COP: 1st Draft & feedback/ changes

How can brands change and adapt to fit different cultural values?

‘You know what they call a quarter pounder with cheese in Paris? They call it a royale with cheese’. This quote, taken from Quintin Tarratino’s Pulp Fiction is a great example of what this essay will be discussing. Specifically, how brands change and adapt to fit in with different cultural values the world. I will draw out four main sections in this essay, throughout considering theorists and designer’s opinions. These will focus on cultural values and how these effect branding within globalisation. The first section will discuss the interpretation of signs and symbols, and how this relates cultural groups. Considering different designer’s opinions of semiotics and the relationship between communication and culture. As well discussing how selling a sense roots can help a brands success. The second section considers how a cultures social values can be reflected in branding and design. It will discuss themes such as emotional weakness and power in terms of branding, as well as considering social class and status in cultural groups. The third section considers identity, thinking about the role ethnicity and race plays. Discussing age and nationality, as well as gender and stereotypes in cultures. Section four thinks about globalisation and what it is. Reflecting on global considerations when designing and the effect that branding and globalisation is having on culture.

Section 1: Interpretation / semiotics/communication/ roots

Culture, lifestyle and the environment you were brought up in are all factors which might effect the way you perceive and interpret design. (Fiske 1900) a semiology theorist states ‘construction of signs which, through interacting with the receivers, produce meaning’. Here Fiske expresses the relationship an audience has with signage. This may suggest that the way in which an audience interprets design could categorise them into cultural groups. This theory focuses around communication between the sender, being the designer and the receiver being the audience. The sender generates meaning and the receiver then interprets this in a certain way. (Malcom Barnard) supports this idea in his book ‘Graphic Design as Communication’ as he states that ‘as a white middle class European male, my reactions of, sex and the city are roughly the same as other members of my class, gender and age group… a black Muslim woman’s or teenage girls reaction to the show would be entirely different’.  Therefore, it could be argued that the ethics and circumstances of the European male differ from Muslim women because of different cultural values. In this case the role of religion and gender plays a key part in how something is interpreted. This would suggest why sex in the city is aimed at and appeals to mainly western consumers. To some extent this states the importance of interpretation within design.  Some may argue it highlights the designer’s role in considering the interpretation of cultural groups.

We use language to communicate, but in many cases, especially when communicating across language barriers, we also use image, colours, symbols and signs. (Bruno Munari) argues that ‘each sign and each symbol has an exact meaning that is recognised the world over’. Here he expresses his opinion that we are already conditioned to doing what these signs are trying to communicate to us. However, (Ferdinand di Saussure) a founder of modern semiotics believes communication revolves around the unity of the signifier and the signified. He states the signifier is a signs image as we perceive it. For example, a printed or displayed piece of graphic design.  Shapes, colours and lines are all signifiers. The signified is the associate concept. An example of this is a green traffic light, this being the signifier and the signified being the concept of go. (Saussure 1974) argues that this relationship between signifier and signified is ‘arbitrary’. This is the idea that the colour green could be associated with a completely different concept instead of go. This suggests the interpretation of signage depends on the relationship people have with signifiers. This supports how colour and shape can relay a completely different message due to how an audience perceives them. In relation to culture this would suggest that different cultures interpret signifiers differently. In relation to brands, this stresses the importance of understanding culture. This is so something is marketed correctly to ensure not to offend, as well as stay in line with local cultural values and customs.

According to some, culture is itself a form of communication. (Cherry 1966) supports this in commenting ‘a group of people, a society, a culture, I would define as “people in communication”’. Here he brings to our attention the role culture plays in communication. Cultures are made up of people in groups that communicate with one and other. This is done through talking, sharing and experiencing, through reading and understanding each others works, whether that’s literature, pictures, shows or graphic design for example. (Malcom Barnard) supports this idea as he discusses that ‘graphic design is one of the ways in which people can communicate with each other’. (James W Carrey 1992) corresponds with this stating ‘to study communication is to examine the actual social process wherein significant symbolic forms are created, apprehended and used’. This reflects his opinion that the study of communication is the study of culture. There are many cultures, some more different to others. They may communicate and interpret differently, a factor which needs to be considered when designing for a specific culture or target market.

