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趋势对品牌有好处吗?

Chobani branding
(图片来源:Chobani)

无论代理商如何努力地反对它,品牌一直受制于风格的趋势。无论品牌接受还是抵制现状,某种审美基准的存在仍然是一个重要的事实。

可以说,一款与其他行业共享某些视觉特征的新产品有一定的价值。它有助于建立熟悉和信任,作为一种视觉缩写的消费者。不可否认的是,站出来总是容易,如果你定位自己面对一个趋势,但你必须付出更多的努力才能做到这一点。无论哪种方式,只要确保你清晰地勾勒出你的想法,就像这些细节一样。设计风格指南

对于沃尔夫奥林斯+$' chief creative officer Chris Moody, it’s clear which route to take. His view is that trends are to be avoided at all costs. “House styles suck, trends suck, looking like your competitors sucks,” he says.

+$“I rate originality and distinctiveness above craft – sometimes even above practicality,” Moody goes on. “Creative movements are circle jerks that only satisfy those in them. Designers should care less about what other designers think, and more about exciting, surprising and energising the end user.”

这是一个振奋人心的战斗号召,很少有设计师会不同意这样的观点,即最终用户应该是关键设计决策的前沿和中心。然而,潮流在一些设计师的创作过程中仍然占有一席之地。

McKinsey & Company branding

在麦肯锡公司更名时,沃尔夫·奥林斯利用信号噪声,以说明性的方式将数据可视化。

(图片来源:沃尔夫·奥林斯)

+$“In their early stages, trends can be useful to help align you with a style of work, a movement,” says Rob Coke, an executive creative director based at产量..“品牌得益于被视为当代文化的一部分。它有可能是它的一部分,但在它上有一个不同的旋转。“

可口可乐指出,品牌往往反映了更广泛的审美运动在建筑,内部,艺术和文化。他承认,这不是最近才出现的现象,尽管趋势的即时性及其扩散的速度发生了很大变化。

+$“In the distant past you’d find out about Modernism and the Swiss Style by trawling through Graphis annuals at college. In the '90s, people were inspired by Postmodernism, Deconstructivism, or a grungier, cut-up ‘end of print’ aesthetic,” he says.

Output branding

对于青年心理健康服务的先驱者纽汉,Output开发了一个大胆的、引人注意的品牌,该品牌利用明亮的颜色和受表情符号影响的图形。

(图像信用:输出)

“这些天来,事情变得更加同质化了。设计师们不会被迫四处寻找晦涩的灵感:每个人都在实时查看同样的参考资料。有一个可识别的‘在线外观’:一个模糊的欧洲,友好的审美,平衡的工艺感通过潮人象征主义和中世纪调色板。“

+$Coke is quick to assert that once trends become ubiquitous, they descend into cliché and are best avoided at all costs. “That’s how a counter-trend starts, like the rush towards serif typography as a reaction to the ubiquity of geometric sans,” he says. “Smarter agencies know how to give their work a contemporary feel, but to build it around strong ideas. This is always what sets original work apart from the herd.”

Chobani branding

这款全新的酸奶品牌chobani风格精美,带有20世纪70年代的复古色彩,并催生了许多模仿者。

(图片来源:Chobani)

有时,一件与众不同的作品在某一特定领域引起足够的关注,它几乎立即创造了“我也”品牌,加速了一种趋势的形成。江东创始人詹姆斯·格林菲尔德认为,去年,在著名的“美国第一希腊酸奶”Chobani更名之后,这种情况就发生了。

+$“Its Matisse-like, cut-out style and reboot of typefaces with a 1970s feel have seen a plethora of similar identities come out in the past six months,” he says. “That being such a stand-out piece of work in 2018 will cause the trend to come and go quicker than it might have otherwise. It also requires a certain amount of talent and flair to carry off, making the distance between the original and the copies even more stark.”

强生银行创始人迈克尔约翰逊(Michael Johnson)提请人们注意“‘技术-衬线’品牌的优势”,他哀叹科技公司往往在品牌上默认使用类似的几何学无衬线。

+$“There was once a school of thought that all branding should be timeless,” says Johnson. “Now, many rebrands happen within four or five years, rather than every 10 or 15. Branding has become much more tactical, and we’re seeing more designs that are style based.”

THIS branding

Johnson Bank为挑战者品牌所做的工作标志着一种新的无肉食品方法。

(图片信贷:约翰逊银行)

斯宾塞·巴克,联合创始人兼创意合伙人出租车工作室+$, concurs: “There’s a lot more style-over-substance branding, and worse, seemingly unnecessary rebranding at present,” he says.

