Marketing plots: The generic loop trap complex

On a recent project, that was very typical of this plot, I realised this was a reoccurring pattern, an almost disease-like condition, common especially among service brands.

The symptoms:
Your category’s brands all seem the same, they may be differentiated on the identity/communications level, but when you look at the actual perceptions (see brand vs. “brand”) of the target audiences, you find out that their perceptions are similar between competitors and pretty much correlate to the market-share of each player. It is an eerie feeling, as if no brand in the category stands for anything, even more so “owns” any positioning arena.

Epidemiology:
Common in markets where the brand experience in a category has been generic or dormant for very long – this could be due to lack of competition, or any other type of stagnation. It can also happen regardless of product innovation, because product innovation may stay purely functional if brands don’t differentiate.
I’ve found it is extremely common in emerging markets, where often many service categories used to be government owned or just heavily regulated.  A condition increasing the likelihood of this syndrome is when players try to adopt “best practices” from other markets instead of coming up with the meaningful moves necessary to shift image in their own market.

Microbiology:
The tacit structure is simple. People’s perception of their experiences is poor, and their expectations are low – so they don’t think players in the category stand for anything.
They will only switch brands on extreme negatives (e.g. a health crisis or gross-misconduct leading to a full scale public image crisis).
If you talk to them using focus groups or interviews, people in “trapped categories” will mostly talk about their fears / anger with relation to the brand experience. If you try to tap them for ideas, they will articulate their ambitions as the removal of negatives.

Roughly, in these situations, you will find customers in qualitative research divide into two groups: “Weak customers”, from marginal segments talk mainly about fears. Form the please stop the pain group.
“Strong customers”, from sought-after and courted segments, will vent their anger about all players in the category. This the go be stupid somewhere else group.

Ignoring this condition triggers the “generic loop complex”, which very simply works like this:

  1. A brand’s category is largely generic
  2. The company discover that the category, their brand included, is generic.
  3. They turn to the customer for answers.
  4. The customers can only speak of their generic experiences
  5. The company bases any vision or “new” concept this input, mistakenly labelling it as  “customer insight”, or it borrows undifferentiated best practices from other markets as its home audience requirements seem generic.
  6. Managers come up with generic briefs ; Agencies with generic solutions
  7. Go to 1.

Treatment:
You have to be brave.
Look inside for answers. Another focus group just won’t do. Take a hard look at the company and realise what made this brand get so far. Then build on your best qualities. Start to communicate what you wish to stand for. Your audience can not tell you what the break-through experience should be, simply because they have never experienced it. Trying to force them into giving you an answer will just make things worse.
Only you can find what it all means.
If you want to make sense of your world, MAKE it.
Sense is made, rarely found.
Facts are found, stories are created.

Marketing plots: Stop Jumpology!

This is a useful term coined by a client I had about two years ago. He was a Russian working for a company setting up a new mobile brand in Belgium (No1, Carrefour’s MVNO). When he briefed us for the brand identity project he put a couple of competitor’s brochures on the table and gave a simple direction in a confident tone:

“No Jumpology”

It was very clear what he meant. No pictures of people jumping for joy.
What is it with the irregular amount of people jumping for joy for no apparent reason in some brand communications? Are we to suppose their lives have been transformed by choosing a mobile operator? How often does one rejoice over these things?

Jumpology is an annoying symptom of one of the advertising industry’s greatest sins – Emotional fundamentalism (a phrase coined by Greg Rowlands). There was a period around the late 90s when it was all over the place, and especially common with telecom and financial brands, perhaps because so many of their benefits are quite abstract.

There is no sense in trying to over-amplify the implications of your offering. It doesn’t even get to the over-promising stage, it just makes your brand look pretentious and artificial. Additionally, it immediately refers to a soulless, passé, generic corporate tone of voice – which is probably the opposite of every service branding effort.
And yet, so many brands default to it, especially with below the line communications and collateral. If you are a brand manager or marcom manager, take a hard look at your materials. Any Jumpology? It’s time you brought back some true meaning into your communications.