When it comes to marketing a product in a culture, different techniques can be used to brand a product so its more appealing. In (Vance Packards) book the hidden persuaders he discusses one of the ways in which brands can relate to local culture, through ‘selling a sense of roots’. Here he stresses the importance of customs, tradition and heritage, and how companies can play on this when branding products. He considers the role of personal connection with brands and how playing on the consumer’s values like family or home for example, can then appeal way more to those consumers. Of all Packards persuaders, this could be seen as the most vital when it comes to branding on a global scale. This could be argued as the link between roots and cultural values are crucial to relating to a market, so a brand can succeed.

With more than 32,000 restaurants in 118 countries, a notorious brand that considers cultural values and has successfully globalized is McDonalds. This huge franchise has done it better than any other. When people think of McDonalds they envisage the same restaurant in every country all over the globe. McDonalds have done incredibly well, keeping such a strong stable brand, with a staple look and yet have adapted to fit in with different cultures.  (Jane Pavitt) writes ‘McDonalds nurture their relationship with locality… in order to become neutralised’. Although they don’t alter a huge amount of their branding, they cater for local cultures. There Local variations in the menu get changed and advertising altered to fit in with a culture. During the year of the monkey in Singapore McDonalds, they advertised four monkeys. These symbolised luck, fortune, longevity, and happiness. This is also an example of selling a sense of roots. It’s a great example of how the franchise adapts to fit in more with local tradition to ensure inclusion within the culture. McDonald’s colour scheme is something which also been adapted in recent years, changing European stores backdrop from the classic red to a new hunter green. This suggests McDonalds have clearly thought about the cultural connotations of their colour scheme. In Asia red symbolises luck, courage and respect, this isn’t the same in Europe where it represents danger and anger. This decision to change to a more neutral, friendly green for their European stores was no mistake.

In this first section I have discussed how interpretation plays a role within branding for different cultures.  Investigating into semiotics and various theorist’s opinions on how we communicate and perceive signs and symbols. As well as discussing cultures relationship with communication. In addition, I have looked at how companies can sell a sense of roots within there branding to appeal to a certain market.

Section 2: Social values /Status & class/ stereotypes/ Power

Most graphic designers would agree there’s a link between Society and graphic design. (Malcom Barnard) writes ‘graphic Design points to or reflects the society or culture it is found in.'. Barnard is suggesting here that design tends to link in with the political state, views off a place and their cultural values. These can have multiple themes, such as stereotyping and reflecting class are typical avenues to see within advertising and branding in particular. A good example of these cultural attitudes being reflected in design can be seen 1960s advertising. This Hotpoint washer and dryer advert is a prime example of the attitude and morals in relation to women of the time. (Oneonta Star, newspaper) Here expresses the opinion that your wife will be ‘happy’ and ‘pretty’ with the right kitchen appliances. During this time the advertising world reflected the culture, using sexist stereotypes in advertising for women.

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One of Packards hidden persuaders; ‘selling emotional security’ brings to our attention the idea of finding an emotional weakness within a target market, and then marketing the product to reassure them. Packard uses the example that freezers in the 50’s weren’t economically better for your household costs but, (Packard) ‘after world war ii when many families were filled with inner anxieties because of uncertainties involving food.’ (Emily chan, mailonilne 2018) supports this ‘Other adverts employed scare tactics to lure wives to buy their products. A Dorothy Gray Collagen Cream commercial ominously asks: 'Does your husband look younger than you do?'’. In todays western society these values are seen as completely unacceptable, and views of sexist stereotyping nature in western culture is now highly frowned upon. This is evidence that at the time designers utilised the cultural ways of life to advertise products. This makes it clear how graphics can mirror the social and cultural values it is found in. Successful brands would and still analyse the social values of a place, so a brand is correctly branded towards at an audience.

