Brand Rules

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Vedic Project

Brand Rules

  1. 1. HOW TO BRIDGE THE DISTANCE BETWEEN BUSINESS STRATEGY AND DESIGN
  2. 2. WHAT YOU’LL LEARN: 1 A modern definition of brand 2 The five disciplines of brand-building
  3. 3. READY?
  4. 4. LET’S START BY DISPELLING SOME MYTHS.
  5. 5. FIRST A brand is not a logo.
  6. 6. SECOND A brand is not an identity.
  7. 7. X
  8. 8. FINALLY A brand is not a product.
  9. 9. so what exactly is a brand?
  10. 10. A BRAND IS A PERSON’S GUT FEELING ABOUT A PRODUCT, SERVICE, OR ORGANIZATION.
  11. 11. You buy products based on your FEELING FOR THE PRODUCT . You buy services based on your FEELING TOWARDS THE PROVIDER . You engage with an organization based on your FEELING ABOUT THE ORGANIZATION .
  12. 12. It’s a GUT FEELING because people are emotional, intuitive beings. It’s a PERSON’S gut feeling, because brands are defined by individuals, not companies, markets, or the public.
  13. 13. In other words...
  14. 14. IT’S NOT WHAT YOU SAY IT IS.
  15. 15. .SI TI YAS YEHT TAHW S’TI
  16. 16. WHY IS BRANDING SO HOT? 1 People have too many choices and too little time 1 2 Most offerings have similar quality and features 2 3 We tend to base our buying choices on trust 3
  17. 17. THERE ARE 1,349 CAMERAS ON THE MARKET. HOW DO YOU DECIDE WHICH ONE TO BUY?
  18. 18. TRUST
  19. 19. Trust comes from meeting and beating customer expectations. T= r+ d TRUST RELIABILITY DELIGHT
  20. 20. $ Does a brand have a dollar value?
  21. 21. AND HOW.
  22. 22. Five ways to measure brand value: 1 PRICE PREMIUM 2 CUSTOMER PREFERENCE 3 REPLACEMENT COST 4 STOCK PRICE 5 FUTURE EARNINGS
  23. 23. THIS SELECTION FROM INTERBRAND’S TOP 100 LIST SHOWS WHY BRANDS ARE WORTH PROTECTING: 2001 % CHANGE BRAND VALUE BRAND BRAND VALUE BRAND VS. AS % OF NAME ($MM) PREVIOUS YEAR MARKET CAP COCA-COLA 68,945 -5% 61% MICROSOFT 65,068 -7% 17% IBM 52,752 -1% 27% FORD 30,092 -17% 66% MERCEDES 21,728 +3% 48% HONDA 14,638 -4% 33% BMW 13,858 +7% 62% KODAK 10,801 -9% 82% GAP 8,746 -6% 35% NIKE 7,589 -5% 66% PEPSI 6,214 -6% 9% XEROX 6,019 -38% 93% APPLE 5,464 -17% 66% STARBUCKS 1,757 +32% 21%
  24. 24. COKE’S MARKET CAP, INCLUDING BRAND VALUE: $120 BILLION WITHOUT THE BRAND, COKE’S GLASS WOULD BE HALF EMPTY COKE’S MARKET CAP, NOT INCLUDING BRAND VALUE: $50 BILLION
  25. 25. Market share = 9% Dollar share = 13.8%
  26. 26. The main purpose of branding is to get MORE PEOPLE to buy MORE STUFF for MORE YEARS at a HIGHER PRICE.
  27. 27. B S= BANG b SUCCESS BUCK
  28. 28. $27,000
  29. 29. $29,000
  30. 30. Stock value
  31. 31. Growth Stock value
  32. 32. Innovation Growth Stock value
  33. 33. Differentiation Innovation Growth Stock value
  34. 34. Vision Differentiation Innovation Growth Stock value
  35. 35. Vision Vision Differentiation Innovation Growth Stock value INVESTMENT BRAND INVESTMENT BRAND INVESTMENT BRAND
  36. 36. PREDICTION
  37. 37. PREDICTION BRAND WILL BECOME THE MOST POWERFUL STRATEGIC TOOL SINCE THE SPREADSHEET.
