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Volume 10, No. 1, Spring 2004The Journal of Business and DesignPublisherCorporate Design FoundationSponsored by Sappi Fine PaperEditorDelphine HirasunaDesignPentagramKit Hinrichs, Design DirectorTakayo Muroga, DesignerContributing WritersDelphine HirasunaNoreen O'LearyPeter LawrenceCover PhotographyPete McArthurMajor Illustration and PhotographyMichelle ChangRegan DunnickBarry RobinsonEditorial Advisory B oardPeter LawrenceCorporate Design FoundationAgnes BourneAgnes Bourne StudioKit HinrichsPentagramDelphine HirasunaHirasuna EditorialPeter LaundyDoblin GroupJames PatellGraduate School of BusinessStanford UniversityChristopher PullmanWGBH Educational FoundationIn MemoriamJens Bernsen, 1944 - 2004Director, Danish Design Centre, 1 9 7 7 - 2 0 0 1For More InformationCorporate Design Foundation20 Park Plaza, Suite 321Boston, MA 02116Telephone: 617-350-7097Fax: 617-451-6355E-mail: [email protected] Wide Web Sitewww.cd f .o rg
mailto:[email protected]://www.cdf.org/http://www.cdf.org/mailto:[email protected]


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Interview with GE'sJoseph HoganCEO Joseph Hogantalks about howdesign processes atGE HealthcareTechnologies areorganized toproduce measurablebusiness results.

Quiz: Moooo-vingBrandsLong before therewere corporatebrands, there werecatt le brands thathelped ranchersident i fy who ownedw h ich steer.14

Coming of Ageof CorporateAnthropologyProduct innovatorsare taking a cuefrom anthropologistsand studying consumers in their ownnat ive habitat .

Lands' End Shines aBeacon on its BrandLands' End's newident i ty system didmore than bring orderto the brand; it raisedthe visibil ity of itsspecialty catalogs.

Simply BooksFlies HighTravel concessionaireHMS Host knowsthat air t ravelershave special needsand factored theminto its airport bookstore design.

Business andDesign ClassicThe mascot forthe U.S. ForestService, Smokey th eBear has led acolorful existenceduring his 60 yearsin public service.32 15M0KEY I

Keep Upwith the Jones, Dude!When Jones Sodatargeted its soft drinks tothe Gen Y market, itdidn't just create a brandit created a lifestyle.16


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I S S U E :

G E H e a l t h c a r e T e c h n o l o g i e s C E OJ o s e p h M . H o g a n o n D e s ig nGE H eal th car e Technologies CE O Joseph M. Ho gan t a lkswi th Corporate Design Foundat ion chai rman Peter Lawrenceabout se t t ing measurable goals for design and how designerscont r ibu te to new medica l p roduct ideas .

G E is a proponent of Six Sigma, a data-driven process aimed at achievingmeasurable business results. Do youapply it to design?Y e s . Every employee is t ra ined in S ixSigma. Our Design for Six Sigma (DFSS)process uses tools that develop and analyzedata to make sure our des ign is focused inthe r igh t d i r ec t ion . G E H ea l thca re p roduc tdevelopment is not a l inear process wherethe eng inee r s make s ometh ing and " to s s i tover the wal l" to the des igners and walkaway. We work in cross-functional t eams tha t inc luded e s i g n , e n g i n e e r i n g a n d m a n u f a c t u r i n g a n d o ft end i s t r ibu t ion and as s embly as w e l l .H ow do you get design, engineering and manufacturingin agreement?We s tar t wi th the cus tomer . The f i r s t par t of S ix S igmainvo lves deve lop ing a " c r i t i ca l - to -qua l i ty list"i .e . , our cross-functional tea m s have to f irs t iden tifyand ag ree upon the pa t i en t o r cus tomer needs tha tabs o lu te ly mus t be me t . Th i s inves t iga t ion d r ives thein t roduc to ry documen ta t ion fo r each new p roduc t .How much of your product design is done in-house?Near ly a l l . Our Global Des ign Group is headed bySeth Banks , who manages a wor ldwide s taf f of some 35indus t r i a l and in te r ac t ive des igner s . They a r e l inked

Joseph M . H ogan is presidentand CEO of GE HealthcareTechnologies (formerly GEMedical Systems), a $10 billionsegment of General ElectricCompany and the global leaderin medical technology andinformation systems. He beganhis career at GE in 198 5,advancing through leadershiproles in sales, marketing andproduct development at GEPlastics. In 1998, Hogan wasnamed president and CEOof GE Fanuc Automation NorthAmerica, a global supplierof industrial controls systems.He joined GE Healthcare in20 00 and was named CEOlater that year.

by col laborat ive sof tware . With ourdes ign s tudios in d i f ferent cul tures andcon t inen t s , w e ge t a t r emendous va r i e tyo f concep t s a t the b ra in s to rming l eve l .Are your designers directly involved inproduct research?Very involved. Through user observat ionresearch and focus groups , our des ignersgather informat ion about the medicalprocedure for the product , ergonomics ,pat ient pos i t ioning requirements , the s izeof the patient, how they get on and off the

p roduc t , needed acces s o r i e s al l the th ings that wi l lhelp them corroborate data that the engineer ing teamsare col lect ing . Their research a lso looks a t how a productmight be serviced. For ins tance, cer ta in par ts that mayneed more service a t tent ion mus t be located appropr i ately and not require a lot of l if t ing. A service personworking independent ly should be able to eas i ly accessthe a r ea tha t needs the mos t f r equen t ma in tenance .Does your user observation research include the patientas well as the hospital technician?We s tar t the observat ion process in the wai t ing roombec aus e ou r p roduc t s a r e s o f a r - r each ing tha t th eenterpr ise sof tware s tar ts r ight a t the admiss ion desk .Even tha t i s chang ing qu ick ly and i s now s ta r t ing int h e p a t i e n t ' s h o m e .


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I S S U E

What is the balance between observation researchand focus groups?Observat ion research far outweighs our use of focusg roups . We iden t i fy oppor tun i t i e s to improveproductivity, workflow and efficiency by watching howpeo ple use current prod ucts - not jus t ours butour compet i tors ' as wel l . Once we get a l l that informat ion , we conf i rm i t by conduct ing in teract ive focusgroups around a product to ensure that what we sawand what we are a t tempting to do wil l add value tothe cus tomers . Sometimes you can get very enamoredw i th an idea tha t cus tomers don ' t s ee a s a t r uep roduc t iv i ty enhancemen t . We have had a number o foccas ions w here cus tomers have s a id , "That's n i c e .Bu t w ha t abou t th i s ? " Tha t ' s te r r if i c f eedback .Are your designers also involved in developingnew product ideas?Yes. F or example , w hen l ap top compu te r s came ou t ,ou r des igner s though t tha t med ica l equ ipmen tshou ld provid e the sam e kind of mob ility and flexibili ty.In 1996 , w e began deve lop ing ideas fo r po r t ab leu l t r a s ound equ ipmen t . O ur des ign s tud ios w or ldw ideb ra ins to rmed th i s idea and w orked w i th ou r t echno logyteams to br ing the idea to l i fe . The resul t was theLOGIQ Book , G E ' s po r t ab le u l t r a s ound s canner in t ro duced three years ago. I t has been very success ful .We sel l some 20 d if ferent k inds of u l t rasound products ,and ou r LO G IQ Book po r tab le t echno logy p rov idedan ans w er to the man y d i f fe r en t u s e r in te r f aces tha tcus tomers have. We were able to keep the same userin te r f ace s a m e n o m e n c l a t u r e , s a m e b u t t o n s on a$200 , 000 h igh -end p iece o f equ ipmen t a s on a$40,000 por table uni t , so i f you can operate one, youcan operate the o ther . That ' s been a huge sel l ingpo in t , becaus e r igh t now the "ha l f - l i f e" o f hos p i t a lt echn ic ians cou ld be s ix mon ths . Cons i s t en t u s e rin ter face means hospi ta ls don ' t have to re-train a personon nine d if ferent p ieces of equipment .Why is design still important when your medical productsoften represent major breakthroughs in technology?Cut t ing -edge t echno logy i s no t enough . O ur p roduc t sa re rough ly in the s ame p r i ce ca tego ry as ou rcompet i tors ' . The d if ference is in the features . Des igni s w ha t s e t s ou r p roduc t s apa r t . When a cus tomerpays $2 mil l ion for an MRI m a c h i n e , e v e r y t h i n g n e e d sto come toge the r s eamles s ly w hen a u s e r w a lks up

