Recently the ceramic manufacturer Wedgwood, has been rebranded with a new identity, campaign and packaging designed by BuroCreative. Wedgwood has had a number of reincarnations over the last 254 years, most recently it was affected by the global financial crisis and placed into administration and subsequently purchased by the private equity firm KPS in 2008. One of the challenges of staying in the business of tableware for a brand as old as Wedgwood is to remain relevant and desirable to the next generation of consumers. Cleverly, the recent rebrand does not try to appeal to any sort of consumer trend, but instead adopts a fashion led approach to reinstate the brand as a national icon. Much like Burberry or Vivienne Westwood are icons of the British fashion industry, Wedgewood has been repositioned as a quintessential luxury home and lifestyle brand that should take pride of place in any fashion conscious anglophile’s home.

By leveraging the brand’s historical heritage in England, Wedgwood becomes a symbol for much more than fine china and pottery. To own Wedgwood now, means acknowledging the British identity and owning a little bit of history, one built by a family business and the innovation and design of its founding member Josiah Wedgwood.

Rather than radically redesigning the brandmark or anything to do with the product range, the rebrand seeks to harness the brand’s story in a way that forever makes it contemporary, like a true national icon. The initiative to stay relevant in the present day market is not a new one for the brand. Contemporary icons from the wider design and fashion industry have been employed to design ranges, such as Jasper Conran and Vera Wang, and in 2008 D&AD ran a competition to create a campaign to make Wedgewood desirable to a 25-35 year age group. Hopefully the latest attempt to cement the brand’s luxury icon status into popular culture will ensure Wedgwood has a place in the homes of future generations.

The first execution of Wedgwood’s new brand is a global advertising campaign, featuring Barlaston Hall, a stately home once owned by Wedgwood. The campaign imagery explores the lifestyle the brand offers, and the English heritage and identity it represents. The brand personality is presented as elegant, eccentric with an old world charm that is uniquely English. Incorporating imagery of the craftsmanship employed to create the product was also a valuable gesture in brand storytelling (even though a majority of the tableware is now manufactured in China, with the exception of the high-end product ranges.)

Considering the brand’s legacy, I have no doubt it’s strength as a national icon will continue. I hope the latest rebrand will be what the ceramic manufacturer needs to continually remind us of the importance of heritage and tradition in the modern day market. If you would like to be in the business of making icons, or think you’re sitting on a national treasure, give us a call.

Julia Dowe
Design Creative

Our very own Derek Carroll (Truly Deeply Creative Director and tech-guru) was interviewed for a feature on businesses adopting the benefits of cloud technology in a recent feature in The Age newspaper. At Truly Deeply we’ve had our head in the cloud from the early days – but always keeping our feet on the ground (as they say).

Stand-out Retail Brand Design
Sure retail brands are facing a tough stretch, where attracting the attention of new customers and engaging with them sufficiently to turn them into brand loyalists is tougher than squeezing the proverbial blood from a stone. But every now and again we are reminded of the power of thinking big – figuratively if-not literally – of visualizing a brand experience that will stand-out from the crowd, project your brand beyond the ordinary and create the remarkable. And that’s precisely what Airigami did when they created a 200 foot long acrocanthosaurus–a dinosaur from the early cretaceous period re-created from balloons.

The point here isn’t the dinosaur, but the thinking outside the box that has made the difference. Museums are surprisingly inspiring places for retail branders for a few reasons:
• They genuinely understand the need to captivate and communicate
• They are typically working with complex, detailed information, communicating it to a broad audience who are often less than excited by the subject
• They rarely have massive budgets to invest and are used to creating one-off installations
• They see themselves as places of wonder, theaters for the mind and approach their visual merchandising accordingly

The question for retail brands is; ‘Are you thinking hard enough about creating a truly stand-out installation with the power to turn your store into a place of wonder?

Click here to view the embedded video.

Dave Ansett
Chief Cre­ator of Brands
To receive free monthly updates of our our most popular brand posts – click here.

