Product Development Case Study Part 3F   April 11, 2013
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Product Development Case Study Part 3F April 11, 2013

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Part 3F of a 7 parts Product Development Project

Part 3F of a 7 parts Product Development Project

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Product Development Case Study Part 3F   April 11, 2013 Product Development Case Study Part 3F April 11, 2013 Presentation Transcript

  • part 3 F of 7 part Case Study1Product development
  • Luxury brand Case Study2
  • Notes3
  • November 2012Max Ruckman, Black & Decker HHIBill O’Connor, Source, Inc.Bruce EckmanLuxury BrandBusinessDevelopmentCase StudyPart3Fwww.maxruckman.com4
  • 5baldwin acquisitionduring the project, black & decker acquired baldwin hardware. this made itnecessary to complete another round of research to determine how thebaldwin name would fit into the project, but also how we would position thevarious product linesBaldwin acquisition
  • 6Imark Baldwin researchImarkBaldwinResearch
  • 7Background & purpose
  • 8Background & purpose
  • 9Background & purpose
  • 10sample
  • 11sample
  • initially eachinterviewee exploredrelevant brands on anunaided basis12methodology
  • if thebaldwinbrand didnot comeupunaided,then anaidedqualitysort of tenbrandswasinitiatedusingbrandnames oncards13methodology
  • when, on this aided basis, baldwin was acknowledgedas a recognized brand it was explored in depth14methodology
  • 15methodology
  • 16methodology
  • 17methodology
  • 18methodology
  • 19methodology
  • 20Imark Baldwin researchPerceptionOfquality
  • many things influencethe perception of quality21Perception of quality
  • 22Perception of quality
  • 23Perception of quality
  • sense of presence24styles pricingavailabilitycustomer servicedeliveryease of installationword-of-mouthuniquenessPerception of quality
  • 25Perception of quality
  • 26Perception of quality
  • arbiters, however, were more knowledgeable27Perception of quality
  • 28e.r. butlerp.e. guerinbalticavalli and Vallidornbrachashley nortonperiod brassrocky mountainheritageomniabrands that stood outPerception of quality
  • 29Perception of quality
  • 30Perception of quality
  • these arbiter-referenced brandswere offered as the ones thatcompeted with the concept brand31Perception of quality
  • baldwin was atleast a step lower32Perception of quality
  • 33Perception of quality
  • 34Perception of quality
  • 35Imark Baldwin researchImarkBaldwinResearch
  • thebaldwinnamewasviewedas afamiliar,goodqualityname36Imark Baldwin researchBaldwin Name
  • 37Imark Baldwin researchBaldwin Name
  • 38Imark Baldwin researchBaldwin Name
  • it has been around a long time39Imark Baldwin researchBaldwin Name
  • it was ‘dependable, durable and ‘known for brass40Imark Baldwin researchBaldwin Name
  • 41Imark Baldwin researchBaldwin Name
  • 42Imark Baldwin researchBaldwin Name
  • ‘wants things to last.‘ (homeowner)43Imark Baldwin researchBaldwin Name
  • you can get parts 5 years from now.‘ - (arbiter)44Imark Baldwin researchBaldwin Name
  • 45Imark Baldwin researchBaldwin Name
  • they saw it as more of a contractors‘brand. arbiters were not seeking it outas a destination brand46Imark Baldwin researchBaldwin Name
  • 47the brass look stood out and was quitenoticeable. This was perceived as a status cuein more conservative social circlesImark Baldwin researchBaldwin Name
  • ‘for someone who likes nice things - (homeowner)48for historic homes or gated communities‘ - (homeowner)Imark Baldwin researchBaldwin Name
  • 49Imark Baldwin researchBaldwin Name
  • it’s for historic renovation, 18" or 19" century style‘ - (arbiter)50Imark Baldwin researchBaldwin Name
  • reproductive, nottransformative -(arbiter)51Imark Baldwin researchBaldwin Name‘it’s historically correct - (arbiter)
  • 52Imark Baldwin researchBaldwin Name
  • 53it wasprimarily‘middle ofthe road toslightlyabove in thehomeownersand arbitersImark Baldwin researchBaldwin Name
  • 54Imark Baldwin researchBaldwin Name
