Brian Richards Most Recently Updated Pages

Storytelling vs Story Selling - Galvanizing the Nation to tell its many stories

Brian R Richards — Fri, 19 Oct 2012 12:25:48 +1300

We would all like to think this is the debutante decade for New Zealand. That we will reach multiculturalism, add lots of value to our commodities, and take our place in the peaceful Pacific. Communicating this excitement, the quality and uniqueness of New Zealand is a task, which has confronted and confounded the nation for many years. As probably one of the more unique water nations of the world, we have no inland people, mountain tribes or the like. We have always lived, leisured and looked out over it.

Our sense of inquisitiveness and discovery made all of us brave dangerous waters to come here, and now to make it better we have to brave them again; time in the international marketplace. Without soul and a spiritual togetherness we have little chance of success. The vision of who we are and where to from here has us trying so hard to express our identity through festivals, rugby world cups, expo’s and the like, and yet it continues to elude us.

We always seem to begin at the wrong end. It’s our settler story, which holds us back. We seem to be trapped in a time warp unable to express where to from here, invariably more comfortable in the past. This is the land that for most of its history has dominated its inhabitants. Its backbone was high, strong and forbidding. Its rivers crashed through canyons and exploded in flood. And at its center, it was still a living thing. Great eruptions and their legacy of lakes, streams and uncertainty are with us even now.

We always seem to begin at the wrong end. It’s our settler story, which holds us back.

Our macho busyness leaves us little time to reflect on such things. And our curators and cultural archivists continue in their failure to relate on such issues. They fail to see their ability to contribute so much, to explain simply the art forms, their stories. To fill a lonely managers soul with another dimension. A sense of history and time, laughter, softness, even craziness and impermanence. It's this vacuum in our souls when better filled that will eventually produce a vision for New Zealand. A contentedness arising from who we are, where we all come from, and what we're about.

Our story needs to begin in the present as to what we are about and how we intend to divide into the big troubled urban world out there. We are already a strong counterpoint as a ‘pure’ holiday destination, but there needs to be many more expressions, to showcase our smartness. I’ve come to the conclusion that identity for New Zealand is not so much about who we are but rather why we are the way we are.

Developing our story as to why we are the way we are, gives us an opportunity to express our particular point of difference in a futuristic way

Developing our story as to why we are the way we are, gives us an opportunity to express to the world our particular point of difference in a futuristic way. We've decided how we wish to live, work and play and want to share this through the medium of our products, services and experiences with the wider world beyond.

Understanding this why wherever we find it, be it an electric fence, a holiday, an educational experience or an item of software, will help us tell a much more contemporary story. Why the way we are, could well be explained in a story thread of “last discovered, least affected”.

Our natural history, and contemporary way of life because of this isolation has seen us evolve differently. Great storytelling is a tension of opposites; there is always a backdrop and foreground to a personality and every individual storyline needs to be mixed and matched depending on the audience. Software developers don't require the natural history story. Their backdrop could well be city and campus life in the positioning of product. Education, food, dairy etc would in each case be different. The trick is to understand that stories are all about balancing this tension of opposites.

In telling our story to the world it's important to avoid an overarching one, which always looks like a try hard campaign, which the world will see through. Rather it’s more about the many stories we have, or parts of the sum, which will make us interesting and vibrant going forward.

I have always felt there is an enormous distinction between storytelling and story selling, a point most frequently overlooked by the advertising industry. We all need to become storytellers, throughout our companies and communities in

our own special way. There is an increasingly curious world out there insatiable for content. Being last discovered and least affected is an enormously infectious idea on the world stage.

Image Credits:
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Best Awards, Sutherland Kovach Studio, Cartlidge Levene, Essenze, Fitzroy Yachts, Designtree, Yike Bike, Herbst Architects

Jingoistic Smugness - How to ruin your Heritage Brand

Brian R Richards — Mon, 13 Aug 2012 11:08:49 +1200

New Zealand doesn't have many heritage brands nor does it seem to understand how to cherish them.

Air New Zealand's recent announcement to paint their rear ends black “because they believe it's the nation’s colour “, seems to conclude something I have suspected for a long time, that trendy designers have invaded the board room and completely mesmerized the directors. Convincing them how old-fashioned they are and in need of a new livery to communicate all of their innovations.

I can't imagine the same thing happening in the Burberry boardroom, which has stuck to its piece of tartan since it's begun as a boring raincoat company in 1856.Now the 98th most valuable brand in the world, everyone can spot their identity as a form of visual shorthand. Dr. Ferdinand Porsche would likewise be pleased to know that 50 years apart his company’s design and presentation of the famous 911 sports car hasn't changed much and the logo not at all.

Why is it our airline is so schizophrenic in terms of its design systems, which seem to change so frequently? Perhaps they are confused between campaign advertising and the establishment of a true brand heritage. I suspect the airline may well be captured by its multiple design agencies or indeed worse they don’t seem to talk to each other. Rob Fyfe the outgoing CEO, and John Palmer the chairman were recently whingeing about the government not doing enough to promote New Zealand’s tourism image internationally, in that their long-distance destination business is drying up.

