideas that make brands resonate in people’s lives.essence, putting faith in a future that is yet to make real change in the marketplace and the Change that grows from aspiration—a vision of abe conceived, betting on tomorrow with all its wider world. different future and the energy to build it—is what In the end, a brand needs to be more than an LLCuncertainty and promise. This requires strategic motivates true leaders. They are able to use their or an Inc. with a product or service for sale. Whatthinking, to be sure, and that strategy should be If employees feel uninformed when change sense of possibility to become the champions that matters most is the ability to inspire people. Thatgrounded in science: qualitative and quantitative happens—be it mergers, acquisitions, growth, motivate their organizations to embrace change. means you need to be inspired yourself and toresearch, modeling, and analysis. But there comes or an evolving business environment—they will It just takes someone, be it executive or manager, convey that inspiration in all you do. People tenda point where the science must be used to make art. become disengaged, cynical, and ultimately to step up and inspire belief. to fear the unknown, yet everyone is thrilled by negative. The most brilliant strategic framework the new. If you’re a brand today, you need to be aChange comes from within and idea will remain in a PowerPoint presentation These kinds of visionary, business-changing guide, someone who shows us a new way to be inEven with the willingness to make a leap of faith, if not embraced by your people. breakthroughs go beyond marketing and advertis- the world.organizations will never change the world until ing campaigns. Powerful ideas change the world,they can change themselves from within. It needs not the mere cosmetic executions. h&m is anto start with the man in the mirror—and in this idea that everyone can afford the latest fashion. Craig Stout is Senior Creative Director,case that man or woman needs to be at the very Twitter is an idea that we all want to connect and Interbrand New Yorktop of the organization. When engagement is share our lives minute by minute. Starbucks is ansignaled from the C-suite and flows down and idea that we all need a third place beyond homethrough the organization, it becomes part of thecompany’s culture.58 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 59
  • brands Daniel Diez: How does that become useful themselves out, what their brand can and can’t information for a corporation, say? sustain. Successful brands do this, whether they do it intuitively or by the letter of the business plan. in the PN: The inspiration that a “non-brand” would give me is that all of the decisions they have made have This process of building out, bringing in the grown- been pure to their vision, even if that vision was ups, evolving without losing the core—it allows the never articulated in a positioning statement. It’s brands to be true to themselves but still reckon withKey of fair to say that organizations of all sizes and stripes the by-products of growth, of success. They cede real have something to learn from these artists, these some terrain as part of learning how to succeed. But “non-brands.” you don’t give up the essence of what makes you unique. For instance, Kidrobot took its early cues DD: Why? from New York City, but eventually relocated to Colorado to get a fresh start on the creative side and PN: Because they tend to do, more intuitively, shake things up. Sometimes what seems counter- Artists, what we as strategists do for an organization. It’s intuitive turns out to be the most logical way to knowing what I stand for, not compromising what build a great brand. entrepreneurs— we stand for, it’s listening to logic—and discarding and your company it when needed, creating a very definitive style and sticking to it And the art world is full of the kinds of PC: If one of our jobs as a brand consultancy, often to larger brands, is to help them behave more like behaviors that I would say brands should follow. a lean, agile, wild-spirited entrepreneurial brand in certain respects, how do we do that? What does thatPAoLA NoRAMBuENA DD: Are there any companies out there that behave look like?IN CoNVERsATIoN WITH this way?PETER CENEDELLA AND PN: So many large organizations tend to ask: howDANIEL DIEz PN: The Kidrobot brand has taken that kind of can we be more nimble? Nimble, agile, all those approach. And it’s largely because their founder, words, seem counter-intuitive to size and scale. Paul Budnitz, is a young entrepreneur who set out But the proof is in companies like Apple that can to do something, was passionate about it, learned make what appear to be very nimble decisions at from challenges, and then focused in on what he the creative level and then bring the rest of the loved and did it to the Nth degree. That’s gener- organization in behind it to deliver. Sometimes ally something that you see with younger brands, it’s celebrating scale because it’s what helps us be smaller brands, companies that have that renegade nimble. And sometimes defining who we’re not isIn the early stages of planning for this issue, knowing we would have the spirit in their dNA. When you listen to 26-year-old more important than defining who we are.opportunity to speak with several creative luminaries about what they do, Internet startup guys talk, they have a very clear sense of who they are, of what they want, a very DD: That’s