  38. 38. PROBLEM
  39. 39. PROBLEM IN MOST COMPANIES, STRATEGY IS SEPARATED FROM CREATIVITY BY A WIDE GAP
  40. 40. STRATEGIC THINKERS CREATIVE THINKERS Analytical Intuitive Logical Emotional Linear Spatial Numerical Visual Verbal Physical
  41. 41. DOES THE LEFT BRAIN KNOW WHAT THE RIGHT BRAIN IS DOING?
  42. 42. When both sides work together, you build a charismatic brand.
  43. 43. A CHARISMATIC BRAND is a product, service, or organization for which people believe there’s no substitute.
  44. 44. QUIZ: Which of these brands are charismatic? JETBLUE HITACHI PEPSI-COLA EVEREADY ACCENTURE OXO GOODGRIPS CITIBANK KMART DISNEY GENERAL ELECTRIC BURGER KING PRELL KRISPY KREME LEVI’S RUBBERMAID APPLE HOME DEPOT RCA DASANI LONGS DRUGS MACY’S UNITED ARTISTS IKEA SAFEWAY CHARLES SCHWAB REEBOK GOLDMAN SACHS SAMSUNG NEWSWEEK SEARS FORD GOOGLE MINI COOPER NISSAN NORDSTROM VIRGIN
  45. 45. QUIZ: Which of these brands are charismatic? JETBLUE HITACHI PEPSI-COLA EVEREADY ACCENTURE OXO GOODGRIPS CITIBANK KMART DISNEY GENERAL ELECTRIC BURGER KING PRELL KRISPY KREME LEVI’S RUBBERMAID APPLE HOME DEPOT RCA DASANI LONGS DRUGS MACY’S UNITED ARTISTS IKEA SAFEWAY CHARLES SCHWAB REEBOK GOLDMAN SACHS SAMSUNG NEWSWEEK SEARS FORD GOOGLE MINI COOPER NISSAN NORDSTROM VIRGIN
  46. 46. Any brand can be charismatic.
  47. 47. EVEN YOURS.
  48. 48. But first, you have to master the FIVE DISCIPLINES of BRAND-BUILDING.
  49. 49. DIFFERENTIATE
  50. 50. FACT: Our brains act as filters to protect us from too much information.
  51. 51. WE’RE HARDWIRED TO NOTICE ONLY WHAT’S DIFFERENT.
  52. 52. SOLUTION: BE DIFFERENT.
  53. 53. FEATURES BENEFITS EXPERIENCE IDENTIFICATION “What it is” “What it does” “What you feel” “Who you are” 1900 1925 1950 2000 Marketing today is about creating tribes.
  54. 54. People join different tribes for different activities. DRIVING VOLKSWAGEN READING AMAZON COMPUTING DELL SPORTS NIKE COOKING WILLIAMS-SONOMA BANKING CITIBANK TRAVEL ORBITZ
  55. 55. ON SUNDAYS THEY WORSHIP HARLEY, GOD OF THE OPEN ROAD.
  56. 56. The three most important words in differentiating your brand:
  57. 57. 1 FOCUS
  58. 58. 2 FOCUS
  59. 59. 3 FOCUS
  60. 60. IS THIS HOW YOUR CUSTOMERS SEE YOU?
  61. 61. THE FOCUS TEST: 1 Who are you? 2 What do you do? 3 Why does it matter?
  62. 62. Unless you have compelling answers to these questions, YOU NEED MORE FOCUS .
  63. 63. Nine basic market positions: 1 BEST SELLING 2 ONLY 3 BEST KNOWN 4 EASIEST 5 MOST COMPLETE 6 FASTEST 7 MOST POWERFUL 8 NEWEST 9 MOST AFFORDABLE
  64. 64. OUR BRAND IS THE ONLY SERVICE THAT MATTERS.
  65. 65. If you can’t state what makes you different in 12 words or less, don’t fix your statement. Fix your company.
