Essentials of Branding - The big Book of Marketing

The essentials of branding
from The Big Book of Marketing
McGraw-Hill, 2010

This PDF is designed to be printed
double-sided to help you conserve paper.

contents
Introduction 1
The difference between a brand and branding 2
Starting a branding project 4
Start with the right reason 4
Start with the right commitment 4
Start with the right business strategy 5
Start with the right focus: Customers 5
Analyze the brand’s equity 6
Uncover insights and identify opportunities 7
The brand strategy 8
Defining the brand idea 8
Defining the brand architecture 9
Defining the brand personality 10
Producing the creative brief 12
Creating the brand experience 13
Crafting the verbal identity 13
Designing the visual and sensory identities 15
Testing verbal and visual identities 22
Delivering the brand experience 23
Managing a brand 24
Measuring the performance of a brand 26
Tracking brand strength 26
Measuring brand value 27
Case study: BP 30
Delivering the brand promise

© 2010 The McGraw-Hill Companies.
All rights reserved.
Landor Associates is one of the world’s
leading strategic brand consulting and
design ﬁrms. Landor is part of WPP, one
of the largest global communications
services companies. Visit Landor
at landor.com.

1Landor Associates 1
is the preferred choice in the minds of your key
audiences (whether customers, consumers,
employees, prospective employees, fans, donors,
or voters). The way in which the brand affects
business performance is illustrated in figure 1.
Business performance is based on the behavior
of customers, whether they choose to buy
a particular product or service. And that behavior
is based a great deal on the perception customers
have of the brand: how relevant it is to them and
how differentiated it is from the other brands in the
same category. In turn, customers derive their
perceptions of a brand from the interactions they
have with it. Finally, that customer experience,
ideally, is informed by a brand idea—what the
brand stands for: the promise it is willing to make
and keep in the marketplace. If the first part of this
chain of cause and effect is indistinct or irrelevant
to customers, there is little chance the rest of the
chain will work, and the brand will not affect the
business’ bottom line. Yet, despite the proliferation
of brands and their inextricable link to business
performance, it is not easy to define what a brand
is, along with how to create, manage, and value it.
Introduction
It is incredibly rare for a product or organization
to be without a brand. There are museum brands
(Guggenheim, Smithsonian), people brands (Martha
Stewart, David Beckham), political brands (Obama
versus McCain, Labour versus Conservatives),
destination brands (Australia, Hong Kong), sport
brands (Manchester United, New York Yankees,
Super Bowl), nonprofit brands (Red Cross, Oxfam,
RED), branded associations (YMCA, PGA, Association
of Zoos and Aquariums), along with the product,
service, and corporate brands with which we are
all familiar. Many old marketing textbooks talk about
brands versus commodities (no-name products),
but in today’s world very few true commodities
are left. Even basic foodstuffs have some sort of
identifier on them, whether it is a private-label
store brand such as Walmart’s Great Value salt
or a major brand such as Morton Salt.
Brands help people make a choice, a choice among
salts, financial institutions, political parties, and so
on, and the choices are increasing. The number of
brands on grocery store shelves, for example, tripled
in the 1990s from 15,000 to 45,000.1
The purpose of
branding is to ensure that your product or service
This article was first published as Chapter 4
in The Big Book of Marketing: Lessons and
Best Practices from the World’s Greatest
Companies, edited by Anthony G. Bennett
(McGraw-Hill, 2010).
Sarah Wealleans is a consultant
and former senior client director with
Landor Associates. Additional input from
Trevor Wade, Hayes Roth, Susan Nelson,
Mich Bergesen, and Charlie Wrench.
The essentials
of branding
1 McKinsey & Company, “Strike Up the Brands” (2003).

