IS THE BRAND BUBBLE ABOUT TO BURST?
We are returning to an era of product being the hero rather than the catch phrase or promotional tools used to endorse it, if the product looks better, feels better, performs better, then customers will buy it despite what trademark logo is hanging off it. In the past ten years many design industries have been caught in the spiral of marketing bravado presented in the guise of branding, while the craft of creation has become secondary. But, according to RMIT's Strategic Leader of Fashion at RMIT, Karen Webster, there is hope for the future.
Webster told an international conference that design had been undervalued for the past decade with marketing, promotion, image creation and branding the focus of creativity within product-focused organisations.
Webster was speaking at the Fifth European Academy of Design Conference in Barcelona. Here is an excerpt of her speech:
Marketing research, as opposed to design research, is considered worthy of investment because it is seen to directly increase sales and profitability and is a measurable investment. Ironically designers have not been in a position to drive the development of product; this control has been at the hands of marketers who believe they define the markets and link to the consumer.
The three core sectors of
activity within any organisation that develops product are: design and
product development, sales and marketing and production. All three
areas should function effectively as independent concerns while being
able to operate harmoniously as a team. With the phenomenal growth of
branding, the sales and marketing component of the equation has not
only increased in significance but has taken precedence over the areas
of design and production.
The question now can be asked; in
this era of branding do companies even have to bother with what they
design anymore, has the product become so undermined that the image it
represents by way of advertising and promotion outweigh everything
else? As an eternal optimist, I believe that not all hope is lost.
In
the past ten years, the consumer has become accustomed to the
bombardment of advertising and marketing propaganda that surrounds the
purchasing of product. The phenomenon of branding has become
commonplace. I believe the brand bubble is about to burst. A new era is
evolving; the cash registers are not singing the merry tunes as they
were ten years ago. As branding becomes more intrusive, the more the
consumer becomes immune to it.
I hope to reinvigorate an
interest in design and creation. Innovation must happen on many levels
but first and foremost with the product itself. There is a perception
within the commercial world that you cannot create an interesting
product without a viable sales and marketing strategy, as this provides
and opens up the distribution channels to the consumer: this is without
question an acceptable notion.
BUT equally it should be
heralded that one cannot establish an effective sales and marketing
strategy without viable product to accompany it. In the past decade, we
have been driven by marketing and branding and not enough consideration
has been given to product development and design innovation. The two
areas of marketing and design should be intrinsically linked with a
concerted effort being applied to both areas. The formula for success
in creative organisations has to be the two working in tandem. A
successful organisation requires instigators, innovators and astute
marketers.
The future of design is bright; a well-designed
product can fulfill its promise, that is; it simply is a well-designed
product. We are returning to an era of product being the hero rather
than the catch phrase or promotional tools used to endorse it, if the
product looks better, feels better, performs better, then customers
will buy it despite what trademark logo is hanging off it. No longer
should organisations be mono-focussed on the brand being the be all and
end all. To quote Martin Raymond, editor of Viewpoint: "... raising
false expectations lays advertisers open to criticism, especially if
the products they push end up being nothing special."
Before
there are celebrations in the streets of design centers around the
world, designers beware; this will not be a license to create more and
more product in the hope that organizations will yearn greater profits.
Currently the public sees the stores full of 'stuff,' overloaded
shelves, and bulging racks and the constant screaming sale signs, this
is not positive for anybody in creative industries, whatever role they
perform in the supply chain. As price gets driven down, within design
industries, companies need to assess whether it adds any value to their
merchandise. Cheaper does not equate with more sales but more 'stuff'
clogging up retail outlets.
Customers may very well ask
themselves, "Do we have enough stuff, why do we need to buy more?"
Two-dollar stores around the world have a lot to answer for. The cycle
of excessive consumption has been forced down the throats of potential
customers and they are starting to respond with boredom and
complacency. Mass production has brought speed, efficiency cheaper
prices but it also has brought diminished standards, and the strategy
of most companies appears intent on chasing the mighty dollar, which
can sacrifice the ability to truly profit.
Consumers today
are offered the choice between commoditised volume product (focussed on
price) and branded upmarket merchandise (focused on image). There lies
an opportunity for developers of creative product to assess the
viability of reinvigorating the middle market by creating product that
is well designed, innovative and which offers good value. Value is a
concept that shouldn t be automatically linked to lower priced
merchandise. Fundamental to creative industries, success into the
future is quality manufacturing and materials.