to i t . Des ign creates the exper ience that i s mos td i r ec t ly r e l a t ed to the cus tom er ' s need s - the v i s ua laes the t i c s , the in te r f ace be tw een the p roduc t andthe user , the creat ion of the r ight environment . Also ,i f a hospi ta l buys several products f rom us , des ignhe lps u s communica te the f ac t tha t the new ly acqu i r edproduct can be eas i ly in tegrated in to the fo ld . I tdoes that by present ing a unif ied and cons is tent look.Are current design trends considered whendesigning, say, a cardiovascular imaging system ormammography machine?We don ' t look a t fads because they don ' t las t long.We do look a t wor ldwide t rends in archi tecture , fabr icdes ign , and cons umer and au tomot ive p roduc t s .We t ry to create an environment that i s famil iar andreassur ing to the pat ient by select ing colors thatwil l put them at ease and mater ia ls that feel warm,sof t and comfor table .How much of the design focuses on usability?Ergonomics d r ives eve ry th ing in ou r p roduc tdeve lopmen t the locat ion of the contro ls , the product ' sab i l i ty to move in a manner tha t does n ' t neces s i t a t ea lo t of phys ical exer t ion on the par t of the technicianto pos i t ion a pat ient . As a g lobal company, we have tomake s u re tha t the p roduc t i s adap tab le enough toaccommodate a var ie ty of s i tuat ions and users , f rompe t i t e t echn ic ians to l anky opera to r s .What must a design prove before it can be implemented?I t has to mee t the o r ig ina l cus tomer " c r i t i ca l - to -qual i ty" cr i ter ia ident i f ied a t the outset . Our des ignershave to be able to measure and h i t the cr i ter ia beforethey f in ish the des ign.Over the past five years, GE Healthcare revenues havegrown from $5 billion to $10 billion. Has that changedyour approach to design?We of f e r many more p roduc t s , s o convey ing acons i s t en t image in the marke tp lace i s e s s en t i a l .D e s i g n m u s t t a k e a f r o n t - a n d - c e n t e r p o s i t i o nand b r ing d i s pa ra te bus ines s es toge the r . A l s o , a s w eacquire d i f ferent companies , of ten i t ' s not our ownorganic technology that we offer . I t ' s ex tremelyimpor tan t tha t the new ly acqu i r ed company bein teg ra ted in to ou r b rand f rom a des ign s t andpo in ts o ou r equ ipmen t has an in teg ra ted look and f ee l .When did you first begin to appreciate design as abusiness resource?


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I S S U E

W he n I hea ded m arke t ing a t G E P las t i c s , I deve lopeda b road s en s e o f des ign , pa r t i cu la r ly f rom Euro peanco l l eagues . A t the t ime , the idea o f inco rpo ra t ingindus tr ia l des ign in to our s t ra tegy wasn ' t prevalent inthe U.S . In the p las t i cs bus ine ss , I saw des ig n u sedac ros s d i f f e r en t app l i ca t ions and indus t r i e s , and Is tar ted to unders tand how i t could lead to out-of - the-box th inking. Des igners would come in and look a t ap rob lem and no t imm ed ia te ly s eek a t ech n ica l s o lu -

eople are functionallyfixated. A chair is a

I chair. I f s not until acreative designer builds something completely differentthat you say, 'That's i t !That's the answer! That'sthe differentiator!'"

t ion , but look a t what could be done. They looked a tnew app l i ca t ions , new fo rms . F o r example , w hen babybot t les moved f rom being made out of g lass to p las t ic ,manufac tu re r s r emained func t iona l ly f ixa ted on th ink ing that baby bot t les had to look l ike the g lass ones .Suddenly , a des igner thought to sugges t , "Why don ' tyou make tw o tubes s o bab ies can pu t the i r handsthrou gh i t ." Th e use of p las t ic ena ble s that poss ib i l i ty .The p las t i c s exper i ence opened my eyes to how des ignideas could be appl ied in so many dif ferent ways .Why don't more business leaders see design as offeringmore than aesthetic appeal?People are funct ional ly f ixated . A chair i s a chair . I t ' sno t un t i l a c r ea t ive des igner bu i ld s s ometh ingcomplete ly d if ferent that you say , "That ' s i t ! That ' sthe ans w er ! Tha t ' s the d i f f e r en t i a to r ! " The o the rday, I saw a des ign award for a pair of baby nai lc l ippe r s made f rom p las t i c w i th a magn i fy ing g las sat the end. You say to yourself, " W h y d i d n ' t

s omeone do tha t 20 yea r s ago?" I t ' s s ometh ing tha ts imple . When you see a good des ign, i t knocks you offyour feet . Unless you 've been exposed to innovat ivedes ign, your v iew is more u t i l i tar ian .Do GE Healthcare designers frequently incorporate newmaterials into products?G E H ea l thca re has a lw ays w orked w i th G E P las t i c sand with our g lobal research center to seek out newmate r i a l s mater ia ls that wi l l provide greater s t rength-to -w e igh t r a t io s , ma te r i a l s tha t w i l l r equ i r e l e s sf in i s h ing s o w e can us e the s t ruc tu ra l e l e m en ts a sdes ign e lemen ts and no t need cover s w here theyare not necessary , especia l ly i f you have to take themoff to service a product .

N ew mate r i a l s have a lw ays been c r i t i ca l to d r iv ingdes ign innovat ion . Years ago I read an ar t ic le inHarvard Business Review t ha t des c r ibed how a i r -cond i t ion ing and super-strength s t ee l e l imina ted theneces s i ty fo r low bu i ld ings w i th a modes t numbero f w indow s . The adven t o f s t ee l changed a r ch i t e c tu re .A nd a i r - con d i t ion ing a l low ed a r ch i t ec t s to pu t g la s sal l around a bui ld ing and make open- looking, tower ings kys c rape r s . N ew mate r i a l s mus t a lw ays be t akenin to cons ide ra t ion .How is design relevant to your corporate g oals?I t improves ou r co rpo ra te image . I t he lps u s communi cate more ef fect ively with our cus tomers . I t helps ussel l and break in to new markets . I t contr ibutes toincreased prof i ts . Des ign, in a broad sense, ref lects GEH ea l thca re by the w ay tha t ou r p roduc t s appea r . I t ' sthe means to communica te the qua l i ty and t echno logyins ide . I t ' s e s s en t i a l f o r mak ing the p roduc t excep t ion al ly funct ional and in tu i t ive to operate .How is design changing in the healthcare industry?Today w hen w e th ink abou t des ign ing , s ay , a newMRI s ys tem, w e don ' t j u s t th ink abou t des ign ing thep roduc t ; w e th ink abou t des ign ing the en t i r e r ad io logysui te . Des ign in the next ten years wi l l move beyondthe product . I t wi l l move beyond workf low. I t wi l l getin to the w ho le w ork env i ronmen t and w ha t tha t means .Hospi ta ls in the fu ture wi l l be very d if ferent p laces .They wil l have d if ferent ways of in teract ing with thepa t i en t . The s c r een ing and t r ea tmen t p lan w i l l s t a r t ona mo lecu la r l eve l and invo lve min imal ly invas ive p ro cedures . We have to th ink about se t t ing the course forhow des ign can a f f ec t the w ho le hea l thca re exper i ence .


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I S S U E

L a n d s ' E n d S h i n e s a B e a c o n o n i t s B r a n dLands ' End enjoyed a loyal fol lowing and a successfulmarket ing st rategy, but after 40 years in business, i t sawi ts brand image looking t i red and frayed a t the edges.In the process of rev i t a l i z ing i t s ident i ty , Lands ' Endint roduced a graphic system that brought order to i t scatalogs and higher visibi l i ty to i ts brand.

Laura Ganter O 'Brien, G roup Creative D irectorLands' End, Dodgeville, WlLaura O'Brien is a transplant from the advertisingworld. Sh e now is responsible for developingand implem enting Lands' E nd brand identity

,. standards across al l media.

DJ Stout, Partner, PentagramAustin, TXDJ Stout became a partner of Pentagram inAustin after serving fo r 13 years as art directorof Texas Monthly. We spearheaded the redesignof the Lands' End identity.

Befo re s hopp ing -by -mai l became t r endy ,t h e r e w a s L a n d s ' E n d . F o u n d e d i n 1 9 6 3 b ya champions h ip s a i lboa t r ace r named G aryComer to s e l l yach t ing equ ipmen t by ma i l ,

t h e c o m p a n y h a d s t e a d i l y e x p a n d e d i t s p r o d u c toffer ings to include everyth ing f rom apparel to homef u r n i s h in g s . B y 2 0 0 1 , L a n d s ' E n d w a s d i s t r i b u t in g269 mi l l ion ca ta logs annua l ly , inc lud ing i t s f l ags h ipc l o t h i n g c a t a l o g a n d s e v e n s p e c i a l t y b o o k s . T h eLands ' End name had become as f ami l i a r a s M acy ' s ,even though i t s p roduc t s w ere no t ava i l ab le in s to r es .