Class and status are social functions that should also be considered when designing for a market. (Raymond Williams 1980) states ‘the means of communication are means of ‘social production’ part of the way in which social class is made possible.’ Here he argues that design can reflect a way in which political power is produced and questioned in society. According to (marx 1985) ‘every society is a class-based society and social class is defined in terms of economics’. Here he highlights the way in which societies are run, showing the power relationship between the less and more fortunate.  To some extent this could suggest the importance of designing to appeal to correct audience. (James curran 1982) states the medieval Christian church maintained its position of power through the aesthetic of the time; sculptures, stained-glassed windows all used to praise the ideologies of the church. Design and aesthetic can influence, change adapt, effect the way people view things, telling them a story or conveying something to them. This suggests a responsibility and sense of power to the designer. Therefore designers and the brands they work for must be aware of who they are designing for.

This ties in with another of hidden persuaders which is relevant in cultures today and that’s ‘selling a sense of power’ (Packard) ‘any product that seems to offer them a personal extension of power has offered rich exploitation by merchandisers’. Here Packard states there is an attraction between most people and wanting a personal extension of power in their life. He discusses how it is a great branding route to go down when trying to sell to a consumer. The car industry is a great example of selling power to the consumer. Some may find it hard to indulge themselves in buying the power. Packard highlights an alternative explanation to convince the consumer that they need the product. He talks about the idea of ‘the illusion of rationality’. He brings to our attention that, in the cars case it can not only offer power, but extra safety when it comes to emergencies’. Its fair to say on a global scale that power is wanted by most consumers and that doesn’t mean in just a physical sense. Packard’s concept here needs to be considered when designing for a global market. Offering empowerment to a market in any sense of the word could make the branding of something a lot more successful. It could be said that consumers in the 21^st century aren’t necessarily buying the power of a product but the power of the brand behind the product. Apple is a prime example of buying into a brands power. A bold, clean, confident aesthetic that’s globally recognised through the iconic apple logo. You trust the look, quality and functionality of there products and as a consumer you buy into the power of that brand. This sense of power in a brand could be said to be vital when trying to globalize a brand.

Within this section I have discussed the link between social values and graphic design, discussing how societies values can be reflected within design. Specifically focusing on the attitudes of cultural groups and how these are mirrored into everyday advertising. I have considered social functions like class, analysing how it could be thought about when designing for a market. As well as investigated more into Packards hidden persuaders, thinking about themes of emotional security and power, and how these link in with branding.

Section 3: identity / age / gender / ethnicity and race

Identity is key to understanding cultures. A person’s identity makes them who they are, it’s the way in which a person identifies into certain groups. (Hall 1997:234-8) believes as soon as there is a difference in culture, there becomes a hierarchy in the structure of a society. To some extent Hall is suggesting the concept of discrimination here. Ethnicity and race both play roles within identity, although both are questionable. The UN states ‘because people can be grouped by any number of physical differences (height, foot size, resistance to certain diseases), race is an artificial way to categorize. Nonetheless, race remains an important concept because of social and political issues that arise from it.’ (www.etc.) the UN argues here that racial identities are cultural, they are not something found in nature but made up by us to categorize cultures and people. (Van den Berghe 1981) defines ethnicity as ‘basic biological tendency’. (Popeau 1998) disagrees with this concept, stating ethnicity ‘is a socially produced concept which cannot simply be reduced to “biological” content’.  From these views it may be suggested that as a cultural construction, both ethnicity and race raise big political and social issues. This stresses the importance of race and ethnicity and the role they play in society. Branding therefore may need to consider cultural issues and differences in relation to ethnicity and race. This should be considered to ensure not offend or cause controversy in relation to peoples way of life and their heritage. From this it could be said that designers also need to take particular care when portraying someone of a different race to themselves, or of an ethnic minority.