2 Essentials of branding
Coke has worked incredibly hard at implanting
some of these brand associations in our minds:
The idea and delivery of refreshment (and the supply
management and distribution that are behind this),
product placement, the color red, the association
with a popular TV program, and the advertising all
make us feel good about the brand. Coke has not
controlled the buildup of these associations, but it
has tried, at every stage of our experience with the
brand, to positively influence them.
Accepting the second set of definitions poses more
of a challenge. The first definition suggests that the
brand is the purview of the marketing department—
just get the name, logo, design, and advertising right
and you have your brand. The second shows how
the brand is inextricably linked to the business. The
creation of the brand may begin in the marketing
department, but the experience of the brand has
to be driven through all parts of the organization.
Every interaction, or touchpoint, in a customer’s
experience of a brand makes a difference.
If you consider Apple, the quintessential brand
success story, the most powerful parts of the
customers’ experience of the brand are not confined
to traditional brand elements, such as the logo, the
name, or the advertising. It is the environment of
the Apple stores that encourages you to stay and
explore (and upgrade) and interact with its products
and its genius bar. It is iTunes as much as the iPod,
the applications as much as the iPhone. It is Apple’s
customer service and tone of voice that are
seamless, from the instruction manuals to the
real-time chat in the support section of the online
store. The brand is driven throughout this whole
experience, throughout every interaction.
The difference between a brand and branding
Most experts define what a brand is in one of two
ways. The first set of definitions focuses on some
of the elements that make up a brand:
• “The intangible sum of a product’s attributes:
its name, packaging, and price, its history, its
reputation, and the way it’s advertised.”2
• “A name, sign, or symbol used to identify items
or services of the seller(s) and to differentiate
them from goods of competitors.”3
The second set of definitions describes the
associations that come to mind when people
think about a brand:
• “Products are made in the factory, but brands
are created in the mind.”4
• “A brand is a person’s gut feeling about a product,
service, or company.… It’s a person’s gut feeling,
because in the end the brand is defined by
individuals, not by companies, markets, or the
so-called general public. Each person creates
his or her own version of it.5
What do we mean by “created in the mind”? When
we think of Coke, we may think of the time we went
to Disney World years ago. It was an incredibly hot
day, and we drank an ice-cold Coke from the iconic
glass Coke bottle and there was nothing more
refreshing. When we think about the can, we might
think red. Today perhaps we think of American Idol
(and wonder whether they are really drinking Coke
in those plastic cups). We think of how that
Christmas polar bear ad made us smile. Those of
us who are old enough may remember the “I’d like
to teach the world to sing” commercial. These
personal Coke brand associations are neither
positive nor negative, they just come to mind.
Business
performance
Customer
behavior
Brand
perception
Customer
experience
Brand
idea
2 David Ogilvy, primary.co.uk/viewpoints (accessed
12 May 2009).
3 Dictionary of Business and Management (Oxford
University Press, 2006).
4 Walter Landor, founder of Landor Associates.
5 Marty Neumeier, The Brand Gap: How to Bridge the
Distance between Business Strategy and Design
(AIGA New Riders, 2006).
Figure 1: Brand Affects Business Performance

3Landor Associates
But if a brand exists in an individual’s mind, and if
it is delivered by the business, what is the role of
branding? Branding cannot control what people
think of a brand, it can only influence. A brand can
put some of the elements in place that will help
people understand why they should choose or prefer
a particular good, service, organization, or idea over
another. Branding and related marketing disciplines
can help influence and explain how many of these
associations in our minds have been built, and
whether they were built through advertising, PR,
employee behavior, supply chain management,
and so on.
Branding is about signals—the signals people
use to determine what you stand for as a brand.
Signals create associations.
—Allen Adamson, BrandSimple6
The bulk of this chapter will explain the process that
determines the foundational signals of a brand: what
a brand stands for (the brand idea); the attitude it
projects (the brand personality); its name and how
it talks (the verbal identity); what it looks like (the
visual identity); and what it feels and sounds like
(the sensory identity). Creating these foundational
signals is the core business of a branding agency.
Before foundational signals are created, however,
a certain amount of groundwork needs to be done
to ensure that the best conditions for success are
in place. The first two sections explain this essential
preparation. The third describes the creation of the
foundational signals. The final sections focus on
what to do next with these foundational signals
once they have been created, looking at delivery
of the brand experience, managing the brand, and
measuring the performance and value of brands.
6 Allen Adamson, BrandSimple: How the Best Brands Keep
It Simple and Succeed (Palgrave Macmillan, 2007).

