BRANDING & design (Fashion magazine)

W O R L D W I D E

D E S I G N

M A G A Z I N E

The Longing for Authenticity TOUGH TIMES DON’T LAST, BUT TOUGH BRANDS DO MARIMEKKO - STILL IN BLOOM PRODUCT DEVELOPMENT TEN WAYS TO SPICE UP YOUR BRANDING INDUSTRIAL COOL

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Contents Branding & Design 2009

Welcome to the world of Nilorn

24 3

CONTENTS

4

FOREWORD

6

CRONICLE: BRANDING

8

FOCUS: INDUSTRIAL COOL

10

TOUGH TIMES DON’T LAST, BUT TOUGH BRANDS DO

industry. The Nilorn Group offers complete, creative and tailored concepts in

12

PRODUCT DEVELOPMENT

branding, design, product development and logistic solutions. Satisfied customers

22

FAVOURITE PICKS

are our principal asset, and it is therefore important to establish, maintain and

24

THE LONGING FOR AUTHENTICITY

30

MARIMEKKO STILL IN BLOOM

34

TEN WAYS TO SPICE UP YOUR BRANDING

36

DESIGN IN PROGRESS: JEREMIAH JONES

38

KIRSTEN AVERY SHOE DESIGNER

38

ANDREW BANISTER FASHION DESIGNER

10 26

12 8

INDUSTRIAL COOL For some time, both the fashion and home furnishing industries have been influenced by industrial aesthetics.

We take a look at both new and classics.

The Nilorn Group is an international company, established in 1977, focused on adding value to brands using branding and design in the form of labels, packaging and accessories. Customers principally represent the fashion and ready-to-wear

34

30

enhance customer relations through first-class service. The Nilorn Group is one of the leading European players, with turnover of over SEK 300 m. The Group operates through its own companies in Sweden, Denmark, the United Kingdom, Germany, Belgium, Portugal, Hong Kong, India and Turkey. In addition, there are partner companies in Switzerland, India, Bangladesh, Tunisia, Romania and China. www.nilorn.com

2

SPICE UP YOUR BRANDING

with our guide to the latest trends and techniques in branding for the fashion and textile industry.

3

MARIMEKKO

Read the story behind the successful brand Marimekko which today is more popular than ever.

Contents Branding & Design 2009

Welcome to the world of Nilorn

24 3

CONTENTS

4

FOREWORD

6

CRONICLE: BRANDING

8

FOCUS: INDUSTRIAL COOL

10

TOUGH TIMES DON’T LAST, BUT TOUGH BRANDS DO

industry. The Nilorn Group offers complete, creative and tailored concepts in

12

PRODUCT DEVELOPMENT

branding, design, product development and logistic solutions. Satisfied customers

22

FAVOURITE PICKS

are our principal asset, and it is therefore important to establish, maintain and

24

THE LONGING FOR AUTHENTICITY

30

MARIMEKKO STILL IN BLOOM

34

TEN WAYS TO SPICE UP YOUR BRANDING

36

DESIGN IN PROGRESS: JEREMIAH JONES

38

KIRSTEN AVERY SHOE DESIGNER

38

ANDREW BANISTER FASHION DESIGNER

10 26

12 8

INDUSTRIAL COOL For some time, both the fashion and home furnishing industries have been influenced by industrial aesthetics.

We take a look at both new and classics.

The Nilorn Group is an international company, established in 1977, focused on adding value to brands using branding and design in the form of labels, packaging and accessories. Customers principally represent the fashion and ready-to-wear

34

30

enhance customer relations through first-class service. The Nilorn Group is one of the leading European players, with turnover of over SEK 300 m. The Group operates through its own companies in Sweden, Denmark, the United Kingdom, Germany, Belgium, Portugal, Hong Kong, India and Turkey. In addition, there are partner companies in Switzerland, India, Bangladesh, Tunisia, Romania and China. www.nilorn.com

2

SPICE UP YOUR BRANDING

with our guide to the latest trends and techniques in branding for the fashion and textile industry.

3

MARIMEKKO

Read the story behind the successful brand Marimekko which today is more popular than ever.

FOREWORD FOREWORD

WELCOME

HEADQUARTERS

THE NILORN GROUP Alingsåsvägen 6 Box 499 503 13 Borås, SWEDEN Tel. +46 33 700 88 88 Fax +46 33 700 88 19 info@nilorn.com www.nilorn.com

This year began in a very turbulent way, with financial crises and a global recession, the likes of which we not have seen in many decades.

The fact is that only the strongest brands, business ideas, and companies will survive it and take market shares in this shrinking and increasingly competitive market.

I strongly believe that it will be even more important to secure one’s position, strengthen one’s brand, and create a unique location that will prepare you to meet future challenges.

We have given the 2009 edition of the Nilorn Branding & Design Magazine the theme of Longing for Authenticity.

We at Nilorn believe that the market trends favour authentic products with a heart and unimpeachable quality, as well as an image and a story.

SUBSIDIARIES & PARTNERS

This edition contains some good examples of successful brands and companies which have developed from a strong platform with a high-quality image.

NILORN BELGIUM NV Joseph Cardijnstraat 58 B-9420 Erpe-Mere BELGIUM Tel. +32 53 82 77 77 Fax +32 53 82 77 82 info@be.nilorn.com

NILÖRN AB Alingsåsvägen 6 Box 499 503 13 Borås SWEDEN Tel. +46 33 700 88 00 Fax +46 33 700 88 48 info@nilorn.com NILORN DENMARK A/S Tolderlundsvej 16 5000 Odense C DENMARK Tel. +45 70 23 16 23 Fax +45 66 13 48 31 info@dk.nilorn.com

The team at Nilorn have unique experience in developing and building a strong identity and superior brands for our customers in the fashion and textile market. I hope this magazine will inspire you, and provide you with good ideas about how we can help you in the area of branding.

NILORN GERMANY GMBH Postfach 110 + 120 Blücherstraße 72 - 74 58332 Schwelm GERMANY Tel. +49 2336 403-0 Fax +49 2336 403-20 info@de.nilorn.com

I wish you a pleasant and inspiring read.

NILORN UK LTD Acre Park Dalton Lane, Keighley West Yorkshire, UNITED KINGDOM BD21 4JH Tel. +44 1535 673 500 Fax +44 1535 673 519 info@uk.nilorn.com

Claes af Wetterstedt CEO

NILORN EAST ASIA LTD Unit 1701, 17/F, Westley Square 48 Hoi Yuen Road Kwun Tong, Kowloon HONG KONG Tel. +852 2 371 2218 Fax +852 2 371 2629 info@hk.nilorn.com

COVER PHOTO: Alexander Nicholson / Getty Images PAPER: Body: Profisilk 170 gsm Cover: Profisilk 250 gsm Printed at Kredahl Grafiska AB, Borås.

4

NILORN PORTUGAL LDA Rua D. Afonso Henriques Terronhas, 4585-640 Recarei PORTUGAL Tel. +351 22 411 95 80 Fax +351 22 411 95 99 info@pt.nilorn.com NILORN INDIA PVT. LTD. Plot no. 9c, Sector – 3 Parwanoo – 173220 (HP) INDIA Tel. +91 1792 235232 Fax +91 1792 233176 E-mail: info@in.nilorn.com BALLY LABELS AG Schachenstrasse 24 CH-5012 Schönenwerd SWITZERLAND Tel. +41 62 855 27 50 Fax +41 62 849 40 72 info@bally.nilorn.com EL OUCHMA ETIQUETTES ZI.La Poudriére ll, B.P 79 EL Bousten, 3099 TUNISIA Telephone: +216 74 432 630 Telefax: +216 74 432 016 E-mail: nilorn@el-ouchma.com NILORN TURKEY Nilorn Etiket San. ve Tic. Ltd Sti Atatürk Mahallesi Marmara Sanayi Sitesi. B-27 Ikitelli, Istanbul 346 70 TURKEY Tel. +90 212 472 05 13 Fax +90 212 472 05 21 info@tr.nilorn.com

Be part of our world. www.olsen.de Tel. +49-40-855 60-307

We at Nilorn take great pleasure in publishing the 2009 edition of the Nilorn Branding and Design Magazine.

FOREWORD FOREWORD

WELCOME

HEADQUARTERS

THE NILORN GROUP Alingsåsvägen 6 Box 499 503 13 Borås, SWEDEN Tel. +46 33 700 88 88 Fax +46 33 700 88 19 info@nilorn.com www.nilorn.com

This year began in a very turbulent way, with financial crises and a global recession, the likes of which we not have seen in many decades.

The fact is that only the strongest brands, business ideas, and companies will survive it and take market shares in this shrinking and increasingly competitive market.

I strongly believe that it will be even more important to secure one’s position, strengthen one’s brand, and create a unique location that will prepare you to meet future challenges.

We have given the 2009 edition of the Nilorn Branding & Design Magazine the theme of Longing for Authenticity.

We at Nilorn believe that the market trends favour authentic products with a heart and unimpeachable quality, as well as an image and a story.

SUBSIDIARIES & PARTNERS

This edition contains some good examples of successful brands and companies which have developed from a strong platform with a high-quality image.

NILORN BELGIUM NV Joseph Cardijnstraat 58 B-9420 Erpe-Mere BELGIUM Tel. +32 53 82 77 77 Fax +32 53 82 77 82 info@be.nilorn.com

NILÖRN AB Alingsåsvägen 6 Box 499 503 13 Borås SWEDEN Tel. +46 33 700 88 00 Fax +46 33 700 88 48 info@nilorn.com NILORN DENMARK A/S Tolderlundsvej 16 5000 Odense C DENMARK Tel. +45 70 23 16 23 Fax +45 66 13 48 31 info@dk.nilorn.com

The team at Nilorn have unique experience in developing and building a strong identity and superior brands for our customers in the fashion and textile market. I hope this magazine will inspire you, and provide you with good ideas about how we can help you in the area of branding.

NILORN GERMANY GMBH Postfach 110 + 120 Blücherstraße 72 - 74 58332 Schwelm GERMANY Tel. +49 2336 403-0 Fax +49 2336 403-20 info@de.nilorn.com

I wish you a pleasant and inspiring read.

NILORN UK LTD Acre Park Dalton Lane, Keighley West Yorkshire, UNITED KINGDOM BD21 4JH Tel. +44 1535 673 500 Fax +44 1535 673 519 info@uk.nilorn.com

Claes af Wetterstedt CEO

NILORN EAST ASIA LTD Unit 1701, 17/F, Westley Square 48 Hoi Yuen Road Kwun Tong, Kowloon HONG KONG Tel. +852 2 371 2218 Fax +852 2 371 2629 info@hk.nilorn.com

COVER PHOTO: Alexander Nicholson / Getty Images PAPER: Body: Profisilk 170 gsm Cover: Profisilk 250 gsm Printed at Kredahl Grafiska AB, Borås.

4

NILORN PORTUGAL LDA Rua D. Afonso Henriques Terronhas, 4585-640 Recarei PORTUGAL Tel. +351 22 411 95 80 Fax +351 22 411 95 99 info@pt.nilorn.com NILORN INDIA PVT. LTD. Plot no. 9c, Sector – 3 Parwanoo – 173220 (HP) INDIA Tel. +91 1792 235232 Fax +91 1792 233176 E-mail: info@in.nilorn.com BALLY LABELS AG Schachenstrasse 24 CH-5012 Schönenwerd SWITZERLAND Tel. +41 62 855 27 50 Fax +41 62 849 40 72 info@bally.nilorn.com EL OUCHMA ETIQUETTES ZI.La Poudriére ll, B.P 79 EL Bousten, 3099 TUNISIA Telephone: +216 74 432 630 Telefax: +216 74 432 016 E-mail: nilorn@el-ouchma.com NILORN TURKEY Nilorn Etiket San. ve Tic. Ltd Sti Atatürk Mahallesi Marmara Sanayi Sitesi. B-27 Ikitelli, Istanbul 346 70 TURKEY Tel. +90 212 472 05 13 Fax +90 212 472 05 21 info@tr.nilorn.com

Be part of our world. www.olsen.de Tel. +49-40-855 60-307

We at Nilorn take great pleasure in publishing the 2009 edition of the Nilorn Branding and Design Magazine.