Wha t ' s more , Lands ' End en joyed the f i e r ce loya l tyo f co re cus tomers , hav ing w on the i r t r u s t by o f f e r ingw el l -made c la s s i c cas ua l w ear a t f a i r p r i ces , backedby an i ron -c lad s a t i s f ac t ion gua ran tee . A d i r ec t mer chan t tha t s ou rced p roduc t s r igh t f rom manufac tu re r s ,L a n d s ' E n d s p o k e k n o w l e d g e a b l y a n d a t l e n g t h t oc u s t o m e r s i n i t s c a t a l o g s , e x p l a i n i n g h o w p r o d u c t sw e r e m a d e a n d w h y t h e y w e r e s p e c i a l . C u s t o m e r sa p p r e c i a t e d t h e c a n d o r .

B u t t h e c o m p a n y k n e w c o n d i t i o n s h a d c h a n g e d .Baby boomers w ho had d i s covered the b rand in the i r

youth were now m idd le- ag ed , l iv ing a d i f ferent l i fes ty lebu t des i r ing to be s ty l i s h . A ls o , ca ta log compe t i to r sh a d i n c r e a s e d m u l t i f o l d w i t h m a n y n a t i o n a l r e t a i ls t o r e s a d d i n g a m a i l - o r d e r c o m p o n e n t . T h e n , t o o , t h eL a n d s ' E n d b r a n d i t s e l f c l e a r l y n e e d e d u p d a t i n gto ma in ta in a connec t ion w i th modern i ty tha t w ou lda t t r a c t n e w c u s t o m e r s .

F o r a f r e sh pe r s pec t ive , La nd s ' En d looked o u t s idethe indus t ry , h i r ing Lee E i s enberg , long - t ime ed i to r o fEsquire and s pec ia l p ro jec t s manager o f Time, as exec u t ive v ice p res iden t in cha rge o f c r ea t ive marke t ing .

"Without f r ightening of f loyal Lands ' End cus tomers ,my cha rge w as to upda te the b rand and make i t mores ty le - r igh t , " exp la in s E i s enberg . "Lands ' End i s a b r andtha t made i t s mark in an innova t ive w ay by no t w or ry ing abou t a l l t he th ings tha t b r ands w or ry abou t . I tcommunicated pret ty much verbal ly in a s t ra ightforwarda n d l i t e r a t e w a y w i t h h i g h l y e d u c a t e d a n d l i t e r a t ecus t om ers . I t pu t th ings in ca ta logs tha t had no th ingto do w i th c lo thes [ e .g . , ed i to r i a l con t r ib u t ion s bythe l ikes o f G ar r i s on K e i l lo r and Tom Brokaw ] . Tha tw as the g lue tha t connec ted the r eader s to the b rand ."


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see how easy' r 's t 0 create the"altering suit ofyur dreams

" t f i " Perfectly on t ^b"t the bo i tom s arenl.

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I S S U E :

Logotype Before and AfterScotch rules and thicker letterforms gave the original logotype a dated, boxed-in look. The revised logotype was setin a more delicate Garamond, with "Direct Merchants"reversed out of a color bar. For its core catalog, Lands' Endtreated the logotype like a magazine masthead, stretchingit across the cover.Old LogotypeTANDS' ENHRedesigned LogotypeTANDS* ENFfcOld Catalog Cover New Catalog Cover

Old Catalog CoversSpecialty catalogcovers did not capitalizeon the strength of theLands' End brand.

Hire catalog online:ominghome.comNot only did the logotype

treatments differ, the ComingHome title didn't link toLands' End and the Kids

catalog (bottom) didn't m ention "kids" on the cover.

BeforeSilky 250 Supima cotton sheets.

Redesign StudyTo address Lands' End's concern that a simplif ied catalog design would force eliminatingimportant elements, Pentagram's DJ Stoutoffered to do a test, using spreads from anexisting Home catalog and reposit ioning theexact same images and text for greater clarity.

The original layout lacked a hierarchyof information. The stacked sheets, shownto indicate color choices, detracted fromthe main image, and the sell messagelooked like the intro to the size list below.

Recropping the main image andadopting a four-column format helpedto organize the spread, guiding the

eye to the product in use, then to theheadline and boxed sell message,

and finally to the order informationand color choices.
http://ominghome.com/http://ominghome.com/


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I S S U E

B S M K I

The Lands' End logo isshown consistently on everycatalog with the specialtytitle reversed out of a "dropdown" color box.

The logo may be"floated" on the

cover, depending onthe needs of the

featured imagery.

Specialty LogosThe logos for specialtycatalogs are designed toalways be used in twocolors, with the name ofthe specialty dropped outof a brightly colored box.

TANDgJENH1M I 8 U I

lANDS'E N DI R E C T M E R C H A N T SHOMEJANDgENT)

TA^DSTENT)D I R E C T M E R C H A N T SWOMEN

lANDS'ENQ

fANDS'm oI R E C T M E R C H A N T SBUSINESSOUTFITTERS

JANDSENp)J B M L 4 3

Slipcovers that Fit, Vw! Tiiilorril Sillioui'lli' The busy propping of these photographsconfused the fact that only couchslipcovers and pillows were for sale. T hethree slipcovered couches were givenequal emphasis even though the one w iththe headline was less important. T hesell message literally got buried under astack of pillows.

After

Moving to a four-column formatallowed more symmetry, withsilhouetted photos creating a cleaner,more contemporary look. T he

headline is set off by white spaceand the sell message is boxed.

The secondary couch no longer lookslike it is the star of the spread.


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WRINKLE-RESISVANT BROADCLOTH


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L A N D S ' ! E N D

I S S U E

At t he sa me t i me , E i se nbe rg a dds , "As t he c ompa nygrew, a lot of di f fe rent par t s , such as the homefurn i sh i ngs a nd k i ds c a t a l ogs , g re w up se pa ra t e , a ndt he re wa s ne ve r muc h of a n a t t e mpt t o kn i t t he mt o g e t h e r t h r o u g h b r a n d g r a p h i c s . " F o r E i s e n b e r g ,t he c ha l l e nge wa s t o ma ke t he g ra phi c s c ons i s t e n twi t hout ma ki ng t he m "b l oodl e s s a nd s l i c k . "

For de s i gn suppor t , he t u rne d t o DJ S t ou t , whohad jus t l e f t hi s posi t ion as a r t di rec tor of TexasMonthly t o be c ome a pa r t ne r a t Pe n t a gra m i n Aus t i n .Years ear l ie r Eisenberg had t r ied to hi re Stout as a r tdi rec tor of Esquire, bu t Stout , a fi fth-gen erat ion Texan,s t a ye d a t Texas Monthly i ns t e a d . Now E i se nbe rgasked him to c rea te cover concepts for the core ca ta log.

"Lee fel t that the catalog coversh a d t o b e m o r e m a g a z i n e - l i k e ,more dyna mi c , " S t ou t s a ys . "He 'dc a l l me a nd sa y we ' re f e a t ur i ngthis i t em, say polo shi r t s , andhere ' s a rough idea , and we want i tt o be spr i ng- l i ke . I ' d comp u p15 to 30 ideas . That went on fora bout s i x mont hs . "

Wha t be c a me i nc re a s i ng l y c l e a rto Stout was tha t l ive l ie r coverswe re no t e nough . " I s a i d t o Le e ,'You guys a re l os i ng c us t ome rsp u r e l y t h r o u g h b a d i d e n t i t y , ' "S t ou t r e c a l l s . C i t i ng e xa mpl e s ,Stout says that the core catalogdisplayed a t iny logotype on the cover . The spec ia l tyca ta log for men didn ' t look l ike the core book.The kids ca ta log had an ent i re ly di f fe rent look and,a t t imes , didn ' t even say kids on the cover . Thehome furn i sh i ngs c a t a l og wa s t i t l e d "C omi ng Home , "a name given to i t when the company f i rs t acqui redt he l i ne a nd wa sn ' t su re t ha t t he me rc ha ndi se wa sye t up t o La nds ' End ' s qua l i t y s t a nda rds . "Eve n whe nthe products got up to snuff, they didn ' t bother tochange i t , " says Stout . "I t s t i l l had tha t grandma-looking scr ipt face ."