Starting a branding project includes finding the right
reason, commitment, and strategy; analyzing brand
equity; and uncovering insights and opportunities.
Start with the right reason
Take care to get born well.
—George Bernard Shaw, playwright
Fundamentally, there are two reasons a business
needs branding. Either a new product or company
has been created or there is a desire to change
an existing brand to better reflect new business
objectives (most often called a “rebrand”). There
must be a solid business reason to change, or
refresh, a brand and a brand idea. Without a solid
business objective and brand idea, the judging of
brand change becomes purely subjective. Suffice
it to say, when you embark on a rebrand it is critical
to ensure that you are rebranding for the right
business reason, and if there is a desire to alter
some visual or verbal elements, a clearly defined
brand idea is essential for guiding this change.
Start with the right commitment
It is critical to have the right steering committee
before starting a branding process. Because the
brand idea reflects what a company says it stands
for and its vision for the future, the CEO must be
100 percent in agreement with it. And because
a brand is inextricably linked to the business, all
branding initiatives need to involve the business
leaders, not at every stage of managing the project,
but at every stage that a significant decision needs
to be made, particularly in the early stages when
the brand idea and personality are being defined.
The areas of the business that interact with
the target audience need to be represented on the
brand steering committee to ensure that the brand
idea will be delivered. If this means that the steering
committee increases to more than eight to ten
people, then “buy-in” stages are needed in the
process to keep decision making manageable
while ensuring that the areas of the business
responsible for living up to the brand are committed
to the process.
Finally, experts in the field of branding will also be
essential partners in the process. Branding agencies
are usually hired as partners and guides in the
process, since they are in the business of helping
to create and manage this kind of change. The
best agencies show strong strategic and creative
thinking and output and have relevant expertise
(not necessarily expertise in the same industry
or product category, but experience in handling
similar problems for similarly sized organizations
and products, or with similar target audiences).
The foundational signals of a brand need to last
at least a decade, and creating them is costly, so
investing in the right advice is important at both the
macro level (“How do we align our business with
the brand idea?”) and the micro level (“What should
we do about our printers to ensure the new brand
color reproduces well around the world?”). Because
creating a new brand or undertaking a rebrand
requires significant investment and signals change,
there is really only one opportunity to do it; so it
must be done right.
Starting a branding project

5Landor Associates
customers and employees need to be considered.
But for both product and corporate brands, it
is important to understand insights into these
audiences to ensure that the brand idea resonates.
What is the benefit to customers? A company
should be able to articulate clearly, in a few words,
the unique aspect that differentiates its product
from the competition and provides a benefit to
its customers. This is called the “unique selling
proposition,” the “dominant selling idea,” the
“unique value proposition,” or the “universal
guarantor of performance.”
Start with the right focus: Customers
One of the most important first steps in a branding
project is to create a framework that identifies
and compares all possible interaction points where
a customer experiences the brand. This is often
called a “customer journey,” and the interactions
are sometimes referred to as “touchpoints.” These
interactions can be physical, such as in a supermar-
ket, at an airline check-in desk, or in a showroom.
They can be digital, such as through a download
from a company website or on social media sites
like Twitter or YouTube. Interactions can be analog,
such as on the phone, via advertising on TV, or
through promotional events.
The important thing is to create the framework
from the customers’ point of view and not simply
compile a list of all things currently being executed
to build the brand. Doing only the latter will not help
you discover a new interaction that could better
connect the customer to your brand. Creating the
full framework, however, will foster understanding
of where you are delivering the brand promise,
Start with the right business strategy
Good branding cannot save a poor product
or business. In fact, the desire to rebrand can
sometimes mask a fundamental business problem
and can distract managers from actually addressing
it. Before you brand anything, it is important to have
a strong, clear answer to three simple questions:
(1) What are we selling? (2) Who is it intended for?
and (3) What is the benefit to customers?
What are we selling? In a very practical sense,
selling involves making tough decisions about
the market you are in, such as Intel’s decision to
abandon manufacturing computer memory chips
and focus on microprocessors. Or it can be about
deciding how you intend to describe the product
or service being offered. In Welcome to the Creative
Age, Mark Earls tells the story of working for Clarks,
one of the leading shoe companies in the United
Kingdom, and spending time in focus groups. His
agency hit on an idea that resonated well: not
a reexpression of the brand but a reevaluation of
what Clarks was selling. Clarks had defined the
business of selling shoes as a “replacement
business”—replacing shoes that were worn out.
The new model was about selling pleasure—
buying new shoes that give you a lift.
Who is it intended for? The more specific and
targeted the answer to this question, the better.
For example, rather than focusing on “moms,”
target “moms who put their careers on hold and
are now back in the workforce trying to juggle career
advancement with guilt about not having the time
or energy to puree homemade baby food every
evening.” For corporate brands, it is more difficult
to focus on a single audience; at a minimum, both
The foundational signals
of a brand need to last
at least a decade.