Video courtesy of Larry Moss
Photos courtesy of airigami

I like to think that I’m an ethical consumer, but brands don’t half make it difficult to make informed choices! There is a growing movement by shoppers to vote with their dollar, but sadly we are deliberately and routinely misled by brands, with ambiguous claims and deceptive designs. From innocuous labelling of palm oil as ‘vegetable oil’ to the proliferation of sham certification logos and the bastardisation of the word ‘organic’, we are shamefully misinformed about the products we buy.

Earlier this week, I was pretty disturbed to read that many brands that declare themselves as ‘against animal testing’ are effectively expressing a vacuous opinion and nothing more. ‘Not tested on animals’ is often a statement made about a finished product, when in fact, most animal testing occurs at the ingredient level. Further to this, many ‘cruelty free’ brands (often backed up by their own dubious bunny logos) export their products to China, where animal testing is obligatory. China’s burgeoning cosmetic market is understandably attractive to beauty brands, but should they be allowed to claim they’re cruelty free if they’re testing for overseas markets?

It seems to me that in Australia, brands have very little accountability with the claims they make. It’s one thing to sidestep an unpleasant truth, but to tell an outright lie surely shouldn’t be allowed! Am I missing something?

It’s a fair task to make an informed choice, so if you’d like some help, please check out Choose Cruelty Free and Shop Ethical for a little clarity. Better still, download their apps so you can check out the legitimacy of a brand’s claim while you’re out shopping.

Tamarin Watson
Design Creative

A study last year by Harvard Business School concluded that consumers care, that they will pay more for clothes that represent fair-labour practices. However, most brands will only embark on a strategy of full disclosure if compelled to by consumers. And despite the Harvard research findings, I really do not believe there are enough consumers who are willing to make a stand against exploitation. The garment factory collapse that killed more than 800 workers in Bangladesh last month is testimony to magnitude of such exploitation.

It is time consumers really did begin to think through the ramifications of their purchase decisions and reward those brands pursuing strategies with a higher purpose and social conscience. Unfortunately most consumers express the same self-interest motivation that most businesses do. If consumers really did care they would demand far greater transparency in the product sourcing of brands and retailers. They would seek labeling that informed them fully, and they would shun those who failed to provide such labeling and or were obviously on a path to exploitation.

Frequently in our work with brand owners we ask them what they crusade for and campaign against. We attempt to identify a belief system that may exist beyond the need to simply maximise profit. For many brands there is really no need to look too far afield to find a noble cause, as fair trade is an agenda still far to often ignored. Some apparel brand owners are showing positive inclinations. The Sustainable Apparel Coalition whose members include major players such as Nike, Wal-mart, Gap and Target have began working on a measurement called the Higg Index that will cover environmental, social and labour standards. But their efforts, and those still not acting, would all be hastened if consumers used their buying grunt to express a desire to make a difference with each and every purchase.

With the right amount of pressure we may get to witness a far more wide spread adoption of the standards being set by high fashion site Honest By. Transparency sits at the core of what they offer. Who else is telling you that a cotton shirt that costs about $320, took 33 minutes to cut, 145 minutes to assemble and 10 minutes to iron at a Belgain factory. It then took an additional 10 minutes in a Slovenian factory to apply the trim. Add in a safety pin at 4 cents and transportation of about $10.50 and you are beginning to get some of the facts behind the cotton shirt you may choose to put on your back.

It is not a question as to whether consumers have the power to make a difference in the world, it is more will they exercise it.

Peter Singline
Brand Scientist

Image sourced from National Post

Adobe recently announced its decision to discontinue the Creative Suite product, in light of the positive response to their recently implemented Creative Cloud – a subscription based service to their programs. Adobe had previously acknowledged that they were uncertain of how long these two products would coexist, so the decision comes as little surprise. But that hasn’t stopped people within the creative community voicing their opinions on the matter, myself included. I’ve been a staunch user of Adobe products going as far back as the days of when I used to slap naff photoshop effects on all my early student work. So here is my two cents.