Air New Zealand is currently the only airline, which circumnavigates the globe, an incredibly infectious idea in terms of long haul hospitality. Being the airline which transforms you from the moment you step on board bringing you to a beautiful restful and pure part of the world. Why then are they “ Rugbyising” everything and turning their back on the blue Pacific for inspiration. Brands are not about who you are, but rather how others wish to perceive you. Long-distance travelers crossing the oceans will firstly be engaged through color. From the desk clerk to the aircraft and beyond, the question is what is the best color or sequence of colors to communicate an airline experience within New Zealand and beyond.

Blue is arguably the most popular choice for a brand colour. Blue is thought to put people at ease, as it is reminiscent of the sky and the ocean. Green is synonymous with calm, freshness and health. Deeper greens are associated with affluence, lighter greens with serenity. Black is used by companies that wish to boast a classic sophistication. Black works especially well for expensive products, and of course is the colour of mourning in the Western World. Whilst it might inspire pride in Kiwis, I'm not sure black will do much for women across the world or indeed those that have never heard of rugby. Clearly it works well as a sporting brand. It seems like there is a kind of boyish disregard for the conventions of branding such a national icon as our airline.

Air New Zealand is currently the only airline, which circumnavigates the globe, an infectious idea in terms of long haul hospitality.

The in-flight humor requires a lifetime of living in New Zealand before it's irreverence could be understood by the international traveler. Trelise Cooper’s history in clothing design has always been known for its plagiarized offerings from elsewhere, somewhere between Jane Austen and the belle epoque, like so many designers she's terrified of the national identity. Most women haven't worn cyclamen, or ming blue since they were 5 years old, why then have them grace the aisles like drag queens serving some of the world's best Sauvignon Blanc.

I was sitting next to an American in business class recently who thought the latest pink offering and body painted hostess asking us to buckle up was especially worn as part of a gay Mardi Gras. Hopefully he wasn't from the Midwest. The men's waistcoats, with their Dick Frizzell like graffiti of New Zealand centric words ‘Sweet as!’ ‘G’day’ and ‘blow’ add splendidly to the confusing array of kiwiana.

why then have them grace the aisles like drag queens serving some of the world's best Sauvignon Blanc.

This is branding from the inside out, as opposed to the outside in. It's a kind of jingoistic smugness that says this is the way we are, and it is seems completely devoid of a beautiful story which people expect of us. As a highly successful airline Air New Zealand has a heritage going back to its Coral Routes and the warmth of the people and the Pacific. It's what the world wants of us in traveling to our shores. And within this country it's what the majority of us want of ourselves.

The Singapore Girl strategy for their national airline turned out to be a very powerful idea since its inception 27 years ago. She has become a successful brand icon with an almost mythical status and aura around her. The Singapore Girl encapsulates Asian values and hospitality, and could be described as caring, warm, gentle, elegant and serene. It is a brilliant personification of SIA's commitment to service and quality excellence. The icon has become so strong that Madame Tussaud's Museum in London started to display the Singapore Girl in 1994 as the first commercial figure ever.

I'm not sure our body painted “Sheila” equivalent with the inimitable nasal accent will be joining the lineup at Madame Tussaud’s for a while yet, and when she does I wonder which hall of fame she’ll feature in.

Image Credits:
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Air New Zealand Nothing to Hide, Singapore Airlines, Luxury Insider, Lenovo, Architecture Now, Best Awards, Air New Zealand , Fiji Water

Olympic Brands - From Pencils to Pixels.

Brian R Richards — Thu, 26 Jul 2012 13:00:01 +1200

We are about to see an enormous celebration of nationality in the next few weeks across our televisions. The Olympics are the world’s most visually spectacular event of modern times and attracts designers to fashion their country’s emblems and uniforms to say something about themselves in terms of identity. The effort, usually enormous by the host country, rounds up every favour it can to ensure they’re showcasing their nations finest.

The Brits, true to form have been pulling out all stops for the entire year; starting with a royal wedding and then followed by the Queen's Jubilee and all manner of festivals and exhibitions, all building towards the crescendo of absolutely sparkling sport that we are set to witness in these next few weeks. “London Calling” BBC's programming call sign is a brilliant expression of all things British. There's no doubt about it the Brits do festivals like no one else. From the late Amy Winehouse to the ever-current Elton John, every balladeer they can muster will be strumming something, despite the rain, traffic, and that dreadful Heathrow Airport, the poms will be strutting their stuff.

The Olympic symbol designed by Baron Pierre de Coubertin, founder of the modern Olympics movement, is based on patterns common in ancient Greece. The five rings represent Africa, the Americas, Asia, Europe, and Oceania; every national flag in the world includes at least one of the five colours. Knowing what it takes up close, I can't imagine the infighting and hiding to nowhere which the designers pursue in delivering the best logo yet.

The quintessential German designer with Bauhaus principles, Aicher gave us ‘cool’ well before we misused the word.

