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Brand Rules
- 1. HOW TO BRIDGE THE DISTANCE BETWEEN BUSINESS STRATEGY AND DESIGN
- 3. WHAT YOU’LL LEARN: 1 A modern definition of brand 2 The five disciplines of brand-building
- 4.
- 5. LET’S START BYDISPELLING SOME MYTHS.
- 6. FIRST A brand is not a logo.
- 8. SECOND A brand is not an identity.
- 9.
- 10. FINALLY A brand is not a product.
- 12. so what exactly is a brand?
- 13. A BRAND ISA PERSON’S GUT FEELING ABOUT A PRODUCT, SERVICE, OR ORGANIZATION.
- 14. You buy productsbased 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 .
- 15. It’s a GUTFEELING 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.
- 16.
- 17. IT’S NOT WHATYOU SAY IT IS.
- 18. .SI TI YAS YEHT TAHW S’TI
- 19. WHY IS BRANDINGSO 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
- 20. THERE ARE 1,349CAMERAS ON THE MARKET. HOW DO YOU DECIDE WHICH ONE TO BUY?
- 21.
- 22. Trust comes frommeeting and beating customer expectations. T= r+ d TRUST RELIABILITY DELIGHT
- 23. $ Does a brandhave a dollar value?
- 24.
- 26. Five ways tomeasure brand value: 1 PRICE PREMIUM 2 CUSTOMER PREFERENCE 3 REPLACEMENT COST 4 STOCK PRICE 5 FUTURE EARNINGS
- 27. THIS SELECTION FROMINTERBRAND’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%
- 28. 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
- 29. Market share =9% Dollar share = 13.8%
- 30. The main purposeof branding is to get MORE PEOPLE to buy MORE STUFF for MORE YEARS at a HIGHER PRICE.
- 31. B S= BANG b SUCCESS BUCK
- 32.
- 33.
- 34.
- 35. Growth Stock value
- 36. Innovation Growth Stock value
- 37. Differentiation Innovation Growth Stock value
- 38. Vision Differentiation Innovation Growth Stock value
- 39. Vision Vision Differentiation Innovation Growth Stock value INVESTMENT BRAND INVESTMENT BRAND INVESTMENT BRAND
- 40.
- 41. PREDICTION BRAND WILL BECOMETHE MOST POWERFUL STRATEGIC TOOL SINCE THE SPREADSHEET.
- 43.
- 44. PROBLEM IN MOST COMPANIES, STRATEGY IS SEPARATED FROM CREATIVITY BY A WIDE GAP
- 45. STRATEGIC THINKERS CREATIVE THINKERS Analytical Intuitive Logical Emotional Linear Spatial Numerical Visual Verbal Physical
- 46. DOES THE LEFTBRAIN KNOW WHAT THE RIGHT BRAIN IS DOING?
- 47. When both sideswork together, you build a charismatic brand.
- 48. A CHARISMATIC BRANDis a product, service, or organization for which people believe there’s no substitute.
- 49. QUIZ: Which of thesebrands 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
- 50. QUIZ: Which of thesebrands 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
- 51. Any brand canbe charismatic.
- 52.
- 54. But first, you haveto master the FIVE DISCIPLINES of BRAND-BUILDING.
- 55.
- 56. FACT: Our brains act as filters to protect us from too much information.
- 57. WE’RE HARDWIRED TONOTICE ONLY WHAT’S DIFFERENT.
- 58.
- 59. 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.
- 60. People join differenttribes for different activities. DRIVING VOLKSWAGEN READING AMAZON COMPUTING DELL SPORTS NIKE COOKING WILLIAMS-SONOMA BANKING CITIBANK TRAVEL ORBITZ
- 61. ON SUNDAYS THEYWORSHIP HARLEY, GOD OF THE OPEN ROAD.