Stout got approval to deve lop an ident i ty sys tem butwa s c a u t i one d no t t o t os s ou t t he e l e me nt s t ha t ma det he bra nd re c ogni z a b l e . "We s i mpl i f i e d t he l ogo t ype ,mainta ined the big L and D, and got r id of the scotchr u l e s , " sa ys S t ou t . The Pe n t a gra m de s i gne rs a l so

Seal of QualityDone in an O ld World engraved style, the lighthouse seal (left) was created for packagingwhen Lands' End rolled out a line of candy andfood products for Christmas. The more moderndesign (right) was developed to reassure in-store shoppers at Sears that all Lands' Endproducts are backed by its famous guarantee.

chose a c lean sans ser i f typeface , Trade Gothic , fort he "Di re c t Me rc ha nt s " he a d i ng a nd re ve rse d i t ou tof a color block. The ident i f ie rs for spec ia l ty ca ta logswe re p re se n t e d i n "pu l l -down sc re e n" c o l or b l oc ks ,wi th type reversed out in capi ta l l e t t e rs . For the coreca ta log, the logotype was enlarged to span across thec ove r l i ke a ma ga z i ne ma s t he a d . The l ogo t ype fo r t hespecial ty catalogs was kept intent ional ly smaller, so i tcould be posi t ioned anywhere on the cover , dependingon t he re qu i re me nt s o f t he i ma ge . For t he sa mere a son , t he c ho i c e o f c o l or fo r t he "pu l l -down sc re e n"was le f t to the di scre t ion of the ca ta log a r t di rec tor .

"DJ pre se rve d m uc h of wha t wa s a s soc i a t e dw i t h L a n d s ' E n d , " p r a i s e s E i s e n b e r g . " A t e s t a m e n t

to hi s success i s tha t whent he ne w l ogo wa s i n t roduc e d , wedid not ge t one adverse le t te ror ca l l . And thi s i s an ext remelyi nvol ve d group of c us t ome rs .Nobody sa i d , 'You took away myLa nds ' End; you so l d out.'"T h e m a k e o v e r d i d i n c r e a s es a l e s , t h o u g h .

The se nse o f some t h i ngbeing fami l ia r ye t more re levantwas conveyed in some of thespec ia l ty ca ta logs too. Afte rc onduc t i ng a de s i gn s t udy t oshow how e x i s t i ng spre a dsi n t he Home a nd Ki ds c a t a l ogs

could be reorganized to es tabl i sh a vi sua l hie rarchya nd be t t e r pa c i ng , Pe n t a gra m wa s a ske d t o re de s i gnt he Home c a t a l og . " I ' ve a l wa ys be l i e ve d i n s t o ryt e l l i ng , " S t ou t s a ys . "B ut whe n you a re p re se n t i ngshe e t s a nd t owe l s , b l a nke t s a nd rugs , t ha t ' s ha rdt o show. The re we re no huma n be i ngs , no s i gns o fl i f e . " St out c re a t e d a sub t l e v i sua l na r ra t i ve o f afami ly on vaca t ion, showing legs swinging from aha mmoc k on t he c ove r a nd a f a mi l y he a d i ng of fon va c a t i on a s t he ope ne r . Fa mi l y me mbe rs ma deo c c a s i o n a l a p p e a r a n c e s , h o l d i n g s t a c k s o f s h e e t s ,r e a d i ng on a rug , na ppi ng on a be d , t o showp r o d u c t s a n d h u m a n i n t e r a c t i o n .

The successful integra t ion of each ch ang e s t im ula tedmore d i sc uss i ons on how t o bu i l d b ra nd a wa re ne ss ,inc luding the poss ibi l i ty of c rea t ing an icon tha t would


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I S S U E :

g a r n e r the sa me i ns t a n t b ra nd re c ogni t i on as theNi ke swoosh . The c o m p a n y ' s y a c h t i n g h e r i t a g e andn a m e s u g g e s t e d the pe r fe c t symbol - a l i g h t h o u s e ." I t r e p r e s e n t s g u i d a n c e an d h o p e . It's ve ry gra phi ca n d w a n t s to be se e n , " sa ys S t ou t . Us i ng s i mpl es t r i p e s , he c r e a t e d a mi ni ma l i s t l i gh t house and c o m b i n e d it with a sophi s t i c a t e d l ogo t ype re nde re d inGa ra mond c a p i t a l l e t t e r s . S t ou t a l so i n t e ns i f i e d thee x i s t i ng b l ue c orpora t e c o l or , ma ki ng it a d e e pna vy b l ue and p a i r i n g it with a b l u e - g r a y s e c o n d a r ycolor. Bold yet n e u t r a l , the colors do not c l a shwhe n shown wi t h phot ogra phs of c o l or fu l p roduc t s .

L a n d s ' En d e m b r a c e d the l i g h t h o u s e d e s i g n asi t s corpora te logo an d p l a n n e d to i m p l e m e n t ito n p a c k a g i n g an d p r o d u c t l a b e l s , but the p r o g r a mh a d to be put on h o l d w h e n S e a r s p u r c h a s e d thec o m p a n y in 2 0 0 2 . S e a r s was r i g h t f u l l y c o n c e r n e dt h a t a m a j o r c h a n g e in b r a n d i d e n t i t y at t ha t t i memight confuse cus tomers and l e a d t he m to be l i e vetha t the products sold in its s tores were not a u t he n t i cL a n d s ' En d m e r c h a n d i s e .

"We t ook t ha t s e r i ous l y , " s a ys La ura O 'B r i e n ,who be c a me group c re a t i ve d i re c t or for L a n d s ' Endi n Ma rc h 2004 whe n E i se nbe rg l e f t the c o m p a n y .

Final Logo VersionThe redesign of Lands' End's identity system was inprogress when the company was purchased by Searsi n 2 0 0 2 . To reassure customers that this was the sameLands' End that they knew and loved, the companyadopted the inter im logo with the big L and big D andonly recently has moved to int roducing the chosenbrand logo, set all caps in Garamond wi th the st r iped-pattern l ighthouse icon. L A NL A N D S ' : ENDL A N D S ' END

Versatile DesignThe designersprovided differentoptions for usingthe logo.

Lands' End Typographic Systema b c d e f g h i j k A B C D E F G H I J K 1 2 3Trade Gothica b c d e f g h i j k A B C D E F G H I J K 1 2 3Trade Gothic Bolda b c d e f g h i j k A B C D E F G H I J K 1 2 3Adobe Garamond

Store S ignageand PackagingThe Lands' Endidentity had to beinterpreted for awide variety of usesand work on allkinds of materials,from store signagean d shoeboxes tobelly-bands for lapthrows and cellophane wrappersfor pillows. Lands'End's distinctivestripes proved itsversatility and canbe imm ediatelyspotted by customerseven in Sears storeswhere Lands' Endproducts are sold.

Shoe Boxes^SlCG

Lap Throws

Blanket Pillow

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I S S U E

"The re fore , we he l d ba c k on t he l i gh t house l ogo . B utone of the inte res t ing things we did was integra te thel ighthouse as a sea l of approval and place i t a longsideor in conjunct ion wi th our old logo. That was a way ofse e d i ng t he no t i on of t he l i gh t house . "

The graphic e lements of the new corpora te logoprove d t i me l y , howe ve r . La nds ' End ' s e n t ry i n t o re t a i lsa les c rea ted the need for everything from hangtagsa nd i n - s t o re s i gna ge t o shoppi ng ba gs a l l of whichhad to be des igned and ready to rol l out in 120 Searss tores wi thin s ix months . Navy blue and whi te s t r ipesb e c a m e a s i g n a t u r e of L a n d s ' E n d p a c k a g i n g .

The c ompa ny i s c ur re n t l y i n t e gra t i ng t he l i gh t housecorpora te logo across a l l media . "It's a process ofc on t i nuous re f i ne me nt , " s a ys O 'B r i e n . "Lee a nd DJbrought La nd ' s End ' s i de n t i t y f rom t he fo l ksy , qu i rkye nd of t he spe c t ru m i n t o som e t h i ng soph i s t i c a t e da n d modern.The discuss ion going on now i s how wec a n ma i n t a i n our r e l e va nc e t o our c us t ome rs a ndnot ge t too old. And how we can appea l to tha t re ta i lau die nc e out the re who has a who le di f fe rent a t tent io nspan and needs to be spoken to in a bolder , s implerway. We are a t tha t pivota l moment where we seea g re a t e r ne e d t o e xpre s s qua l i t y a nd va l ue v i sua l l y . "

S E N DLands' End

BlueLands' End

GrayColor UsagePentagram shifted Lands' End's signature color froma lighter blue to a deeper nautical blue and introduced a blue-gray, which can be reproduced as ascreen tint of the navy blue. The accent colors,taken from nautical semafore flags, are available todesignate product distinctions such as size.

Shopping Bagsand Shipping BoxClothing Labels

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I S S U E :

M O O O O - V I N G B r a n d sLong before there were corporate brands, there were cattle brands -marks seared with a red-hot iron onto cattle hides as proof of ownershipof the livestock that grazed on the open range. The practice of cattlebranding dates back at least 4000 years to the early Egyptians and was

Match these 25 brands withthe name of the ranch, thencheck your answers below.