National identity is created by an ideological movement, according to (Smith). He states it is ‘an abstract and multidimensional construct that touches on a wide range of spheres of life and manifests many permutations and combinations’. To some extent this states that nationality is a cultural identity such as social class or religious identity. (Jan Penrose 1995:405) argues ‘the concept of nation is the product of three elements: a distinctive group of people, the territory which they occupy and the bonding over time which melds people and land.’ This implies that most nations are distinctive in their own way and therefore follow different cultural values. This could be seen as crucial when designing for different cultures to ensure social values are considered. A good example to reflect the importance of this is HSBC’s 2013 advert. Set in Italy, in which a man likes the look of a woman and decides to leave chrysanthemum flowers on her doorstep. Unbeknown to him, these represent death in Italy therefore connoting the completely wrong message intended. HSBC has done well here highlighting this problem of a nations interpretation and playing on it to empower there global look. ‘at HSBC we never underestimate the importance of local knowledge’.

Age is another key factor in terms of identity. (Malcom barnard) supports this ‘graphic design uses imagery, typography and colour to construct and reproduce for different age groups’.  He goes on to say ‘graphic designers, art directors and marketing people must take account of different national cultures’. This makes it clear that age and nationality must be taken into account when trying to communicate with different age and nationality groups. Tetley illustrates a good example of how packaging can consider two cultures and different age groups for the same product. For the United Kingdom, the packaging uses a traditional cup of the original tea with milk, being handed to you by the friendly cartoon farmer. Being British, tea is engrained in our culture and the imagery here reflects the ritualistic process of making a cup. Tetley has done well here, managing to appeal to a large age market as tea, and the process is generally liked by people of all ages in the UK. In particular this might appeal more to the older generation of the UK, connoting tea time or chat with a friend.  This contrasts with the American packaging which has gone for a much more conservative look and says ‘classic black tea’, using imagery of a glass of black tea and leaves on the dish. Here Tetley has considered the different cultural values knowing the British packaging appeals to a large age group, particularly the older generation. In contrast the US packaging which gives a much more clinical and healthy look. Although the exact same product here Tetley shows how it can appeal to a different target market. example

Similar to ethnicity and race is culturally significant, someone’s gender gives reference to sexual difference.  Gender identity has been discussed in recent years, allowing specifically western cultural groups to discuss what it means to be male or female. This revolves around cultural values, it could be suggested that eastern and western cultural values differ greatly, posing very different views of what is acceptable in terms of gender. (Barnard) supports this stating the being emotionally disconnected ‘may mark you as masculine’ and nurturing tendencies ‘indicate that you are feminine in many western cultures’. Stereotypes plays a big role here, categorising groups of people through dominant cultural groups beliefs. (O’sullivan) supports this discussing the origin of stereotype, originally the name of a photographic process, meaning to present a generalised image of a specific cultural group that conform to the same ideologies. This clearly effects branding and the considerations that need to be taken when branding for different genders. A good example to show how brands have considered branding for genders is in Gillete razors. Key factors such as line, shape, colour, and type communicate the different gender identities the product is aimed at. In 1915 gillete introduced the first women’s razor ‘Milady Décolettée’ meaning ‘a posh women in a low cut dress’. In 1975 they introduced the Gillete ‘daisy’, relating to the flower which connotes feminine attributes. Since 2000 and still currently they use ‘Venus’ razor, relating to the roman goddess of love. It is clear to see here that graphic design reproduces feminine stereotypes within this packaging. The packaging consists of bright pinks and curvy letter forms representing a floral theme and feminine attributes. This contrasts with the male razors which do the exact same job yet are packaged so differently. One of latest Gillete models is called ‘Gillete fusion pro glide’, the marketing here focuses way more on the performance and speed of the product. The packaging is bold and strong using a clean white sans serif font on the navy background, it pops using a happy orange fit in with the colour scheme of the actual product.  The branding of these products reflects the masculine and feminine stereotypes found in western cultures.