I am no Olympic junkie but I have to say my colleague Julian knows every typographical serif down through the years. Julian pointed out to me the work of Otl Aicher who was the design director for the Munich 1972 games. His set of graphic pictograms of each sport were breathtakingly elegant, with the kind of clarity that perhaps will never be topped. He was the founder of the Ulm design school and a consultant to Braun and the German airline Lufthansa. The quintessential German designer with Bauhaus principles, Aicher gave us ‘cool’ well before we misused the word. He also championed logical design on the back of the flamboyant and colourful ‘flower power’ 60’s - how visionary is that!

Sadly, Munich was the ill-fated games where we saw the Israeli team taken hostage and subsequently murdered by terrorists. And over the years we have seen the event polarize people no matter how hard nations try to avoid mixing politics and sport. Of course all of this was designed well before the digital age and I wonder what Aicher would have done with pixels as opposed the pencil images he created. In his day Photoshop was literally a place where you went to buy photos in the high street.

The wonderful work of Michael Tompert and the team at Raygun Studios for BMW (sponsors of the US Olympic Team) showcase how Otl Aicher's principles are still relevant today. Using purposeful purity combined with the iconic spectrum of Olympic colours on black, they’ve captured the moment of the human triumph that we can only marvel at in an Olympian in a beautifully simple way. Aicher’s quintessential Daschund is the perfect symbol representing Germany in 1972. A far cry from the hideous London Jigsaw symbol of Wolff Olins, which only reinforces the stereotypical image of stoic Britishness. Perhaps its inspiration was Boris Johnson's hairdo? We are sure to see the entire spectrum over the next few weeks.

We live in an age of democratized design, courtesy of ever developing software that averages every space and template delivering unsurprising iterations of things we’ve seen before. Stella McCartney's work for Great Britain is very cool. And with her dad Paul, singing at the opening probably and her design for GB’s team uniform a big family turnout is guaranteed.

Coca-Cola, good on them, have the money and resolve to deliver something great. It's not easy to surround your product with an event like this and maintain your identity from a design perspective – but through the edition of collectible bottles, they’ve shown that it is possible. I suspect they'll jump into the Coke Museum in Atlanta and become very collectible. It’s only when you see the great work of masters down through the years do you begin to see how little we’ve advanced despite all this technology. Ideas-based design is still a craft of great refinement and the joy of seeing it and living with it is something to be immensely valued. I shall watch with interest the colourful costumes, and each teams efforts to communicate something of themselves and their nation in a single graphic element or garment design.

There will be some countries caught up in a time warp and others who will try to express where they are going. I think that's what's so wonderful about the event and the way in which the Olympians wish to characterize themselves. Of course there are exceptions, Ralph Lauren made himself very unpopular with US Congress by designing the American teams outfits and having them made in China. Obviously couldn't keep his hands off the margin. Still a good look though.

Visually with all the technology we now have, it promises to be spectacular entertainment. Take note of distinctive thoughtful design and the nations who get it right. The great design you see won't be about clever pixels, but rather the idea behind it - the magic that will capture you.

Look out for that lasting image and its ability to move you.

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Image Credits
Grain Edit on Flickr, Raygun Studio, Phaidon, Daily News America, Jacob Sutton, DesignBoom, DesignWeek, Daily Mail, Freshly Squeezed, Kathryn Monteiro

Ambitious Partnerships - Team NZ

Brian R Richards — Tue, 24 Jul 2012 12:46:02 +1200

As the guest of Team New Zealand at the launch of AC72 - the vessel that will take New Zealand to next years America’s Cup - I couldn’t help but marvel at the dogged determination of Grant Dalton and his ambition in taking on the billionaires and the world in the 2013 America’s Cup. There were so many well wishers – many who know him better than I, however I cannot imagine the toll it must've taken on he and his family to get this far.

I was involved from a brand strategy and sponsorship perspective in previous challenges made by Sir Michael Fay and Sir Peter Blake. Being up close with these people you begin to see what it takes to cross the line ahead of anyone else.

Taking a partner and family with you in these extraordinary endeavors is never easy. Reading between the lines of Lady Pippa Blake’s recent memoir, you note her polite disenchantment with the macho world of yachting, which left little time for her or family. It's now so pleasing to see, through her own personal art endeavors, that she has arrived at a place in her life where she has moved on beyond the mantle piece of trophies and her late husband's formidable achievements.

Standing next to Brigitte and I at the launch was Peter Chrisp, the recently appointed CEO of NZTE, who spends his life living out of a suitcase in the interests of championing New Zealand business innovation and its exports. Amidst all of this ambition I couldn't help thinking about the people standing behind these achievers – the likes of Peters’ and Grant’s family - the wives, partners and loved ones - and think they all deserve a special mention of their own. I have been blessed with a most supportive partner in my professional life - Brigitte, who I would be lost without. I would simply have to retreat to a hotel and room service if anything (God forbid) happened to her. She does everything for me and is the quietest unsung hero in my own humble success.

Like many in the room, the captains of industry and commerce all have this wonderful ‘not knowing - can do quality’ which, of course, our little country needs in spades to succeed in a free-trade environment.