Anchor Ti Tumbling Ladder

j 0 Running CA W SpurRunning W

Hundred and OneLazy WBroken HeartRocking PReverse E

J N3A3S '9 2 S , a 3 3 y H l f 2 AT ' 2 MOd d V N3>iOda ' 22 0 QNOWVIQ J1VH ' 12 d3QQV1 ONI iai A l f l l '0 2 HO NIA ld '6 1 dOd HOi ld 81 A dOQVlVW Y I d n d d l l S ' 9 I M O O H A V H ' Q I M A Z V I ' f r l 3

14


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I S S U E :

brought to the Americas by Spanish cowboys. The trick to designing agood mark was to convey the ranch name boldly and succinctly anddo it in a way that could be easily recognized from a distance by cowboyson horseback - and not so easily altered by cattle rustlers. Corporatebrands share similar goals - high visibility and tough to knock off.

Bull's HeadTriple KBroken ArrowTepeeFlying H

Three D'sDrag AHalf Diamond GCircle RPitch Fork

StirrupHay HookSeven FJYMatador V

3i"z i QV3H s ni n a' i i laoH ONV'o i x 3id iai '6 v ovaa'8 andS'z d oNixooa-9 iav3H N3oaa -g a 3io aio 'i7 3 N O Q N V CGaaNrm T 3 3Sd3A3d'z M ONiNNna'i = S M 3 M S N V15


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I S S U E :Peter van Stolk, Founder, President and CEOJones S oda Co., S eattle , VYAA former ski instructor, Peter van Stolk became abeverage distributor in western Canada in 1987and went on to found Jones Soda in 1996, firstselling soft drinks in snowboard shops.

Ent rep reneu r s s eek ing ou t a p roduc t n iche a r e w e l ladvised to s tay away f rom the dog-eat-dog wor ld of sof td r inks . D omina ted by g loba l mu l t ib i l l ion -do l l a r s odag ian t s w ho have a s t rong ho ld on d i s t r ibu t ion channe l sand pour hundreds o f mi l l ions in to adver t i s ing , theca tego ry i s a fo rmidab le cha l l enge to even the mos te x p e r i e n c e d m a r k e t i n g m i n d s .

All of which provided a wonderful oppor tuni ty for afo rmer Canad ian s k i in s t ruc to r w ho never w en t to co l -

K e e p U p w i t ht h e J o n e s , D u d e !Internet-savvy and youth-aware,Jones Soda has generatedgrassroots demand for its productsand made customers primeparticipants in marketing the brandand keeping it fresh.

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I S S U E

l ege , l e t a lone s tud ied marke t ing . P e te r van Stolk, t h e40-ye a r -o ld foun der o f J ones S oda , w as qu ick to l ea rnthe ru les o f the indus t ry a nd then igno re them . S inc ehe began sel l ing h is iconoclas t ic dr inks out of iceches t s in s now board ing s hops and t a t too pa r lo r s in1996 , he ' s s o ld 187 mi l l ion bo t t l e s . I n exp la in ing therunaway success of the brand, van S tolk is the f i r s t toa d m i t , "The w or ld does n ' t need ano the r s oda . " Bu tw ha t young cyn ica l cons umers apparen t ly d id needwas a brand with which they could ident i fy . Van S tolkgave that to them qui te l i tera l ly . He created a v i r tualcom mu ni ty of f ans w ho ga th e r a t the com pan y ' sw ebs i t e to cha t , b log , en te r con tes t s , s ha re mov ierev iew s and dow nload f r eeb ies .

Ernest von Rosen, President and FounderAMGmediaWorks, Inc., Burnaby, BCThrough his firm AMGmedia Works, Ernest vonRosen designs, develops and manages thewebsite for Jones Soda as well as for diamond-mining and newspaper companies.

U nl ike the s l i ck M ad is on A venue s p in o f hugecompe t i to r s , J ones S oda without any money foradver t is ing - created a cool under-the-radar appea l byurging fans to send in photographs to the webs i te tous e a s bo t t l e l abe l s . The S ea t t l e company now has overa mil l ion subm iss ions an d has used 4 ,3 72 of the photo s .C o n s u m e r s c o l l e c t t h e e v e r - c h a n g i n g l a b e l s a n dt r ade them in w eb cha t rooms , and even have the i row n J ones S oda cus tom labe l s s pec ia l ly made fo r them.

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I S S U E :

"We a l low ed the l abe l s to be d i s covered and tha tgave cons umers a s ens e o f ow ner s h ip . I t makes i t morere levan t to them and p rov ides an emot iona l connect ion , " van Stolk exp la ins . "Wi th b ig s oda b rands , the'Britney S p e a r s m o d e l ' paying a lo t of money to somehot ar t is t to sponsor your bever age - i s jus t so done.Th e wonderful th ing abou t our com pet i tors is , for a l lthe money they have , they s hou ld be th ink ing moreor ig inal ly but they don ' t . I f they ever do , I 'm dead."

Don ' t expect to read about van S tolk ' s demise anyt ime soon. He is widely thought to be one of thesavviest G e n e r a t i o n Y m a r k e t e r s a r o u n d . T h e f a st -growing category of consumers , aged 12 to 24 , current lynumbers over 50 mil l ion in the U.S . Us ingthe company ' s w ebs i t e a s a p r imary mar keting focus, van Stolk 's engaged that elusivecons umer s egmen t a t a g r as s roo t s l eve l ,creat ing a k ind of brand loyal ty that b iggercompe t i to r s s pend mi l l ions fo r and don ' tach ieve . Thos e cons umers a r e fue l ing thegrowth of the New Age beverage indus try ,genera t ing a lmos t $10 b i l l ion in annua lsales . At Jones Soda, cus tomers who loveflavors l ike Crushed Melon, Fufu Berry andHappy have pushed sales f rom $2.4 mil l ionin 1997 to $20 mil l ion in 2 0 0 3 . This s p r ingS ta rbucks began s e l l ing s ome J ones S odaflavors, joining distr ibutors l ike Safeway,A lbe r t s on ' s , Barnes & N ob le and loca l gou rmet andhealth food stores. In addition to its f lagship soda,J ones s e l l s ca f f e ine - in fus ed Wh oopA s s and E nergydr inks and Jones Ju ice , which of fers for t i f ied ju icecombos l ike P u rp le Car ro t .

Jones Soda is s t i l l a mere shadow compared to i tsg iant compet i tors . But whi le those companies chasehordes of consumers , van S tolk has f inely focused Jonesas a l i fes ty le brand for those who f ind their pas t imes ,i f not their values , in a l ternat ive spor ts . Cus tomers sharemany of the same character is t ics of the brand itself, a nir reverent aggress ive underdog not af ra id to take r isks incompet ing agains t larger forces . The company 's s loganurges : "Run with the l i t t le guy." But l ike g lobal sodama ker s , van S to lk know s h i s p rodu c t i s no t ju s t abou ts ugar and ca rbo na ted w a ter . A found ing p rem is e a tJones is , "For today ' s youth market , every brand is anacces s o ry and eve ry pu rchas e makes a s t a t emen t . "

Given that fashion pos i t ioning, i t ' s not surpr is ingtha t J ones ' p roduc t deve lopmen t i s s l igh t ly d i f f e r en tf rom the indus try s ta tus quo, wi th an emphas is oncombining great tas te and great looks . "Our compet i t ionspends over a b i l l ion dol lars a year . We can ' t p lay bythe i r ru le s , " van S to lk emphas izes . "When you ' r emarket ing without money, you have to s tay t rue to thefact tha t you need to ma ke an emot iona l conn ec t ion . "

Van S tolk gave up h is l i fe on the sk i s lopes in 1987and s tar ted Urban Juice and Soda Co. in Vancouver ,af ter real iz ing the potent ia l of emerging a l ternat ivep roduc t s in the beverage ca tego ry . H e became a s uc ces s fu l d i s t r ibu to r o f e s t ab l i s hed b rand s in w es te rn

Canada bu t dec ided he w an ted to s t r ikeout wi th h is own formulat ions . Van S tolko r ig ina l ly w an ted to name h i s companyS mi th S oda , l ik ing i t s ub iqu i tous qua l i tyand popu l i s t f ee l . Wi th tha t name a l r eadytaken , he s e t t l ed upon J ones in s t ead .

A pho tog rapher f r i end , V ic to r J ohnP enner , s ugges ted J ones S oda us ehis images as labels . Van S tolk l iked theidea but fe l t i t could be used even moreeffect ively . " I sa id 'No, dude, we 'vegot to open it to ev ery on e. ' So it ju st sorto f happened l ike tha t , " he r eca l l s . "Lo t so f th ings in b rand ing a r e l ike tha t . "

V an S to lk had l imi ted cap i t a l and mos tof h is ear ly des ign decis ions were dr iven by a shoes tr ingbudget . I t took $250,000 to create a bot t le mold , forin s tance , and he knew he w ou ld need a b ig inven to ry ,s o he p icked s om eth ing in s tock . The s h ape and c lea rglass of a Jones Soda container - resembling an o ldCorona bee r bo t t l e - s how cas es the neon d r ink w i th inand i ts photo labels , mos t of ten pr in ted in contras t ingb lack and w h i te . F lavo r s l ike B lue Bubb le G um a reb r igh t b lue ; Bug J u ice i s a mi lky , g r een i s h w h i te .