  • 55Imark Baldwin researchBaldwin Name
  • 56Imark Baldwin researchBaldwin Name
  • 57Imark Baldwin researchBaldwin Name
  • ‘ordinary, notexceptional.’ (arbiter)58Imark Baldwin researchBaldwin Name
  • 59the price was perceived as expensive byhomeowners in this sample, although they knewthere were other more expensive brands availableImark Baldwin researchBaldwin Name
  • 60Imark Baldwin researchBaldwin Name
  • 61Imark Baldwin researchBaldwin Name
  • the primary strength of the baldwinbrand is that it is consistent62Imark Baldwin researchBaldwin Name
  • 63Imark Baldwin researchBaldwin Name
  • 64Imark Baldwin researchBaldwin Name
  • they liked value and baldwinsaid to them that they weremaking a wise decision,not‘ a frivolous one65Imark Baldwin researchBaldwin Name
  • 66Imark Baldwin researchBaldwin Name
  • 67Imark Baldwin researchBaldwin Name
  • 68TopOfthemassmarket’(homeowner)Imark Baldwin researchBaldwin Name
  • 69Imark Baldwin researchBaldwin Name
  • 70Imark Baldwin researchBaldwin Name
  • 71Imark Baldwin researchDesignerProductconcept
  • 72Imark Baldwin researchDesigner product concept
  • 73‘very luxury‚(homeowner)Imark Baldwin researchDesigner product concept
  • 74‘i don’t trust myjudgment any more’(homeowner)Imark Baldwin researchDesigner product concept
  • 75Imark Baldwin researchDesigner product concept
  • 76Imark Baldwin researchDesigner product concept
  • 77‘easy to show to client. both visually and emotionally(arbiter)Imark Baldwin researchDesigner product concept
  • in new york city where more of a premium was placedon originality than in atlanta, there was some concernthat this idea “could be a little too mass produced78Imark Baldwin researchDesigner product concept
  • 79Imark Baldwin researchDesigner product concept
  • 80Imark Baldwin researchDesigner product concept
  • 81Imark Baldwin researchDistanceFromBaldwin name
  • 82Imark Baldwin researchDistance from Baldwin name
  • 83the estate name was shown after the concept had been shown.consequently, respondents were thinking of the line whenreacting to the estates name and not the current baldwin brandImark Baldwin researchDistance from Baldwin name
  • 84Imark Baldwin researchDistance from Baldwin name
  • neithergroup liked‘a baldwinhardwarebrand85Imark Baldwin researchDistance from Baldwin name
  • 86arbiters were split equally as towhich positioning of the othertwo names they likedImark Baldwin researchDistance from Baldwin name
  • 87homeownersclearlypreferred thecollectionreferenceImark Baldwin researchDistance from Baldwin name
  • 88Imark Baldwin researchDistance from Baldwin name
  • 89Imark Baldwin researchEstate from the Baldwin hardware collection
  • 90,Imark Baldwin researchEstate from the Baldwin hardware collection
  • 91Imark Baldwin researchEstate from the Baldwin hardware collection
  • others felt it was trying to ‘transform a ford intoa mercedes‘ which was ‘too far afield’ for them92Imark Baldwin researchEstate from the Baldwin hardware collectionmore for the masses. it belongs in depot’ (arbiter)
  • 93Imark Baldwin researchEstate from the Baldwin hardware collection
  • 94Imark Baldwin researchEstates by Baldwin
  • few homeowners or arbiters linked the concept brand with baldwin95Imark Baldwin researchDesigner concept and Baldwinin general, however, the concept ‘didnt look like baldwin
  • 96they were morelikely to pickschlage, heritage,rocky mountain oromnia because of thebreadth of those linesImark Baldwin researchDesigner concept and Baldwin
  • 97Imark Baldwin researchDesigner concept and Baldwin
  • 98‘they already have a lot of variety’Imark Baldwin researchDesigner concept and Baldwin‘its easier to link their historical approach with european styles’arbiters were less convinced
  • 99in atlanta, they were more forgiving, becausemany of their customers liked baldwinImark Baldwin researchDesigner concept and Baldwininterestingly, many thought the ideawould be good for baldwin’s image
  • 100Imark Baldwin researchDesigner concept and Baldwin