  66. 66. PLOP, PLOP, FIZZ, FIZZ. OH, WHAT A RELIEF IT IS!
  67. 67. PLOP, PLOP, FIZZ, FIZZ. ALKA-SELTZER OH, WHAT A RELIEF IT IS!
  68. 68. THE WORLD’S ONLINE MARKETPLACE
  69. 69. THE WORLD’S ONLINE EBAY MARKETPLACE
  70. 70. TALK TO CHUCK
  71. 71. TALK CHARLES TO SCHWAB CHUCK
  72. 72. YOU’RE NOW FREE TO MOVE ABOUT THE COUNTRY
  73. 73. YOU’RE NOW FREE TO SOUTHWEST MOVE ABOUT AIRLINES THE COUNTRY
  74. 74. LET’S MOTOR
  75. 75. LET’S MINI COOPER MOTOR
  76. 76. The most common reason for loss of focus is ILL-CONSIDERED BRAND EXTENSIONS .
  77. 77. BAD BRAND EXTENSIONS are those that chase short-term profits at the expense of long-term brand value. GOOD BRAND EXTENSIONS grow the value of a brand by reinforcing its focus.
  78. 78. EXAMPLE: FOCUSED SWATCH = FUN WATCHES
  79. 79. EXAMPLE: FOCUSED SWATCH = FUN WATCHES UNFOCUSED SWATCH = FUN WATCHES + CARS
  80. 80. EXAMPLE: THE GOOD GRIPS BRAND HAS GROWN STRONGER WITH EVERY BRAND EXTENSION.
  81. 81. COLLABORATE
  82. 82. OWNERSHIP PARTNERSHIP
  83. 83. OWNERSHIP PARTNERSHIP
  84. 84. INDIVIDUAL TASKS COLLABORATION
  85. 85. INDIVIDUAL TASKS COLLABORATION
  86. 86. LIKE BUILDING A CATHEDRAL, BUILDING A BRAND IS A COLLABORATIVE PROJECT.
  87. 87. It takes a village to build a brand.
  88. 88. THERE ARE THREE BASIC MODELS FOR ORGANIZING BRAND COLLABORATION:
  89. 89. The ONE-STOP SHOP contains the resources CREATIVE to develop and ADVERTISING SERVICES steward the brand. DIRECT RESPONSE RESEARCH POP DISPLAYS EXHIBITS PUBLIC IDENTITY RELATIONS SUPPLIERS EVENTS PRODUCT DESIGN PROMOTIONS PUBLICATIONS BRAND STRATEGY WEB DESIGN NAMING PACKAGING ANNUAL REPORTS COMPANY
  90. 90. ONE-STOP SHOP SCORECARD Easy to manage Little choice of teams Promise of consistency Little ownership of brand
  91. 91. The BRAND AGENCY POP hires best-of-breed CREATIVE DISPLAYS firms to help develop IDENTITY SERVICES and steward the brand. RESEARCH DIRECT RESPONSE ADVERTISING ANNUAL REPORTS SUPPLIERS EVENTS BRAND AGENCY PROMOTIONS NAMING BRAND STRATEGY PACKAGING PUBLICATIONS PRODUCT WEB DESIGN DESIGN PUBLIC RELATIONS EXHIBITS COMPANY
  92. 92. BRAND AGENCY SCORECAR D Choice of teams Little ownership of brand Promise of consistency
  93. 93. The INTEGRATED MARKETING TEAM is managed internally with open collaboration among CREATIVE ADVERTISING best-of-breed specialists. DIRECT SERVICES RESEARCH RESPONSE ANNUAL IDENTITY REPORTS EVENTS POP DISPLAYS EXHIBITS COMPANY SUPPLIERS PUBLIC RELATIONS PROMOTIONS WEB DESIGN PACKAGING BRAND PUBLICATIONS STRATEGY NAMING PRODUCT DESIGN
  94. 94. INTEGRATED MARKETING TEAM SCORECARD Choice of teams Difficult to manage Promise of consistency Ownership of brand
  95. 95. IN REALITY, COLLABORATIVE NETWORKS AREN’T THAT SIMPLE.