Whi le the l abe l s , w h ich have been des igned in -hous e , have r emained in e s s en t i a l ly the s ame fo rmats ince the s tar t of the com pany, van S tolk a rgue stha t con t inua l ly s w i tch ing ou t pho tog raphs keeps the i rappearance f r e s h and in te r es t ing to cons umers ."We ' r e a lw ays chang ing - tha t ' s w ho w e a r e , " he s ays ." I t ' s abou t f lu id b rand ing ve r s us s t a t i c packag ing .Trad i t iona l b r ands don ' t have tha t des ign to w ork w i th .They keep t ry ing to r evamp ."

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Extreme SportsJones Soda sponsor-young emerging talent and pro riders iiall types of extremesports an d poststheir achievementson its website.


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I S S U E

aMM*M.m

Shipping CartonPre-molded foam keeps sodabottles snug and separate forshipping to customers whoorder the products online.

Novelty FlavorsThis Thanksgiving

special garneredlots of free publicity

and, to Jones Soda'ssurprise, a lot of orders.

My BrandA fun place tovisit, the Joneswebsite hasengaged customerswith the brandon a personal level.

eStampsCustomers who want to liven up their stationeryor decorate their school notebooks can printout free eStam ps online and even post creativesuggestions on how to use them.

s Black & Whites Q mmmm^}L)vtv:

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I S S U E

Personalized LabelsJones Soda has made digital technology themeans to talk directly to customers and offerspecials like personalized labels (for a minimumorder of 12 bottles). Customers can downloada template from the Jones website, scan in theirphoto and email it to the company.

Words of WisdomTaking a cue from fortune cookies, Jones Sodainvites its website visitors to submit words ofwisdom that may be chosen for imprinting ontothe inside of bottie caps.

Personal and FriendlyFour-pack cartons are decorated with photossubmitted by customers and signed on the sideby Jones Soda employees.

Screen SaverThe Jones website

invites usersto download a wide

variety of screensavers, includingthis design

from Jones Energydrink cans.

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@ I S S U E :Energy DrinkPacked withvitamins an dantioxidants.

NaturalsFruity flavors

an d names like"Strawberry

ManHow."

Branded Activewear A brand that the youth market feels thatit discovered on its own, Jones Soda is perceived as "cool." Jonescreates an entire lifestyle brand by offering apparel andmerchandise that would appeal to the extreme sports crowd,including T-shirts, beanie caps and messenger bags.

SodaOfferedin 2 0 flavors,includingWatermelonan d ChocolateFudge.

WhoopAssClaims to "revi

talize attitudeand restore faith

in mankind."


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I S S U E :

A l though an in s t inc t ive marke te r , van Stolk goess t r a igh t to the s ou rce w hen i t comes to p roduc tdeve lopmen t and marke t ing . Cus tomers have the f ina lword. He ' s been t ry ing to k i l l of f the brand ' s BlueBubble Gum f lavor for the pas t three years , he says ,f ind ing i t und r ink ab le , bu t f ans of the s uper - s w ee td r ink have conv inced h im o the rw is e . ( In con t r as t , h i sfavor i te f lavor is Green Apple .) S t i l l , he has l i t t le t imefor the k ind of convent ional focus groups that d i recteve ry dec i s ion made a t l a rge r compe t i to r s . " I be l i evefocus group s are jun k. The y only jus t i fy w hat you wantto be l i eve i s t r ue , " he con tends . "We go

the company manufac tu re cus tomized bo t t l e s . J onesSoda l ikes to descr ibe i tse l f as the f i r s t "audiencepar t i c ipa t ion" p laye r in the beverage ca tego ry .

"Van S tolk found that everyone who comes in contac t w i th J ones can make i t t he i r ow n , " obs e rvesErnes t von Ros en , the company ' s w eb des igner ."Cus tomers can ho ld up a mi r ro r and s ee w ha teve rthey w an t , and tha t has become the b rand and i t hasw orked ve ry w e l l . "

Jones ent ices fans with f ree stuff, w hich cos t s thec o m p a n y l i t t l e s i n c e c o n s u m e r s d o w n l o a d a n d p r i n t

i t t hems e lves . " I have to keep th ingsin [ to ta lk to k ids ] wi th no agenda. You ' reso much more success ful i f you don ' t fa l lin love with your own ideas ."

Even though J ones S oda does n ' t havethe k ind of TV budgets of i t s indus tryp e e r s , i t i s unl ikely van S tolk would usemuch med ia adver t i s ing anyw ay . H is t a r ge t cons umers a r e inc reas ing ly ha rd tof ind th rough conven t iona l mas s med ia a sthey spend more t ime on the computer . SoJ ones S oda ' s marke t ing has been morep r o m o t i o n s - d r i v e n , w i t h t h e c o m p a n yes tab l i s h ing s t r ee t c r ed ib i l i ty w i th th i sgenera t ion o f young cons um ers , w ho a r ecyn ica l o f conven t iona l adver t i s ing andmed ia s avvy beyond the i r yea r s . J onesSoda was one of the f irs t companies toen te r in to s pons o r s h ip de a l s in a l t e rna t ives po r t s , back ing s now boarde r s , s ka teboarde r s and BMX[b icycle] r iders . ( I t has s ince expanded i ts sponsorshipsto inc lude a young ba l l e r ina , s pe l l ing bee con tes tan t sand a 10-year-o ld gospel s inger . ) Three br ight ly-colored ,f lame-covered Jon es RVs t rave l the country , br ingin gprodu c t s am ples to peo p le a t s po r t ing even t s , conce r t sand county fa i rs .

O n the com pa ny ' s w e bs i t e , f ans can fo l low th eac t iv i t i e s o f the J ones RV team, w a tch v ideos , l i s t ento mus ic , en te r con tes t s and buy merchand i s e l ikeJones-branded hats and T-shir ts f rom the Jones s tore .They can get to know company s taf fers throughbreezy, se l f -wr i t ten b ios that provide essent ia l informat ion l ike Zod iac s igns . Cons umers a l s o can us e thew ebs i t e to s ubmi t pho tos c h i l d r e n ' s b i r t h d a y p a r t i e s ,f ami ly func t ions , pe t s , co rpo ra te ga the r ings to have

J O N E S

" ' ' ' ^T3E^d M Piie~iHfta

A L ' i l l


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I S S U E

C o m i n g o f A g e o fC o r p o r a t e A n t h r o p o l o g yThe disconnect between what consumers sayand what they do is prompting business to hirecultural anthropologists to teach them thescience of observation.Know your customer.That 's the first rulefor designing productsthat customers wantand shaping market ingmessages that theyrespond to. More andmore successful companies are claiming thatthe kinds of insights thatdrive true innovationcannot be learned fromtraditional focus groups,which tend to be vulnerable to "group think"and eliciting "sociallycorrect" opinions.

"Buyers are l iars ,"says Dr. Dipak Jain, marketing expert and dean ofthe Kellogg School ofManagement , explaininga shortcoming of focusgroups. "Ask people whatchannel they watch onTV and they will tell youP B S . But, in reality, 60%of the time they arewatching World WideWrestling."

To und erstand real-lifeconsumer behavior, morecompanies are turning to

research firms staffed byanthropologists and socialscientists. Skilled inethnographic methodsand theories, these anthropologists train designers,engineers and marketershow to observe andinterview consumers intheir own environment,whether at work, out shopping or in the home.Through audio andvideotapes , they documenttheir research. Thesestudies go beyond watching consumers use andrelate to a product inactual situations; theydelve into cultural trends,atti tudes and personalhabits and get to the"why" of people's actionsand choices. "We get intopeople 's environments ,try to understand thoseenvironments in theirterms, bui ld models ,identify needs and thenoffer alternatives thatsatisfy those needs,"

explains Michael Barry,a principal in theresearch consulting firm,Point Forward.

"Ethnographic researchis a remarkable fuel fordesign," adds Barry. "Ithas turned around theheads of designers whohave invested in it . Themore time designers andbusiness people spendwith customers, the betterthe product comes out."

This is an importantgoal for Barry, who teachesa course in "Need Findingin the Design Process" a tStanford University. Heshared his class notes with@Issue, some of whichwe have integrated into thetips at right. For bestresults, we recommend thatcompanies rely on ethnographic research firms.However, all designers andbusiness people canbenefit from becomingmore as tute observersof human behavior.Here are some points thatmay help.