- 62. The three mostimportant words in differentiating your brand:
- 63. 1 FOCUS
- 64. 2 FOCUS
- 65. 3 FOCUS
- 66. IS THIS HOWYOUR CUSTOMERS SEE YOU?
- 67. THE FOCUS TEST: 1 Who are you? 2 What do you do? 3 Why does it matter?
- 68. Unless you havecompelling answers to these questions, YOU NEED MORE FOCUS .
- 69. Nine basic marketpositions: 1 BEST SELLING 2 ONLY 3 BEST KNOWN 4 EASIEST 5 MOST COMPLETE 6 FASTEST 7 MOST POWERFUL 8 NEWEST 9 MOST AFFORDABLE
- 70. OUR BRAND IS THEONLY SERVICE THAT MATTERS.
- 71. If you can’tstate what makes you different in 12 words or less, don’t fix your statement. Fix your company.
- 72. PLOP, PLOP, FIZZ,FIZZ. OH, WHAT A RELIEF IT IS!
- 73. PLOP, PLOP, FIZZ,FIZZ. ALKA-SELTZER OH, WHAT A RELIEF IT IS!
- 74. THE WORLD’S ONLINE MARKETPLACE
- 75. THE WORLD’S ONLINE EBAY MARKETPLACE
- 76.
- 77. TALK CHARLES TO SCHWAB CHUCK
- 78. YOU’RE NOW FREE TO MOVE ABOUT THE COUNTRY
- 79. YOU’RE NOW FREE TO SOUTHWEST MOVE ABOUT AIRLINES THE COUNTRY
- 80.
- 81. LET’S MINI COOPER MOTOR
- 82. The most commonreason for loss of focus is ILL-CONSIDERED BRAND EXTENSIONS .
- 83. 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.
- 84. EXAMPLE: FOCUSED SWATCH = FUN WATCHES
- 85. EXAMPLE: FOCUSED SWATCH = FUN WATCHES UNFOCUSED SWATCH = FUN WATCHES + CARS
- 86. EXAMPLE: THE GOOD GRIPSBRAND HAS GROWN STRONGER WITH EVERY BRAND EXTENSION.
- 87.
- 88. OWNERSHIP PARTNERSHIP
- 89. OWNERSHIP PARTNERSHIP
- 90. INDIVIDUAL TASKS COLLABORATION
- 91. INDIVIDUAL TASKS COLLABORATION
- 92. LIKE BUILDING A CATHEDRAL, BUILDING A BRAND IS A COLLABORATIVE PROJECT.
- 95. It takes avillage to build a brand.
- 96. THERE ARE THREEBASIC MODELS FOR ORGANIZING BRAND COLLABORATION:
- 97. The ONE-STOP SHOP containsthe 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
- 98. ONE-STOP SHOP SCORECARD Easyto manage Little choice of teams Promise of consistency Little ownership of brand
- 99. 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
- 100. BRAND AGENCY SCORECARD Choice of teams Little ownership of brand Promise of consistency
- 101. The INTEGRATED MARKETINGTEAM 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
- 102. INTEGRATED MARKETING TEAMSCORECARD Choice of teams Difficult to manage Promise of consistency Ownership of brand
- 103. IN REALITY, COLLABORATIVE NETWORKSAREN’T THAT SIMPLE.
- 104.
- 105. Collaborative networks arenot new.
- 106. A successful modelhas existed for years.
- 108. Like building acathedral, making a movie takes hundreds of collaborators.
- 109. 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
- 110. Manners and ModesSupervisor 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
- 111. 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
- 112. In the lastten years, creative collaboration spread to brand-building.
- 113. MYTH: Wide experience leads to deep insights.
- 114. FACT: Deep insights come from deep experience.
- 115. 1 +1 =11
- 116.
- 117. Because the mathematicsof collaboration is nothing less than MAGIC.
- 120.
- 121. EXECUTION (NOT STRATEGY) IS WHERE THE RUBBER MEETS THE ROAD.