这正是出租车与其竞争的心态。嘉士伯近期全球品牌更名..它的剪裁,独特的丹麦美学是以永恒和长寿为理念的,这使它成为了一个“反潮流”改名的好例子,不需要每隔几年再重提一次。

+$Buck highlights luxury fashion as another sector losing its individuality. “It’s bizarre,” he shrugs. “By definition fashion is trend-driven, but that doesn’t explain the homogeneity in a sector that exists because people desire visual differentiation and disruption.”

+$Ironically, disruption can be a trend in itself. It must be done for the right reasons to be a differentiator, rather than a source of confusion. “The alcohol industry has shrugged off most of its dusty old category conventions, starting with the wine category two decades ago,” says Buck.

Carlsberg

设计成“反趋势”和永恒的,出租车工作室的全球品牌的嘉士伯合并了许多变体在一个精心设计的主品牌系统。

(图片来源:嘉士伯)

“现在接力棒已经从葡萄酒转到朗姆酒、伏特加、杜松子酒、工艺啤酒等等。任何东西都是品牌化的,这意味着很少有真正的棍子。你可以在一罐酒或一瓶酒上涂上任何风格的插图、字体或摄影作品,因为它是“时尚”的,所以你可以把它放掉。这就是问题所在。“

+$If everyone’s shouting at the top of their voice then no one gets heard – which is why the quiet, crafted confidence of Taxi’s Carlsberg rebrand is so effective by comparison. “Chaos breeds the new normal. It becomes wallpaper,” says Buck. “Even if the work is impeccably executed, it gets lost in a different sea of sameness category by category. If everyone is disrupting, nothing is disruptive.”

+$While some markets used to be more reactive to trends than others, Greenfield believes that’s no longer the case. “Finance has as many trends as FMCG, and within that lie many nuances,” he says.

+$Coke agrees that trends are prevalent in any sector these days, and he expands on the finance example: “Once banks were all about authority and trust, and the colours, imagery and tone of voice reflected that. First Direct stood out by balancing a stark, modernist black-and-white aesthetic with a quirky, friendly voice,” he says.

“现在,开放的银行监管已经把传统抛到了空中,像蒙佐这样的新人引入了表情符号、动画和脚踏实地的语言。”这本身就已经成了陈词滥调,出现了几个色彩鲜艳的品牌。“

+$Monzo is a much-quoted example of a disruptor kick-starting a trend, and Moody adds Bulb to the list as a comparable challenger in the energy sector. “Every sector has its tropes and clichés,” he points out. “It’s fascinating that whenever someone breaks out of those they are heralded as mavericks.”

Monzo logo

Monzo是金融服务业的早期破坏者,这个行业现在充斥着类似的挑战者品牌。

(图片来源:Monzo)

工作室纹理战略总监路易丝·凯姆(LouiseKyme)对慈善机构和非营利组织有着特殊的专长。她认为,这一行业仍在把握品牌具有自己独特个性的理念,而不是追随潮流。

+$“As the big brands lead the way with chunky budgets and big, ambitious agencies, smaller charities tend to follow diligently in their tracks,” she says. “Rather than taking the opportunity to be risk-taking challengers, we end up with more fighting brands, and more sad advertising.”

+$Part of the issue, Kyme believes, is that branding is still perceived by much of the public as a waste of charity funds. “As a consequence, charities tread with caution throughout the process, which inevitably results in trend following, rather than trend setting,” she continues. “This is a shame, although I suspect a rebel charity brand will shake us up soon.”

+$One of the most immediately striking trends within any given sector concerns choice of colours – particularly what Coke describes as the ‘Airbnb-ism’ of brand palettes. “It’s not just about the use of pink, but the approach to colour as a whole,” he says. “We now see a lot of range-ambiguous colours, with evocative names, sitting around the colour wheel.”

+$Much of this comes down to how much harder brand palettes have to work nowadays. “It’s not just about having one or two recognisable brand colours for marketing communications, but about introducing range and tone to digital products and platforms,” adds Coke. “Of course, there’s a danger that every brand can be every colour these days, which can be harmful when you’re trying to create distinctiveness.”

在他担任Airbnb创意总监期间监督Airbnb改名DesignStudio对+$, James Greenfield admits some responsibility for the trend that Coke identifies. “Bright, poppy palettes have been popular for a good eight years now, and show no signs of abating,” he says.

+$“Some adventurous brands are trying out some more muted approaches, but this requires talent in deployment,” Greenfield goes on. “The fact of the matter is, there are only 12 to 14 main colours to choose from, and the nuance of how you work with them is the skill. Colour is just one component of a bigger brand world these days, and it’s one of the last things we get locked down on most big branding projects.”

Spairboober

迈克尔·约翰逊(MichaelJohnson)顽皮的图形模仿了几何学无衬线的流行趋势。

(图片信贷:约翰逊银行)

+$Kyme agrees that bright, flat hues making up multi-colour identity schemes are the order of the day, particularly among digital-first brands. “In the context of this, there’s still equity in owning a single colour or narrow palette,” she points out.