For the redesign of the Gatorade packaging in 2002,
PepsiCo and Landor conducted equity research
with customers who were asked to draw the bottle.
This was a simple exercise, but one that resulted in
a marked consistency of output. The lightning bolt
seemed to be the most important and distinctive
design element associated with the brand; it was
recalled and drawn many times, and consumers
associated it with a “spark of energy.” Other
aspects (orange cap, brand colors, bottle shape)
also had strong recall, but did not evoke the same
emotional responses.
But equity is not simply about awareness—it is
also about relevance. The reason that Gatorade
increasingly focused on the bolt in subsequent
package designs and other marketing communica-
tions was not simply because people recalled it,
but because they associated it with the difference
Gatorade made to their athletic performance.
In 2009, however, facing increasing pressure from
Coke’s VitaminWater and other competitors like
Powerade, PepsiCo instituted a dramatic redesign
for Gatorade that minimized the bolt and empha-
sized a collegiate-looking serif-type letter G as
the prominent label graphic. Apparently, PepsiCo
made this decision without conducting extensive
packaging research and, at this writing, the results
at point of sale have been mixed. It will be interest-
ing to see whether this dramatic rebranding helps
turn the brand’s fortunes around.
Consider also the spate of brands such as Atari
and Mini that have recently returned from the dead
to take up residence at retail once more. Part of
a phenomenon dubbed “dormandize” by consumer
trend spotters at trendwatching.com, these brands
where you are failing to keep it, where you need to
innovate to improve the experience, and where you
should spend your marketing dollars to generate the
most impact.
Analyze the brand’s equity
When a rebrand is undertaken, or if a new brand has
another brand attached to it (for example, through
a parent brand endorsement), it is important to
understand where current brand equity lies to avoid
inadvertently losing key elements that are actively
building consumer recognition and relevant brand
associations. To be clear, we are not talking about
the broadest definition of “equity”—the accumu-
lated value of a company’s brand assets, both
financially and strategically, which comprises
the overall market strength of a brand. Rather, we
are talking about the equity inherent in the brand
signals to help answer questions such as “Should
we keep the logo?” “Should the brand still be red?”
“Should we continue to use the same brandline?”
When embarking on a rebrand, provided it is not
occurring for a predominantly negative reason,
you will often hear people within a company speak
about the strong equity inherent in the current brand
signals. “We can’t get rid of the tagline. We’ve had
it for five years. It has a lot of equity.” “People love
the logo. It’s who we are. You can’t change that.”
“Don’t get rid of ‘green.’ It’s a core brand color.”
Employees are likely to have some emotional
attachment to certain brand signals. But often,
impartial brand equity research must be conducted
to truly understand where real equity lies and
whether it remains relevant moving forward.
Equity research conducted for Gatorade
found that the lightning bolt (depicted here
on bottles circa 2002–05) was the most
distinctive element of its brand.