  96. 96. and that’s OK.
  97. 97. Collaborative networks are not new.
  98. 98. A successful model has existed for years.
  99. 99. Like building a cathedral, making a movie takes hundreds of collaborators.
  100. 100. JOEL DARTMOUTH Smoocher Boy KELLY MARIN Agent Sims TREVOR CARMICHAEL Agent Townsend JOHN T. LANDON Agent Kruzic SHARON BONDLY Dijon PAUL DERAIN Jean-Michel JACQUES SOUVERAIN Keynes MICHAEL BRAND Corelli STEVEN GOLDSTEIN Johnston TRENT LOCKART Billie JACKSON BARNES Guards JOSEPH AKIO TERENCE BRADLEY MO DERENI ROBERT UNDERHILL KEN SILVER Librarian HILARY PROPRIATO Field Officer MICHAEL O. KELL Bus Driver HECTOR ABONDAS Night Guard NORMAN BRIER Meter Maid STACY BRECKSTEIN First Detective JOE KALEY Second Detective BRIAN BELSEN Beat Cop ABRAHAM LENDER Parking Cop T. T. MCBRIDE Helicopter Pilot VAN DERICKE First Old Man JOHN R. CARLSON Second Old Man VICTOR AMOS Tax Collector SEAN O' KENNA Stunt Coordinator JEFFREY ROCKEN Assistant Stunt Coordinator DARREL TOM Stunt Doubles Carlos GEOFF WRIGHT MARK CONTADINA Mariana SUE SKENNIAN Ajax CHARLIE MARQUETTE Sgt. Santos VICTOR BANERAS Carter F. C. CAMERON Smoocher Boy TELLIE PANOPOULIS Agent Sims MARTIN AIRES Agent Townsend STEFAN C. KAISER Dijon BILL MOORE Stunts STEVE ADRIAN BENJAMIN BARKELEY TONY BEAUJOLAIS BOB CARTER GORDON COLERIDGE IVAN DEVERSON MICKEY DISANTIS JILLIAN DRUCKER JOE EVANS MIKE FLANAGAN BILL GEORGE JULIA HARRISON GEOFF IPSWICH MICHAEL KANTER KENNETH KITTRIDGE BARRIE LAWRENCE TERRY LEVINSON TED MARSTEN JACKIE MACDOUGAL GREG NEVILSON BOB OSBORNE JAMES PETRICKE PETE POLSON RAY TELSON MARY STAUFFACHER FREDDIE STEEN CAB UPTON CORNELIA THERRIEN JEREMY TRICKETT PETER YOUNG RAUL VALERIA RONALD DEAVER-WEBB ROBERT G. RUNYAN Hong Kong Kung Fu Team YUAN Tiger CHU CHEN Dragon SEN
  101. 101. Manners and Modes Supervisor FRANCIE MAS Storyboard Artists CAREN THOMASON MIGUEL TRASERO FRANCES CHU PEDRO BOGANILLO Art Department Researcher NUALA CORIAN Art Department Coordinator TRACY COLLISTON Conceptual Designer SERGIO MOLO Graphics BENJAMIN HIRASUNA Illustrator STEPHANIE RAND Set Designers GERI DEMONDE STELLAN GRETZKE MADELINE BARR LANCE DUNSTABLE MARCO DIPAOLO DEN MCENERY Set Decorators LISA BARHAM DRU LEE MANNING CARRIE DUNE Script Supervisor MARIE BELLEAU Camera Operator PAUL POLITO Steadycam Operator ROCK HANDLER 1st Assistant Camera GORDON ALBRIGHT 2nd Assistant Camera CRIS MORTEN Still Photographer BARRIE M. HORST Sound Recordist JACOB TREIB Boom Operators HORACE STEIN THOM CARRABINE Video Operator ART KELLEHER LUCIANO PROPRIO Props DAVID BELL Property Master ZUZU MANHEIM KAREN CAROLUS J. D. WHEATLY Action Vehicle Coordinators WILLIAM TREVANT Gaffer STU JEFFERSON Best Boy JOSH KNIPPLE Rigged Gaffers COLIN FARRINGDON PETER STANISLOV KIT GOINES BENNIE JAMESON RICK DEMIS STANLEY FREY G. G. NEWMAN Key Grip DAVID WEINBERG Head Grip RICKY MONROE Dolly Grips WILLI STRASBURG STAN BENTON CHARLES CRIVORN NORM LOFGREN VIC DOLAN GIORGIO VIVATO Rigging Grip TEL STEPHENOPOLIS Make-up Artists TRINI GONZALEZ MARCI STEIN BELINDA MCNAIR CARI DUNN MICHELLE TONAS ROBERTO BELLINI