interesting, it reminds me of what Vignelliand to think imaginatively about branding, Interbrand’s Paola Norambuena clear sense of the cultures they want to build and said about his design epiphany, his a-ha moment,brought up an interesting phrase: When a brand is not a brand, it’s still a of the products they want to deliver. when he saw how Mies van der Rohe didn’t add elements to arrive at a finished design, butbrand. We sat down again recently, after the many exciting conversations But just as Budnitz embodies that, so does the older subtracted and subtracted until he knew: It’swith artists and designers, architects, activists, and media mavens were and more established Steve Jobs. So it is possible to done, there it is. be established and large, yet still true to an intuitivefinished, and we reassessed what that phrase meant and how it might and artistic approach—a visionary approach—to PN: Yes. It’s authenticity that compels you toinspire any organization. brand. take away and to know when to say no, because deciding what you won’t do is often much, much PC: you hit on the notion that young and hungry harder. It’s deciding who you are and sticking to it,Peter Cenedella: so what does it mean to say that recognize ourselves in their expression, they become brands often learn from failure. What are some and that’s the larger lesson we can learn from the“even when a brand is not a brand, it’s still a brand?” brands for us. A painter like mark rothko is a brand primary lessons of failure? brands that are not brands—artists, musicians andWhat is a “non-brand”? because I recognize the meaning, I recognize the entrepreneurs, who no matter how much they shy vision, the name alone tells me something I can PN: It’s about getting to know yourself that much away from the traditional definitions of business orPaola Norambuena: Well an artist, to some, is a imagine, even a price point. better. And part of that is understanding your brand, we still want to wear as a badge.non-brand, but as we’ve seen in our conversations limitations. So Facebook decided they needed awith Paola Antonelli, massimo Vignelli, and others, A lot of companies aspire to that kind of status, but grown-up to come in and sell advertising. Kidrobota great artist, designer, or musician is, in the purest they often think it can be had in the machinations brought in financial people because they wanted to Paola Norambuena is Executive Director,sense, a brand. Not because he sets out to be a that go into defining a brand, and a lot of strategizing. focus on the vision and let someone else deal with Verbal Identity, Interbrand North Americabrand, but because he inherently knows who he is, But in the end, it is about intuitively being oneself. the spreadsheets. So it’s evolutionary. Big artistsand stays true to that. he listens to his passions, And although this is often harder for an organization do it, as well. Lady Gaga and madonna are artistslistens to the pulse in the marketplace, follows that than it is for an individual artist, it can be done. and entrepreneurs, they understand how to buildpulse, and then leaps off from there to do somethingunique. As we get to know them, as we want tolike what they like and own what they have, and60 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 61
  • FUTUrE WOrLd ChANGErSbrandspotting What’s that brand coming on the horizon to change our lives? Or that idea so intricately ingrained into our world we hardly notice its significance? Our team of creatives and strategists eat, sleep, and breathe brand culture—so who better to ask about the biggest of the next big things? London olympics kickstarter You can love or hate the branding, but not a day goes by in London Kickstarter is kicking down the barriers between ideas and reality. where people aren’t talking about the 2012 Olympic games, on the It’s an online platform that anyone can use to crowdsource funding streets or in the news. After the hardships of the last two years, this for their creative projects. Artists, designers, filmmakers, musicians, is an event that will hopefully carry England into a happier and journalists, inventors, whoever, can broadcast their project propos- more prosperous place. It’s a one-of-a-kind experience for a lot of als to millions of viewers eager to contribute their support in incre- people—like the schoolgirl who tested the velodrome before anyone ments from five dollars to ten thousand dollars. If you can capture else or the football club who will move into the Olympic stadium the imagination of just a fraction of that crowd, you’ll have the cash after the Games. 2012 promises to be an invigorating year of culture, to put your big idea into action. It’s a whole new way to start up. art, music, and (obviously) sports. Jeremy Grimes, Associate Creative Director, Interbrand Gion-Men Kruegel, Executive Creative Director, New York Interbrand London WikiLeaks zynga WikiLeaks is a contentious and uncontrollable catalyst for chaos. Farmville anyone? With around 250 million monthly users, San Its unpredictable revelations are causing real-time change to our Francisco-based Zynga has asserted itself as the clear leader in the world. These changes are both positive and potentially dangerous. new wilderness of online social gaming by pushing entertainment The opportunity for a profound re-evaluation of our corporate and value over geek appeal. This spring, the company partnered with personal responsibilities has never been more accessible; how we Lady Gaga to promote her latest album through a Gagaville world digest these responsibilities will define our societies for generations that gave players a sneak peak at the new songs, and the recent ap- to come. pointment of Jeffrey Katzenberg to their board is just another signal Graham Hales, CEO, Interbrand London that the brand sees itself as more hollywood than Silicon Valley. Kurt Munger, Creative Director, Interbrand San Francisco Brand obama 2.0 japan A brand whose strength goes from off the charts to underwater in Tokyo was awarded the right to host the 1964 Olympics in 1959. 