7Landor Associates
Uncover insights and identify opportunities
From an agency’s point of view, the process of
creating a new brand or a rebrand usually starts
with a “situation analysis,” often called an “audit,”
or what Scott Bedbury calls a “big dig.”8
Even in the
creation of a new brand you are never starting with
a completely clean slate. This big dig can be as small
or as large as you want to make it, and there are
various models and ways to structure it. It often
involves consumer and/or customer research,
whether primary or secondary.
The most important thing to keep in mind about
a situation analysis, however, is that the ultimate
purpose is not to gather information. Its purpose is
to assemble insights about customers, the category,
competitors, or the brand itself in order to identify
an opportunity that will shape the brand idea.
What is an insight? Professor Mohanbir Sawhney
describes it as “a not yet obvious understanding
that can be the basis of a competitive advantage.”9
Insights can be about a business, brand, category,
or customer. These insights come from interpreting
information available in a creative and analytical
way, often using a framework, model, or map.
And opportunities are usually identified through
a combination of insights that connect multiple
areas such as competition; category; customers;
product or organization; heritage, ambition, and
stories; and brand architecture.
hope to capitalize on residual brand equity to
leapfrog competitors. Of course these revived
brands get a head start on awareness, but with
brands such as Atari, much more work needed to
be done to bring the brand out of eight-bit graphics
and give it relevance in the world of PlayStation and
Xbox. As Steven Mallas wrote, “Atari’s brand equity
doesn’t have that differentiated, maverick feel of
yesteryear when it was always associated with the
cutting edge of video game technology and was
worshipped by hardcore players at the forefront
of the video game revolution. Nowadays, it is an
all-purpose distributor that finds intense competition
in the likes of Electronic Arts and Activision.”7
Atari’s
fiscal losses ($38.6 million in 2004, a significant
reversal of $17.4 million profit in 2003) seem to affirm
the point. Just because people recognize a brand
does not mean they have positive impressions about
it or that they will purchase it.
Overemphasizing recognition in the brand equity
equation is a quick way to get an immensely
distorted picture of a brand’s value. Ultimately,
it can have the effect of making a company think
that everything is so good there is no need to
change anything. Yet if people know about the
brand, but it does not reflect what you want it to
stand for in their minds, then it is not relevant to
keep. GE walked away from the ubiquitous tagline
“We bring good things to life” because it no longer
encapsulated what it stood for as a business.
A rebrand is a marker of change. It should be
undertaken for a business reason.
7 Steven Mallas, “Atari’s Challenging Level,” The Motley Fool
(7 May 2004).
8 Scott Bedbury with Stephen Fenichell, A New Brand World:
Eight Principles for Achieving Brand Leadership in the
Twenty-First Century (Penguin Putnam, 2002).
9 Mohanbir Sawhney, “Insights into Customer Insights,”
Defying the Limits, vol. 5, 6 (October 2004),
defyingthelimits.com (accessed 23 March 2006).
The Xbox 360, with its integrated online
gaming and multimedia capabilities,
completely sold out when it was released
in 2005.