Getty Images

CRONICLE

HENRIK MATTSSON, trend spotter with 30 years in the industry Bloc Framtidsforskning AB

BRANDING (from small to large, from simple to complex, or from banal to ingenious)

Lagerfeld Zaha hadid

”Branding is about all that, holding onto feelings and creating dreams and fantasies, as well as underscoring the unique value of the product.”

T

hink for a minute about how rapidly our society has developed during the past 20 years, and how this is especially noticeable in the case of branding strategy. For a long time, an attractive label was the only communicator present at the time of purchase. As years passed, however, we have increasingly understood the value of working with intangible factors in a more intelligent way, have realised that a trademark can also be found outside of the product, and have become aware that the more we transmit in the form of signals, the greater the chance of new purchases of the item or brand involved.

The more technology and data that is present, the more we long for the human touch and emotions. Branding is about all that. Holding onto feelings and creating dreams and fantasies, as well as underscoring the unique value of the product. Actually, branding is a manifesto that includes only a products very best features, presented in a manner which balances the external and internal values of a product. In this new economic climate, especially, it is increasingly important to be genuine, and to be perceived as serious. This period of uncertainty may well call for a revision of trademarks, and we really need to think about this. Branding has become more focused as goods and services become more and more similar, while producers strive to have them perceived as being unique. Branding is also a way to increase a company’s

prominence and send the consumers your message, and not merely the bare facts. The little label has now given rise to hang tags, directions, and manuals or attractive books.

Instead of an advertisement, people now create fantastic folders or illustrated books that depicts the essence of the brand or concept in a simple and educationally correct manner.

This kind of material sometimes lasts longer than the products it is intended to reinforce, but must be viewed as an extension of the original product.

So where is branding today? It’s developed and become PR and marketing, and maybe that’s exactly how the new branding culture should look. Because branding is no longer limited to a hanging label, a great deal more effort is required in order to be successful.

You need to be more practical too, because in contrast to an advertisement, you know the end consumers will really be getting the material in their hands.

It is appropriate to bear in mind here that the hand symbolises personhood and craftsmanship or the link between the product and the consumers. We have to utilise and work more with this aspect. This human, touchyfeely dimension in branding is a clear winner in our age of artificiality.

The borders between the various segments of the advertising industries are shifting, and results and output are suddenly becoming more important than input. Increasingly lin-

Interior from CHANEL Contemporary Art Container.

6

7

king brand name building to a product is the wave of the future, because at present, our reality is that we sell products rather than concepts. The concept is now used to support products, rather than the other way around.

Paradoxically, branding is gaining importance while concepts are losing it.

Architecture represents the ultimate use of branding. The little label has now become a large building. This is something cities and countries have worked with for a long time, but now some branding companies have also begun expanding their branding to houses or buildings. Chanel commissioned Zaha Hadid, the architect currently in vogue, to build a mobile art gallery, which was first placed on a roof in Hong Kong, and will later be moved to New York’s Central Park. In other words, branding is more important than ever before. It’s actually just a way of telling who you are, and what you want in a pleasing and intelligent manner so the recipient of your message will like you and want to choose you, rather than someone else. This requires a bit of puffing, or in any case, emphasising our best aspects, and perhaps even having a vision greater than ourselves. Successful branding must aim for the stars, and dare to break many barriers and taboos, while at the same time underscoring responsibility and a long-term approach. Sustainability, responsibility and creativity will be key words in the branding culture of the future.

Getty Images

CRONICLE

HENRIK MATTSSON, trend spotter with 30 years in the industry Bloc Framtidsforskning AB

BRANDING (from small to large, from simple to complex, or from banal to ingenious)

Lagerfeld Zaha hadid

”Branding is about all that, holding onto feelings and creating dreams and fantasies, as well as underscoring the unique value of the product.”

T

hink for a minute about how rapidly our society has developed during the past 20 years, and how this is especially noticeable in the case of branding strategy. For a long time, an attractive label was the only communicator present at the time of purchase. As years passed, however, we have increasingly understood the value of working with intangible factors in a more intelligent way, have realised that a trademark can also be found outside of the product, and have become aware that the more we transmit in the form of signals, the greater the chance of new purchases of the item or brand involved.

The more technology and data that is present, the more we long for the human touch and emotions. Branding is about all that. Holding onto feelings and creating dreams and fantasies, as well as underscoring the unique value of the product. Actually, branding is a manifesto that includes only a products very best features, presented in a manner which balances the external and internal values of a product. In this new economic climate, especially, it is increasingly important to be genuine, and to be perceived as serious. This period of uncertainty may well call for a revision of trademarks, and we really need to think about this. Branding has become more focused as goods and services become more and more similar, while producers strive to have them perceived as being unique. Branding is also a way to increase a company’s

prominence and send the consumers your message, and not merely the bare facts. The little label has now given rise to hang tags, directions, and manuals or attractive books.

Instead of an advertisement, people now create fantastic folders or illustrated books that depicts the essence of the brand or concept in a simple and educationally correct manner.

This kind of material sometimes lasts longer than the products it is intended to reinforce, but must be viewed as an extension of the original product.

So where is branding today? It’s developed and become PR and marketing, and maybe that’s exactly how the new branding culture should look. Because branding is no longer limited to a hanging label, a great deal more effort is required in order to be successful.

You need to be more practical too, because in contrast to an advertisement, you know the end consumers will really be getting the material in their hands.

It is appropriate to bear in mind here that the hand symbolises personhood and craftsmanship or the link between the product and the consumers. We have to utilise and work more with this aspect. This human, touchyfeely dimension in branding is a clear winner in our age of artificiality.

The borders between the various segments of the advertising industries are shifting, and results and output are suddenly becoming more important than input. Increasingly lin-

Interior from CHANEL Contemporary Art Container.

6

7

king brand name building to a product is the wave of the future, because at present, our reality is that we sell products rather than concepts. The concept is now used to support products, rather than the other way around.

Paradoxically, branding is gaining importance while concepts are losing it.

Architecture represents the ultimate use of branding. The little label has now become a large building. This is something cities and countries have worked with for a long time, but now some branding companies have also begun expanding their branding to houses or buildings. Chanel commissioned Zaha Hadid, the architect currently in vogue, to build a mobile art gallery, which was first placed on a roof in Hong Kong, and will later be moved to New York’s Central Park. In other words, branding is more important than ever before. It’s actually just a way of telling who you are, and what you want in a pleasing and intelligent manner so the recipient of your message will like you and want to choose you, rather than someone else. This requires a bit of puffing, or in any case, emphasising our best aspects, and perhaps even having a vision greater than ourselves. Successful branding must aim for the stars, and dare to break many barriers and taboos, while at the same time underscoring responsibility and a long-term approach. Sustainability, responsibility and creativity will be key words in the branding culture of the future.

FOCUS

FOCUS

Less is more

The E 27 from Muuto is a simple lamp that says a great deal. With its colourful cord and naked bulb, it gives an impression that is contemporary yet romantic. You’ll find more colours at www.muuto.dk.

A lamp in demand

Jean-Louis Domecq, a French engineer, was tired of the poor flexibility of his desk lamp, and created a lamp with jointed segments that consist of sliding plugs that can rotate 360°. This makes it virtually impossible to damage the wires in the lamp. These segments can be freely adjusted, and tightened with adjusting screws. This robust lamp of enamelled steel has been produced since the 1950s, and is still unbelievably popular.

Big rocks

22designstudio was founded in 2005 by a group of recently-graduated students from the Industrial Design Department of National Cheng Kung University in Taiwan. The rings are made mostly of concrete and steel, and are inspired by city life and architecture. They also serve as a part of conceptual themes, such as environmental and social issues.

Read more at www.22designstudio.com.tw.

INDUSTRIAL COOL

For some time, both the fashion and home furnishing industries

have been influenced by industrial aesthetics. There is something undeniably timeless about the raw, unfinished look for the products

Note this

Orla Kiely has a large circle of admirers, who faithfully buy bags and objects for interior design with retro-influenced patterns. The cover of this Travel Journal has an urban retro style motif that really fits our time.

Concrete shape

Konstantin Grcic’s Chair One was designed in 2004 for Magis, but already feels like a modern classic. It’s available with four legs, as an office chair or, as it is shown here, with a concrete base. Chair One is great for just sitting and relaxing indoors or outdoors. If you doubt whether the cast aluminium seat is comfortable (it is), you can buy fitted cushions. Read more at www.magisdesign.com.

on this spread. Some of them have been designed only recently, while others have been around for more than half a century.

Raw food

Cool Cord

Honestly, aren’t cords something to hide and not see? Form us With Love, a design company, instead made the cord a central part of the design. The attractive textile-covered cord, which is a steel stand, combines an illusion and a flirt with industrial retrodesign.

Design classics

Jme is an eclectic collection of products inspired by Jamie Oliver’s relaxed approach to eating, entertaining and enjoying life. The idea for Jme was to offer people a diverse variety of useful and lovely things, among which they’d be able to find pieces for their own homes that would fit their own personal style. Here are some nice packaging examples.

Eames Storage Units (ESU) were designed in 1949 by Charles and Ray Eames and are excellent examples of industrial aesthetics that fit in office as well as home settings. This shelf system can serve both as storage space and as a glass display cabinet. With standardized components and materials like galvanised steel, plywood and lacquered surfaces, this series is an early example of industrial mass production in combination with creative design.

8

9

FOCUS

FOCUS

Less is more

The E 27 from Muuto is a simple lamp that says a great deal. With its colourful cord and naked bulb, it gives an impression that is contemporary yet romantic. You’ll find more colours at www.muuto.dk.

A lamp in demand

Jean-Louis Domecq, a French engineer, was tired of the poor flexibility of his desk lamp, and created a lamp with jointed segments that consist of sliding plugs that can rotate 360°. This makes it virtually impossible to damage the wires in the lamp. These segments can be freely adjusted, and tightened with adjusting screws. This robust lamp of enamelled steel has been produced since the 1950s, and is still unbelievably popular.

Big rocks

22designstudio was founded in 2005 by a group of recently-graduated students from the Industrial Design Department of National Cheng Kung University in Taiwan. The rings are made mostly of concrete and steel, and are inspired by city life and architecture. They also serve as a part of conceptual themes, such as environmental and social issues.

Read more at www.22designstudio.com.tw.

INDUSTRIAL COOL

For some time, both the fashion and home furnishing industries

have been influenced by industrial aesthetics. There is something undeniably timeless about the raw, unfinished look for the products

Note this

Orla Kiely has a large circle of admirers, who faithfully buy bags and objects for interior design with retro-influenced patterns. The cover of this Travel Journal has an urban retro style motif that really fits our time.

Concrete shape

Konstantin Grcic’s Chair One was designed in 2004 for Magis, but already feels like a modern classic. It’s available with four legs, as an office chair or, as it is shown here, with a concrete base. Chair One is great for just sitting and relaxing indoors or outdoors. If you doubt whether the cast aluminium seat is comfortable (it is), you can buy fitted cushions. Read more at www.magisdesign.com.

on this spread. Some of them have been designed only recently, while others have been around for more than half a century.

Raw food

Cool Cord

Honestly, aren’t cords something to hide and not see? Form us With Love, a design company, instead made the cord a central part of the design. The attractive textile-covered cord, which is a steel stand, combines an illusion and a flirt with industrial retrodesign.

Design classics

Jme is an eclectic collection of products inspired by Jamie Oliver’s relaxed approach to eating, entertaining and enjoying life. The idea for Jme was to offer people a diverse variety of useful and lovely things, among which they’d be able to find pieces for their own homes that would fit their own personal style. Here are some nice packaging examples.

Eames Storage Units (ESU) were designed in 1949 by Charles and Ray Eames and are excellent examples of industrial aesthetics that fit in office as well as home settings. This shelf system can serve both as storage space and as a glass display cabinet. With standardized components and materials like galvanised steel, plywood and lacquered surfaces, this series is an early example of industrial mass production in combination with creative design.