The Creative Suite (CS) products were a packaged set of Adobe offered computer applications, such as Photoshop & Illustrator. Like the Apple Mac, Adobe Creative Suite has been a staple of the designer’s toolkit for well over a decade. New versions were released as often as every 1–2 years, the latest being version CS6 back in May 2012. Creative Cloud (CC), first introduced a little over a year ago, is a subscription based service to Adobe applications, which allow people to license their products for a monthly or yearly fee.

Among the reasons as to why this decision has attracted criticism is the issue of accessing Adobe files without a Creative Cloud subscription; if I one day decided that I didn’t want to continue with CC, what would become of all my files, should Adobe decide not to instil backwards compatibility in future iterations?

In terms of costs, a comparison of CS v CC’s current rates over a three year period favours the latter quite considerably. So this new model would benefit consumers who would otherwise upgrade their CS products on a consistent basis. Although this comparison would do little to allay the worries of CC’s skeptics – Adobe’s monopoly on the market would certainly allow them to increase the subscription rates in the future. This also changes the nature of Adobe’s revenue stream – it would allow for less peaks and troughs that came with the spacing between each iteration of CS.

The people who will really feel hard done-by are those that don’t intend on updating that frequently; namely small businesses & freelancers. By no means has it ever been imperative for Adobe reliant consumers to upgrade at every release of CS (even CS3, released in 2007, remains a solid option). The end of CS also overlooks one very important group in the form of students, i.e. Adobe’s potential new consumers. Adobe are well aware that their products are moved through peer-to-peer networks, with tight budgeted graphic design students being the main culprits. Online piracy wouldn’t exist in Adobe’s ideal world, but surely they would see the silver lining. The moment students make that step into professional practice, purchasing legitimate software obviously becomes mandatory. Having had access to Adobe products throughout their ‘formative’ years, it would have bred a level of brand loyalty which generally favours Adobe in the long run. Is the incentive there for students to add an extra $50 per month on top of their tertiary expenses, at a time when they aren’t bringing in any significant income?

Adobe maintain that the decision was spurred by what was, according to them, an overwhelming reception to the introduction of CC. Going by some of the backlash that has ensued, consumers are definitely sensing an air of arrogance. It wasn’t so long ago that Adobe faced scrutiny for its geographical pricing differences, something they have since gone on to address but will have no doubt left a bitter taste for many. Revenue motivated decisions are taking the gloss off of a brand that was once so celebrated.

If I continue to look through a brand tinted lens, I can’t help but feel that there is an opportunity there for a new player. This is the decade of startups, and wouldn’t it be great to see someone stake a claim in the market that Adobe so obviously has a stronghold of? Something that simplifies the creative process, addresses current problems… I’ll let those with the know how think of exactly what that is.

Richy Vong,
A Truly Deeply Creative.

Recently, I discovered an inspiring short animated film – A Cautionary Tail. It is a 14 minutes film about a girl born with a tail that expresses her emotions. As a child, her parents celebrate their daughter’s eloquent, athletic appendage, and her tail inspires magical make-believe adventures with her friends. As she grows up, however, the young woman faces pressure to fit in, and must choose between conformity and self-expression.

All the settings are hand-made miniature (amazing details) layered with 3D animated characters.

What I love about A Cautionary Tail apart from its story and miniature sets is its inspiration.

Erica Harrison, the writer, expressed her pain after a serious car accident by writing this tale during her rehabilitation period. Erica was critically injured and went through nine surgical operations hoping to recover her shattered leg. She was an avid runner, unable to walk for six months and unsure her leg would ever fully heal. This had a significant impact on her, both physically and emotionally. She had depression and contemplated death. Fortunately, Erica found herself writing this tale as a tool to express her feelings enabling her to find new meanings in life.

“It was a really difficult journey for me, but it helped me to be more resilient and helped me to… realise ‘this too shall pass’ and the need to look inside yourself for happiness, to embrace the things that make us unique.”