- 122. CREATIVITY IS WHATGIVES BRANDS THEIR TRACTION IN THE MARKETPLACE.
- 123. Why do companieshave so much trouble with creativity?
- 124. Because CREATIVITY isRIGHT-BRAINED ,
- 125. and STRATEGY is LEFT-BRAINED.
- 126. A B C D STRATEGIC THINKING
- 127. V Z D Q CREATIVE THINKING
- 128. MANTRA FOR INNOVATORS: when other s zig zag.
- 129. THE REASON THEBEATLES WERE WILDLY SUCCESSFUL IS BECAUSE “THEY NEVER DID THE SAME THING ONCE.”
- 130. AUTHENTICITY OUTSOURCING TRANSPARENCY DESIGN SIMPLICITY KNOWLEDGE HIGH DESIGN LONGEVITY CAPITAL DEMOCRACY CREATIVITY MOBILE NOSTALGIA COMPUTING HEALTH CARE OPENNESS ORGANIC MENTAL FOOD FITNESS
- 131. QUESTION: How do you know when an idea is innovative?
- 132. ANSWER: WHEN IT SCARES THE HELL OUT OF EVERYBODY.
- 133. TOO PREDICTABLE =NO SURPRISE NO SURPRISE = NOTHING NEW NOTHING NEW = NO VALUE
- 134. To begin with,the brand needs a STAND-OUT NAME .
- 135.
- 137. The seven criteriaof a stand-out name: 1 DISTINCTIVENESS 2 BREVITY 3 APPROPRIATENESS 4 EASY SPELLING AND PRONUNCIATION 5 LIKABILITY 6 EXTENDABILITY 7 PROTECTABILITY
- 138. A GREAT NAME deserves GREAT GRAPHICS .
- 139. NEWS LOGOS AREDEAD. LONG LIVE ICONS AND AVATARS! FLASH!
- 140. An ICON isa name and visual symbol that suggests a market position.
- 141. EXAMPLE: CBS . The network for “eye-popping” television.
- 142. An AVATAR isa brand icon that can move, change, and operate freely in various media.
- 143. EXAMPLE: CINGULAR : The “self-expression” cellular service.
- 145. The hardest-working packagesfollow 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
- 146. By presenting information tomatch this sequence, a package can sell the product more effectively.
- 147. If you communicatewith 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 :
- 148. Does our websitelook at in this dress?
- 149. Too many websitesare bloated with irrelevant information.
- 150.
- 151. 1 TURFISMO (Every department wants to be on the home page)
- 152. 2 FEATURITIS (Inexperienced communicators believe more is better)
- 153. 3 TECHNOPHOBIA (Experienced communicators resist new media)
- 154. QUIZ: Which of thesesites looks easier to use?
- 157. For products thatsell at retail, is often the best and last chance to make a sale.
- 158.
- 159. THE FEAR OFSTUPID
- 160. VALIDATION meansbringing the audience into the creative process.
- 161. SENDER MESSAGE RECEIVER THE OLD COMMUNICATION MODEL WAS A MONOLOGUE.
- 162. SENDER MESSAGE RECEIVER THE NEW COMMUNICATION MODEL IS A DIALOGUE.
- 163.
- 165. QUESTION: How can you test your most creative ideas BEFORE they get to market?
- 166. HINT: Not with large quantitativestudies or focus groups.
- 167. QUANTITATIVE STUDIES BURYTHE PROBLEM IN HEAPS OF UNHELPFUL DATA.
- 168. FOCUS GROUPS WEREINVENTED TO FOCUS THE RESEARCH, NOT BE THE RESEARCH.
- 169. THE SECRET TOAUDIENCE INSIGHT IS UNOBTRUSIVE OBSERVATION.
- 170. THE BEST TESTSARE CHEAP, QUICK, AND DIRTY.
- 171. Better a roughanswer to the right question than a detailed answer to the wrong question.