8

9

I

n understanding the situation, it is helpful to note that the world has gone through seven global recessions since the Second World War, and there are hundreds of businesses that weathered them all unscathed. One thing these successful entrepreneurs had in common is that they built their businesses based on long-term strategies. They had the insight to understand that while recessions involve a short downturn, their companies were vigorous, longterm businesses. It is no coincidence that trademarks like Nike, McDonalds and IKEA have more purchasers and customers than ever before. They have consistently followed their strategy, refrained from making hasty decisions, and instead acted according to the ”business as usual” principle. They have also created a sense of clarity in their external communication that cannot be denied, in good times or bad. Because of this, their customers do not desert them.

No matter how severe the economic winds are blowing.

IT’S OfTEN A CASE Of BEING fIRST

Tough times don’t last, but tough brands do

BY NIKLAS ARVIDSSON.

We’re in a recession. Hardly a day passes when we are not confronted with headlines about bad days on the stock market, personnel layoffs and dismaying business reports. But in the midst of this muddle of uncertainty, there is room for two approaches. One of which can carry your company on the high road through the recession. What you need to decide is whether your marketing efforts are an unnecessary expense or a smart investment. If you choose the latter, you are on your way. Today, not only do we have to advertise, but we must also allocate our efforts intelligently.

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Naturally, the examples of companies that got through all this are often at the top of their industries. They were the first to offer what they are selling. But that’s just a part of the explanation. You also have to survive at the top, and that’s a much harder task. Small companies that find themselves in a recession must act wisely. While competitors put their marketing activities on ice, they should be doing the opposite. A good example was described in an article about the German automobile brand, Audi, published in the February 2009 issue of Advertising Age. Until 2006, the brand was not popular in the United States, and was seen by most as a peculiar niche brand. Then Audi began working with its marketing. Thanks to intelligent investments, such as becoming the primary sponsor of the 2008 and 2009 Superbowl (viewed by millions all over the world), sponsoring the red carpet on Oscar night (viewed by even more people around the globe), sponsoring the evening news on ABC, CBS and NBC on the day of President Obama’s inauguration and at the same time, hyping its new car models on the Internet through is own campaign site and clips on YouTube, Audi was able to pass Volvo in the United States for the first time in 28 years, and take market shares from BMW, Mercedes and Lexus. From 2006 to 2008, Audi raised its brand recognition in the United States from 62% to 71%.

This year, Audi will increase its marketing budget by an additional 15%. When Paul Venables, Audi’s Creative Director says ”we’re going full speed ahead while all others are standing still”, it means that regardless of the economic climate, marketing strengthens brands. The fact that Audi also sold 87,760 cars in the United States at an average of €25.000 per car during the recession year of 2008 also means that investments in marketing can pay for themselves very quickly, several times over.

ON THE OTHER HAND …

Just as intelligent marketing can lead to cost-efficient and creative solutions, your own organisation can produce new opportunities. This is especially important in a recession.

Perhaps you’ll find a new and more cost-efficient distribution channel, discover new advantageous partners and networks, or even create a more effective internal model that makes it easier to operate your company. Advertising isn’t the only way to sell. You can profit more from keeping a good handle on things than you might believe possible.

YOU CAN RELY ON YOUR fRIENDS

The importance of keeping your house in order in a recession is self-evident. It can also be smarter to preserve or strengthen ties with your existing customers, rather than spend a fortune on attracting new customers. You can do this in two ways: empathizing with your customers or entertaining them. Although lowering prices in a recession can be dangerous, riding the waves of the recession may also attract new interest. The Tesco grocery chain recently launched a new slogan, ”Inflation busting prices”, and The Sun, a British newspaper used the message, ”Britain deserves a break” to market a holiday contest.

However, instead of empathizing with your customers, you can try entertaining them. Smile and make them happy for a while. A clear example of this was the 2008 film hit, Mama Mia, a true feel-good film that attracted many million filmgoers both in Europe and the United States. The timing was perfect, coming just when people needed to dream about happier times. How can your company take advantage of the recession?

”It can also be smarter to preserve or strengthen ties with your existing customers, rather than spend a fortune on attracting new customers.”

LAST BUT NOT LEAST: THE PRODUCT

In the final analysis, everything relates to the product. After all, isn’t that what you invested time, energy and money in order to build up? Regardless of whether you are selling physical products or less visible services, you should choose smart packaging as a medium for your message. In a recession, you need to utilise every single positive factor to get your message through. The most sensible and costefficient way is to link your message to your package. This has been referred to as ”packvertising”, which is quite a good name for it. How many packages do you sell each year? Many companies sell millions of them, which translates into millions of shelf-metres of media space, which you can use free of charge. Put contests on the back of your packages, cross-brand your packages with advertisements for other products in your product range, or give your customers free ideas and benefits that will improve your corporate image. How you use your marketing in a recession is a matter of imagination. As the saying goes, ”the sky’s the limit.” Good luck!

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I

n understanding the situation, it is helpful to note that the world has gone through seven global recessions since the Second World War, and there are hundreds of businesses that weathered them all unscathed. One thing these successful entrepreneurs had in common is that they built their businesses based on long-term strategies. They had the insight to understand that while recessions involve a short downturn, their companies were vigorous, longterm businesses. It is no coincidence that trademarks like Nike, McDonalds and IKEA have more purchasers and customers than ever before. They have consistently followed their strategy, refrained from making hasty decisions, and instead acted according to the ”business as usual” principle. They have also created a sense of clarity in their external communication that cannot be denied, in good times or bad. Because of this, their customers do not desert them.

No matter how severe the economic winds are blowing.

IT’S OfTEN A CASE Of BEING fIRST

Tough times don’t last, but tough brands do

BY NIKLAS ARVIDSSON.

We’re in a recession. Hardly a day passes when we are not confronted with headlines about bad days on the stock market, personnel layoffs and dismaying business reports. But in the midst of this muddle of uncertainty, there is room for two approaches. One of which can carry your company on the high road through the recession. What you need to decide is whether your marketing efforts are an unnecessary expense or a smart investment. If you choose the latter, you are on your way. Today, not only do we have to advertise, but we must also allocate our efforts intelligently.

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Naturally, the examples of companies that got through all this are often at the top of their industries. They were the first to offer what they are selling. But that’s just a part of the explanation. You also have to survive at the top, and that’s a much harder task. Small companies that find themselves in a recession must act wisely. While competitors put their marketing activities on ice, they should be doing the opposite. A good example was described in an article about the German automobile brand, Audi, published in the February 2009 issue of Advertising Age. Until 2006, the brand was not popular in the United States, and was seen by most as a peculiar niche brand. Then Audi began working with its marketing. Thanks to intelligent investments, such as becoming the primary sponsor of the 2008 and 2009 Superbowl (viewed by millions all over the world), sponsoring the red carpet on Oscar night (viewed by even more people around the globe), sponsoring the evening news on ABC, CBS and NBC on the day of President Obama’s inauguration and at the same time, hyping its new car models on the Internet through is own campaign site and clips on YouTube, Audi was able to pass Volvo in the United States for the first time in 28 years, and take market shares from BMW, Mercedes and Lexus. From 2006 to 2008, Audi raised its brand recognition in the United States from 62% to 71%.

This year, Audi will increase its marketing budget by an additional 15%. When Paul Venables, Audi’s Creative Director says ”we’re going full speed ahead while all others are standing still”, it means that regardless of the economic climate, marketing strengthens brands. The fact that Audi also sold 87,760 cars in the United States at an average of €25.000 per car during the recession year of 2008 also means that investments in marketing can pay for themselves very quickly, several times over.

ON THE OTHER HAND …

Just as intelligent marketing can lead to cost-efficient and creative solutions, your own organisation can produce new opportunities. This is especially important in a recession.

Perhaps you’ll find a new and more cost-efficient distribution channel, discover new advantageous partners and networks, or even create a more effective internal model that makes it easier to operate your company. Advertising isn’t the only way to sell. You can profit more from keeping a good handle on things than you might believe possible.

YOU CAN RELY ON YOUR fRIENDS

The importance of keeping your house in order in a recession is self-evident. It can also be smarter to preserve or strengthen ties with your existing customers, rather than spend a fortune on attracting new customers. You can do this in two ways: empathizing with your customers or entertaining them. Although lowering prices in a recession can be dangerous, riding the waves of the recession may also attract new interest. The Tesco grocery chain recently launched a new slogan, ”Inflation busting prices”, and The Sun, a British newspaper used the message, ”Britain deserves a break” to market a holiday contest.

However, instead of empathizing with your customers, you can try entertaining them. Smile and make them happy for a while. A clear example of this was the 2008 film hit, Mama Mia, a true feel-good film that attracted many million filmgoers both in Europe and the United States. The timing was perfect, coming just when people needed to dream about happier times. How can your company take advantage of the recession?

”It can also be smarter to preserve or strengthen ties with your existing customers, rather than spend a fortune on attracting new customers.”

LAST BUT NOT LEAST: THE PRODUCT

In the final analysis, everything relates to the product. After all, isn’t that what you invested time, energy and money in order to build up? Regardless of whether you are selling physical products or less visible services, you should choose smart packaging as a medium for your message. In a recession, you need to utilise every single positive factor to get your message through. The most sensible and costefficient way is to link your message to your package. This has been referred to as ”packvertising”, which is quite a good name for it. How many packages do you sell each year? Many companies sell millions of them, which translates into millions of shelf-metres of media space, which you can use free of charge. Put contests on the back of your packages, cross-brand your packages with advertisements for other products in your product range, or give your customers free ideas and benefits that will improve your corporate image. How you use your marketing in a recession is a matter of imagination. As the saying goes, ”the sky’s the limit.” Good luck!

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PRODUCT DEVELOPMENT

PRODUCT DEVELOPMENT The following spreads show aspects of product development at the Nilรถrn group. Product development is an ongoing process intended to discover new materials, technical solutions and needs, and link them together with an attractive design.

Trend reports and marketing studies are analysed, and form the platform of creative efforts During the project, we enhance the product and seek out environment-friendly alternatives in cooperation with our closely-linked production units and business partners.

The core of out product development efforts involve creating opportunities for our customers, and demonstrating that even what seems impossible can be accomplished.

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13

PRODUCT DEVELOPMENT

PRODUCT DEVELOPMENT The following spreads show aspects of product development at the Nilรถrn group. Product development is an ongoing process intended to discover new materials, technical solutions and needs, and link them together with an attractive design.

Trend reports and marketing studies are analysed, and form the platform of creative efforts During the project, we enhance the product and seek out environment-friendly alternatives in cooperation with our closely-linked production units and business partners.

The core of out product development efforts involve creating opportunities for our customers, and demonstrating that even what seems impossible can be accomplished.

12

13

PRODUCT DEVELOPMENT

PRODUCT DEVELOPMENT

Technical Sports The inspiration comes from modern furniture and sciencefiction movies, such as Star Wars. This concept is designed to attract men and women aged 20-40 years. The brand itself aims at athletes who only compete with their personal best. The products include high quality sportswear for athletes who know what they want. Design and function combined with the best materials.

Branding here features high-tech surfaces applied to well-known materials as paper, rubber and polyester.

Tactile effects are created by means of packaging with bulging and levelled parts. The colour scheme used in this concept is a combination of a subtle black and natural ecru, with vigorous red used mostly to add flare.

Home Decorating MONU IS A BRAND CREATED for home decorating products, especially soft furnishings, accessories and more.

A young, playful look for all ages.

Monu’s inspiration comes from random design, organic patterns and irregular shapes. The products are made mostly of light, airy material, such as organza, semi-transparent light plastic, transparent paper and silicon. The range of colours consists of lime green, white and mauve. Many of the labels can be used between products in the segment.

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15

PRODUCT DEVELOPMENT

PRODUCT DEVELOPMENT

Technical Sports The inspiration comes from modern furniture and sciencefiction movies, such as Star Wars. This concept is designed to attract men and women aged 20-40 years. The brand itself aims at athletes who only compete with their personal best. The products include high quality sportswear for athletes who know what they want. Design and function combined with the best materials.

Branding here features high-tech surfaces applied to well-known materials as paper, rubber and polyester.