As Hugh MacLeod says:

Incidentally, Jumpology is often a symptom of what could be the world’s most fatal (and quite common) marketing strategy error, which I intend to discuss soon.

London 2012 branding – radio interview

Matt Le Gresley, as seen on BBC news Woke up (way too) early this morning to provide commentary for Sonia Deol’s morning show on the BBC Asian Network (which means after a short discussion of the 2012 brand we moved to a lively discussion of chat-up lines, the subject of a competition they are having).

Some additional thoughts to the main view I expressed in my Metro comment yesterday. Prepared, not necessarily aired:

  • This logo takes the human figure route – similar to other recent Olympic logos, such as Barcelona and Beijing, so it is not too radical from that aspect. I wonder if there is going to be a separate mascot, as there usually is, but I think they’re aiming for it to be both.
  • I wasn’t expecting it to go back to literal city references like old logos, but the typographical reference to London is very weak.
  • The online launch was painfully mismanaged – The striking, vibrant graphic language accompanying the animated versions was almost nowhere to be seen and poor digital reproductions of the logo were everywhere, official site included.
  • Yes – the animated version works better, and the identity as a whole will look good on digital channels, but it doesn’t compensate for the state of the static logo, still crucial for many central applications – signage, billboards, t-shirts…
  • Youth appeal is a worthy goal, but youth culture, though largely global nowadays, is a collection of many tribes, all of them fast moving targets, many conflicting. It is not clear if they’ll buy into it now, even more so In five years times.
  • The best way to make sure they don’t is to so overtly target them. Youngsters just love it when dad comes to their dance party. Also – either you’re youth oriented or have mass appeal, trying to do both is a high risk strategy.
  • The tabloids are naturally highlighting the price tag – £400,000 is not cheap. But this is NOT the price of the logo alone. It probably covers research, strategic planning, many different iterations, expensive production costs like the movie and animations that launched it, the original music accompanying it, and the development of the branding work into elaborate guidelines – a full tool box that can be implemented across a multitude of channels. I peeked at a set of Olympic guidelines in the past – it is a a crazy amount of work. Yes, it is a high-end price, as expected from a top-5 agency such as Wolff-Ollins. But, depending on the deliverables included, is not unjustifiable when you think of the impact the brand communications of this event will have on its income (merchandising, anyone?).
  • As Seth pointed, The PR language used to launch it is unforgivable.

Bottom line – I can see what they are trying to do, and there are many valid ideas in the identity as a whole, but the logo just doesn’t work in my opinion. With enough money spent on communications they can probably influence the associations and transcend that (with this kind of budget you do almost anything), but it is not going to make their work any easier – which is exactly what the identity was supposed to do.

BBC news offers a good analytical discussion with various opinions.

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London 2012 Olympic games branding

This morning, I’ve been asked by tube paper Metro to provide a comment on the new London 2012 logo.

Here is my full comment, obviously edited down for the news item:

Wolff-Ollins are known for creating innovative solutions, but perhaps they got trapped in a “design by committee” situation this time. It will be interesting to see how this logo evolves by 2012.

While focusing on the digits of the year 2012 helped avoid some clichés of past Olympic emblems (torches, figures jumping, etc…), it left the brand slightly hollow, robbing it of a clear message. The youth-appeal box has been ticked, and there’s an obvious influence of new-york graffiti emblems of the 80s – a style that is making a retro-chique come-back at the moment.

At the end of the day, it is unclear if it fully answered the brief of “access, participation, stimulation and inspiration”, and if it can have the mass appeal required to create “everyone’s games”. It’s a shame the opportunity to capture the spirit of vibrant cosmopolitan London has been missed, and it is highly debatable if the stylistic choices made will still seem fresh in five years.

Metro article link

I should add here: I couldn’t find the full identity anywhere, only the logo, I expect that the full identity is well thought out, but maintain my position on this problematic logo. The creative peter principle?

Also – have a look at some past logos. Some of them are quite striking – like the Munich or Moscow logos. Logos from Athens and Barcelona may be tamer, but at least provide clarity of message.

(and yes… I can see the little man dancing)

some contributions from BBC users.

A follow up post

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