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Within this section I have discussed ethnicity and race thinking about the considerations not to offend people’s cultural values and portrayal ethnic minorities accurately. Thinking about national identity and connoting the the right or wrong message in terms of cultural values. As well as discussing age and gender and how products can change and adapt to fit in with these identity themes.

Section 4: globalisation / flows/ considerations / striping culture?

In the first 3 sections I have focused mainly on cultural values found in societies, considering identity, social class, power, roots, semiotics and other pathways relating to communication across cultures.  This section will focus on what is globalisation in todays society, looking at different ways globalisation has been defined as and what it may become today. I will be discussing considerations that brands need to think about for a global market, giving examples of successful brands. As well as looking at how far globalisation could go and the future of the relationship between branding and culture.

(Thomas and Walsh 1998:364) summarises postmodernism as ‘a globalising post-industrial world of media, communication and information systems…basis of a market-oriented world of consumption rather than work and production’. This summary sheds light on key features of postmodernism, them being globalisation, and a world of consumption and communication. (O’sullivan 1994:130) defines globalisation as ‘the growth and acceleration of economic and cultural networks which operate on a worldwide scale and basis.’ These ‘economic and cultural networks’ make reference to financial and communication systems, these could be argued as key to bringing us into the modern globalised world we live in today. These developments, particularly in technologies allowed people to communicate much easier and much further distances than ever before, which opened a whole new market for new products for new customers around the world. According to (Appadurai 1990), there are cultural flows that all participate to make globalisation possible. He discusses 5 flows; ‘Ethnoscpes’ for example tourists, immigrants and gusetworkers. ‘Technoscapes’ the movement of technology and machinery. ‘Finascapes’ the flow of money through markets. ‘Mediascapes’ the distribution of media. Finally ‘Ideoscapes’ texts and images which are produced and consumed.  Both mediascapes and ideoscapes relate directly to graphic designers. To some extent this states the important role in which we play as designer in relation to globalisation. We do this through the distribution of our designs ideoscapes across cultures through the means of media mediascapes, such as newspapers, magazines, television and film.

The role we play in designing for society must be considered. This is key for brands being able to globalize a market. Take the word sacred, in religious cultural groups this is interpreted through colour completely differently. In Buddhism a saffron yellow connotes sacred, contrasting with Islamic cultures which use green, who are also different from Judaeo-Christian who represent this through white, red and gold.  Cultural considerations are vital for a brand succeeding on a global scale. Nike is a great example of a brand considering culture and making their product appeal to everyone globally. Going onto their website the first page you are directed to reflects their understanding of commitment to all markets, giving you an option to select your location, in any continent in the world. Not only does this highlight the idea inclusivity but this allows the brand to change and adjust the advertising and product range to fit in with cultural values that adhere to that part of the world. Although Nike, one of the world leading conglomerate companies can create a website suitable for the global market, that doesn’t mean to say its done with ease. Even interfaces on websites differ greatly depending on where you are. If a website considers cultural aspects too much it can end up having a negative effect, not communicating correctly. This can be the case with icons, linking back to semiotics and the interpretation of signs and symbols. A good example of this could be the home button, on an older model computer in western cultures this would be a square house with a chimney, contrasting with and circular house with a cone shaped roof in other parts of the world. The majority of westerners don’t live in circular shaped homes, so this would mean having to learn and understand this signifier in order to navigate through the interface. The same thing could be said for the search button. To some extent stresses the importance of interpretation and considerations that need to be taken when designing for everyone or a specific market. Saying that this has only improved as time has gone on, brands have adapted to become more neutral using similar styles to communicate similar global values.