Tactile effects are created by means of packaging with bulging and levelled parts. The colour scheme used in this concept is a combination of a subtle black and natural ecru, with vigorous red used mostly to add flare.

Home Decorating MONU IS A BRAND CREATED for home decorating products, especially soft furnishings, accessories and more.

A young, playful look for all ages.

Monu’s inspiration comes from random design, organic patterns and irregular shapes. The products are made mostly of light, airy material, such as organza, semi-transparent light plastic, transparent paper and silicon. The range of colours consists of lime green, white and mauve. Many of the labels can be used between products in the segment.

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15

PRODUCT DEVELOPMENT

PRODUCT DEVELOPMENT

Mens Wear Designed for the age group 35 -45 years, this brand takes inspiration from Ralph Lauren and Scotch and Soda. Essentially smart casualwear including jeanswear, chinos and knitwear - clothes that will take you anywhere.

“Gentry” originally related to a persons social class, this brand is for the diserning customer. The name reflects enduring style and quality. Classic styling with the built in ability to be noticed.

Designed using natural, tradtional materials - wood, leather and cotton it is a fusion of textures in muted tones with a classic red highlight. It involves carefully sought after materials with a variety of manufacuturing and

craftsmanship that put a seal of quality on these products.

This brand reflects herritage, culture and ancestry by the introduction of a traditional English wallpaper pattern.

Originally this would have hung in stately homes. Applied to the Gentry brand as a design element, the pattern has been given a distressed technique to reflect antiquity.

Environmental issues are also considered in the development of this brand. Especailly as natural materials have been used to create the branding. The swing ticket has a dual purpose and can be used as a key fob after it has been romoved from the garment extending it’s life and extending the longevity of the brand.

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Street / Sportswear We want this concept to show how recycled and organic materials can be given a rough feel and cheeky attitude.

The Donnybrook brand is directed toward a young board-riding audience, and this concept has been specifically developed for snowboarding garments.

Materials include recycled tarpaulins, aluminium, polyester, paper and organic cotton.

Some of the brand’s products are designed for a second life as accessories and functional gadgets. For example, the paper label can be used as a postcard.

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PRODUCT DEVELOPMENT

PRODUCT DEVELOPMENT

Mens Wear Designed for the age group 35 -45 years, this brand takes inspiration from Ralph Lauren and Scotch and Soda. Essentially smart casualwear including jeanswear, chinos and knitwear - clothes that will take you anywhere.

“Gentry” originally related to a persons social class, this brand is for the diserning customer. The name reflects enduring style and quality. Classic styling with the built in ability to be noticed.

Designed using natural, tradtional materials - wood, leather and cotton it is a fusion of textures in muted tones with a classic red highlight. It involves carefully sought after materials with a variety of manufacuturing and

craftsmanship that put a seal of quality on these products.

This brand reflects herritage, culture and ancestry by the introduction of a traditional English wallpaper pattern.

Originally this would have hung in stately homes. Applied to the Gentry brand as a design element, the pattern has been given a distressed technique to reflect antiquity.

Environmental issues are also considered in the development of this brand. Especailly as natural materials have been used to create the branding. The swing ticket has a dual purpose and can be used as a key fob after it has been romoved from the garment extending it’s life and extending the longevity of the brand.

16

Street / Sportswear We want this concept to show how recycled and organic materials can be given a rough feel and cheeky attitude.

The Donnybrook brand is directed toward a young board-riding audience, and this concept has been specifically developed for snowboarding garments.

Materials include recycled tarpaulins, aluminium, polyester, paper and organic cotton.

Some of the brand’s products are designed for a second life as accessories and functional gadgets. For example, the paper label can be used as a postcard.

17

PRODUCT DEVELOPMENT

PRODUCT DEVELOPMENT

Corporate Wear This concept is specially designed for suppliers of designed corporate wear and profiled products for all possible sectors. Use this concept to reinforce an identity through work clothes and profile products.

Men and women working in the logistics and courier industry are part of the target group.

We have used simple and reliable materials that can stand wear-and-tear, such as cardboard, rubber and metal.

Attention-grabbing orange in combination with black and white is effective and well-proven.

This is branding that’s meant to be seen.

Womens wear AYLIN IS A BRAND INTENDED primarily for women of various ages.

It has a feminine and romantic style with lots of personality and expression.

The graphic look is inspired by the Art Nouveau movement with its illustrators and poster artists. Aylin features decorative and ornamental designs to emphasise the feminine aspects of its concept.

This concept uses mostly light, soft materials such as velvet, satin and cherry-coloured and pale pink woven products, well-crafted and detailed labels with embroidered edging, tufts and stones, as well as innovative design solutions for more simple woven neck labels.

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PRODUCT DEVELOPMENT

PRODUCT DEVELOPMENT

Corporate Wear This concept is specially designed for suppliers of designed corporate wear and profiled products for all possible sectors. Use this concept to reinforce an identity through work clothes and profile products.

Men and women working in the logistics and courier industry are part of the target group.

We have used simple and reliable materials that can stand wear-and-tear, such as cardboard, rubber and metal.

Attention-grabbing orange in combination with black and white is effective and well-proven.

This is branding that’s meant to be seen.

Womens wear AYLIN IS A BRAND INTENDED primarily for women of various ages.

It has a feminine and romantic style with lots of personality and expression.

The graphic look is inspired by the Art Nouveau movement with its illustrators and poster artists. Aylin features decorative and ornamental designs to emphasise the feminine aspects of its concept.

This concept uses mostly light, soft materials such as velvet, satin and cherry-coloured and pale pink woven products, well-crafted and detailed labels with embroidered edging, tufts and stones, as well as innovative design solutions for more simple woven neck labels.

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PRODUCT DEVELOPMENT

PRODUCT DEVELOPMENT

Denim The Ilja brand concept is intended primarily for jeans as a product category. It’s a unisex brand intended for young people who would like an alternative style and are not afraid of being noticed.

Using a mix of traditional and modern styles, Ilja gives a personal, earthy and somewhat unfinished feeling, with a good deal of folkloric elements Ilja’s technical solutions are also reminiscent of Swedish crafts, with cross-stitch, floral decorations and tin-inspired metalwork. The materials used include cotton, leather, metal and wool yarn in a range of colours that includes off-white, earth colour, burnt orange, warm yellow, dark green and blue.

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PRODUCT DEVELOPMENT

PRODUCT DEVELOPMENT

Denim The Ilja brand concept is intended primarily for jeans as a product category. It’s a unisex brand intended for young people who would like an alternative style and are not afraid of being noticed.

Using a mix of traditional and modern styles, Ilja gives a personal, earthy and somewhat unfinished feeling, with a good deal of folkloric elements Ilja’s technical solutions are also reminiscent of Swedish crafts, with cross-stitch, floral decorations and tin-inspired metalwork. The materials used include cotton, leather, metal and wool yarn in a range of colours that includes off-white, earth colour, burnt orange, warm yellow, dark green and blue.

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FAVOURITE PICKS

After dark

Earth-conscious toys

Inspired by the imagination of children, Our Children’s Gorilla, a creativity company, designs timeless objects with large doses of humour. Since the company started in 2002, their collection of environment-friendly and high-quality home decorating products and toys has continually grown.

Read more at www.ourchildrensgorilla.com.

This is a watch you’ll either love or hate. The Bell & Ross BR01Airborne, named after the U.S. Army airborne unit, is sold in a limited edition of 500 watches. The watch is made of blasted steel with a carbon powder coating, and features an automatic movement and all-black face with a photoluminescent skull and hands. Read more at www.bellross.com.

World premiere for paper pulp chair

The Swedish company, Södra, has developed DuraPulp, a special kind of paper pulp with PLA, a biologically degradable plastic made from corn (maize) starch and cane sugar. DuraPulp is thus a recyclable and highly durable material, well-adapted to the environment. DuraPulp can be processed in an ordinary paper machine, and used for manufacturing elegant packages and labels. The first DuraPulp product, however, will not be a package at all, but rather a sturdy chair for children, to be presented at the Milan Furniture Fair in April. The chair, named Parupu after the Japanese word for pulp, can withstand children’s play, be stacked and cleaned, and is designed to last through childhood. Beginning in mid-April you can follow the entire project from idea to the Milan Fair on, www.sodrapulplabs. com, a new site, and then continue to follow the development of Parupu and the other innovations by Södra’s research function.

Retro-futuristic seat

I hate perfume!

One of the most exciting furniture ideas in a long time is Rin from Fritz Hansen, a company with a long tradition of excellence.

The chair, designed by Hiromichi Konno of Japan, has an inviting and modern look, reminiscent of the playful 1960s. The shell is made of polypropylene and the base is polished aluminium.

When you come out of the I Hate Perfume store in the Williamsburg neighbourhood of Brooklyn, New York, you’ll carry with you a wide variety of olfactory experiences, including leather-bound books, campfires, ocean voyages and autumn strolls in the woods.

Sniffing around amongst the scents of perfume-maker Christopher Brosius will awaken old memories, and create new ones. While unusual scents, such as tobacco and hay may be interesting, most of the best sellers are floral scents. The elegant ”non-designed” packages feel genuine, and if you can afford it, you can even commission your own unique perfume.

Read more at www.cbihateperfume.com.

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FAVOURITE PICKS

After dark

Earth-conscious toys

Inspired by the imagination of children, Our Children’s Gorilla, a creativity company, designs timeless objects with large doses of humour. Since the company started in 2002, their collection of environment-friendly and high-quality home decorating products and toys has continually grown.

Read more at www.ourchildrensgorilla.com.

This is a watch you’ll either love or hate. The Bell & Ross BR01Airborne, named after the U.S. Army airborne unit, is sold in a limited edition of 500 watches. The watch is made of blasted steel with a carbon powder coating, and features an automatic movement and all-black face with a photoluminescent skull and hands. Read more at www.bellross.com.

World premiere for paper pulp chair

The Swedish company, Södra, has developed DuraPulp, a special kind of paper pulp with PLA, a biologically degradable plastic made from corn (maize) starch and cane sugar. DuraPulp is thus a recyclable and highly durable material, well-adapted to the environment. DuraPulp can be processed in an ordinary paper machine, and used for manufacturing elegant packages and labels. The first DuraPulp product, however, will not be a package at all, but rather a sturdy chair for children, to be presented at the Milan Furniture Fair in April. The chair, named Parupu after the Japanese word for pulp, can withstand children’s play, be stacked and cleaned, and is designed to last through childhood. Beginning in mid-April you can follow the entire project from idea to the Milan Fair on, www.sodrapulplabs. com, a new site, and then continue to follow the development of Parupu and the other innovations by Södra’s research function.

Retro-futuristic seat

I hate perfume!

One of the most exciting furniture ideas in a long time is Rin from Fritz Hansen, a company with a long tradition of excellence.

The chair, designed by Hiromichi Konno of Japan, has an inviting and modern look, reminiscent of the playful 1960s. The shell is made of polypropylene and the base is polished aluminium.

When you come out of the I Hate Perfume store in the Williamsburg neighbourhood of Brooklyn, New York, you’ll carry with you a wide variety of olfactory experiences, including leather-bound books, campfires, ocean voyages and autumn strolls in the woods.

Sniffing around amongst the scents of perfume-maker Christopher Brosius will awaken old memories, and create new ones. While unusual scents, such as tobacco and hay may be interesting, most of the best sellers are floral scents. The elegant ”non-designed” packages feel genuine, and if you can afford it, you can even commission your own unique perfume.

Read more at www.cbihateperfume.com.

22

THE LONGING fOR AUTHENTICITY

PERSONAL PROFILE

Today everybody speaks about authenticity and everybody

Simonetta Carbonaro, is an expert in

and everything is trying to look authentic. A vast and barely

consumer psychology, strategic marketing and design management. She does re-

comprehensible number of products declare their genuine

search in the area of consumer behaviour forecasting the directions consumer

authenticity by means of certificates, labels or brands.

culture is moving in by analyzing broad socio-cultural patterns.