- 172. CHEAP-QUICK-DIRTY TEST 1: The SWAP TEST is a proof for trademarks.
- 173. If the namesand graphics of two trademarks are better when swapped, then neither is optimal.
- 174.
- 175.
- 176. CHEAP-QUICK- DIRTY TEST2: The HAND TEST is a proof for a distinctive voice.
- 177. If you can’ttell who’s talking when the trademark is covered, then the brand’s voice is not distinctive.
- 179. CHEAP-QUICK- DIRTY TEST3: The FIELD TEST is a proof for any concept that can be prototyped.
- 180. SHOPPERS CHARACTERIZED THE PACKAGE CONCEPT ON THE MIDDLE-RIGHT SHELF AS “A FASTER PENCIL.” BINGO.
- 181. If your audiencecan’t verbalize your concept, you’ve failed to communicate it.
- 182. Field tests measurefive things: 1 DISTINCTIVENESS 2 RELEVANCE 3 MEMORABILITY 4 EXTENDABILITY 5 DEPTH OF MEANING
- 183. TESTING MIGHT HAVESAVED SOME OF THESE COMPANIES FROM THE GREAT SWOOSH EPIDEMIC.
- 184. HAS THE GLOBEBECOME THE NEW SWOOSH?
- 185.
- 189. Business is aprocess, not an entity.
- 190. A living brandis a pattern of behavior, not a stylistic veneer.
- 191. Brands are likepeople.
- 192. IF PEOPLE CANCHANGE THEIR CLOTHES WITHOUT CHANGING THEIR CHARACTERS…
- 193.
- 194. OLD PARADIGM: Control the LOOK AND FEEL of a brand.
- 195. NEW PARADIGM: Influence the CHARACTER of a brand.
- 196. IF A BRANDLOOKS LIKE A DUCK AND SWIMS LIKE A DOG, PEOPLE WILL DISTRUST IT.
- 197. IT TAKES 20YEARS TO BUILD A REPUTATION AND FIVE MINUTES TO LOSE IT. —Warren Buffett
- 198. So let’s sayyou’ve DIFFERENTIATED , COLLABORATED, INNOVATED , AND VALIDATED.
- 199. + YOU’VE ADDED THELEFT BRAIN TO THE RIGHT BRAIN.
- 200. when the co mpeti tion z igged you’ve zagge d.
- 201. YOU’VE USED VALIDATIONTO BANISH THE FEAR OF STUPID.
- 202. Your brand isnow NUMBER ONE in its category.
- 203. PASS OUT THECOMPASSES.
- 204.
- 205. A continuing brandeducation program.
- 206. BRAND ORIENTATION BRAND SEMINARS POSITIONINGWORKSHOPS BRAND AUDITS STRATEGY SUMMITS CREATIVE COUNCILS QUARTERLY CRITIQUES GROUP BRAINSTORMING TEAMWORK TRAINING INNOVATION CLINICS DESIGN AUDITS BRAND MANUALS BRAND PUBLICATIONS BRAND ROADSHOWS
- 207.
- 208. The more D IS T R I B U T E D a brand becomes, the stronger its management needs to be.
- 209. What your companyneeds is a CBO , or CHIEF BRANDING OFFICER.
- 210. THE CBO FORMSA HUMAN BRIDGE BETWEEN LOGIC AND MAGIC, STRATEGY AND DESIGN L M
- 211.
- 212. CULTIVATION DIFFERENTIATION VALIDATION COLLABORATION INNOVATION BY MASTERING THE FIVE DISCIPLINES OF BRANDING, THE COMPANY CREATES A VIRTUOUS CIRCLE.
- 213. WITH EVERY TURNAROUND THE CIRCLE, THE VALUE OF THE BRAND SPIRALS HIGHER.
- 214.
- 215. A sustainable competitiveadvantage.
- 218. HOW TO BRIDGE THE DISTANCE BETWEEN BUSINESS STRATEGY AND DESIGN