One of the
major problems with the onslaught of branding is that many product
categories started to work to similar formulas and the merchandise
offered to the consumer did not have a point of difference. Clothing
designer Paul Smith maintains: "It's the lack of individuality which is
detrimental to design, because design is about an idea. These days,
it's not about an idea any more, it's about marketing."
Style
copying has been a phenomenon throughout the global design industries
for a number of years. The consumer sees the same product everywhere
and then hears claims that it is original, which potentially means that
they only lose respect for all involved.
A consumer reaction
to the phenomenon of homogeneity in product categories will possibly be
realized in a return to design, an era is emerging that will see
creation become important beyond adaptation, a time when consumers will
seek out unique product. Creativity is returning to the domain of
smaller independent design groups and the focus is moving away from the
big brands that have dominated the scene for the past few years.
Designers
have found themselves victims of a system ruled by consumption: coming
up with new ideas on a constant basis for the sake of feeding the
system. In this blur of free enterprise, it is time to stop the
spinning wheel. David Shah who is the publisher of Viewpoint and
Textile View publications claims that: "Designers are moving back to
the notions of sustainable design value and meaning in products rather
than planned obsolescence and novelty. Marketers are beginning to think
once again in intellectual rather than celebrity and no-brow terms."
One
potential area that needs to be considered in this environment is the
concept of design that lasts - sustainable design. Customers will
search out best friend products, items that we develop relationships
with, trust and enjoy having around. This core trend will strongly
influence product directions into the next five years. In the search
for design that customers have confidence it means that certain product
categories will thrive.
Firstly, the basics that represent
functionality and no nonsense approach to product development;
secondly, the classics, capturing our inclination for all things
nostalgic while providing us with the comfort of what we know. The
third and most vibrant category is that of unique product, the search
for items with a point of difference that stimulate, excite and
challenge the user.
In the search for unique product we will
see a reaction to the frustration that has emerged with globalisation
and consequently there will be resurgence in the appreciation of
locally produced merchandise that reflects the peculiarities of its
inherent culture. A concept termed by Faith Popcorn as 'Locouture,' she
claims that it s sparking a return to old fashioned cottage industries,
since the quantities are too small for mass production.
For
global brands to survive during this period of individualism and
personalisation they will need to rethink strategies. Customers are
searching out product that offers integrity and value and this means
more than buying into the promises implied by the logo. Product
focussed organisations have now had to move on from the 1990 s notion
of branding as the key focus. The modern consumer is now looking for
multidimensional products that have to have soul, integrity and a
philosophy, a concept that is not easily realised. How does a designer
just whip something up that has soul, integrity and a philosophy?
Ederfield
and Horton writing in the UK publication, FW claim: "What is happening
is a literal back-to-basics and a doing away with advertising gloss in
favour of more honest persuasion. Marketing is the enemy of
authenticity, seems to be the message."
A new era is upon us
and there are real opportunities for creative industries to grasp the
moment to promote excellent design, quality production combined with a
socially responsible infrastructure. It is as if a new word needs to be
developed to capture 'branding' within this new context. Brands will
have a future albeit a rocky one. By contrast, design that is well
considered, innovative and socially responsible and which provides the
consumer with a sense of fulfilment has a positive future. At last, the
product will be the hero again what fun for all of us!
Karen Webster
Karen Webster is the Strategic Leader for Fashion at RMIT University in
Melbourne, Australia where she manages the fashion programs, from
degree through to doctorate level. Karen is highly regarded in the
industry as a consultant and public speaker. Her specialist areas of
expertise include an in depth knowledge of trend forecasting, consumer
analysis, colour trends and design directions.
Karen
completed her M.A. degree, in 1997 and is currently working on her PhD,
which researches whether fashion has a social conscience within our
contemporary culture. Karen is the Australian representative for Paris
based group; Studio Edelkoort, which publishes trend information under
the company Trend Union and creates the publications View on Colour and
Bloom.
Karen currently sits on the Board of the Melbourne
Fashion Festival, and has served as a board member on the Australian
Fashion Foundation, the Government committee for India Australia
Education in the TCF industries and The Industry Development Board for
Wool for the South Australian Government.