We met with Simonetta Carbonaro, an expert in consumer

She is Professor of Textile and Design

psychology. Besides running a corporate advisor company

Management at the University of Borås - The Swedish Textile School where she

in Germany, she is a professor of design management and

is currently doing research around the theme of ”the design of prosperity” with

humanistic marketing in Sweden and in Italy.

a particular focus on seminal humanistic marketing approaches. She is a member

Simonetta tells us her viewpoint about what is authentic and

of the Domus Academy Research Centre in Milan and of the Advisory Board of the

what is not in the world of branding and marketing.

Can you give us some examples of your definition of authenticity?

Consumers share information about certain goods and services via a growing number of internet sites and weblogs, or they form communities of buyers in order to be able to acquire certain authentic, original, ethnic, pure, biological, traditional or typical products directly from the farmers. City people even tolerate long rides in order to buy biological produce, meat or fresh milk directly from the producer, if the producer isn’t already shipping it to them himself.

In Italy, the most credible label is called ”0 KM”. As you may know, this label usually stands for carbon-free products that haven’t been imported from far-away countries. But in this case it stands for products of excellence

Swiss Center of Marketing and social studies Gottlieb Duttweiler Institute.

that are manufactured in the only place with the lowest possible rate of mobility: that is, in prison. And there are many more of these products than you can imagine such as the ice cream “I scream, prisoner of taste” which is made in a prison in Lombardy using fresh regional fruit or the fashion label “cdsb”, a label that stands for “codice a sbarre” which means bar code, but can also mean “behind bars” in Italian. It is possibly the only Italian fashion brand where you can be 100% certain that it really IS ”Made in Italy”.

And talking about Sweden, today you can even find on chicken packaging the photo and the phone number of the breeder, who stands as the guarantor that his chickens were hatched, raised and slaughtered on his farm.

For more than twenty years Carbonaro has been working as a consultant on innovative branding strategies and is today a partner at REALISE, a business consultants firm based in Germany, where she is actively involved in Value Branding and Innovation Management.

Interior of Natanel Gluska’s studio

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25

THE LONGING fOR AUTHENTICITY

PERSONAL PROFILE

Today everybody speaks about authenticity and everybody

Simonetta Carbonaro, is an expert in

and everything is trying to look authentic. A vast and barely

consumer psychology, strategic marketing and design management. She does re-

comprehensible number of products declare their genuine

search in the area of consumer behaviour forecasting the directions consumer

authenticity by means of certificates, labels or brands.

culture is moving in by analyzing broad socio-cultural patterns.

We met with Simonetta Carbonaro, an expert in consumer

She is Professor of Textile and Design

psychology. Besides running a corporate advisor company

Management at the University of Borås - The Swedish Textile School where she

in Germany, she is a professor of design management and

is currently doing research around the theme of ”the design of prosperity” with

humanistic marketing in Sweden and in Italy.

a particular focus on seminal humanistic marketing approaches. She is a member

Simonetta tells us her viewpoint about what is authentic and

of the Domus Academy Research Centre in Milan and of the Advisory Board of the

what is not in the world of branding and marketing.

Can you give us some examples of your definition of authenticity?

Consumers share information about certain goods and services via a growing number of internet sites and weblogs, or they form communities of buyers in order to be able to acquire certain authentic, original, ethnic, pure, biological, traditional or typical products directly from the farmers. City people even tolerate long rides in order to buy biological produce, meat or fresh milk directly from the producer, if the producer isn’t already shipping it to them himself.

In Italy, the most credible label is called ”0 KM”. As you may know, this label usually stands for carbon-free products that haven’t been imported from far-away countries. But in this case it stands for products of excellence

Swiss Center of Marketing and social studies Gottlieb Duttweiler Institute.

that are manufactured in the only place with the lowest possible rate of mobility: that is, in prison. And there are many more of these products than you can imagine such as the ice cream “I scream, prisoner of taste” which is made in a prison in Lombardy using fresh regional fruit or the fashion label “cdsb”, a label that stands for “codice a sbarre” which means bar code, but can also mean “behind bars” in Italian. It is possibly the only Italian fashion brand where you can be 100% certain that it really IS ”Made in Italy”.

And talking about Sweden, today you can even find on chicken packaging the photo and the phone number of the breeder, who stands as the guarantor that his chickens were hatched, raised and slaughtered on his farm.

For more than twenty years Carbonaro has been working as a consultant on innovative branding strategies and is today a partner at REALISE, a business consultants firm based in Germany, where she is actively involved in Value Branding and Innovation Management.

Interior of Natanel Gluska’s studio

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25

”Today, people in Western societies are trying to create a future by remembering what was good in the past and sensing what they are missing now.”

But consumers are not simply on the lookout for authentic goods. They are also deeply impressed by people who “tell the truth and nothing but the truth”. It is no coincidence that the successful American television show – “The Moment of Truth” has now arrived in Europe. This show depicts ordinary people, or – as in Italy also well-known reality show celebrities – who let themselves be hooked up like criminals to a lie detector to answer the moderators most intimate and embarrassing questions.

Some people offer their naked bodies to artists like Spencer Tunick, who arranges them in revealing compositions in the streets of world cities, stadiums, supermarkets, railway stations or parking lots. These few consciously selected extreme examples should make it clear that “AUTHENTICITY” is a very broadly diversified topic.

Are we speaking about the authenticity of the original, the pristine and the traditional? Or are we associating the organic, healthy and unadulterated with “authenticity”?

In reality, the notion of authenticity has nothing to do with ethical values like “naturalness”, “genuineness” and “honesty” and certainly not with the Platonic values of truth, good and beauty. We must understand quite clearly that “Authenticity” does not equate to a value system to which we orient ourselves. Indeed, in no way does “Authentic” imply a moral posture or valuation nor does it represent a point of view. Like a fixed surveillance camera, it directs its entirely neutral view on that which is making no selection of the images, no highlighting of the scenes and no marking time until the “right moment” arrives.

The “Authentic” is that which “does its thing” regardless of whether it is good or bad. Indeed, the warlike Tupinamba tribe, which ate human flesh, was just as authentic as the devotees of the peace-loving Jain religion who would prefer to die than to eat any animal.

Why has Authenticity developed into such a best seller – and why do we spend so much time talking about this topic?

It is because we human beings tend to always talk about that which we miss the most. We don’t talk about our love when we are in love, we just make love! We only talk about our love relationships when they are in crisis. It is only when we are suffering that we begin to think about our health and that which we could be lacking. And we long for and talk so much about authenticity today, simply because the truly authentic has increasingly gone missing in our Western societies.

A world that allows us to pretend that it is all about what we WANT; a world in which reality has become a simulation, a copy or emulation of our longings, however tiny and fleeting they may have become. Such a world creates precisely the opposite of contented satisfaction in us, it breeds confusion, helplessness and a growing sense of loneliness.

If we are no longer able to assess if something is mere appearance or if it really “is as it is” and if fixed and trusted associations and points of reference begin to unravel, then our universal trust in the world becomes shaky – and what is even more problematic - we become increasingly alienated from ourselves over time.

Retro style design of Rebel Green’s Fruit & Veggie Clean.

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Should we regard this new need of consumers as one of many short-term trends?

It would be wrong to. We should, rather understand our Western societies’ longing for authenticity as an expression of a re-orientation of the Modern Age, which allowed itself to fast-forward and pan out the so-called Post-Modern in the past 20 to 30 years and which is now in the process of re-thinking and re-defining itself.

During the Modernity period, the usefulness of standardized mass-production had to satisfy the needs of customers who still oriented their identities to a principle of conformity. Post-Modernism spoke to the insecure and fragmented “ego” of the post modern customer with the language of hyper-reality. And fiction thus became steadily more appealing than simple reality.

And so, marketing people began to shift their attention from customer needs (as their retailing point of departure) to increasingly concentrating on customers’ wishes and their fulfillment. With this change of focus, our Western economies developed from an economy of needs to an economy of added values, in which the focus was placed more on the built-in symbolic and immaterial value of the product than on its intrinsic material and functional characteristics.

Naturally, in this emerging dream factory the discipline of Design became an ever-more important marketing instrument in the fabrication of differentiation factors and in the creation of competitive advantages. Design freed itself from the dictates of Modernity in order to adapt to its new role. And so, “Form follows Function“ shifted into the more timely design slogan “Form follows Fiction“.

Is there a relationship between authenticity and quality?

A clearly declared ”Made in China” fashion collection for H&M by Karl Lagerfeld or Roberto Cavalli, but also a beautifully aromatic, fair-traded garlic bulb from an organic farm are both icons of very real quality. And yet, the overall potential of this strategic mix of ”cheap and chic” with the ”excellent normal” has hardly begun to tap its potential. The strategy of ”Real Quality”, as we named it at my company, is a real (and not just added) value strategy, a value-driven strategy in which not only new approaches to product ranges and price policy, brand management and innovation management can be derived. It also leads to new, pioneering forms of consumer scenarios and exciting business extensions based on a symbiosis of discount and excellence. The two pillars of authenticity.

Do you have any pragmatic tips how to deliver and communicate authenticity?

The re-discovery of the “authenticity” in the form of the ”Rustic” is the most direct and probably simplest approach to authenticity. Thus, certain traditional products such as ”Primitivo” wine of Italy or the smoked-cured Reindeer Suovas meat, a delicacy firmly rooted in the heritage and culture of Sweden’s indigenous Sami, are enjoying a second spring. And we are even seeing a certain return to primitivism in designer furniture: Well-known artists such as Natanel Gluska create sought-after (and comfortable) chairs and other items using a chainsaw and now well-

aged wood from the Lothar cyclone that swept Europe some years ago.

And then there is the “Original”, which has its own history and keeps on re-interpreting its own tradition and adapting it to the present. Such innovations, which have been developed from an understanding of tradition, have far greater chances for success than many other new products. Because tradition is always a part of a living culture and to apply it means inventing the new in harmony with our human dimensions and with the market. If one regards traditions as innovations that worked, one can also turn this around and understand innovation as the art of inventing new traditions.

Besides the “Rustic” and the “Original” there is also another expression of authenticity and that is – the “New”, the true innovation. But – watch out! In order for an innovation to have the power of authenticity, it must be able to say something to people. It must create a connection to their perception of quality of life, otherwise it will only be viewed as an eccentric and grotesque joke.

What has authenticity to do with the Vintage or the Retro trend that is so visible today?

The faith in the future of Modernity was based on a normative promise of prosperity. On the other hand, the PostModern has reduced its future perspectives to the narcissistic pleasures of a constant increase in the unusual and eccentric in the ”here and now”. Today, people in Western societies are trying to create a future by remembering what was good in the past and sensing what they are missing now. This is my interpretation of the retro trend that has been dominant in the last ten years. The hidden message 27

”Today, people in Western societies are trying to create a future by remembering what was good in the past and sensing what they are missing now.”

But consumers are not simply on the lookout for authentic goods. They are also deeply impressed by people who “tell the truth and nothing but the truth”. It is no coincidence that the successful American television show – “The Moment of Truth” has now arrived in Europe. This show depicts ordinary people, or – as in Italy also well-known reality show celebrities – who let themselves be hooked up like criminals to a lie detector to answer the moderators most intimate and embarrassing questions.

Some people offer their naked bodies to artists like Spencer Tunick, who arranges them in revealing compositions in the streets of world cities, stadiums, supermarkets, railway stations or parking lots. These few consciously selected extreme examples should make it clear that “AUTHENTICITY” is a very broadly diversified topic.

Are we speaking about the authenticity of the original, the pristine and the traditional? Or are we associating the organic, healthy and unadulterated with “authenticity”?

In reality, the notion of authenticity has nothing to do with ethical values like “naturalness”, “genuineness” and “honesty” and certainly not with the Platonic values of truth, good and beauty. We must understand quite clearly that “Authenticity” does not equate to a value system to which we orient ourselves. Indeed, in no way does “Authentic” imply a moral posture or valuation nor does it represent a point of view. Like a fixed surveillance camera, it directs its entirely neutral view on that which is making no selection of the images, no highlighting of the scenes and no marking time until the “right moment” arrives.

The “Authentic” is that which “does its thing” regardless of whether it is good or bad. Indeed, the warlike Tupinamba tribe, which ate human flesh, was just as authentic as the devotees of the peace-loving Jain religion who would prefer to die than to eat any animal.

