There is no way to mistake the ubiquitous trademarked Coca-Cola bottle, or the stylish ads for Absolut Vodka with any of their competitors. How have these companies created this irresistible appeal for their brands? How have they sustained a competitive edge through aesthetics? Bernd Schmitt and Alex Simonson, two leading experts in the emerging field of identity management, offer clear guidelines for harnessing a company's total aesthetic output -- its "look and feel" -- to provide a vital competitive advantage. Going beyond standard traditional approaches on branding, this fascinating book is the first to combine branding, identity, and image and to show how aesthetics can be managed through logos, brochures, packages, and advertisements, as well as sounds, scents, and lighting, to sell "the memorable experience." The authors explore what makes a corporate or brand identity irresistible, what styles and themes are crucial for different contexts, and what meanings certain visual sym
Japan's largest private corporation, NTT was established in 1985. NTT therefore held a competition in which six companies competed for the chance to take on the new companies CI project. In the end, the proposal by PAOS (Motoo Nakanishi) + Dentsu was awarded and graphic designer Yusaku Kamekura was asked to design the company's core logo by PAOS. This exhibition features a total look at the graphic designs they produced. The exhibit provides a refreshing departure from architectural design exhibitions, and supplies new insight into the nature of corporate identity.
Consumption demand has transferred from quantitative consumption to "perceptual consumption" at nowadays through qualitative consumption changes along with arriving of information age. Development direction for guiding thoughts of designing creation shall be pursuing of more harmonious and closer perceptual relations between user and commercial goods in the future. Product designing shall not only focus on integration of visual elements but shall also pay more attention to perceptual part produced by overall sense organ in product using process. This essay discusses on how to implement product perceptual design by carrying out visual, touching, hearing, smelling and other organ element analysis.
With the arrival of the information era and increasingly fierce international competition, many business management personnel and CI planners have to face a problem to introduce CI which is adapted to Chinese enterprises. This article focuses on the analysis of relevant issues challenged Chinese enterprises and the current situation of their CI strategies and elaborates the importance of identity to CI designs of Chinese enterprises from the fundamental functions of CI. It also introduces the strategies and methods adopted in establishing identity in CI designs from the aspects of visualization of core concept and visual unity and difference.
Does your company have customers from other countries? Suppliers? Competitors? Are
you increasingly operating in a global competitive intelligence environment?
Of course the answer is “yes” for virtually every company these days. And one result is
that CI practitioners working for such companies find themselves having to elicit
intelligence from people all over the world. This is tough enough, even for CI’ers who
are truly global citizens, but it can be a tall order for those used to working primarily
within their own cultural environs.
One answer is to reach out to a local CI outsourcer who can be your “feet on the street”
and provide your key cultural interface in another country. Indeed, this is a proven
strategy for CI professionals who are less familiar with a given market or foreign
competitor. This can be expensive and occasionally unreliable, however.
The term Corporate Identity (CI) refers to both a company's characteristics and the image it conveys to the public. In the early years, when Sony was still relatively small and unknown, CI was a totally new concept in Japan. However, people at Sony realized the importance of CI early on and began to promote the Sony brand name worldwide.
In 1955, Ibuka and Morita registered SONY as an official trademark of Tokyo Tsushin Kogyo with the intention of establishing the name as a global brand. One month later, when Bulova Inc. of the US promised to order 100,000 transistor radios on the condition that they be sold under its own brand name, Morita refused, saying that his company would only allow its products to be sold under the Sony brand. When pressed, he asked Bulova, "How many people had heard of your company fifty years ago? My company is just starting out, but fifty years from now it will be just as famous as yours."
ABSTRACT - This session summary provides an overview of corporate-identity and brand-equity related issues in the Asia-Pacific Region as well as a review of the papers presented by consumer researchers and practitioners in the session. Participants in the session discussed several unique features of corporate and brand identities and how consumers respond to corporate and brand identities in the Asia-Pacific Region. In addition, cross-cultural differences in corporate and brand perceptions, brand name attitudes, brand extensions and aesthetic preferences were identified and explanations for these differences, focusing on linguistic factors, categorization processes and cultural values, were provided. Future research issues and the need for a broader theoretical framework are discussed.