The more visionary this idea, the more it can inspire
the people who are tasked to deliver it. And the
more relevant and differentiated it is, the better the
outcome. This idea of having a noble purpose above
and beyond the commercial or product equation
seems to be gaining more traction in the Internet
age. Consider Dove’s Campaign for real beauty, or
Ikea’s purpose being defined as Creating a better
everyday life for the many. Brands that claim a higher
purpose in their brand ideas, and those that do it
earlier than their competitors may connect better
with consumers in the long run.
However, the limits of differentiation are important
to note. The brand idea does not have to be, nor
is it likely to be, different from any other idea that
has ever been expressed by a brand before.
Difference is a relative term and is proportional
to a brand’s competition: other brands the target
audience might choose instead of yours. For
example, if the proposed brand idea for a child’s
new toy is “stimulating imagination,” this should
not be disregarded because GE also stands for
“imagination at work.” The child or parent is not
going to be making a choice between the toy
and a GE steam-assisted gravity drainage
produced water evaporator.
Similarly, you want the brand idea to be ownable;
not in the sense of patenting the idea or the words,
but rather in the sense of delivering the idea,
relentlessly and with commitment. This way, the
idea becomes so well associated with a given brand
that any competitor would be foolish to invest time
and money claiming it stands for the same thing.
Creating the brand signals includes defining
the brand idea, brand architecture, and brand
personality, and producing the creative brief.
Defining the brand idea
A good situation analysis leads to insights and
identifies areas of opportunity for a brand, but
a stake must then be placed in the ground to
define the brand idea: what you want the brand
to stand for. There is no magic formula or model
for this. It takes smart people, clarity, and creativity
of thought, debate, and sometimes more research
to determine the right brand idea.
The most important thing about your brand idea
is that it is differentiated from the competition and
relevant to your target audience. It is essential to
give the target audience a reason to choose your
brand over all others. If there is nothing different
about your brand, there is no reason to purchase
it; if you are different but that difference is not
important or meaningful to consumers, it is equally
unlikely your brand will be purchased.
Creating the brand idea also requires a leap of
faith to articulate something that captures the good
about the present state of the brand, and, more
importantly, a vision for its future. Mark Earls talks
about the brand idea having to create “a longer-term
trajectory for your business and your working life.
It is rooted in a dream of the world as it should be.
A dream that you feel and believe in with your whole
being, rather than the small part of yourself that
business normally connects with.”10
The brand strategy
10 Mark Earls, Welcome to the Creative Age: Bananas,
Business, and the Death of Marketing (John Wiley &
Sons, 2002).

9Landor Associates
brand idea is not clear, then all elements emanating
from it will be even weaker. Content will be spun
off (PR messages, ad copy, websites, leadership
speeches, recruitment specs, blogs), and without
a clear idea to link back to, the brand will quickly
become disparate, hard to manage, and not
associated with anything distinct in the consumer’s
mind. The brand idea acts as a strategic filter for
the future; it is a waste of time to fill in models or
craft mission statements without spending time
clarifying the brand idea first.
Defining the brand architecture
One component of developing a brand strategy
requires establishing a clear structure and relation-
ship among brands in a portfolio. This process is
usually called “brand architecture.” Fundamentally,
brand architecture is about deciding what you
want to show as your face to the market and how
to present your goods and services to your target
audience. Many models and a great deal of
marketing terminology are used to describe
different approaches to brand architecture.
But all fall somewhere among three strategies:
Many models can be used to help encapsulate
the brand idea. Consumer goods companies with
large marketing departments usually have their
own models; branding agencies have theirs.
Companies often want to incorporate a vision
statement, mission statement, and sometimes
add a brand positioning statement.
The most valuable piece of any of these models is
getting to a short, memorable phrase that encapsu-
lates the core of what the brand is about. This is not
a brandline or tagline, although it could become one.
Rather, the brand idea defines what the brand is
about at its most basic level. For example:
• BP is about going beyond.
• GE is about imagination at work.
• Nike is about authentic athletic performance.
• eBay aspires to be the global online marketplace.
• Ikea seeks to create a better everyday life for
the many.
These simple articulations can be fleshed out into
a paragraph, a positioning statement, a mission
statement, or a vision statement, but if the core
P&G’s brand architecture employs
a multibrand strategy, managing
its many global brands without
a parent endorsement.