  • 101Imark Baldwin researchDesigner concept and Baldwin‘they would be outside the mold they created for themselvesthey’re better positioned to do this. but Id like baldwin to branch out
  • 102Imark Baldwin researchDesigner concept and Baldwin
  • 103Imark Baldwin researchDesigner concept and Baldwin
  • 104however, the original concept seemed too high-end for baldwinImark Baldwin researchDesigner concept and Baldwin
  • 105Imark Baldwin researchDesigner concept and Baldwin
  • it makes sense to have a high-endbrand that isn’t associated with baldwinat all and to have a series of newproduct lines coming from baldwin thatupgrade and broaden its image106Imark Baldwin researchDesigner concept and Baldwin
  • 107if, however, the brand is associated with baldwin,minimizing the baldwin name will help keep theline more exclusive while maximizing the baldwinname will help the baldwin brand the mostImark Baldwin researchDesigner concept and Baldwin
  • 108Imark Baldwin researchSummaryAndCOnclusions
  • 109Imark Baldwin researchSummary & conclusions
  • 110Imark Baldwin researchSummary & conclusions
  • 111it was not, however, seen as excitingImark Baldwin researchSummary & conclusionsit was more ‘middle of the road‘ and ‘common‘ than other brandsit was competing more with schlage than with E.R. Butler
  • 112the typical homeowner was perceived to be ‘older,’‘conservative,‘ "classy,’ but ‘not into cutting edge’Imark Baldwin researchSummary & conclusionshomeowners liked the baldwin brand more than arbiters did
  • being carried at home depot contributedto the perception that baldwin was ahigh-end mass market brand113Imark Baldwin researchSummary & conclusions
  • 114the concept wouldbe better for thebaldwin name thanthe baldwin namewould be for theconceptImark Baldwin researchSummary & conclusions
  • 115Imark Baldwin researchSummary & conclusions
  • 116Imark Baldwin researchSummary & conclusions
  • 117Imark Baldwin researchSummary & conclusions
  • 118Imark Baldwin researchSummary & conclusions
  • 119Imark Baldwin researchSummary & conclusions
  • conversely, maximizing the baldwinname as in ‘estates by baldwin‘helps the baldwin brand meaningmore than the new brand meaning120Imark Baldwin researchSummary & conclusions
  • 121Imark Baldwin researchImarkBaldwinrecommendations
  • 122Imark Baldwin researchrecommendations
  • further research may be warrantedon this apparent movement and itspotential impact on both kwiksetand the baldwin brands123Imark Baldwin researchrecommendations
  • recommendations should be evaluated withthe understanding that the brand target is thearbiter. without arbiter buy-in it will be difficultfor the brand concept to get lift124Imark Baldwin researchrecommendations
  • 125Imark Baldwin researchrecommendations
  • 126Imark Baldwin researchrecommendations
  • 127Imark Baldwin researchrecommendations
  • we recommend that the baldwinassociation be expressed visually in scaleand context128Imark Baldwin researchrecommendations
  • 129Imark Baldwin researchrecommendations
  • 130Imark Baldwin researchStoryelements
  • 131Story elements
  • 132Story elements
  • 133Story elements
  • 134Story elements
  • 135Story elements
  • 136Story elements
  • architecturally-inspired hardware andfixtures that capture the "spirit of place”137Story elements
  • 138Brandmark explorationarchetypesBrandmarkexploration
  • 139Brandmark exploration
  • 140Brandmark exploration
  • 141Brandmark exploration
  • 142Brandmark exploration
  • 143Brandmark exploration
  • 144Brandmark exploration
  • 145Brandmark exploration
  • 146Brandmark exploration
  • 147Brandmark exploration
  • 148Brandmark exploration
  • 149Brandmark exploration
  • 150Brandmark exploration
  • 151Brandmark exploration
  • 152Brandmark exploration
  • 153Brandmark exploration
  • 154Brandmark explorationarchetypesBrandvisulaization
  • BrandEssence155Archetypes brand identity profile
  • Coreidentity156Archetypes brand identity profile
  • ExtendedIdentity157Archetypes brand identity profile
  • BRANDSymbols158Archetypes brand identity profile