  102. 102. Dig Composite Supv TIM CURRIE DONALD VERES Digital Compositors DAVID HUSSEIN BRIDGET QUESTED Background Artists FRANCESCA ROTI GREG STONE CGI Lead Animators WILL SUTTON INGE JOHANSSON CGI Animators DREW CRAIN URSULA BIERSCH VISUAL LOGIC, LLC VFX Supervisor JARED BAGMAN Programmer KAROL CONST System Admin RANDY HARDWICK Production Admin MAL GERICKE Production Aide CASS MONAHAN Producer PATRICE ARNEM Scene Graphics PEDRO CARILLO CGI Artist Coord SANDY PRIESTLY CGI Artists JOHN LANGORF BRENDA CALE CGI Designer MARK THOMAS KYLE M. SULLIVAN Compositors PATRICK MAHONEY STAV PROMIDES MARGRIET BILL TANIA SHAUB BENNET JURIAN I/O Supervisor CHUCK TRALIK Assorted Visual Effects PENNY GARCIA Color Toner GRAYSON TRUE Negative Cutter SLIM DELGADO Titles Designed by BATOUTAHELL, INC Opticals by PACIFIC DREAMS, LLC Soundtrack Album on ARTISTIC RECORDS, INC. Microscopic Cinematography by JAY FLAMMER `The Producers Wish to Thank the Following NASA CITY OF NEW YORK THE MARITIME CENTER OF SYDNEY LOS ANGELES POLICE THE CITY OF BEND, OREGON SULTAN OF BRUNEI Filmed on Location in CAPE KENNEDY NEW YORK CITY SYDNEY, AUSTRALIA LOS ANGELES, CALIFORNIA BEND, OREGON Filmed with OMNIVISON Cameras and Lenses Color by COLORLAB, INC. Prints by VISTACHROME
  103. 103. In the last ten years, creative collaboration spread to brand-building.
  104. 104. MYTH: Wide experience leads to deep insights.
  105. 105. FACT: Deep insights come from deep experience.
  106. 106. 1 +1 = 11
  107. 107. WHY?
  108. 108. Because the mathematics of collaboration is nothing less than MAGIC.
  109. 109. 3 INNOVATE
  110. 110. EXECUTION (NOT STRATEGY) IS WHERE THE RUBBER MEETS THE ROAD.
  111. 111. CREATIVITY IS WHAT GIVES BRANDS THEIR TRACTION IN THE MARKETPLACE.
  112. 112. Why do companies have so much trouble with creativity?
  113. 113. Because CREATIVITY is RIGHT-BRAINED ,
  114. 114. and STRATEGY is LEFT-BRAINED.
  115. 115. A B C D STRATEGIC THINKING
  116. 116. V Z D Q CREATIVE THINKING
  117. 117. MANTRA FOR INNOVATORS: when other s zig zag.
  118. 118. THE REASON THE BEATLES WERE WILDLY SUCCESSFUL IS BECAUSE “THEY NEVER DID THE SAME THING ONCE.”
  119. 119. AUTHENTICITY OUTSOURCING TRANSPARENCY DESIGN SIMPLICITY KNOWLEDGE HIGH DESIGN LONGEVITY CAPITAL DEMOCRACY CREATIVITY MOBILE NOSTALGIA COMPUTING HEALTH CARE OPENNESS ORGANIC MENTAL FOOD FITNESS
  120. 120. QUESTION: How do you know when an idea is innovative?
