Communications as Ikor

Corporate Idnetity (CI) : 1  < ?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />

 

요즘 몇 몇 분들에게 CI에 대한 이론적인 의뢰를 받습니다. 물론 제가 CI의 전문가는 아니지만, 개인적으로 Lucent Technologies의 Coffee Cup(Lucent의 로고)을 위한 brand manager인 Hoffman으로 부터 CI 와 BI를 배운 저의 그냥 얄팍한 지식으로 몇 가지 말씀드릴까 합니다.

-CI에 관한 주제는 앞으로 몇 회에 걸쳐 연재될 예정입니다.

 

오늘은 우리나라의 일반적인 CI 프로그램이 가지고있는 이론적/ 실행적 문제점을 언급하여 봅니다.

 

우리나라의 CI(Corporate Identity) 프로그램은 한마디로 VI(Visual Idnetity)작업의 한계를 벗어나지 못하고 있습니다.

 

여러 대기업들이 (어느 회사라고 지명은 않습니다, 그 쪽에서 일을 하시는 방문자 분들이 계시리라 믿기 때문입니다.) 몇년전 부터 서로 경쟁적으로 그들의 소위 CI를 발표해왔는데, 어마 어마한 금액을 지불하고 결국 가져온 것은 새로만든 로고 정도였습니다.

 

그리고 우리나라에서는 이상하게도 CI를 “기업 이미지 통합”이라는 말로 신문지상에서나 보도자료에서 언급하고 있습니다. Corporate Image Integration은 과연 어떤 이론적인 베이스를 가지고 사용되고 있는지 궁금합니다.(하기는 신문에서 또 종종 IR(Investor Relations)을 “투자 설명회”라고 친절히(?) 부연 설명 해주기도 합니다.)

 

제가 아는 한, 그리고 배운한 CI는 절대 기업 이미지 통합의 의미가 아닙니다. 그리고 기업의 로고를 만들기 위한 visual 작업도 아닙니다.

 

CI 프로그램도 CI전문 컨설팅 회사가 맞아야지, 회사내의 디자인 팀이나, 로고 전문 디자인 회사가 맞아야 할 작업”” 은 아닙니다. 

 

성공적인 CI 프로그램을 경영하기 위해서 먼저 기업은 기업 자신에 대한 광범위한 분석이 필요합니다. 이는 기업의 역사 부터 기업의 비지니스 및 전략, 기업 문화, 경영 스타일, 앞으로의 기업적 비젼등을 총 망라하는 Inventory입니다.- 곧 내부적 CI Inventory입니다.

 

이 CI Inventory를 바탕으로 기업의 앞으로의 전략이 요구하는 필요성에 따라 어떠한 Idnetity가 추가 또는 제거 되어야 하는지에 대해 연구 합니다.

 

새로운 Identity 설정 방향이 완성 되었으면 그 때 비로소 CI 프로그램을 기획합니다. 가장 핵심적인 Value가 무엇인지 (예)) Globalization, 업계 최고, 기술력, 창조성, 신뢰성..) / 어떤 방법으로 새로운 Identity를 목표 공중들과 커뮤니케이션 해야 하는지 등을 계획 해야 합니다. CI 프로그램의 핵심은 VI 로서 새로운 로고를 커뮤니케이션하는 것에 있는 것이 아니라, Identity 자체를 (Value를) 커뮤니케이션 해야 하는 것 입니다.

 

많은 분들이 생각하는 로고 제작은 절대로 CI 프로그램이 아닙니다. (지자체 담당 공무원 여러분들 이해하십시요.) 그냥 하나의 CI를 위한 매체일 뿐입니다. 브랜드 전략에서도 로고와 브랜드의 가치를 혼동하면 않됩니다. 가치인식이 머저 된 후의 로고를 기억 선택 하는 것이지, 가치 인식 없이 로고의 선택은 이루어 지기 힘듭니다.

 

그와 똑 같이 기업의 가치를 커뮤니케이션 하는 데 성공 적이어야지, 로고가 전부는 될수 없다는 말을 자꾸 드리고 싶습니다.

 

오늘은 개념적 혼동을 언급 하였지만, 내일 부터는 CI의 기본적인 단계인 진정한 기업 내부 아이덴티티 정립 방법을 논해 보겠습니다.

 

아래는 British Airways의 몇 년전 새 아이덴티티(물론 Value 위주의) 프로그램에 대한 글입니다. VI를 넘어 어떻게 가치를 커뮤니케이션 했는지 보십시요.