  • Relationship159Archetypes brand identity profile
  • 160Brandmark explorationBrandstory
  • ‚architecture is…the spirit of an age..‛ –Sir Nikolaus Pevsner, slade professor offine art at cambridge from 1949 to 1955161Brand story
  • 162Brand visualizationArchetypes brand story
  • 163Brand visualizationArchetypes brand story
  • 164Brand visualizationArchetypes brand story
  • 165Brand visualizationArchetypes brand story
  • 166Brand visualizationArchetypes brand story
  • 167Brand visualizationArchetypes brand story
  • ‚Architecture is an Art of building having regard to the thingitself, the person for whom it is built and the site.‚ -Michel dePremin, the first great architectural writer of the Enlightenment168Brand visualizationArchetypes brand story
  • 169Brand visualizationArchetypes brand story
  • 170Brand visualizationArchetypes brand story
  • 171Brand visualizationArchetypes brand story
  • 172Brand visualizationArchetypes brand story
  • 173Imark Baldwin researchBrandvisualization
  • 174Brand visualizationThere is an understated, timeless elegance to how we presentourselves, in the way we speak and the way we depict ourselvesvisuallyBrand visualizationVisual language
  • We captivate our audience with our extensive knowledge ofarchitecture and the quality and rarity of our offerings175Brand visualizationVisual language
  • 176Each product references the style and spirit of the past, butmanifests itself anewBrand visualizationVisual language
  • 177Deep, Red / BrownBrand visualizationColor
  • 178the color brown is used to convey a stable, established impressionBrand visualizationColor
  • 179it symbolizes the depth and roots of woodBrand visualizationColor
  • 180gives a feeling that something has existed a long time and will continue to exist in the futureBrand visualizationColor
  • 181another related impression of brown is the sense of the passage of timeBrand visualizationColor
  • brown is considered elegant. source: Master Lin Yun ’s Guide to the Art of Color, et.aI.182Brand visualizationColor
  • 183RedBrand visualizationColor
  • 184red connotes happiness, warmth, strength and fameBrand visualizationColor
  • 185red is associated, love, passion and desireBrand visualizationColor
  • 186it has represented mars the roman god of war and conflictBrand visualizationColor
  • 187it relates to fire, gathering around hearth and homeBrand visualizationColor
  • source: master Lin Yun ’s Guide to the Art of Color et.aI.188Brand visualizationColor
  • 189GoldBrand visualizationColor
  • 190gold gives a sense of tolerance, patience & wisdom gained from past experiencesBrand visualizationColor
  • in the past real gold leaf was reserved for the most prestigious and sacred works of art191Brand visualizationColor
  • 192duo-tone photo imageryBrand visualizationImage tone
  • 193the use of duo-tone imagery implies a link to historyBrand visualizationImage tone
  • 194it represents ideas and aspirations that are timelessBrand visualizationImage tone
  • the aged and classic quality is familiar and calming195Brand visualizationImage tone
  • 196Lighting style and moodBrand visualizationLighting & mood
  • 197the lighting quality is mostly dark, conveying a sense of mystery and intrigueBrand visualizationLighting & mood
  • 198there is a heavy and solid sense, one of substance and stabilityBrand visualizationLighting & mood
  • the focus is sharp, not soft or dreamlike, and details are revealed199Brand visualizationLighting & mood
  • Historic Architectural Styles200Brand visualizationImage content
  • 201architectural styles are referenced not with room settings, but with detailsBrand visualizationImage content
  • 202human interactionBrand visualizationImage content
  • 203the images are embraced with the human touch, people interacting with theirsurroundings. a hand on a latch, a view from a stair, or a touch to a surfaceBrand visualizationImage content
  • November 2012Max Ruckman, Black & Decker HHIBill O’Connor, Source, Inc.Bruce EckmanLuxury BrandBusinessDevelopmentCase StudyPart3Fwww.maxruckman.com204