In ‘No Logo’ (Naiomi kleins 2000) book she argues that cooperate globalisation is ‘astronomical growth in wealth and cultural significance of multinational corporations’. She believes that cooperation’s sell the brands rather than products. She goes on to argue that branding and globalisation ‘strips’ cultures of their ‘inherent values’. She plays on the concept that because so many brands are in so many countries, they becoming the culture, instead of being influenced by it. She argues therefor that designers are part of this depriving of culture. It could be argued that although brands are everywhere and engrained in culture, that doesn’t mean to say culture is now global and everywhere is the same. Different cultures still hold different values. Although our societies might be full of similar brands, that doesn’t mean that culture doesn’t play a prominent role in branding in relation to the specific cultural values of a place.

This final section has focused on what is globalisation, considering different theorists and designer’s opinions. I have discussed global considerations in relation to branding such as religious connotations, graphic interfaces and successful brands in relation to global websites. I also investigated into the negative side of globalisation and some designer’s opinions on the future of global branding. 

Conclusion:

This essay has discussed branding within globalisation. It has thought about brands and designers and how they can change and adapt there aesthetic to fit in with different cultural values around the world.

I have investigated into semiotics, looking at designers and theorists opinions considering the values of culture in relation to signs and symbols. I have thought about the different cultural connotations in relation signs and symbols and how these are created in connection with cultural values and where and how people are brought up. As designers it is our role to consider how these cultural values change the way an audience perceives the design. Brands should study these cultural customs, and traditions to ensure their imagery is being correctly interpreted by the target market. I further discussed culture, thinking about its relationship with communication and how one needs the other to be possible. I discussed the concept of designers branding products to appeal more to a consumer’s sense of roots, linking back to their culture and how people value their heritage, tradition and way of life.

I went on to discuss how design can mirror social values. Thinking about how designers can look at certain social values within a cultural group and reflect these within branding. As these social values are constantly changing with time, it is important for designer to keep up dated and informed with the social customs and beliefs ensuring they are met and reflected if necessary in design. I further discussed social values thinking about social class and the key role that power can play in branding.

In the third section I discussed identity. Examining how identity should be taken hugely into consideration when designing for different cultures. Discussing ethnicity and race, questioning what it is and the social and political issues that arise with it. Further considering the role designer need to take in terms of ensuring not the offend and to portray ethnic minorities appropriately. Going on to think about age and nationality in terms of branding. As well as investigating into gender and stereotypes, looking at examples from different time periods to show how designers have considered these identity themes within branding.

I went on to discuss globalisation, what it really means and the future of it. Further discussing designers and theorist’s opinions of what globalisation is. I feel this term globalisation is quickly changing. As discussed in first sections of the essay cultural values are key to being able to make a brand be successful all over the planet. A brand needs to be able to change and adapt according to social views of a place. Being able to design for specific groups takes the designers thinking about a target markets identity, ensuring not to offend and to relay the correct message. A designer must consider a cultures roots and heritage allowing them to connect and recognise how a brand can relate to them. The better the designer understands the culture, the more likely they are to design something the consumer can interpret correctly.

These are all considerations designers should take when trying to change and adapt a brand for the global market. Although I feel these are key to globalisation success, some designers have argued that globalisation is striping cultures of there values. To some extent I can agree with this in terms of the sheer scale of cooperation’s and brands that are pooping up on a global scale. Although there is possibly less influence of cultural values, I disagree that societies are being stripped of there values. I would argue that in this globalised world, brands are taking a more influential and prominent role in our culture, due to them being everywhere. However, I don’t feel as if they are striping values as cultural values still differ everywhere greatly. With so many brands that have a successfully conquered the world market, it’s the norm to see the same brands everywhere. It could be argued that this has lead to needing a more global aesthetic. Living in an increasingly branded world, it could be said the future may see brands adhere less to cultural values and more to global values. Saying this, currently it is still key to a brands success to consider cultural values when taking a product to new part of world. To conclude, brands must think, research and consider about how cultural groups interpret design and reflect the people and their social values appropriately and effectively. Further more brands must consider the identities of that cultural group and how they view, experience and interpret design, refining how a brand can most appeal to that audience.

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