Why has Authenticity developed into such a best seller – and why do we spend so much time talking about this topic?

It is because we human beings tend to always talk about that which we miss the most. We don’t talk about our love when we are in love, we just make love! We only talk about our love relationships when they are in crisis. It is only when we are suffering that we begin to think about our health and that which we could be lacking. And we long for and talk so much about authenticity today, simply because the truly authentic has increasingly gone missing in our Western societies.

A world that allows us to pretend that it is all about what we WANT; a world in which reality has become a simulation, a copy or emulation of our longings, however tiny and fleeting they may have become. Such a world creates precisely the opposite of contented satisfaction in us, it breeds confusion, helplessness and a growing sense of loneliness.

If we are no longer able to assess if something is mere appearance or if it really “is as it is” and if fixed and trusted associations and points of reference begin to unravel, then our universal trust in the world becomes shaky – and what is even more problematic - we become increasingly alienated from ourselves over time.

Retro style design of Rebel Green’s Fruit & Veggie Clean.

26

Should we regard this new need of consumers as one of many short-term trends?

It would be wrong to. We should, rather understand our Western societies’ longing for authenticity as an expression of a re-orientation of the Modern Age, which allowed itself to fast-forward and pan out the so-called Post-Modern in the past 20 to 30 years and which is now in the process of re-thinking and re-defining itself.

During the Modernity period, the usefulness of standardized mass-production had to satisfy the needs of customers who still oriented their identities to a principle of conformity. Post-Modernism spoke to the insecure and fragmented “ego” of the post modern customer with the language of hyper-reality. And fiction thus became steadily more appealing than simple reality.

And so, marketing people began to shift their attention from customer needs (as their retailing point of departure) to increasingly concentrating on customers’ wishes and their fulfillment. With this change of focus, our Western economies developed from an economy of needs to an economy of added values, in which the focus was placed more on the built-in symbolic and immaterial value of the product than on its intrinsic material and functional characteristics.

Naturally, in this emerging dream factory the discipline of Design became an ever-more important marketing instrument in the fabrication of differentiation factors and in the creation of competitive advantages. Design freed itself from the dictates of Modernity in order to adapt to its new role. And so, “Form follows Function“ shifted into the more timely design slogan “Form follows Fiction“.

Is there a relationship between authenticity and quality?

A clearly declared ”Made in China” fashion collection for H&M by Karl Lagerfeld or Roberto Cavalli, but also a beautifully aromatic, fair-traded garlic bulb from an organic farm are both icons of very real quality. And yet, the overall potential of this strategic mix of ”cheap and chic” with the ”excellent normal” has hardly begun to tap its potential. The strategy of ”Real Quality”, as we named it at my company, is a real (and not just added) value strategy, a value-driven strategy in which not only new approaches to product ranges and price policy, brand management and innovation management can be derived. It also leads to new, pioneering forms of consumer scenarios and exciting business extensions based on a symbiosis of discount and excellence. The two pillars of authenticity.

Do you have any pragmatic tips how to deliver and communicate authenticity?

The re-discovery of the “authenticity” in the form of the ”Rustic” is the most direct and probably simplest approach to authenticity. Thus, certain traditional products such as ”Primitivo” wine of Italy or the smoked-cured Reindeer Suovas meat, a delicacy firmly rooted in the heritage and culture of Sweden’s indigenous Sami, are enjoying a second spring. And we are even seeing a certain return to primitivism in designer furniture: Well-known artists such as Natanel Gluska create sought-after (and comfortable) chairs and other items using a chainsaw and now well-

aged wood from the Lothar cyclone that swept Europe some years ago.

And then there is the “Original”, which has its own history and keeps on re-interpreting its own tradition and adapting it to the present. Such innovations, which have been developed from an understanding of tradition, have far greater chances for success than many other new products. Because tradition is always a part of a living culture and to apply it means inventing the new in harmony with our human dimensions and with the market. If one regards traditions as innovations that worked, one can also turn this around and understand innovation as the art of inventing new traditions.

Besides the “Rustic” and the “Original” there is also another expression of authenticity and that is – the “New”, the true innovation. But – watch out! In order for an innovation to have the power of authenticity, it must be able to say something to people. It must create a connection to their perception of quality of life, otherwise it will only be viewed as an eccentric and grotesque joke.

What has authenticity to do with the Vintage or the Retro trend that is so visible today?

The faith in the future of Modernity was based on a normative promise of prosperity. On the other hand, the PostModern has reduced its future perspectives to the narcissistic pleasures of a constant increase in the unusual and eccentric in the ”here and now”. Today, people in Western societies are trying to create a future by remembering what was good in the past and sensing what they are missing now. This is my interpretation of the retro trend that has been dominant in the last ten years. The hidden message 27

is clear: People are trying to recover a kind of “memory of the future”.

But today the process is evolving in something else: People are also seeking out the authentic in the uniqueness of every-day life, in the extraordinary appeal of normality.

You can see this clearly with today’s heroes; entirely ordinary people, like fire fighters, emergency doctors, forensic crime investigators, small and peaceful ”hobbits”.

What is your advise to brandowners who want to strengthen the relationship with their authenticity-starving customers?

The first thing that we could change immediately would be our marketing point of view. We cannot be permitted to view consumers as the ”target” or the “target group”. We must begin to understand them as our partners. The logic of the ”target“ leaves us blind to the real needs of human beings; it is not based on mutuality and thus does not permit any real relationships. It is a logic that turns consumers – as the target – into the enemy and that would be a great pity, because once you have hit the target, the consumer is then dead and no longer able to consume anymore!

Secondly, we must express and substantiate our internal attitude and our values as truthful, real expressions of what we believe. That means that we must re-learn to provide customers with orientation by applying what we have to offer. We must learn to apply culture -instead of forever grasping at the standards of lifestyle. It must be a culture that can motivate people to develop new ways of thinking and new ways of living. We must re-find our knowledge and our joy in the creation of poetic experiences that are comparable with the extraordinary masterpieces of the early Modern in order to design new values into our goods.

And finally, we cannot be permitted to apply communication and design simply as a cosmetic instrument. We must free ourselves from the schizophrenia and neuroses of a post-modern communication that is only obsessed with the latest trend but doesn’t have a clue about grammar or syntax. We must scrape off all marketing encrustations that have obscured the real so that we can finally call an egg an egg once again.

If we can follow these three points, that would then mean a real coming-to-grips with our previous way of working.

Because – why should we wait to do this until we once again have our back to the wall and no more real room to maneuver?

H

How is the power of authenticity affecting our society?

The values of Modernity were characterized by a belief in progress that was supported by a strong sense of conformity, which parents taught their children, entrepreneurs taught their employees, and politicians attempted to teach their citizens. It was the time of a social and economic–based system one could call “The Family Inc.”. The Postmodern broke out of the previous social , economic and political ties and created the ”Me, myself & I, Inc.” in which a person could only count on and believe in him/herself and was ready to take a hike after any kind of hedonistic seduction. The longing of consumers for the authentic is now leading our Western societies to the ”We-society.” This will be based on a variety of different forms of a new collective understanding of values. This social change will naturally result in a change in our economy, which will shift from one in which a mass market is a prisoner of economies of scale, to an economy, which is made by masses of different markets.

i

g

h

Intelligent Effects

High IQ — clearly different ®

Intelligent Effects — ACTIVE COMFORT • COOL COMFORT • EASY CARE • FRESHNESS • LASTING COLOR • SUN PROTECTION New York artist Spencer Tunick arranges more than 2,000 volunteers for a landscape photograph of nudes.

SCANPIX / Joe Castro

www.high-IQ.com 28

29 High IQ® is a registered trademark of Huntsman Corporation, or an affiliate thereof.

is clear: People are trying to recover a kind of “memory of the future”.

But today the process is evolving in something else: People are also seeking out the authentic in the uniqueness of every-day life, in the extraordinary appeal of normality.

You can see this clearly with today’s heroes; entirely ordinary people, like fire fighters, emergency doctors, forensic crime investigators, small and peaceful ”hobbits”.

What is your advise to brandowners who want to strengthen the relationship with their authenticity-starving customers?

The first thing that we could change immediately would be our marketing point of view. We cannot be permitted to view consumers as the ”target” or the “target group”. We must begin to understand them as our partners. The logic of the ”target“ leaves us blind to the real needs of human beings; it is not based on mutuality and thus does not permit any real relationships. It is a logic that turns consumers – as the target – into the enemy and that would be a great pity, because once you have hit the target, the consumer is then dead and no longer able to consume anymore!

Secondly, we must express and substantiate our internal attitude and our values as truthful, real expressions of what we believe. That means that we must re-learn to provide customers with orientation by applying what we have to offer. We must learn to apply culture -instead of forever grasping at the standards of lifestyle. It must be a culture that can motivate people to develop new ways of thinking and new ways of living. We must re-find our knowledge and our joy in the creation of poetic experiences that are comparable with the extraordinary masterpieces of the early Modern in order to design new values into our goods.

And finally, we cannot be permitted to apply communication and design simply as a cosmetic instrument. We must free ourselves from the schizophrenia and neuroses of a post-modern communication that is only obsessed with the latest trend but doesn’t have a clue about grammar or syntax. We must scrape off all marketing encrustations that have obscured the real so that we can finally call an egg an egg once again.

If we can follow these three points, that would then mean a real coming-to-grips with our previous way of working.

Because – why should we wait to do this until we once again have our back to the wall and no more real room to maneuver?

H

How is the power of authenticity affecting our society?

The values of Modernity were characterized by a belief in progress that was supported by a strong sense of conformity, which parents taught their children, entrepreneurs taught their employees, and politicians attempted to teach their citizens. It was the time of a social and economic–based system one could call “The Family Inc.”. The Postmodern broke out of the previous social , economic and political ties and created the ”Me, myself & I, Inc.” in which a person could only count on and believe in him/herself and was ready to take a hike after any kind of hedonistic seduction. The longing of consumers for the authentic is now leading our Western societies to the ”We-society.” This will be based on a variety of different forms of a new collective understanding of values. This social change will naturally result in a change in our economy, which will shift from one in which a mass market is a prisoner of economies of scale, to an economy, which is made by masses of different markets.

i

g

h

Intelligent Effects

High IQ — clearly different ®

Intelligent Effects — ACTIVE COMFORT • COOL COMFORT • EASY CARE • FRESHNESS • LASTING COLOR • SUN PROTECTION New York artist Spencer Tunick arranges more than 2,000 volunteers for a landscape photograph of nudes.

SCANPIX / Joe Castro

www.high-IQ.com 28

29 High IQ® is a registered trademark of Huntsman Corporation, or an affiliate thereof.

MARIMEKKO Still in bloom For more than half a century, Marimekko’s unique and unconventional lifestyle concept has succeeded all over the world. Despite this, the company has never forsaken its Finnish identity, which has played a central role in both Marimekko’s values and marketing. As an interior decorating and fashion company, Marimekko is mainly associated with clothing and textiles with brightly coloured patterns.

If you look back in time,

I

t all began in 1951, when Printex, a small oil printing company, formed Marimekko Oy as a separate company for launching a collection of large-patterned and bright-coloured print textiles. The name Marimekko is a combination of the words Mari, a Finnish variation of Mary and mekko, which means dress. Viljo and Armi Ratia, the couple who founded the company were visionaries. Armi, who was a textile designer and artistic director, had instructed young artists to design textile patterns for Printex.

Although the textiles were well received, people couldn’t really see how they could be used. It wasn’t until the textiles were used for this clothing collection, that people realised how Marimekko textiles could revolutionize fashion and home decorating. The clothes expressed undeniable optimism amidst the rationing of post-war Finland. Suc-

however, you will also find visions of a broader concept that encompasses everything from clothing to entire communities.

30

cess followed quickly, and in 1952, the company opened the first Marimekko store.

