Idiologie / branding & everything else

Culture Code

An Ingenious Way to Understand Why People Around the World Live and Buy as They Do

“The Culture Code is the unconscious meaning we apply to any given thing — a car, a type of food, a relationship, even a country — via the culture in which we are raised. The American experience with Jeeps is very different from the French and German experience because our cultures evolved differently (we have strong cultural memories of the open frontier; the French and Germans have strong cultural memories of occupation and war). Therefore, the Codes — the meaning we give to the Jeep at an unconscious level — are different as well. (…) It is obvious to everyone that cultures are different from one another. What most people don’t realize, however, is that these differences actually lead to our processing the same information in different ways.”

However trivial the starting point of Clotaire Rapaille’s “Culture Code” may seem, the marketing (and cultural) guidance deduced from the anthropological study is quite puzzling. The analysis of several fundamental archetypes (ranging from shopping to sex), abundant in examples from Rapaille’s practice, seems to assure consistent results in any commercial endeavor.

While finding unanticipated needs of the customers might be a useful hint to differentiate whichever product or service, the great part of archetype revelations disclosed throughout the book seems naive and shallow, though well wrapped in catchy slogans. I could not resist the notion that the selection of the exemplified cases is preposterously biased toward supporting “The Breakthrough Code” revealed in each chapter.

There’s nothing revelatory in the concept of cognitive schemes, even as applied to marketing practice. Nor is treating a brand as an expression of a cultural archetype.

Apart from questionable conclusions, there’s one part I’ve found particularly entertaining (and a good sample of the tone of the book):

“We want someone with a highly developed vision who makes us pay attention when he speaks. We want someone with a strong reptilian side who can take care of our problems and lead us into the Promised Land because he knows what is wrong and how to fix it. We don’t want a father figure. We want a biblical figure. The Culture Code for the American presidency is MOSES. (…) a rebellious leader of his people with a strong vision and the will to get them out of the trouble. Moses also made his people believe they could do the impossible. This is a skill great presidents possessed, beginning with George Washington himself. (…) They inspired us to act by convincing us to share their transcendental vision. They gave us directions out of the desert and into the Promised Land.”

So know you know why Obama is going to win the forthcoming elections:).

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Design Imperialism

“A key point of failure in today’s global design landscape lies precisely in the jargon — we need to invent new ways of writing, talking and thinking about concepts of “humanitarian design”; we need new language that doesn’t homogenize entire cultures, new vocabulary that better reflects the intricate lace of the world’s biocultural and psychosocial diversity as a drawing board for design.” Maria Popova on The Language of Design Imperialism. Insightful.

Of Frog Wines and Frowning Watches: Semantic Priming, Perceptual Fluency and Brand Evaluation

“Visual features that have no meaningful association with the product itself can actually make consumers like the product, provided that these features are something that the consumer can easily identify with.This means that critters on wine labels, however odd that may be, can be a good sales strategy. It allows a marketer to target a certain consumer by using images on labels that represent an important aspect of that customer’s life. Moreover, there are potentially many ways to make that label as unique as possible because a logo would be chosen based on who the target customers are and not on what that product is.” Building a Better Brand: How feelings shape product evaluation.

The Sins of St. Paul

“I did not know Paul Rand. I did not work for him or study under him. My understanding of his importance, then, has been gained in the same way as students and practitioners in years to come will gain theirs: through books like Modernist Design. (…) So it’s with some trepidation that I wonder if I might lodge a few complaints about Mr. Rand as a model for graphic design practice. But here goes.” M. Bierut on Paul Rand.

“Any design student could do a better job”

“I never knew a designer that got hundreds of thousands of dollars to design a logo. Mostly, designers get paid to negotiate the difficult terrain of individual egos, expectations, tastes, and aspirations of various individuals in an organization or corporation, against business needs, and constraints of the marketplace. This is a process that can take a year or more. Getting a large, diverse group of people to agree on a single new methodology for all of their corporate communications means the designer has to be a strategist, psychiatrist, diplomat, showman, and even a Svengali.
The complicated process is worth money. That’s what clients pay for. The process, usually a series of endless presentations and refinements, persuasions and proofs, results, hopefully, in an accepted identity design”
What they don’t teach you about identity design by Paula Scher.

Steven Heller on Olympic Pictograms

Briefly and to the point (& video): Olympic Pictograms Through the Ages.

Quiet logos

“Lindstrom suggests that too much messaging on a product’s packaging can actually prevent a sale. Logos and words can engage the rational mind, causing people to actually think harder about making a purchase. It’s a counter-intuitive notion, but then think about the effectiveness of the quiet logos on a bottle of POM Wonderful pomegranate juice, or a Method product, or the entire Apple product line up.” The Myth of the Rational Buyer: How Too Much Thinking Can Hurt Your Brand

Meetings, the Google way

Not exactly on the main subject of this blog, but hey, branding actually IS about meetings. Meetings, the Google way:
1. Set a firm agenda. 2. Assign a note-taker. 3. Carve out micro-meetings. 4. Hold office hours.
5. Discourage politics, use data. 6. Stick to the clock. [via: supervolatile]

A Product is not a Brand

A Bain & Co. survey notes that 80 percent of CEOs believe that their product is differentiated, but only 8 percent of consumers agree. To truly stand out in the market, a product must embody the characteristics of its brand. (…) The first to market position is a market opportunity, not a brand strategy. A product is not a brand.

The Experience, stupid.

“Design beautiful experiences, not beautiful artifacts. Stop asking “what” and start asking “why”. Start with experience, end with experience. Genius will fail, wisdom will succeed. Become wise. Keep it simple. From design thinking to dynamic thinking. Let iteration direct your process: Work more rapidly, change more frequently. Have fun. Adapt your process to your design goals, not the other way around. Preserve the experience, not your own competency.” The Experience Imperative: A Manifesto for Industrial Designers by Ken Fry.
Plus: “Experience design is not a remedy that turns products into miracles that everybody likes. It will help you speaking more efficiently to your target group. To that end products needs to be simplified. The simpler the product the more character it has, the more likely it is to be rejected or accepted by a group of customers. To that end you need to know your customers and you need to test your designs with your customers.” iA: Can Expierience be designed?

On Designers

“Designers care. This is not always a good thing, and can, in fact, be annoying. Designers obsess so much about their work that it’s a wonder they ever let any finished project out the door. And they’re just as tough on everyone else’s work.” I feel excused now;). For other equally accurate features read: Four Things I’ve Learned About Designers by Warren Berger.

Links:

  • Brand New Displaying opinions, and focusing solely on corporate and brand identity work.
  • Design Observer Features critical essays and selected writings of design culture.
  • Designmind Business, technology & design magazine with perspectives on industry.
  • Identityworks Corporate identity as a management tool by Tony Spaeth.