I can’t agree more with Erica on that. We need to learn to appreciate and embrace the things that make us unique, because it is part of our identity. For the little girl in the film, her tail is key to her happiness and self-expression; attempting to have her beautiful tail removed to commit conformity is not a good call, because she won’t breathe with joy anymore; she is no longer herself.

I feel the same way in brands. If a brand can’t be proud of its uniqueness, there is no meaning and emotional attachment to it. It is merely a Me-Too-Brand.

Erica’s story has taught me a lesson. When we can’t change a situation, not only changing our perspective is important, but also finding the right tool to express our reason of existence. This reminds me of an actor in Hong Kong, Dayo Wong. He wasn’t very successful in his acting career and before he quit, he used a stand-up comedy show as a tool to share his uncharismatic career. As a result, the audience stet loved it. He gained a lot of publicity through that show and he has become a well-known comedian in Hong Kong.

The same applies in branding. When a brand is no longer relevant in the marketplace, not only shifting strategies and offers is necessary, but also using the right creative tool to communicate is key. Without the right tool it is like a thought in the mind that will never be expressed and reached to the target audience.

Click here to view the embedded video.

Hang Io
Learner of brands… and enthusiastic intern.

Creating Relevant, Cutting Edge Retail Branding Doesn’t Mean Reinventing the Wheel
In 2012 fashion retail brand Burberry launched their remodeled store at 121 Regent St London. But what at first glance looks like a traditional retail re-fit is -on closer inspection – a blueprint for reinventing a brand experience inspiring for retailers across every category.

The London Burberry Flagship store is a truly innovative space which seamlessly merges the traditional physical craftsmanship and cutting edge digital, creating a retail space that as much reflects the burberry.com online experience, as it does a fashion store.

The clip below shows the level of detailed integration of hand-crafted production that reflects the Burberry philosophy whether applied to clothing design and manufacture or architectural design and traditional building craftsmanship with a very clever array of consumer-centric, digital experiences that bridge the gap between bricks & mortar and online/mobile stores. The result is stunningly beautiful from both an aesthetic and a customer engagement point of view.

Click here to view the embedded video.

But what I love most about this inspiring piece of retail brand design is that the example doesn’t come from a brash young Turk, but from a brand with more than 150 years of tradition. The Burberry Regent St Store shows that a truly innovative, integrated approach to creating retail brand is all about the richness of the story telling, the level of engagement and the manner in which it enhances the customer experience. These attributes are equally applicable to any retail brand across virtually any category, regardless of their particular brand positioning. Very tasty food for thought…

Dave Ansett
Chief Cre­ator of Brands
To receive free monthly updates of our our most popular brand posts – click here.

http://au.burberry.com

Stand Back, its the Multi Proposition Super Brand
The first thing I have to admit is we didn’t create this brand – it’s not one of ours, but what the hell – something this cool should be celebrated all the same. And a truly clever bit of brand building it is too. Who Gives A Crap is a new entrant into the established toilet paper category, a category typically viewed as a commodity with undifferentiated product offerings. And-yet against this less than inspiring backdrop we have an inspiring challenger brand with the DNA to make a significant splash in the market.

So what makes this new entrant a rock-star amongst its category?

Who Gives A Crap is a challenger brand with a multifaceted strategy for creating a differentiated bridgehead in the toilet paper category. Typically we look to build a brand with one or two valuable and relevant differentiating attributes. Who Gives A Crap is a brand that has been carefully built around an arsenal of not one, or two, but seven integrated differentiators. Combined they make this the sort of new market entrant compelling enough to entice consumers to give it a go, and rewarding enough to keep them coming back. We’ve certainly and quickly become loyal Crappers, having immediately ordered a couple of 48 roll boxes. And whilst to be honest the product is not quite up-to the standard of the rest of the category – the individual sheets of paper are almost impossible to tear-off neatly – this weakness is easily outweighed by the multitude of other rewards for using this brand.

The seven pillars of Who Gives A Crap’s brand differentiation are:

Brand Name
We love a good brand name, one that is memorable and cuts straight to the product proposition.