At first, Armi designed the patterns himself, but soon turned over the creative design function to Maija Isola, who become the Chief Designer. Isola is behind many of Marimekko’s most well-known patterns, such as Unikko with its large flowers, now more popular than ever. There are also several other people who have played important roles in creative development at Marimekko. One of these is Vuokko Nurmesniemi. Originally hired as a designer of clothing and patterns, Vuokko created an artistic platform that set the tone for the Marimekko look. The Jokapoika shirt, which she designed in 1956, is still being manufactured. Four years later, she left Marimekko, and the young designers who were hired by Armi were given free rein 31

MARIMEKKO Still in bloom For more than half a century, Marimekko’s unique and unconventional lifestyle concept has succeeded all over the world. Despite this, the company has never forsaken its Finnish identity, which has played a central role in both Marimekko’s values and marketing. As an interior decorating and fashion company, Marimekko is mainly associated with clothing and textiles with brightly coloured patterns.

If you look back in time,

I

t all began in 1951, when Printex, a small oil printing company, formed Marimekko Oy as a separate company for launching a collection of large-patterned and bright-coloured print textiles. The name Marimekko is a combination of the words Mari, a Finnish variation of Mary and mekko, which means dress. Viljo and Armi Ratia, the couple who founded the company were visionaries. Armi, who was a textile designer and artistic director, had instructed young artists to design textile patterns for Printex.

Although the textiles were well received, people couldn’t really see how they could be used. It wasn’t until the textiles were used for this clothing collection, that people realised how Marimekko textiles could revolutionize fashion and home decorating. The clothes expressed undeniable optimism amidst the rationing of post-war Finland. Suc-

however, you will also find visions of a broader concept that encompasses everything from clothing to entire communities.

30

cess followed quickly, and in 1952, the company opened the first Marimekko store.

At first, Armi designed the patterns himself, but soon turned over the creative design function to Maija Isola, who become the Chief Designer. Isola is behind many of Marimekko’s most well-known patterns, such as Unikko with its large flowers, now more popular than ever. There are also several other people who have played important roles in creative development at Marimekko. One of these is Vuokko Nurmesniemi. Originally hired as a designer of clothing and patterns, Vuokko created an artistic platform that set the tone for the Marimekko look. The Jokapoika shirt, which she designed in 1956, is still being manufactured. Four years later, she left Marimekko, and the young designers who were hired by Armi were given free rein 31

publicized presidential campaign, Marimekko received many columns of free advertising in hundreds of newspapers and magazines. The success was enhanced by the fact that the ground-breaking idiom of Annika Rimala, one of the greatest designers of all time, was frequently featured on the covers of fashion magazines.

Lifestyle shops opened in the United States, Europe, Japan and Australia, and Marimekko won a place on the international fashion arena. Despite these triumphs, the company encountered financial difficulties, and an extensive restructuring took place between 1968 and 1971.

In the early 1960s, Armi Ratia’s vision of a multiartform lifestyle concept led to an interesting collaboration with the architect, Aarno Ruusuvuori. Ruusuvuori, known for his discriminating style, developed a number of architectural projects together with Armi.

One of their most ambitious and spectacular concepts was the Marimekko Village, which would be home to 3,500 people, including the employees of Marimekko.

In 1963, Ratia Marikylä Corporation was formed for the purpose of implementing this housing project. A pre-fabricated model house was designed and built on Marimekko’s property in Porvoo, in a rural area, south-east of Helsinki. This project garnered a great deal of interest in the press, but was discontinued due to financial factors, as well as the reluctance of many of Marimekko’s employees to leave Helsinki.

During the 1970s, Marimekko continued to expand, and a new factory, which also housed the central warehouse, was built in Helsinki. This decade also witnessed the appearance of another influential designer, Fujiwo Ishimoto, Since 1970, Fujiwo had worked for Marimekko’s subsidiary, Decembré Oy, which had designed Marimekko’s canvas bags and plastic household utensils. As both a ceramist and textile designer, Fujiwo had taken the initiative of contacting Marimekko after having seen and been impressed by the company’s textiles. So far, he has created more than 300 textile designs. His designs are characterised by earthy colours and patterns inspired by nature.

”the company hand-picked designers who had not undergone formal fashion education” and a great deal of latitude for experimentation. In order to avoid slipping back into conventionality, the company hand-picked designers who had not undergone formal fashion education. Graphic designers, ceramists and architects contributed new ideas in fashion design.

From the end of the 1950s, Marimekko steadily grew.

In the 1960s, the product range was expanded, and an ever larger international audience began to recognise the brand. A collection of unisex-influenced clothing reflected the times, and become a symbol for this new direction in fashion. One well-known event during this period that led to a more international presence was the purchase by Jacqueline Kennedy of seven Marimekko dresses while on a shopping trip. Because this took place during a highly 32

On 3 October 1979, Armi Ratia passed away, and in the middle of the following decade, Marimekko was sold to Amer Group Ltd. After having flourished during the first part of the 1980s, Marimekko found itself in a deep financial crisis at the end of that decade. This crisis resulted in the image of the company becoming stale and indistinct.

However, after Workidea bought the company, Kirsti Paakkanen took over as CEO, and Marimekko once again entered period of rapid growth. The focus was on design, and this resulted in both improved profitability and a clear and attractive trademark.

The modernisation of production, new product groups, and the courage to choose creative, talented your people with fresh ideas have made Marimekko once again one of the world’s strongest fashion and interior decoration brands.

33

publicized presidential campaign, Marimekko received many columns of free advertising in hundreds of newspapers and magazines. The success was enhanced by the fact that the ground-breaking idiom of Annika Rimala, one of the greatest designers of all time, was frequently featured on the covers of fashion magazines.

Lifestyle shops opened in the United States, Europe, Japan and Australia, and Marimekko won a place on the international fashion arena. Despite these triumphs, the company encountered financial difficulties, and an extensive restructuring took place between 1968 and 1971.

In the early 1960s, Armi Ratia’s vision of a multiartform lifestyle concept led to an interesting collaboration with the architect, Aarno Ruusuvuori. Ruusuvuori, known for his discriminating style, developed a number of architectural projects together with Armi.

One of their most ambitious and spectacular concepts was the Marimekko Village, which would be home to 3,500 people, including the employees of Marimekko.

In 1963, Ratia Marikylä Corporation was formed for the purpose of implementing this housing project. A pre-fabricated model house was designed and built on Marimekko’s property in Porvoo, in a rural area, south-east of Helsinki. This project garnered a great deal of interest in the press, but was discontinued due to financial factors, as well as the reluctance of many of Marimekko’s employees to leave Helsinki.

During the 1970s, Marimekko continued to expand, and a new factory, which also housed the central warehouse, was built in Helsinki. This decade also witnessed the appearance of another influential designer, Fujiwo Ishimoto, Since 1970, Fujiwo had worked for Marimekko’s subsidiary, Decembré Oy, which had designed Marimekko’s canvas bags and plastic household utensils. As both a ceramist and textile designer, Fujiwo had taken the initiative of contacting Marimekko after having seen and been impressed by the company’s textiles. So far, he has created more than 300 textile designs. His designs are characterised by earthy colours and patterns inspired by nature.

”the company hand-picked designers who had not undergone formal fashion education” and a great deal of latitude for experimentation. In order to avoid slipping back into conventionality, the company hand-picked designers who had not undergone formal fashion education. Graphic designers, ceramists and architects contributed new ideas in fashion design.

From the end of the 1950s, Marimekko steadily grew.

In the 1960s, the product range was expanded, and an ever larger international audience began to recognise the brand. A collection of unisex-influenced clothing reflected the times, and become a symbol for this new direction in fashion. One well-known event during this period that led to a more international presence was the purchase by Jacqueline Kennedy of seven Marimekko dresses while on a shopping trip. Because this took place during a highly 32

On 3 October 1979, Armi Ratia passed away, and in the middle of the following decade, Marimekko was sold to Amer Group Ltd. After having flourished during the first part of the 1980s, Marimekko found itself in a deep financial crisis at the end of that decade. This crisis resulted in the image of the company becoming stale and indistinct.

However, after Workidea bought the company, Kirsti Paakkanen took over as CEO, and Marimekko once again entered period of rapid growth. The focus was on design, and this resulted in both improved profitability and a clear and attractive trademark.

The modernisation of production, new product groups, and the courage to choose creative, talented your people with fresh ideas have made Marimekko once again one of the world’s strongest fashion and interior decoration brands.

33

INSPIRATION

INSPIRATION

5. SHAPES, a non-rectangular neck label might be the de-

FRESH IDEAS:

tail that takes a garment to the next level. Laser-cut labels in can be made in almost any shape.

TEN WAYS TO SPICE UP YOUR BRANDING

6. HANDICRAfTS. Create labels with a handmade feel by finding the right combination of graphic design and material.

7. REDUCE! Find the core of your brand. Clean up your

visual identity. Super-clean branding can be ever so distinguishing in a cluttered market space.

10

2

1

4

3

1. HANGTAGS do not always have to be made out of paper.

Using textile qualities gives your hangtags an interesting and new look.

8

2. USE UNExPECTED MATERIALS AND TExTURES, and try to find new places to attach labels. This can create exciting effects. For example, this bold rubber eyelet makes a simple cardboard tag stand out.

3. LAYERS. Add layers and several dimensions to your

hangtag or label. Mix and match, or mismatch to create an unexpected and not so “styled� feeling.

4. METALLIC SHINE. Gold, bronze, foil.

Gleaming metallics with their shine and sparkle have been trendy for a while now. Add some patinated, rubbed off and vintage-looking metallics for a novel and authentic effect.

34

5

6

8. DRAWINGS AND DOODLES. Handmade illustrations give a personal rather than a mass-produced feeling. Unless you are branding for kids, reduce colours for a professional impression.

9. ACCESSORIzE. Create labels which, when removed

from the garment, work as accessories or functional gadgets. For example, note pads, baggage tags, card-holders, dog tags or key rings.

10. CRINKLE AND CRUNCH. A subtly crinkled texture crea-

tes a soft look and adds a sense of history and a feeling of authenticity.

9

35

INSPIRATION

INSPIRATION

5. SHAPES, a non-rectangular neck label might be the de-

FRESH IDEAS:

tail that takes a garment to the next level. Laser-cut labels in can be made in almost any shape.

TEN WAYS TO SPICE UP YOUR BRANDING

6. HANDICRAfTS. Create labels with a handmade feel by finding the right combination of graphic design and material.

7. REDUCE! Find the core of your brand. Clean up your

visual identity. Super-clean branding can be ever so distinguishing in a cluttered market space.

10

2

1

4

3

1. HANGTAGS do not always have to be made out of paper.

Using textile qualities gives your hangtags an interesting and new look.

8

2. USE UNExPECTED MATERIALS AND TExTURES, and try to find new places to attach labels. This can create exciting effects. For example, this bold rubber eyelet makes a simple cardboard tag stand out.

3. LAYERS. Add layers and several dimensions to your

hangtag or label. Mix and match, or mismatch to create an unexpected and not so “styled� feeling.

4. METALLIC SHINE. Gold, bronze, foil.

Gleaming metallics with their shine and sparkle have been trendy for a while now. Add some patinated, rubbed off and vintage-looking metallics for a novel and authentic effect.

34

5

6

8. DRAWINGS AND DOODLES. Handmade illustrations give a personal rather than a mass-produced feeling. Unless you are branding for kids, reduce colours for a professional impression.

9. ACCESSORIzE. Create labels which, when removed

from the garment, work as accessories or functional gadgets. For example, note pads, baggage tags, card-holders, dog tags or key rings.

10. CRINKLE AND CRUNCH. A subtly crinkled texture crea-

tes a soft look and adds a sense of history and a feeling of authenticity.

9

35

PRODUCT DEVELOPMENT

PRODUCT DEVELOPMENT

Jeremiah Jones The Nilorn Group releases two branding collections per year. These collections are a tool to present

THE NILORN GROUP UK DESIGN TEAM

materials, technical innovations and inspire our clients. The creative design team in UK has provided Simon Harrup – Head of Creative Design

us with a sneak preview at one of the branding concepts due to be released later this year.

AIMED AT 30-45 YEAR OLD males with high standards in clothing and appearance, this high end suiting range was themed on: SUPER-REALISM. Taking inspiration from work and military uniforms, camouflage, 1940’s industry and architecture, raw surfaces like concrete and using durable material to create practical details like special pockets or loops.