 

또 하나는 Ciba 와 Sandoz의 결합으로 태어난 Norvatis의 사례 입니다. 실제로 미국에서는 Norvatis가 가치 커뮤니케이션에서는 성공적 이었는데, Naming과 Logo 측면에서는 많은 전문가들로 부터 비판을 받고 있습니다. “What does the hell Norvatis mean?” 이 또한 CI의 성공은 아님이 확실합니다.

 

읽어 보시고 많은 Feed Back 부탁 드립니다.

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BRITISH AIRWAYS UNVEILS NEW IDENTITY

 

British Airways, which once brought together thousands of people in the shape of a globe to create a compelling image for one of its television commercials and more recently imposed a giant model of the Concorde on Times Square, is not a company to do things by halves. So when it unveiled what management describes as “a radical new identity” in June, it was no surprise that the company’s public relations people were scattering superlatives like confetti.

According to BA, the company’s new identity was “based on what is believed to be the largest consumer research exercise in the history of the travel industry.” It was introduced through “what is believed to be the world’s largest satellite corporate television broadcast” using 13 satellites, transmitting pictures from almost 25 different places to 126 locations in 63 countries across five continents.

 

BA may also be able to claim a record for the most corporate identities unveiled at one time by one company. The airline has abandoned the Union Flag that has appeared on the airline’s tailfin since it was founded and is in the process of replacing it with 50 “world images” designed by painters, potters, weavers, ceramicists, paper-cut artists, calligraphers, and sculptors from around the world. The images – 13 of which were unveiled in June – were created by artists from New York to Mpumalanga (eastern South Africa) to Warsaw to the Kalahari Desert.

 

The airline says it conducted extensive interviews with its passengers, 60 percent of whom originate from outside its domestic market. According to CEO Bob Ayling, “Some people abroad saw the airline as staid, conservative and a little cold” – characteristics that have, on occasion, been used to describe Britain as a whole. The company concluded that it needed to be seen as more modern, dynamic, and responsive to the different cultural needs of its customers.

 

“We need a corporate identity that will enable us to become not just a U.K. carrier but a global airline that is based in Britain,” says Ayling. “The identity we unveiled is that of a global, caring company, more modern, more open, more cosmopolitan, but proud to be based in Britain.”

 

The design project was supervised by Newell & Sorrell, an identity and design consultancy headquartered in London and Amsterdam. The firm worked with BA for close to two years, and chairman John Sorrell says its work for the airline was “among the most challenging, exciting and innovative… we have ever undertaken.” In addition to finding the art that now adorns the BA fleet, Newell & Sorrell changed the airline’s color palette, ditching the old pearl gray, dark red, and dark (almost black) blue for the red, white, and blue of the Union Flag. Finally, the typeface for the airline’s name was changed to be softer.

 

The launch broadcast was viewed by 14,000 employees and guests and was accompanied by an impressive array of special events. In Thailand, a flotilla of traditional barges with sails designed to reflect the company’s new imagery sailed up the Chao Phraya River while in Hong Kong, a dragon dance gave a traditional good luck welcome to the new identity before it was unveiled. At London’s Heathrow, meanwhile, Ayling unveiled two planes: one bearing an image from the Ndbele tribe in South Africa, the other adorned with Japanese calligraphy.

 

In the U.K., at least, reaction to the new identity was mixed. The director of the U.K’s Contemporary Art Society suggested that some of the designs – notably a tartan pattern for Scotland – were patronizing while “the whole of Germany is summed up with something that looks like a linoleum kitchen floor.” Others questioned the strategy of presenting 50 different images. “Some individual designs are attractive and striking… others seem to be pretty corny,” commented David Barrie, director of the National Art Collections Fund.

 

Says Ayling, “It is not just that the world is getting smaller, which it is. It is not just that technology is changing the way people communicate, though that has something to do with it. And it’s not just that the competition is getting tougher, which certainly has a part to play. What really has changed is the expectations of our customers.”

 

BA says the new identity program is part of a sweeping corporate and cultural change at the airline, which began with the upgrading of First, Club World, and Club Europe class travel and will continue with new products and services for leisure and business travelers. The airline will invest more than $10 billion over the next three years, improving its terminal at JFK in New York, providing better in-flight entertainment, adding new routes, offering online reservations, and expanding its relationship with alliance partners like American Airlines.