1Cast aside your biases,and l isten and observe.That sounds obvious, /but it is too oftenignored. When talkingto consumers, be anempathic listener, butdon't try to argue anotherpoint of view, sell themon the product or askjudgmental questions. Ifa consumer has erroneous views, don't try tocorrect them. Notethe misunderstanding.

Let subjects tell theirown story, and listen forthe things that causethem concern and frustration. Barry quotesthe legendary DaleCarnegie: "If you wantto find out what peoplereally need, you haveto forget about yourproblems and worryabout their lives."

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I S S U E :

Note the contradictions betweenwhat people do andwhat they say.A homemaker can takeyou through her laundryroutine and tell youhow much she loves thedetergent, while nevernoticing that she is usinga screwdriver to pry openthe box and a stick tostir the granules in thewater. Opportunitiesfor innovation lie withinthe disconnect betweenaction and words.3Listen to people'spersonal stories.Let them relate theirsuccesses and failures.Stories encompass theimplicit rules that governand organize people'slives and reveal what

they find normal, acceptable and true. They revealmoral codes, sourcesof pride, shames, shouldsand should-nots. Inresearching disposablediapers for KimberlyClark years ago, PointForward anthropologistskept hearing motherscomplain about beingasked whether their toddler was toilet-trained.

Admitting their child wasstill in diapers madethem feel defensive andinadequate. Thesestories led to the creationof a whole new diapercategory - "pull-up"disposable training pants,which became aninstant success.4 .Watch for"work arounds."People make do and workaround the shortcomingsof products and situations.On a research trip to ahospital, designers atmedical cart manufacturer,

Modo, noted that a nursehad taped a coat hangerto a cart in an attempt tolift cables out of the way.This not only pointed outa problem with existingcarts but provided a possible solution. In everydaylife, we all come up with"work arounds," clumsy orclever. Take note.5Distinguishbetween needsand solutions.

Barry cites an example ofa wrong assumption: "Sheneeds a ladder." A rightone would be: "She needs

to get something on ahigh shelf." If youassume that the onlysolution is a ladder, thenyou may overlook thepossibility of coming upwith an entirely new andrevolutionary product.6Look beyondthe obvious.If your research entailswatching homemakersshop for vegetables oran office clerk operate acopier, the task mayseem so routine andfamiliar that you mayfeel that there is nothingnew to be learned.Boredom and frustrationset in. Stay alert. Noteeverything from bodylanguage, surroundingobjects, social interactions and distractions,insignificant comments,and sequence of steps togetting a job done. Theepiphanies and insightsemerge from the nuances.

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I S S U E

S i m p l y B o o k s F l i e s H i g hWhen ai rport concessionai re HMS Host Corporat ion set outto in t roduce a new books tore concept for a i r t rave le rs ,i t created a retai l environment that provided an escape fromthe hust le and bust le of a i rpor ts .

Joan Ryzner, Senior Vice President, RetailHMS Host Corporation, Bethesda, MDJoan Ryzner's retail division oversees a networkof more than 200 concessions in 25 majorairports, plus stores in over 100 destinationentertainment and motorway locations.

.XWT WSWDenny Gerdeman, PrincipalChute Gerdeman Retail, Columbus, OHIn 1989, Denny Gerdem an co-founded ChuteGerdeman, now recognized as one of thenation's top retail design firms. He began hisdesign career with Th e Limited in 1976.

In an a i rpor t , the one th ing that doesn ' t f ly by ist ime . Wai t ing pas s enger s coo l the i r hee l s by w a tch ingmuted b ig - s c reen TV s and id ly mus ing over s ouven i rT-shir ts . At some point , even non-readers long fors ometh ing to r ead .

In the l a t e 1990s , H M S H os t , t he w or ld ' s l a rges tp rov ide r of food , bev erag e and r e t a i l conc es s ion s inthe t r ave l indus t ry , s aw an oppor tun i ty to deve lopa books to re fo r a i r t r ave le r s tha t w en t beyond thel i m i t e d s e l e c t i o n o f b e s t - s e l l i n g p a p e r b a c k s s o l d i nnew s s tan d s hop s . To b r ing th i s con cep t to l i fe , i tt u r n e d t o C h u t e G e r d e m a n , a C o l u m b u s , O h i o - b a s e dre ta i l des ign f i rm tha t has c r ea ted r e t a i l s paces fo rc l i en t s r ang ing f rom M acy ' s and the S mi ths on ianM u s e u m s t o Walt D i s n e y I m a g i n e e r i n g .

"HMS Host gave us a 'clean sheet of paper ' tocome up w i th a new concep t tha t w as n ' t a new s s tand , "r e c a l l s D e n n y G e r d e m a n . "No magaz ines . S imp lyb o o k s . " H e n c e t h e n a m e . C h u t e G e r d e m a n q u i c k l yrea l i zed tha t des ign ing a r e t a i l s pace in an a i rpo r twould be much dif ferent than des igning a s tore for as hopp ing mal l o r u rban cen te r .

"C us to me rs don ' t go to a i rpor ts spec if ical ly tos hop , " G erdeman po in t s ou t . "A nd they a r e peop lewith e i ther a lo t of t ime [ to browse] or no t ime."D emograph ic s tud ies a l s o s how tha t a i r t r ave le r st end to be more af f luen t an d be t t e r ed uca tedthan the ave rage popu la t ion , av id r eader s , and morel ikely to be male than female . Most are t ravel ingo n b u s i n e s s .

Relat ive to shopping mal ls and c i ty s tores , re ta i lreal es ta te in major a i rpor ts is very cos t ly andvery l imited in square footage. The smal les t S implyBooks s tore , for ins tan ce , i s jus t 9 50 s qua re feet ."Airpor t re ta i lers don ' t have as much space to d isplayeveryth ing, so you have to be more thoughtfu l abouthow you a r r ange m erch and i s e and l ayou t the s to r e , "says Ge rde ma n. "To be prof i tab le , a i rpor t re ta i l ingeas i ly needs to br ing in twice or even t r ip le the revenue pe r s quare foo t ove r o the r t r ad i t iona l venues . "HMS Host excels in th is area . As the re ta i lconces s iona i r e in 25 ma jo r a i rpo r t s w or ldw ide ,including 10 of the top 20 a i rpor ts in the U.S . , HMSH os t has made "a r ea l s c i ence o f know ing w ha t

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Room to MoveThe f loor plan of SimplyBooks had to pass the"luggage test"- room fortwo customers with rollingbags to pass easily -because when people


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I S S U E :

Consistent Brand SignatureEvery element in Simply Books -signage, graphics, fixtures,lighting, book displays, communications to customers andpackaging - reflects a singulardesign point of view to drivehome a strong and memorablebrand experience.

Relevant QuotesQuotes aboutreadingand books addinterest todisplays andmake for amore entertainingshoppingexperience.

Savings PassportSimply Books encouragesreturn sho ppers with asavings passport stampedfor each purchase. Buynine books and get thetenth one free.

Movable CartRolling carts let Simply

Books display merchandiseright up to the "lease

line" where the public corridor ends and the retail

space begins.28

Time to ShopTo make sure shoppers don't miss theirflights, an illuminated multi-sided clocktower is visible from every part of the store.

f


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I S S U E :

Best-SellersBest-selling

fiction isdisplayedunder the

clock towerto draw

shoppersdeeper intothe store.

Titles areshown face-out for fast

recognition.

Relaxing ChairTypically located next to a Starbuckscafe, Simply Books provides acomfortable chair and bar stools forcustomers to rest awhile. 'T helonger you can keep customers inthe store, the higher yoursales will likely be,"says Gerdeman.

THE

Section SignageClearly identifiedacrylic blade signsrun along theperimeter walls, soshoppers can spotthe category theywant immediately.

s II 11>

WAY ^

Jane Hel le r

* |Besif i icmin |

c

Embroidered LogoStore personnel wearcasual yet professionalattire, featuring anembroidered SimplyBooks logo on the shirt.

WalkingBrand AdsEasy to spot onthe concourse,Simply Books'frosted mylar

shopping bagscommunicatethe brand and

are so attractivethat people

keep them touse again.


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I S S U E :

s tores go wh ere an d what the bes t re ta i l mix shou ldb e , " s a y s G e r d e m a n . "They know how many pas s enger sa re dep lan ing and t ak ing o f f , and how much they w i l lspend on each k ind of re ta i l faci l i ty , whether that i sr e s t au ran t s , beverages , new s o r g i f t s . "

E a c h c u s t o m e r i s c o u n t e d a s o n e " e m p l a n e m e n t , "because shoppers tend to be people wai t ing for a f l ight ,r a the r than dep lan ing . In the pos t - 9/11 era , mos tpassengers a lso prefer to hang out on the "air" s idebeyond the s ecu r i ty checkpo in t r a the r than da l ly on the"land" s ide w here the t i cke t coun te r s a r e loca ted .S ince cus tomers are people s tar t ing of f on their journey,they a lso usual ly avoid buying anything heavy andovers ized such as coffee table books .