18 months, then stabilizes somewhere in the middle, is rare in the To successfully hold the games, massive amounts of infrastructure corporate world. But in politics? The question for Brand Obama on had to be completed, including four major highways, two complete the threshold of the 2012 campaign is how to evolve the original, subway lines, and the “bullet train” linking Tokyo, Nagoya, and with its brash promise of a shiny new day, in the cold light of four Osaka. Japan’s incredible transformation was symbolized by the years of ups, downs, and disappointments. And assuming the torchbearer at the opening ceremony: Yoshinori Sakai, a 19-year-old President secures a second term, will he feel the freedom that comes student born in hiroshima on the day the atomic bomb was dropped with knowing there are no more races to run? If so, the Obama on that city. Today Japan is embarking on another monumental refresh may live up to the brand idea that swept him into office transformation, and by drawing on the same spirit of courage in ’08: Change. and innovation displayed in the 1960s they will emerge from the Peter Cenedella, Creative Copy Writing Practice Leader, disasters of march 2011 stronger than ever. Interbrand New York Neil Duffy, Director, Interbrand London62 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 63
  • WHo’S ASKING?INTERvIEWING THE INTERvIEWERSWhat’s one thing you would change about the world if you could? Editor in Chief Daniel Diez daniel.diez@interbrand.comBrian Kenet is a Lecturer at the Harvard Graduate Alan Roll is Creative Director for Interactive for Guest Editor & Creative DirectorSchool of Design and a Consulting Principal for Interbrand New York. His conversation with the Chris Campbellthe Environmental Financial Consulting Group. graffiti artist KATSU appears on page 36. chris.campbell@interbrand.comHis interview with architect Hani Rashid appears “One of the unfortunate outcomes of our competitiveon page 48. marketplace has been a barrier to massive collabora- Editorial Director Design Director“I’d reverse the trend of urban sprawl—make larger, tive innovation. Competitive patented technologies are Peter Cenedella Alan Lumdenser cities with better public transportation, developed in isolation rather than through collective peter.cenedella@interbrand.com alan.lum@interbrand.combetter schools, and more open space.” advancement. I’d like to see more companies open their patents for use in adjacent industries.” Creative Director, Interactive Production Manager Alan Roll Annie KisslingJeff Mancini is Senior Director of Digital Strategy alan.roll@interbrand.com annie.kissling@interbrand.comfor Interbrand New York. His conversation with the Craig Stout is Senior Creative Director forpublisher of The Daily, Greg Clayman, appears on Interbrand New York. His column, “This Way Features Editor Editorpage 32. Forward,” appears on page 56. Ian Collins Charles Pringle ian.collins@interbrand.com charles.pringle@interbrand.com“I’d rewire everyone to be optimistic. Because “I would like to change the world’s focus onoptimism will breed the courage needed to consumer-driven growth models and start focusing Marketing and Events Managerchange the world.” on happiness-growth models. Business and Shayla Persaud government need to invest in making happier, shayla.persaud@interbrand.com healthier people, not just in creating economiesAndy Payne is Interbrand’s Global Chief Creative based on consumption.”Director. His conversation with designers Sir John Special thanks to:Sorrell and Lady Frances Sorrell appears on page 28. Peter Acimovic Lauren Gallo Jennifer Bassett David Hong“I would make education available to all. A wider Tom Zara is Global Practice Leader, Corporate Lindsay Beltzer Chris Klineknowledge of the world around us and of how dif- Citizenship for Interbrand. His conversation with Michelle Boisson Paola Norambuenaferent yet similar we all are would be the foundation Infinite Family founder Amy Stokes appears on Crystal Cannici Moemen omarafor solving many of the world’s problems.” page 44. Lee Carpenter Cristi Sauser “The greatest impact we can have on our world Russell DeHaven Andrea Sullivan to make it sustainable is to eradicate ignorance, Chris DiMaggio Lauren Thiele so that the gift of education is shared by all and Josh Feldmeth not squandered by few.” Copyright © 2011 by Interbrand Corporation Interbrand IQ is published by Interbrand. The paper used in this publication was produced from sustainably managed forests and contains 10% recycled post-consumer waste content. For more information, including extended interview content, please visit www.InterbrandIQ.com. For questions and comments, email InterbrandIQ@interbrand.com. www.facebook.com/interbrand www.twitter.com/interbrand Interbrand 130 Fifth Avenue New York, NY 10011, USA T +1 212 798 750064 INTERBRAND IQ ISSUE 01 INTERBRAND IQ ISSUE 01 65