US-based market research group Practica recently carried out a series of in-depth interviews in New Zealand. Through this process, they found that our attitude to ambition is quite broad – specifically they found that in New Zealand our notion of ambition is not necessarily about advancing our social status or making money, but instead we are driven by the ambition to grow. The research also found that nearly two-thirds of respondents in its survey did little or no planning toward their goals. This is telling, when aligned with the 50% who said they were driven to achieve their ambitions. Apparently, we want to broaden our capabilities and activities. We’re ambitious for experience rather than simply wealth.

We, as New Zealanders, need to sharpen our ambitions

‘New Zealanders believe setbacks and failures can be a good thing, because they can make you stronger’ the research reported. It’s not just about having talent or being good at sports. We’re obsessed with stories of people overcoming hardship in order to realise their ambitions.

It appears about a third of us believe success is largely founded on luck. Which perhaps explains the huge rush on any Saturday night to buy lotto tickets across the nation. Perhaps these findings help us to understand why so many small businesses fail: our squeamishness about planning, our reluctance to think or talk too robustly about money.

Grant Dalton has surrounded himself with experienced business people who have driven the bid and they intend taking on the world’s best. I only wish such ambition is seen not in ticker tape parades down Queen Street, but rather the methodical doggedness and planning which will assure he and his team of their best chance.

We, as New Zealanders, need to sharpen our ambitions. We clearly have what it takes but we seem torn in our ambitions in terms of what wealth creation means to us. The laid-back lifestyle appeals to many in this country, more so than for our counterparts overseas – as highlighted by the townies buying lifestyle blocks, magazines and television programmes devoted to people ‘downshifting’ and the idolisation of those who leave corporate jobs to do artisan activities like winemaking.

When I looked up at that amazing boat on Saturday night and was told it could top 40 knots downwind without a motor, you begin to realise what ambition really is. When I look around and see what we are capable of as a tiny nation I am convinced that a change of attitude will help us to realise our ambitions. I also believe that we can realise all of our ambitions and divide into a troubled world by being clever about how we go about it. And I think it can be done without sacrificing family but it's only later in life that I can see this personally.

So thank you to Mr. and Mrs. Grant Dalton and all the families who made it possible. Team New Zealand is an ambitious partnership with every New Zealanders.

Omotenashi

Brian R Richards — Mon, 18 Jun 2012 10:39:23 +1200

Reaching into one's customers’ hearts can only be done by reaching into one's own.

I was visiting a major law firm a few weeks ago and was farewelled by the young partner as he took a phone call, waving me in the general direction of the exit to find my own way out, through the labyrinth of passageways to the highly polished expensive marble foyer. Hardly a personalised experience where my business seemed valued and one that will hurt even more when I receive their invoice, I imagine. The statement will be equally clipped and impersonal merely quoting each ten minutes I spent with him and demanding a fee be paid within 20 days.

What is it about business today that we seem to have forgotten the rules and etiquette of human interaction and hospitality? It seems to me the corporate world has become so insensitive to people and their personal needs and wants, in favour of a database they regard as their customer service system. When you phone the company, or interact with most of its individuals, there is more often an abrogation of any personal responsibility or interest in favour of the mighty sign on the door — the brand. Have they ever stopped to think that they are the brand at that very moment? There are few values in a brand more prized than customer attentiveness, and most companies either ignore or cannot seem to deliver it. I've become curious about the subject and question why it's so difficult to deliver; I believe it's a cultural thing.

The essence of Japanese hospitality is to serve the spirit of the customer through the spirit of the employee.

The Japanese word for hospitality is Omotenashi. It implies an insightful understanding of customer wants and needs, and thoughtful caring about each customer's well being - treating people as true individuals.

The essence of Japanese hospitality is to serve the spirit of the customer through the spirit of the employee. Omotenashi behaviour is seen in the tea service. There is no master, no servant, rather there is equality, simplicity, care, and reciprocity; an activity which deals with human spirit rather than materialism.

In Japanese culture the guest, or in this case our customer, is more important than we are as a supplier, and one should always show respect for what the customer wants, how they react, and how they feel about your goods and services. Omotenashi principles suggest that one's salary is given by the customer and not by the company. Its primary rules are to deliver both visible attention i.e. hospitality, and invisible attention i.e. thoughtfulness. It removes the background push on product sales, instead relying on the development of a deep relationship with the customer to eventually get to the end result of revenue growth. Omotenashi means that if you have ten customers, by right there should be ten different Omotenashi. It is an attitude used in relation to attending to customers. Omotenashi sincerity goes back to the original art of the tea ceremony.

The true luxury experience of Lexus the Japanese carmaker and its customer attentiveness has become legend and integral to the brand. Each owner is treated as a personal guest in the house of Lexus. They very carefully anticipate different needs and wants and deliver a personalised vehicle in a very special way.

Companies keep on saying “customer service is important” but this is never delivered in a personalised way which will encourage people to come back. In an age where large amounts of information travels at blinding speed, customers live in an environment where it is very easy to get lost among the thousands of services and products that exist. When you consider the theory that 80% of revenue is always generated by 20% of the customers, it clearly indicates how important relationships are.

Omotenashi captures the repeater strategy perfectly by creating a memorable personalised experience. Shiseido the successful Japanese cosmetic house believes that Omotenashi is the “very source of their competitive strength”. In a recent survey for ANA Japan's largest airline, Omotenashi was voted as being the coolest thing appreciated by people of all nationalities.