 

A new advertising campaign will support the new look. The first ad in the new campaign, from London’s M&C Saatchi, uses international music – instruments range from a Greek bouzouki to a Moroccan snake charmer to a sitar – arranged by Dave Stewart, formerly of the pop group the Eurythmics. The ads focus on the diversity of the world’s geography and on emotions that are experienced by all people regardless of geography, with a voice-over that states, “The more you travel, the more you realize the world is closer than you think.”

 

두번째 Case****************************************

 

 

Creating A Name For Novartis

 

Organization: Novartis

Agency: Ruder Finn

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OBJECTIVES & AUDIENCE

 

Ruder Finn and Novartis created a global advertising campaign to build awareness for a brand new company with a distinctive name, and to position that company as a leader in the emerging field of Life Sciences.

 

When Ciba and Sandoz merged in 1996, the company chose the name Novartis which, from the Latin “novae artes,” means “new skills.” The new skills Novartis offered would enhance life through pharmaceutical, nutritional and agricultural science, thereby making Novartis the leading Life Sciences company in the world.

 

The objectives of the advertising campaign were two-fold:

 

To establish name recognition of the newly formed company on a worldwide scale.

To define what a “Life Sciences” company was and to position Novartis as the leading company in this emerging field.

This campaign would focus primarily on key stakeholders in the financial world, the professional world, the media, government, and policy makers and opinion leaders throughout the world.

 

STRATEGY

 

To foster a dialogue about Novartis and the meaning of a Life Sciences company, the campaign featured the Socratic method of asking questions that lead to answers. Each advertisement posed a question pertaining to a new innovation within one of the three sectors of Life Sciences: pharmaceutical, nutrition, or agricultural science. For example, readers were asked “Who’s developing new therapies to make organ transplants more successful?,’ and “Who’s finding new ways to feed those who physically cannot feed themselves?” The answer to every question was Novartis. These questions were placed on a background of an electron microscopic photograph of DNA, the building block of life. To emphasize the company’s focus on new approaches, as well as to underscore the meaning of “Novartis,” the tag line for the campaign became “New Skills in the Science of Life.”

 

The fact that this campaign was a global initiative created a special challenge when we began to define the new field of Life Science in countries around the world. Every advertisement was translated to maintain intended meaning and impact across a wide range of cultures. Additionally, a visual branding at the bottom of the ads always identified “Life Sciences” as the combination of healthcare, agribusiness and nutrition through the use of icons for each of these business sectors. Advertising guidelines and templates on CD-ROM were distributed worldwide to ensure that advertising in every county remained consistent, despite the vast number of different ads that ran.

 

EXECUTION

 

Our objectives to create recognition of the Novartis name as well as to define the field of Life Sciences were achieved by creating a global advertising campaign based upon simple words, images and bold colors which could be identified across cultural barriers.

 

Ruder Finn handled every facet of the creative program of this campaign. All ideas, copy, photographs, and layouts were executed by Ruder Finn.

 

To gain the attention of the key stakeholders in our target audience, the print ads ran in high-impact publications such as The Wall Street Journal, The Financial Times, Forbes, and Fortune. Placement in these international publications was complemented with local print advertising in key countries (Brazil, Canada, France, Germany, Italy, Japan, Spain, Switzerland, the UK, and the USA). Overall, the print advertisements were created in seven different languages and placed in several hundred publications.

 

To further reach key stakeholders, airport posters were placed in key international cities including: Basel, Brussels, Hong Kong, London, Los Angeles, New York, Paris, Rome, Tokyo, Washington DC, and Zurich.

 

Television ads were also directed towards financial leaders and were placed on the Asian Business Network, the BBC, CNN, CNBC, the European Business Network, and MSNBC.

 

RESULTS

 

Extensive research was conducted to evaluate the global effectiveness of this campaign. Before the start of the campaign, in November1996, a preliminary survey was conducted in the eight countries (Germany, France, Italy, Japan, Spain, Switzerland, the UK, and the USA) upon which the campaign would focus. With the exception of Switzerland, where the company is based, the overall awareness of the name Novartis and what field in which the company was involved, was below twenty percent among stakeholders.

 

After the initial ten months of the campaign, in October 1997, the same study was again conducted within the eight key countries. Besides Switzerland, where awareness of the company was already high, the overall awareness of the name Novartis and the company’s business pursuits was at least double pre-campaign levels. In Italy, Japan and the UK awareness rose almost one and a half times the original level, and in the United States awareness of Novartis tripled (see attached chart).

 

In the short span of ten months, the Novartis advertising campaign has started to produce the desired effect of raising key stakeholder awareness on a global level