  121. 121. ANSWER: WHEN IT SCARES THE HELL OUT OF EVERYBODY.
  122. 122. TOO PREDICTABLE = NO SURPRISE NO SURPRISE = NOTHING NEW NOTHING NEW = NO VALUE
  123. 123. To begin with, the brand needs a STAND-OUT NAME .
  124. 124. Agilent Agilis Ajilon Agere Advantix Advantis Adventis Advanta Actuant Equant Guidant Reliant Prodigy Certegy
  125. 125. The seven criteria of a stand-out name: 1 DISTINCTIVENESS 2 BREVITY 3 APPROPRIATENESS 4 EASY SPELLING AND PRONUNCIATION 5 LIKABILITY 6 EXTENDABILITY 7 PROTECTABILITY
  126. 126. A GREAT NAME deserves GREAT GRAPHICS .
  127. 127. NEWS LOGOS ARE DEAD. LONG LIVE ICONS AND AVATARS! FLASH!
  128. 128. An ICON is a name and visual symbol that suggests a market position.
  129. 129. EXAMPLE: CBS . The network for “eye-popping” television.
  130. 130. An AVATAR is a brand icon that can move, change, and operate freely in various media.
  131. 131. EXAMPLE: CINGULAR : The “self-expression” cellular service.
  132. 132. The hardest-working packages follow a natural reading sequence. THE SHOPPER: 1 Notices the package 2 Asks “What is it?” 3 Wonders “Why should I care?” 4 Wants to be persuaded 5 Needs proof
  133. 133. By presenting information to match this sequence, a package can sell the product more effectively.
  134. 134. If you communicate with your customers ONLINE , your website needs to follow a SIMILAR reading sequence, one that supplies users with ONLY the information they need, instead of trying to squeeze EVERYTHING onto the home page LIKE THIS and making your users do ALL the work, which will undoubtedly cause them to LEAVE , when all you really have to do is ask yourself this SIMPLE QUESTION :
  135. 135. Does our website look at in this dress?
  136. 136. Too many websites are bloated with irrelevant information.
  137. 137. WHY?
  138. 138. 1 TURFISMO (Every department wants to be on the home page)
  139. 139. 2 FEATURITIS (Inexperienced communicators believe more is better)
  140. 140. 3 TECHNOPHOBIA (Experienced communicators resist new media)
  141. 141. QUIZ: Which of these sites looks easier to use?
  142. 142. For products that sell at retail, is often the best and last chance to make a sale.
  143. 143. 4 VALIDATE
  144. 144. THE FEAR OF STUPID
  145. 145. VALIDATION means bringing the audience into the creative process.
  146. 146. SENDER MESSAGE RECEIVER THE OLD COMMUNICATION MODEL WAS A MONOLOGUE.
  147. 147. SENDER MESSAGE RECEIVER THE NEW COMMUNICATION MODEL IS A DIALOGUE.
  148. 148. T#§T!
  149. 149. QUESTION: How can you test your most creative ideas BEFORE they get to market?
  150. 150. HINT: Not with large quantitative studies or focus groups.
  151. 151. QUANTITATIVE STUDIES BURY THE PROBLEM IN HEAPS OF UNHELPFUL DATA.
  152. 152. FOCUS GROUPS WERE INVENTED TO FOCUS THE RESEARCH, NOT BE THE RESEARCH.
  153. 153. THE SECRET TO AUDIENCE INSIGHT IS UNOBTRUSIVE OBSERVATION.
  154. 154. THE BEST TESTS ARE CHEAP, QUICK, AND DIRTY.
  155. 155. Better a rough answer to the right question than a detailed answer to the wrong question.
  156. 156. CHEAP-QUICK-DIRTY TEST 1: The SWAP TEST is a proof for trademarks.
  157. 157. If the names and graphics of two trademarks are better when swapped, then neither is optimal.