Brand Personality
As you can see from the pic above, this is a brand with bucket-loads of personality that jump-out at you with every touch of the brand. More examples of the brand voice are reflected in the web site copy below:

Flush Poverty Down the Loo

Make Every Wipe Count

Only test on Bottoms

Higher Purpose(s)
Brands that have a higher purpose provide a powerful reason for initial consumer connection and ongoing loyalty. Who Gives A Crap boasts two different higher purposes – a powerful double punch in a category that is typically uninspiring in this sense. Firstly the Give A Crap paper is recycled – it saves on trees, water and landfill. But wait, there’s more… 50% of all Give A Crap’s profits go to ‘Wateraid’ to build toilets and improve sanitation in the developing world.

Brand Design
Then there’s the look of the packaging, web site, brand identity and brand communications. In a category of me-too puppy dogs and soft, white clouds, The Who Gives A Crap visual brand language design is a real stand-out. The fresh design elements, colour palette and type style combine to create a brand identity and packaging story that looks nothing like its all-of-a-suddenly-boring counterparts.

Convenience – And it keeps on getting better… Who Gives A Crap is purchased online and delivered to your door, available in enough bulk to mean it’ll be months before you have to worry about re-ordering. Now I don’t know anyone who enjoys shopping for loo paper, giving the convenience factor of this product a great, big tick.

And then there’s the Price – The ability to buy in bulk means we paid just 62 cents-a-roll for our first purchase. This price point compares with the typical supermarket special price, meaning we’re not having to pay a premium to do the right thing.

And finally, there a Clever Consumer Benefit baked into the product – Every box of Give A Crap toilet paper comes with an emergency roll, which ensures you’re never caught short, and doubles as a reminder to re-order another box.

But there’s no real benefit to be gained from all this brand goodness unless it ‘s clearly communicated to the market, and no surprise, Who Gives A Crap are a brand who know how to tell their story. Whether it’s on their web site, the product packaging or everywhere else the brand comes alive, the key points of the proposition are communicated consistently, clearly and with compelling brand personality.

What’s not to love?

Dave Ansett
Chief Cre­ator of Brands
To receive free monthly updates of our our most popular brand posts – click here.

You Can Buy Who Gives A Crap here…

It’s well-documented that Melbourne’s Docklands is a pretty miserable place. It’s harsh, windy, soulless and (unsurprisingly) empty. Since the closure of the farcical observation wheel in 2009, shop owners and restauranteurs have been jumping ship, taking with them any reason to visit the doomed district. It’s a vicious cycle; no shops, no visitors – no visitors, no shops.

So how to coax a bit of life into the area? How about free rent? Docklands Spaces is the latest project by Renew Australia, a not-for-profit initiative that re-activates struggling areas by filling vacant retail spaces with local creative enterprises. Temporary residents pay a participation fee of $20 per week to Renew Australia, who cover insurance and overheads, at no cost to shop owners.

“Docklands Spaces will drive activity and innovation, creating new and interesting projects that will be great for the area”, Renew Australia’s Director, Marcus Westbury, said. “These projects are a win-win for the creative participants, property owners and the local community”.

The project is is seeking makers, designers, photographers, printmakers, painters, illustrators, architects, milliners, jewellers, animators, publishers, lap top businesses, video and music makers and other creative types to temporarily set up shop in Docklands’ vacant retail spaces. Architecture studio, Musk, are recent newcomers and hope to use the public interface to turn passers-by into customers. Batch 3D printing studio moved in last month and are using the space to design, create and sell 3D printing products, including jewellery and pendant lights.

Musk’s Super Ply installation for the 2012 ‘Light in Winter’ festival at Federation Square

3D printed pendant lamps by Batch

Docklands Spaces is based on the success of the Renew Newcastle project, which injected some life into a suffering city and provided opportunities for small, local enterprises. The brains of the operation, Marcus Westbury, tells the story here:

Click here to view the embedded video.

Tamarin Watson
Design Creative