Companies could do well to focus their brand in this space certainly in the western world where it's virtually unseen. Service businesses — particularly those that rely much more on intellectual capital and relationships — are often so remiss in what is a relatively inexpensive way of building goodwill. Omotenashi begins with training but then relies on the employee to develop his or her own style to obtain a satisfying experience for the consumer. Nothing is rushed; time is spent; education is given; advice is dispensed; manners are important; feelings are important; listening and empathy are more than words. And after the individual encounter, Omotenashi should be extended to the communities that are important to the firm.

When you engage with customers it should always be an act of human emotion, and it should convey both the desire for customers to enjoy themselves and a desire to make customers happy. Genuine hospitality, which thoroughly captures the hearts and minds of customers , will ensure they will want return time and again.

Reaching into one's customers’ hearts can only be done by reaching into one's own.

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Video Credit
Akira Hatsusegawa

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Image Credit
Lexus Global

Sharpening the New Zealand Story

Brian R Richards — Mon, 28 May 2012 15:06:24 +1200

It’s the foreground that creates a personality, not the backdrop. But any good story needs both.

At long last New Zealand is getting a sense of itself. We are no longer caught so awkwardly in the headlights of our history. We now have an inkling of how the colourful pieces of our national puzzle fit together.

At this formative stage, the sea change in our national thinking is admittedly more subtle than overt, but it doesn't take a futurist to read the signs. Of course, how the world sees us and how we see ourselves have, until recently, been out of sync. For years visitors have waxed lyrical about New Zealand's rich and varied cultural heritage and art, its myths and mountains, its humanity and hospitality, and its natural abundance. These impressions often have poignancy because of the stark contrast they exhibit to a slightly jaded world.

As a global emotion, New Zealand has never been in a better position to capitalise on the urban anxieties felt in the big cities across the world. While the settings may differ, the conditioning and the constant pressures are uncomfortably familiar. A mildly fearful but resigned ambivalence to horrific events. Urbanites hooked on the excitement of the race, yet yearning for some relief from anxiety and more breathing room for self-expression.

Every story has a backdrop and foreground dimension. Ours needs to be one that contains a very simple set of messages, which in the main should populate the foreground. At present the world sees us in a good light, but essentially it's the backdrop of our environment that is the only compelling part.

We are not seen as an advanced country in science and technology in vibrant and exciting urban environments.

We are not seen as an advanced country in science and technology in vibrant and exciting urban environments, or as a place which has interesting products and services which one could find across the globe.

Somehow, I don't expect to get a great coffee and the finest of cuisine after a day in the countryside in Iceland, however beautiful it is. It's not my impression, although they could well have the same problems we do in terms of international perception.

Balancing up the story is about creating a foreground personality for New Zealand, which speaks of these activities, well beyond our beautiful lakes and rivers. It's what we do, it's what we make, and it’s how we live which interests people.

The integrity of New Zealand is more than pristine landscapes. Its people, its products and services, its hospitality is all connected to a unique style of welcome or powhiri to those that venture this far. It’s surprising how this sense of place has an enormous power to drive the value of products and services offshore.

There’s a wonderful word called provenance. For me this is about people and place, their ingenuity, their love of what they do, and the passion with which they do it. Easy to see in winemaking, less so in computer software, forestry or fishing. Yet all of these smart things go on here and many are world-class in their categories.

So our new story needs to capture this contemporary foreground, of course still acknowledging the beautiful backdrop within which these things happen and are created.

A kind of ‘national toolbox’ is needed, which we can all dip into for a story.

I'm not suggesting massive campaigns - simply some kind of agreement across those interested, to create a symphony of infinitely interesting storylines which hopefully harmonise and add up to a consistent set of messages. A kind of ‘national toolbox’, which we can all dip into for a story or two, to help us when we head offshore with our individual products, services, education or tourist experiences.

I'm always curious in the international departure lounge to know what's in each business person’s briefcase about their take on New Zealand as they leave these shores. When we’re here of course it's all around us and we don't mention it that much between each other. When you head offshore and your opening piece in some foreign boardroom is who you are, where you are from, and what you stand for - I wonder how consistent the messages are.

Wouldn't it be great in this little country if we could agree on this? Imagine its power if we all told a consistent story. Like any good piece of theatre you need a whole range of different players but the thing that holds it together is always the plot.

I'd never go as far as saying we've lost the plot, but I would say we have never agreed on what it should be. And so we have delivered mixed messages and run the risk of saying too much. Just for the want of a simple clear-cut consistent story, we are almost there. It's well within our grasp and the world will listen, as we already stand on a credible stage.

We have so many curious dimensions to our culture we can offer the world, many of which remain unknown. A treasure chest of ideas, experiences, products, and services that somehow need to be shared and enjoyed by a wider world.

We've finally cracked the design arrogance of France. Here is an incredible tribute to David Trubridge inspired by the crayfish traps of Maori. Through his designs he has had a significant influence over Hermes's architects, who have rightly acknowledged him. In the development of their new luxury goods store in Paris, there is a little bit of New Zealand.