After digesting the brief thoroughly, it was evident to the team that the way forward was to put the emphasis on quality of materials and product that would shine through the deliberate juxtaposition of the rough, industrious look that was to be applied to a clean cut, smart “high end” suiting range.

Taking influence from 1940’s industry we wanted the name to sound like a traditional English mill owner. Smith and Jones were the most common names but as Smith is already well used, Jones worked better. Biblical names were very popular at the turn of the 19th century when the mill owner may have been born, and Jeremiah worked well with Jones. This also allowed a perfect alliteration of JJ, which made the name easy to remember and made a good visual icon or logo. We liked this name and began to build the character Jeremiah Jones.

Camouflage was translated as hidden or discreet, but was also reflected in the colour scheme by using complementary industrial greys/blues and tone on tone, so as not to be intrusive to the garments. Heat stamping and embossing was utilised to create a texture and depth to the pro-

I began my journey as a designer 21 years ago as an apprentice illustrator and airbrush artist just before Apple Macs made an impact on the industry. Working in most disciplines of design and gaining experience of logo / branding design corporate literature etc, I have held positions in Design / Advertising agencies and print related manufacturing.

After initially working with Nilorn UK as a freelance designer I was hooked.

I love design, and I love designing for the fashion industry, so I was delighted when I was offered the position of Head of Creative Design in August 2005. I take influence everywhere I look and I find it difficult to turn off. I am sometimes influenced from things in nature or history and find myself doodling at all hours of day and night. I have two small children which takes up most of my spare time, however I do still get creative at home mostly with finger paints and crayons these days, although I do occasionally still manage to create my own canvases from both digital artwork (mostly Photoshop) and original paintings.

I also enjoy growing fruit, vegetables and herbs at home with the kids help of course.

duct that would not over complicate the design.

Suede and felts were used as primary materials, which related to the thick military clothing of yesteryear with slate and steel as secondary materials to accentuate the link with industry and pull together the collection.

Penny Roadway – Senior Designer Penny works as a creative designer for the Nilörn Group in Keighley. Working within a design environment for many years has given me experience in designing for a wide range of customers from large store groups to small independent designers.

I never tire of designing branding and packaging, it is like playing with a toy that I can’t put down.

Inspiration comes from many sources - magazines, trade fairs, the Internet or things I see around me. A trip to the theatre or a restaurant can often stimulate a creative idea.

In my free time, I enjoy applying my creativity to cooking, spending time with my family, walking and shopping.

Chris Nicholl – Junior Designer Having previously worked for myself and taught/supported students at a Technology collage as a Designer in Residence, I joined Nilorn UK in February 2008 with anticipation and an open mind. It was the first time I found myself working within a design team and environment, with like-minded, creative people. I take inspiration from absolutely anywhere and everywhere, from the insignificant to the obvious.

Inspirational quote; “I used to think that design came from deep inside, but now I realise that design is the end product of everything you see and hear” – Tetsu Nishiyama.

In my spare time I like to socialise with friends, go to gigs and to the cinema.

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PRODUCT DEVELOPMENT

PRODUCT DEVELOPMENT

Jeremiah Jones The Nilorn Group releases two branding collections per year. These collections are a tool to present

THE NILORN GROUP UK DESIGN TEAM

materials, technical innovations and inspire our clients. The creative design team in UK has provided Simon Harrup – Head of Creative Design

us with a sneak preview at one of the branding concepts due to be released later this year.

AIMED AT 30-45 YEAR OLD males with high standards in clothing and appearance, this high end suiting range was themed on: SUPER-REALISM. Taking inspiration from work and military uniforms, camouflage, 1940’s industry and architecture, raw surfaces like concrete and using durable material to create practical details like special pockets or loops.

After digesting the brief thoroughly, it was evident to the team that the way forward was to put the emphasis on quality of materials and product that would shine through the deliberate juxtaposition of the rough, industrious look that was to be applied to a clean cut, smart “high end” suiting range.

Taking influence from 1940’s industry we wanted the name to sound like a traditional English mill owner. Smith and Jones were the most common names but as Smith is already well used, Jones worked better. Biblical names were very popular at the turn of the 19th century when the mill owner may have been born, and Jeremiah worked well with Jones. This also allowed a perfect alliteration of JJ, which made the name easy to remember and made a good visual icon or logo. We liked this name and began to build the character Jeremiah Jones.

Camouflage was translated as hidden or discreet, but was also reflected in the colour scheme by using complementary industrial greys/blues and tone on tone, so as not to be intrusive to the garments. Heat stamping and embossing was utilised to create a texture and depth to the pro-

I began my journey as a designer 21 years ago as an apprentice illustrator and airbrush artist just before Apple Macs made an impact on the industry. Working in most disciplines of design and gaining experience of logo / branding design corporate literature etc, I have held positions in Design / Advertising agencies and print related manufacturing.

After initially working with Nilorn UK as a freelance designer I was hooked.

I love design, and I love designing for the fashion industry, so I was delighted when I was offered the position of Head of Creative Design in August 2005. I take influence everywhere I look and I find it difficult to turn off. I am sometimes influenced from things in nature or history and find myself doodling at all hours of day and night. I have two small children which takes up most of my spare time, however I do still get creative at home mostly with finger paints and crayons these days, although I do occasionally still manage to create my own canvases from both digital artwork (mostly Photoshop) and original paintings.

I also enjoy growing fruit, vegetables and herbs at home with the kids help of course.

duct that would not over complicate the design.

Suede and felts were used as primary materials, which related to the thick military clothing of yesteryear with slate and steel as secondary materials to accentuate the link with industry and pull together the collection.

Penny Roadway – Senior Designer Penny works as a creative designer for the Nilörn Group in Keighley. Working within a design environment for many years has given me experience in designing for a wide range of customers from large store groups to small independent designers.

I never tire of designing branding and packaging, it is like playing with a toy that I can’t put down.

Inspiration comes from many sources - magazines, trade fairs, the Internet or things I see around me. A trip to the theatre or a restaurant can often stimulate a creative idea.

In my free time, I enjoy applying my creativity to cooking, spending time with my family, walking and shopping.

Chris Nicholl – Junior Designer Having previously worked for myself and taught/supported students at a Technology collage as a Designer in Residence, I joined Nilorn UK in February 2008 with anticipation and an open mind. It was the first time I found myself working within a design team and environment, with like-minded, creative people. I take inspiration from absolutely anywhere and everywhere, from the insignificant to the obvious.

Inspirational quote; “I used to think that design came from deep inside, but now I realise that design is the end product of everything you see and hear” – Tetsu Nishiyama.

In my spare time I like to socialise with friends, go to gigs and to the cinema.

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NEW FASHION BRAND

HOT BRITISH DESIGNER

KIRSTEN AVERY SHOE DESIGNER

ANDREW BANISTER FASHION DESIGNER

KKD LTD IS A SHOE DESIGN agency founded by Kirsten Avery in April 2007.

Kirsten has expert knowledge in the development of all kinds of footwear and in her time she has developed different types from wellies to flip flops, slippers to yachting shoes, but always with a special focus on trainers.

Working with brands including Henri Lloyd, O’Neill and Airwalk, KKD Ltd provides targeted footwear design, development and production for companies worldwide.

With a keen eye for fashion and ongoing market trends (an endless excuse to buy shoes!), Kirsten finds her inspiration in clothing, bags, hats anything really – always looking for ways to rework interesting ideas into her shoes designs.

After graduating from Berkshire College of Art and Design in 1995 with a HND Distinction in Footwear and Fashion, Kirsten initially worked for the successful shoe company Shelley’s where she helped design and produce

THIS MIxED COLLECTION INTRODUCES A new designer label, studio_805, to the fashion

38

shoes for the likes of Lenny Henry and Keith Flint from the Prodigy, also contributing to the shoes for the Spice Girls movie, Spiceworld.

Throughout her career, Kirsten has built up her knowledge of the shoe industry, gaining a detailed understanding about the production process in shoe factories all over the world. This knowledge of how the shoe will be made and insight into actual costs helps to produce a great commercial shoe as economically and efficiently as possible.

In 2007 - 12 years after she started her career and after enough time and experience to see reoccurring trends coming round again - Kirsten established KKD Ltd, giving her the chance to work with a variety of established brands as well as focusing on some of her own personal projects.

A selection of work can be viewed at the website www.kkd-ltd.co.uk.

community and wide consumer market. Inspired by an eclectic mix…gaffer tape, world war I dazzle pattern warships, 90° angles, an über-masculine physique, two of the most powerful colours in the universe – red & white – and propelled by a mantra derived from the 3 main principals of camouflage: Conceal! Distort! Deceive!

Each garment is beautifully crafted with a high attention to detail. Inside the garment is as well considered as the outside. Fabrics range from printed butchers check, ribbon checked red drill, 3M white reflective, stripe jersey and butter soft perforated white leather.

Intended to sell at exclusive boutiques Browns and Kokon to Zai in London, Colette in Paris, Seven in New York and Side by Side in Japan.

Studio_805 is driven by Andrew Bannister, a 34 year old fashion graduate from Leeds college of art and design who relocated to London (in the winter of 2008) to begin his calculated exercise in clothing fun. The next collection from Studio_805 will be launched at London Fashion Week in September 2009. www.studio805.co.uk.

CREDITS Photographer - Amarpaul Kalirai. Makeup & hair - Melissa Victoria Lee. All clothing and accessories - studio_805.

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NEW FASHION BRAND

HOT BRITISH DESIGNER

KIRSTEN AVERY SHOE DESIGNER

ANDREW BANISTER FASHION DESIGNER

KKD LTD IS A SHOE DESIGN agency founded by Kirsten Avery in April 2007.

Kirsten has expert knowledge in the development of all kinds of footwear and in her time she has developed different types from wellies to flip flops, slippers to yachting shoes, but always with a special focus on trainers.

Working with brands including Henri Lloyd, O’Neill and Airwalk, KKD Ltd provides targeted footwear design, development and production for companies worldwide.

With a keen eye for fashion and ongoing market trends (an endless excuse to buy shoes!), Kirsten finds her inspiration in clothing, bags, hats anything really – always looking for ways to rework interesting ideas into her shoes designs.

After graduating from Berkshire College of Art and Design in 1995 with a HND Distinction in Footwear and Fashion, Kirsten initially worked for the successful shoe company Shelley’s where she helped design and produce

THIS MIxED COLLECTION INTRODUCES A new designer label, studio_805, to the fashion

38

shoes for the likes of Lenny Henry and Keith Flint from the Prodigy, also contributing to the shoes for the Spice Girls movie, Spiceworld.

Throughout her career, Kirsten has built up her knowledge of the shoe industry, gaining a detailed understanding about the production process in shoe factories all over the world. This knowledge of how the shoe will be made and insight into actual costs helps to produce a great commercial shoe as economically and efficiently as possible.

In 2007 - 12 years after she started her career and after enough time and experience to see reoccurring trends coming round again - Kirsten established KKD Ltd, giving her the chance to work with a variety of established brands as well as focusing on some of her own personal projects.

A selection of work can be viewed at the website www.kkd-ltd.co.uk.

community and wide consumer market. Inspired by an eclectic mix…gaffer tape, world war I dazzle pattern warships, 90° angles, an über-masculine physique, two of the most powerful colours in the universe – red & white – and propelled by a mantra derived from the 3 main principals of camouflage: Conceal! Distort! Deceive!

Each garment is beautifully crafted with a high attention to detail. Inside the garment is as well considered as the outside. Fabrics range from printed butchers check, ribbon checked red drill, 3M white reflective, stripe jersey and butter soft perforated white leather.

Intended to sell at exclusive boutiques Browns and Kokon to Zai in London, Colette in Paris, Seven in New York and Side by Side in Japan.

Studio_805 is driven by Andrew Bannister, a 34 year old fashion graduate from Leeds college of art and design who relocated to London (in the winter of 2008) to begin his calculated exercise in clothing fun. The next collection from Studio_805 will be launched at London Fashion Week in September 2009. www.studio805.co.uk.

CREDITS Photographer - Amarpaul Kalirai. Makeup & hair - Melissa Victoria Lee. All clothing and accessories - studio_805.

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