  158. 158. EXISTING TRADEMARKS
  159. 159. WITH NAMES SWAPPED
  160. 160. CHEAP-QUICK- DIRTY TEST 2: The HAND TEST is a proof for a distinctive voice.
  161. 161. If you can’t tell who’s talking when the trademark is covered, then the brand’s voice is not distinctive.
  162. 162. CHEAP-QUICK- DIRTY TEST 3: The FIELD TEST is a proof for any concept that can be prototyped.
  163. 163. SHOPPERS CHARACTERIZED THE PACKAGE CONCEPT ON THE MIDDLE-RIGHT SHELF AS “A FASTER PENCIL.” BINGO.
  164. 164. If your audience can’t verbalize your concept, you’ve failed to communicate it.
  165. 165. Field tests measure five things: 1 DISTINCTIVENESS 2 RELEVANCE 3 MEMORABILITY 4 EXTENDABILITY 5 DEPTH OF MEANING
  166. 166. TESTING MIGHT HAVE SAVED SOME OF THESE COMPANIES FROM THE GREAT SWOOSH EPIDEMIC.
  167. 167. HAS THE GLOBE BECOME THE NEW SWOOSH?
  168. 168. 5 CULTI VATE
  169. 169. Business is a process, not an entity.
  170. 170. A living brand is a pattern of behavior, not a stylistic veneer.
  171. 171. Brands are like people.
  172. 172. IF PEOPLE CAN CHANGE THEIR CLOTHES WITHOUT CHANGING THEIR CHARACTERS…
  173. 173. WHY CAN’T BRANDS?
  174. 174. OLD PARADIGM: Control the LOOK AND FEEL of a brand.
  175. 175. NEW PARADIGM: Influence the CHARACTER of a brand.
  176. 176. IF A BRAND LOOKS LIKE A DUCK AND SWIMS LIKE A DOG, PEOPLE WILL DISTRUST IT.
  177. 177. IT TAKES 20 YEARS TO BUILD A REPUTATION AND FIVE MINUTES TO LOSE IT. —Warren Buffett
  178. 178. So let’s say you’ve DIFFERENTIATED , COLLABORATED, INNOVATED , AND VALIDATED.
  179. 179. + YOU’VE ADDED THE LEFT BRAIN TO THE RIGHT BRAIN.
  180. 180. when the co mpeti tion z igged you’ve zagge d.
  181. 181. YOU’VE USED VALIDATION TO BANISH THE FEAR OF STUPID.
  182. 182. Your brand is now NUMBER ONE in its category.
  183. 183. PASS OUT THE COMPASSES.
  184. 184. What’s a compass?
  185. 185. A continuing brand education program.
  186. 186. BRAND ORIENTATION BRAND SEMINARS POSITIONING WORKSHOPS BRAND AUDITS STRATEGY SUMMITS CREATIVE COUNCILS QUARTERLY CRITIQUES GROUP BRAINSTORMING TEAMWORK TRAINING INNOVATION CLINICS DESIGN AUDITS BRAND MANUALS BRAND PUBLICATIONS BRAND ROADSHOWS
  187. 187. A BRAND FEDERATION
  188. 188. The more D I S T R I B U T E D a brand becomes, the stronger its management needs to be.
  189. 189. What your company needs is a CBO , or CHIEF BRANDING OFFICER.
  190. 190. THE CBO FORMS A HUMAN BRIDGE BETWEEN LOGIC AND MAGIC, STRATEGY AND DESIGN L M
  191. 191. BRAND
  192. 192. CULTIVATION DIFFERENTIATION VALIDATION COLLABORATION INNOVATION BY MASTERING THE FIVE DISCIPLINES OF BRANDING, THE COMPANY CREATES A VIRTUOUS CIRCLE.
  193. 193. WITH EVERY TURN AROUND THE CIRCLE, THE VALUE OF THE BRAND SPIRALS HIGHER.
  194. 194. YOU BUILD
  195. 195. A sustainable competitive advantage.
  196. 196. HOW TO BRIDGE THE DISTANCE BETWEEN BUSINESS STRATEGY AND DESIGN

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