In cons ide r ing the bes t p lace toloca te i t s books to re , H M S H os t r ec ognized a natural af f in i ty betweenreading and a cup of coffee andchose to open i ts f i r s t books tore adjacent to a S tarbucks a t the Char lo t te ,Nor th Carol ina , a i rpor t . (HMS Hosth o l d s t h e l i c e n s e t o o p e r a t e a l lS ta rbucks a i rpo r t conces s ions . )

C h u t e G e r d e m a n s t a r t e d t h eas s ignm en t by fi rs t condu c t ing f i eldres ea rch a t a i rpo r t s w i th the " l a t e s tand g rea tes t " r e t a i l and s tudy ing thecompe t i t ion . Th i s conv inced them tofo rego the s t a id mahogany-pane l ing" l ib r a ry" look and op t fo r c r ea t ing a r e l ax ing ye tmodern oas is for har r ied t ravelers . "Airpor ts are a l la b o u t i n t e n s i t y a n d r u s h i n g a r o u n d , " s a y s G e r d e m a n ."We w an ted to s uppor t the cu l tu r a l a r t o f r ead ingand project an inspir ing a t t i tude that was a l i t t leunex pec te d . We w an te d the co lo r pa le t t e to be ca lm ingand to have v i s ua l s tha t d idn ' t pound you over thehead s ay ing ' buy , buy, buy. ' " In keeping with as t r a igh t fo rw ard , non -g immicky app roach , they focus edon bu i ld ing a b rand iden t i ty a round the name S implyBooks , c r ea t ing a logo type bas ed on Emig re ' sS uburban L igh t tha t looked handw r i t t en , s l igh t lynaive and quirky.

For the s tore in ter ior , Ch ute Ge rde m an favored sof ters u r f aces , na tu ra l w ood tones and a mu ted g reen hue .Th ey ev en av oid ed ha rsh flickering fluorescent l ig hts ,choos ing in s tead to go w i th d i ffu sed inca nde s cen t

r eces s ed l igh t s to c r ea te a r e s iden t i a l mood . To appea lto cus tomers w ho w an t to l inge r aw h i le , they inc ludedan inv i t ing cus h ioned cha i r and ba r s too l s fo r r ead ing .

Bu t even peop le w i th long l ayover s need to keept r ack o f the t ime , so Chu te G erd em an p la ced a l a rgefou r - s ided c lock tow er in the midd le o f S imp ly Books ,w i th cu r r en t bes t - s e l l ing f i c t ion d i s p layed undernea thi t . G erdeman exp la ins tha t the idea i s " l ike pu t t ingb read in the back o f a g roce ry s to re . " The bes t - s e l l e r sb e c o m e a " d e s t i n a t i o n p u r c h a s e t h a t b r i n g s c u s t o m e r sin far enough to see o ther t i t les ." Above the c lockt o w e r , t h e y p l a c e d a s i l k - s c r e e n e d c e i l i n g g r a p h i cfea tu r ing the nam es of l i t e r a ry l egen ds to r e in fo rce

the f ac t tha t S imp ly Booksapprec ia te s g r ea t l i t e r a tu re .

A is l e s w ide enough to accommodate two ro l l ing sui tcases s ide bys ide, and two cash regis ters toha nd l e the s u rge o f chec kou t s a scus tom ers rush to catc h their f lightshow a regard for the needs oft r a v e l e r s . C h u t e G e r d e m a n a l s odes igned d i s p lays to s how a l l booksface ou t to make s u re tha t t ime-p res s ed S imply Books cus tomerscou ld s ee eve ry th ing qu ick ly ."F ron t - f ac ing p roduc t s make i teas ie r to make buy ing dec i s ionsa n d s p e e d p u r c h a s e s . I f y o u

fo rce cus tomers to look fo r w ha t they w an t , theyprobab ly w on ' t , " G erdeman s ays , add ing , "Cus tomersdon ' t w an t to w a lk a roun d w i th the i r he ads cock eds ideways to read the t i t les of f the sp ine."F or m a n y b u s i n e s s t r a v e l e r s c o n s t a n t l y o n t h ego , a i rpo r t l ayover s o f f e r a r a r e oppor tun i ty to s hople i s u re ly . S imp ly Books ca te r s to them by p rov id ingshipping and g if t -wrapping services and even a f requentp u r c h a s e p r o g r a m . S u c h a m e n i t i e s a p p e a l t o a i rt ravelers who are being to ld to check in for domes t icf lights two hou rs before de pa r tu re . Th e mo re t imepeop le have to s pend in a i rpo r t s , t he more they w an tto s pend the i r t ime in a p roduc t ive and mean ing fu lway. Examining souvenir coffee mugs doesn ' t cu t i t .Tha t has made S imply Books a w inn ing b ra nd conc ep ttha t i s encourag ing H M S H os t to open more S implyBooks s tores in a i rpor ts around the country .

3 1


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B U S I N E S S A N D D E S I G N C L A S S I C S M O K E Y T H E B E A RC reated in 1944, Smokey the Bear, the mascot for theU.S. Forest Service, is the longest running publicservice campaign in American history. Smokey cameinto being during World War II after a Japanese submarinefired on a Pacific Coast oil field near the Los Padres NationalForest. With so many experienced firefighters and otherable-bodied men off at war, the government quickly realizedthat it was ill-equipped to fight a major forest fire, causedby arson or started accidentally.

To raise public awareness, the War Advertising Councillaunched a fire-prevention poster campaign using slogans like"Our Carelessness, Their Secret Weapon." Then in1944, Walt Disney Studios lent the U.S. ForestService the use of "Bambi" to coincide withthe premiere of the motion picture. Theinnocent fawn was a huge hit. Somuch so that the Forest Servicedecided it needed a permanent

animal mascot. Enter friendly Smokey Bear, dressed inRanger hat and dungarees with shovel in paw, advising bearcubs and children: "Only you can prevent forest fires."

The fictional bear was brought to life in 1950 whenfirefighters rescued a scared, orphaned cub clinging toa charred tree during a New Mexico forest fire. The plightof the injured cub won America's heart and became aliving symbol of Smokey Bear. The Forest Service mascotbecame so popular that Congress passed an act in1952 to take Smokey out of the public domain and placehim under the Department of Agriculture. Smokey was

even celebrated in a 1952 hit song written by SteveNelson and Jack Rollins. To get the name to

rhyme with the lyrics "prowlin' and growlin'and sniffin' the air," the songwriters

changed Smokey Bear to "Smokeythe Bear," and that's whatmost people still call him.

S MO KE Y BEAR


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To learn more about Sappi papers,or to add your name to the @lssuecomplimentary mailing list, call8 0 0 . 8 8 2 . I D E A .

@lssue: The Journal of Business and Design is specificallypublished for business leaders, corporate communicators, thedesign and printing community, and business school students tocommunicate how design contributes to business success.

Sappi Fine Paper@lssue is sponsored by Sappi Fine Paper, which offers thebroadest and finest choice of printing papers in the world. Theproduct line encompasses the best-known brands in the industryincluding McCoy, Strobe, Lustro, Vintage, Opus, Northwest,Aero, Somerset and Belgrade. The range and versatility of thesepapers support the full spectrum of business and commercialneeds, from annual reports and image brochures to multimillion-run catalogs and magazines. Sappi is committed to promotinga better understanding of design in business through sponsorshipof numerous industry-relevant programs.

Corporate Design FoundationCorporate Design Foundation is a nonprofit educational andresearch organization whose mission is to improve the qualityof life and the effectiveness of organizations through design. TheFoundation conducts research, develops teaching material andcollaborates with business school faculty to introduce productdesign, communication design and office design into the businessschool curriculum. The Foundation also works with faculty andstudents from business, design and at least one other disciplineto introduce interdisciplinary courses. The Foundation conductsconferences, workshops, and participates in other educationalprograms about the role of design in business success. For moreinformation, visit www.cdf.org or write us at [email protected] of DirectorsSara Beckman, ProfessorHaas School of Business, University of California, BerkeleySam Farber, Founder0X0 InternationalRobert Potts, DirectorIndustrial Design and Information Design, Bayer DiagnosticsChris Pullman, Vice President for DesignWGBHRoger Sametz, President and FounderSametz Blackstone AssociatesRichard Teller, Attorney at LawSullivan & WorcesterPeter Lawrence, Chairman and FounderCorporate Design Foundation

PaperPrinted on McCoy Gloss Cover 100lb/270gsm an d McCoy Silk Text100 lb 1148 gsm. McCoy contains 10% post-consumer waste.
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