Our foreground personality is yet to emerge on the world stage and the timing has never been better. Nothing can beat a clear vision, a supportive culture and the story you've never heard before.

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To view David Trubridge's work:
www.davidtrubridge.com

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Image Credits:
Te Papa — Museum of New Zealand, Contemporist

Understanding the psychology of fashion is the marketing genius that defines success.

Brian R Richards — Mon, 14 May 2012 14:26:45 +1200

You don't buy clothes - you buy an identity.

The model struts towards the battery of cameras, profile held slightly aloft, walking with the curious avian gait that has evolved to flatter the lines of the dress. She does not spare a glance for us mere mortals in the wings; her attention is actually focused on the arsenal of lenses at the end of the catwalk which will click the image into the media an instant after she has turned away.

For most of us, the model’s short stroll is the first image that springs to mind with the mention of the word fashion. The runway show, with its combination of creativity, glamour and artifice, is one of the elements that drive us, again and again, to buy clothes we don't really need. It's difficult to think of an industry that does not have recourse to marketing, in one form or another, but only fashion has such an overbearing reliance on it.

When clothes leave the factories where they are made, they are merely garments or apparel. Only when the market has got hold of them do they magically become fashion. Even when you say you're not interested in fashion, you've been forced to confront it. Fashion is everywhere. What you choose to wear, or not to wear, has become a political statement. You don't buy clothes; you buy an identity. This identity is inherently linked to the brand's values. These values are communicated via marketing; are you flighty, debonair, streetwise, intellectual, sexy….? One thing is certain; fashion, even at the top of the scale, is increasingly about business.

This identity should be linked to the brand's values. They should be communicated via marketing; are you flighty, debonair, streetwise, intellectual, sexy...?

Designers are admirably creative people, but they work for an ever-shrinking number of global conglomerates. There cannot be many creative professions in which you are expected to prove your talent with a large body of work at least every six months. For those outside the industry, it's probably easier to be cynical about fashion than it is to be admiring. The words of fashion and marketing are virtually interchangeable. Yet a fashion brand cannot expect to thrive on marketing alone.

Consumers, happily, just aren't that dumb. Marketing can persuade a customer to push open the door of the shop, but if the clothes they find inside are ugly, they will leave.

Today, the product and any level of service must achieve the correct balance between price, quality, creativity and wearability. Fashion consumers, we would argue, are the most sophisticated of all shoppers. Fashion already relies on a complex array of barely perceptible signs and symbols - the width of the lapel, the height of a boot - so the imagery behind it cannot afford to be primitive. Today’s best fashion advertising barely resembles advertising at all. The most effective marketing campaigns are carried out under the radar; the target is unaware of the ruse until it is too late, or is so appreciative of its shrewdness that they agree to accept the come-on.

Every shopper has become a professional. They are beginning to resemble those who work in the industry. When you meet people from the fashion industry, and you work with them, one thing strikes you: none of them are particularly fashionable themselves. They are more often stylish, but there is never the slightest hint of the victim about them. It seems they understand the system so perfectly that they refuse to get caught up in it. Increasingly the customers are beginning to think the same way.

The days when consumers were loyal to brands are long gone. Nobody wants to be decked from head to toe in clothes from the same source, especially if they are smothered in logos. Small “curated” stores selling unusual but multiple brands, along with other lifestyle accoutrements, will become much more common in the future. Consumers don't just buy designer, or chain stores or vintage. They buy all three and throw them together in a style that is uniquely personal. As stylists themselves, consumers are pushing for more choice in the faster turnover of products. Fabrics and designers are becoming more innovative, even at the low end of the market.

The quest for originality is also prompting the return of couture and personal tailoring, but in a more democratic form. Women want to participate in the creation of an ensemble with the sales assistant. They like being part of the creative process. Fashion is all about the alter ego; who do I want to be today, without the why. It is that instant 30 seconds in front of the wardrobe, the mental picture of the occasion and mood, which makes a woman, reach into her heart and choose the garment that will define her person for that day.

Understanding the psychology of fashion is the marketing genius that defines success.

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Image Credits:
Pull The Metal, Twenty Seven Names, Vision Magazine

FIFA's All Powerful Brand Is No Longer Infallible.

Brian R Richards — Tue, 08 May 2012 11:05:05 +1200

FIFA's all powerful brand is no longer infallible. Like the Catholic Church they believe in one holy apostolic FIFA.

FIFA, the world football's governing body is often very directly associated with Switzerland, partly because Sepp Blatter, who is Swiss, leads it, and because it has been based in Zürich since 1932.

In a recent ethics hearing Blatter flatly denied bribery allegations, “…absolutely no wad of money given, ever, do I make myself clear?” he said. However, hidden cameras set up by Sunday Times reporters posing as representatives of the US 2022 bid caught them out. There's an odour in light of the conduct of many of its officials now seeping under its doors into Swiss political circles, where questions are being asked regarding the federation’s financial affairs. With a significant list of corruption evidence and allegations, the file held by judicial authorities in the Canton of Zug provides evidence of dubious practices.