+$“We’ve also noticed brands making a special effort to steer clear of gender colour-stereotyping or colour-coding, especially in areas where they want to promote and re-establish gender balance, such as in education and skills,” adds Kyme.

在排版领域,那些无所不在的几何无衬线仍然在数字第一品牌中大量存在。2018年9月,约翰逊·班克斯(Johnson Bank)在Twitter上调皮地强调了这一流行趋势,将Spotify、Airbnb、Google和Uber等词融入了类似于弗兰肯斯坦(Frankenstein)的“Spairboober”(Spairboober)。

+$“This style is largely responsible for what people are calling ‘global blanding’,” says Coke. “The use often comes down to practical reasons around legibility and recognition at small sizes, but it’s leading to a world of sameness and provides opportunities to buck the trend.”

+$As well as quirky serifs and expressive scripts injecting more personality into branding, dynamic variable fonts are another exciting counter-measure. Wolff Olins has worked extensively with Colophon and Face37 on exactly that: “Both get the fact that type should be intelligently powered,” explains Moody. “The work that went into our Lafayette Anticipations typeface was immense. It could recognise when two similar characters sat together, and automatically swap in an alternate.”

Lafayette Anticipations

定制类型是区分品牌的有效方法:Wolff Oins与Colophon和Facebook 37合作,为Lafayette的预期设计这种字体。

(图片来源:沃尔夫·奥林斯)

+$Moody also heralds the use of ‘smart’ illustration – which can adapt to cater to local markets and cultural nuances – as a key part of a modern brand’s toolkit. “The work we did with Signal Noise on data visualisation for our recent McKinsey work was a real eye-opener for me as to how data could be used in a truly illustrative, beautiful way,” he says.

+$“Illustration is the antidote to the stock imagery trend,” says Andy Howell, co-founder and creative director at清算..“通常情况下,股票形象是现实生活的一种理想或不现实的表现。不出所料,这未能与任何观众建立情感上的联系。“

+$Emotional connection is what illustration does best, says Howell – and The Clearing used it to great effect to appeal to families in its recent Wimbledon rebrand. “It’s not trying to be realistic, and that’s exactly why it’s relatable,” he adds. “We can all imagine ourselves within the story. Stylistic trends within illustration come and go, but using illustration for storytelling is here to stay. Let’s embrace that.”

+$Coke agrees that illustration can be invaluable for brands to express character and playfulness, and to find that all-important point of distinction in a trend-driven world. “When almost every website leads with a centred headline over a full-bleed image of vaguely trendy, happy people, illustration provides potential for difference,” he adds.

客户和消费者想要什么

当然,影响该行业核心的许多大趋势根本不是风格上的:它们与消费者态度、期望和行为的不断变化有关。

+$Consumers expect more of brands than ever before, and the pressure is on to step it up. “If it’s made up, false or inauthentic, people see straight through it,” confirms Johnson. “Our decision is simple: only work with brands – and people – that you can trust or believe in.”

凯姆透露,近年来,信托一直是慈善行业中一个特别棘手的问题,因为高调的失败和公众对首席执行官薪酬的批评已经把慈善行业最糟糕的部分拉进了聚光灯下。

+$“Audiences are warier of charity marketing techniques, partly because charity marketing has become increasingly commercialised,” she says. “This misses the chance to tell a genuine story. That’s not easy to achieve, but we believe it’s where the real opportunities lie.”

Talentful poster

Koto的创意招聘公司Talentful的品牌计划结合了一个趋势的‘范围-模棱两可’调色板和古怪的类型和插图。

(图像信用:Koto)

+$According to Howell, it’s all too easy for brands to become blinded by the success of others and lose sight of how they could find a point of difference. “Just look at the domination of Amazon and Google, and the rise of businesses clamouring to be just like them,” he says. “Finding a problem, a gap or a need – that’s where real impact can be had.”

+$For instance, The Clearing worked with Ownable - a service that bridges the gap between offline and online by making off-the-page purchases in a magazine as smooth and simple as clicking a website link. “While Amazon gives us an overwhelming amount of choice, Ownable helps you buy recommended products in just a couple of clicks,” he explains.

+$With budgets and time-frames becoming progressively tighter, the pressure is on from clients to deliver more for less. “The need for speed is overwhelming. It’s all about being ‘right now’ compared with ‘being right, now,’” says Buck.

+$“Quicker. Cheaper. Better. These three things used to be a choice. Now it’s a shopping list,” says Moody. “The brand industry is being disrupted, commoditised and put under pressure.” But he relishes the challenge.

+$“One way of looking at this is to say: ‘Isn’t it a shame we don’t have time to think about projects anymore?’ But I prefer to say: ‘Great, now we can get more stuff out in the world,’” asserts Moody. “Things are tougher? Good, it’ll get rid of the bullshitters and charlatans that have had too much airspace.”

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