I visited their headquarters and was a guest in their exclusive restaurant a few years ago. I was staggered by the magnificence of the $200 million building, with only two of its floors above ground - they are certainly well dug in, high above Zürich Berg.

Now at this Vatican of football, Blatter and his Cardinals are not dissimilar to the supremacy of Rome. However, like the real Holy Father, his own infallibility is now coming in for severe criticism.

The more I read on FIFA and its fantastic global brand being tarnished, I can't help but draw the parallel with the pomp and ritual of Rome. FIFA sanctions anyone who does not adhere to its rules. Like the Catholic Church they believe in one holy apostolic FIFA.

Every male, female and junior footballer, and also every football match in the world, is governed by FIFA, with the exception of fun tournaments and matches in alternative leagues. When accepting their licences, all footballers recognise the authority of FIFA and agree to refrain from going to ordinary courts over football related disputes. Like the Catholic Church, FIFA sanctions anyone who does not adhere to her rules.

FIFA sanctions anyone who does not adhere to its rules.

FIFA has monopolised a human passion loved by millions and exploits it for commercial purposes. You have to marvel at its power and ability to manipulate its network across the globe into a kind of religion with its own special cause.

It generates annual revenue of approximately US$1.4 billion through the sale of television and marketing rights for football World Cup Tournaments.

The salary bill in 2011 was US$67.3 million for 390 employees - an average of US$172,677, which seems terrific if you're the humble doorman or secretary on the front desk. Other employee benefits costs tallied more than US$21 million. On top of all of this, a bonus of US$29.5 million was paid for key management personnel defined as members of the 24-person executive committee.

Martin Luther (Christanity's first brand manager), a monk from Wittenberg in Germany, began to criticise the power and corruption of the Catholic Church (and its brand) in 1517. He said it was unfair of the Pope to stop translations of the Bible as ordinary people couldn't read Latin and they had to rely on their priest to tell them what it meant. Pardoners with the Pope's permission traveled throughout Europe selling indulgences. They said all you have to do was buy one and you could pay for forgiveness. Even for someone who had already died you could buy your loved one a ticket to heaven, from wherever they were in the meantime. If you ever get to Rome you will undoubtedly be rendered speechless at the magnificence of St. Peter's; it defies all budgets I have ever cited in my humble world of marketing. So they certainly knew how to exploit a monopoly on Christianity at the time, in much the same way as FIFA today.

The federation’s financial affairs generates billions in revenues, provides hardly any services, pays virtually no tax because of its not-for-profit status under Swiss law, and is seen as a sanctuary for corruption. An anti-corruption campaign launched by FIFA itself last November has failed to prove convincing. At a governing body conference in March, Blatter vowed it would change the way it investigates corruption. He seems quite able to neither hear, see, nor speak no evil.

Blatter personally has attracted criticism from the media, senior football figures and players, due to several controversial statements. These include suggesting that female football players should wear tighter shorts to appear more attractive to men, that Latin American countries would applaud John Terry for having an extramarital affair, that homosexuals should refrain from any sexual activity while attending the 2022 World Cup in Qatar, and that on-field racism could be corrected with a handshake.

Its ethics committee has failed to gather sufficient evidence themselves to prosecute a number of allegations of vote rigging during the 2018 and 2022 World Cup bidding contests, which was a glittering affair and a great disappointment for many, resulting in favor of Russia and Qatar. The enormous tournament in 2022 in the world's richest absolute monarchy will be an interesting spectacle, and one where the money is apparently already flowing. Qatar has a population of 300,000 and is where people survive quite nicely on a tiny stretch of very hot sand.

Still, under Sharia law, I'm not sure how the football fans and perhaps the more loutish element will cope with the limits on lager, and the threat of a potential flogging or stoning. I expect money will change hands in all directions behind the tent in true FIFA style.

After all FIFA's Brand tagline is “For the game. For the world”.

Image Credits:
Reuters, ITN Source, Swiss Review, NBC

Stories in the heart. Stories which make a nation.

Brian R Richards — Mon, 30 Apr 2012 15:56:22 +1200

Stories carved in our hearts and not stone. The permanence of who we are should not be carved in stone, but rather in our hearts, with all of us participating in the national story.

There was a young Indian family standing beside us at the dawn ceremony on Wednesday and I couldn't help but think what did it mean to them. After all, their ancestors probably had nothing to do with the military debacle at Anzac Cove in April 1915. As the beautiful clear sky lightened against the blood red War Memorial Museum I began to notice many cultures around me in effect defining what New Zealand is increasingly about. With their little ones hoisted on their shoulders, we all stood silently listening to a lone bugler, and in our own ways, to our own gods, thanked those long dead soldiers from the bottom of our hearts for their sacrifice.

Here great suffering was caused to a small country by the loss of so many of our young men. But, the Gallipoli campaign showcased attitudes and attributes - bravery, tenacity, practicality, ingenuity, and loyalty to King and comrades. It helped New Zealand define itself as a nation.

Stories carved in our hearts and not stone. The permanence of who we are should not be carved in stone, but rather in our hearts, with all of us participating in the national story.

We gained a great mutual respect for our trans-Tasman friends, which formed the basis of close ties, which continue today. Like all stories they do have sad chapters and this unquestionably was one of our saddest. Nevertheless the book needs to be read from cover to cover with all its tensions of opposites.

The little children standing with parents who were probably born elsewhere suggested to me that they probably have their own war stories every bit as horrific as ours. From Vietnam, Cambodia, Laos, Sri Lanka, Eastern Europe and beyond, I couldn't help thinking that for them this solemn dawn ceremony perhaps represented a new hope from whence they came to this young country – one which has in fact the word “New” in its name.

There is a danger that by clothing real historic events in a thick coat of myth and cliché that we will lose touch with the experience of those involved and its significance. History is the means by which we understand who we are, and the basis on which we make the judgment that determines our future.

The recent earthquakes in Christchurch have resulted in many lost lives and much sadness, and remind us of the impermanence of structures such as the destruction of the city’s beautiful Cathedral built in 1858. The resilience of New Zealanders and the people of Christchurch is such that they're happy to build a “cardboard” Cathedral, which will last 20 to 30 years, in that spirit of ‘can-do’ renewal. A kind of “let's get on in the meantime” attitude.

The Japanese architect Shigeru Ban's contribution comes from a person whose country has been devastated itself by recent nuclear and natural disasters. Here we see the indomitable spirit of the Japanese as they climb out of their own darkness by being held together by their stories.

The permanence of who we are should not be carved in stone but rather in our hearts with all of us participating in the national story. It is a matter for each and every one of us New Zealanders to understand and contribute our own little piece of the story. To feel included, to feel appreciated. Chilling reminders of how fragile we are and how much we need each other in such times. It's a rich and ever unfolding story, which helps us to stand together.

Stories of those things that entertain us and teach us how things are, how things came to be, and most importantly stories of what we could become. They teach us how to live. How to be thankful and even happy to go forward on such somber ANZAC mornings.

Checking Jeremy's Underpants: Icebreaker's Brand Review

Brian R Richards — Mon, 23 Apr 2012 15:46:31 +1200

Stripping things back to the bare essentials and maintaining your Brand’s “Ewephoria”.

I think all of our mothers insisted we shouldn't leave home without clean underwear and somehow it's an appropriate “Ewephemism” for a wonderful day I spent in Wellington last week revisiting an old brand project to do with sheep. I was bouncing off the ropes with Jeremy Moon the founder of the Icebreaker Brand and some of his very capable senior team going over carefully the brand ethos and stripping it right back to its underwear.

This tension of opposites
is in fact the complete organising idea behind
the brand and its
wonderful story

It's been 17 years since we scratched out the strategy together on a table napkin. At the time the expression “A Kinship with Nature” seemed wimpish. We both agreed at the start that the soul of the brand was less about wool and more about nature's cleverness in producing such an elegant solution of insulation against the elements. At that time we predicted that the more people were removed from nature the more they were prepared to pay for it and we unashamedly pitched the product at a high price aimed at the urbanites of the world who are desperate to touch nature in some way.

This tension of opposites is in fact the complete organising idea behind the brand and its wonderful story. Scripting the story and telling it in an intriguing way has been at the heart of positioning the product. Together with a transparent and ethical supply chain the company has become the world’s expert in Merino.

My first encounter with Jeremy and his piercing questions hasn't changed in all those years and I love the intellectual scrap we have each time we discuss the brand. No other client challenges me to the same degree and each encounter sees both of us sizing each other up and dancing round the ring fighting for our respective ideas. We each present a view and try to get the other to own the silence. It’s an old trick to under-cook the argument and hope your opponent will finish the point in full agreement. Jeremy’s never fallen for this and he’s got a whole lot better at interrogation, which requires me to get up a lot earlier in the morning and be on my game.

He's matured a great deal in the time I've known him. From the ex- student I first knew whose idea of sensory perceptions was at the time probably not much more than a quick breathless shag on a sofa in a Dunedin student flat to telling beautifully appealing adventure stories in the glamour spots of the world such as St. Moritz and New York. Both of us share excellent memories, and it was amusing to see some of the senior team looking strangely at odds with the one-liners we had exchanged over the years in the brand’s development; from Denise Diderot’s dressing gown to Deepak Chopra.

These days I see so much “mud at the wall marketing” and it's so pleasing to see Jeremy's desire to address the brand’s founding ethos again as the company chases the second $100 million.

Recapturing the soul of the brand and reinstating its values are critical to its future success. Like icebergs they can drift and melt away and what is below the water is often where the real substance is. So few companies have the courage to do this and fail to keep the scraps of paper, causing endless brand iterations and drifting usually into category oblivion.

Strangely at the end of the review of all of the material around the room we concluded that we haven't strayed much from the humble scrap of paper over the years. The only new dimension going forward was the impact of technology and our ability to grow the community of Brand lovers in a much more personalised way.

So I'm pleased to report after an exhausting intellectual debate (and an excellent dinner) we put our gloves away and agreed “Ewenaminously” that Jeremy's Brand underpants didn't need changing. He just needs to ensure that everyone in the company wears the same model and feels as “Ewephoric” as he does.