will good brand architecture reﬂect the strategic
vision of the firm, but it should also improve
financial performance by helping organizations
direct resources to the best bets for future growth
by minimizing redundancy among brands and
cutting underperforming brands.
Brand architecture should not just rationalize an
existing portfolio and stretch the remaining brands
into new areas, as tempting as that may be. It is
important to be careful with assumptions about how
far current brands can stretch to cover future growth
areas by understanding what each brand stands for
in customers’ minds. For example, when Polaroid
began selling conventional camera ﬁlm under the
Polaroid label, this brand extension did not work
because in the minds of consumers Polaroid stood
for instant photography, not generic photography.
The consumer’s idea of Polaroid would not stretch
enough to accommodate the new meaning.
In contrast, because Virgin stands for something
so broad (essentially the idea of challenging
convention), and because Virgin delivers its
promise so relentlessly, the company has extended
successfully into categories as diverse as financial
services, mobile phones, airlines, beauty products,
beverages, and space travel.
Although a very rational and analytical process,
brand architecture often becomes an emotional
topic for a company because it is mistaken for an
attempt to change the organizational structure.
For example, when a company decides not to create
a subbrand for a business unit and instead uses the
master brand (for example, going to market as
“Deloitte” rather than as “Deloitte Tax”), employees
1. A monobrand strategy (sometimes called
a “branded house”), in which one brand is
applied across everything. Examples are GE,
Virgin, and IBM.
2. An endorsed or subbrand strategy, in which
the organization owns a variety of brands that
include the parent name in some way. Examples
are Nestlé, Cadbury, and Marriott.
3. A multibrand strategy (or house of brands), in
which a company uses many different brands
with no parent endorsement. Examples are
Procter & Gamble (P&G), Diageo, and
GlaxoSmithKline (GSK).
Almost all brands, particularly those that have been
around for a while and have gone through various
mergers and acquisitions, sit somewhere in the
messy, real-life middle with a hybrid strategy. For
example, Starwood Hotels has a Sheraton brand
that itself endorses Four Points by Sheraton. It owns
standalone hotel brands, such as W Hotels, Westin,
and St. Regis, and yet shows its face to the market
as Starwood in its loyalty program that spans all its
hotels. Toyota endorses the Prius, Corolla, Tacoma,
and RAV4 brands (along with others) but not its
luxury brand, the Lexus.
As these examples show, determining the best
portfolio strategy is often difficult and rife with
tradeoffs. It is important to remember that brand
architecture is not about internal organizational
structure. Well-designed architecture will be
consumer-oriented and help customers make
choices between one product or brand and another.
It will use the minimum number of brands to cover
the maximum number of market opportunities,
while clearly differentiating among brands. Not only
Superior
Leading
Pace setting
Number one
World class
Trusted
Innovative
Inspirational
Creative
Passionate
Customer-focused
Figure 2: Popular Branding Words
Enhance
Improve
Grow
Success
Performance
Progress
Quality
Value
Peace
Harmony
Company description Purpose

11Landor Associates
11 Christopher Booker, The Seven Basic Plots: Why We Tell
Stories (Continuum, 2006).
12 Rohit Bhargava, Personality Not Included: Why Companies
Lose Their Authenticity and How Great Brands Get It Back
(McGraw-Hill, 2008).
or long lasting enough to build a brand around,
and that benefit areas are not infinite in number,
defining the personality and expressing it across
all interactions with customers is an important
way to differentiate a brand and build relevance
with customers. But a discussion around brand
personality can be a difficult one to have in a
boardroom. Brand personality is usually seen as
an accepted part of what helps to differentiate
a smoothie or chips brand. But a financial institu-
tion? A petroleum company? A parcel delivery firm?
Not so acceptable. Yet often it is these types of
companies that could benefit most by appearing
more human.
Bhargava describes personality as “the unique,
authentic, and talkable soul of your brand that
people can get passionate about.”12
Defining
company values is often the way large corporations
try to articulate this. But when working on the
creation of a brand idea, agencies are often told:
“Don’t touch the values.” This may be because the
client has already gone through a huge program
internally to define them (or, just as likely, a group
of senior executives crafted a values statement
in a board meeting years ago) or the values have
been in place since the founding of the firm and
are an inextricable piece of “who we are.” But when
we look at values across an industry they are often
remarkably similar. Consider the big four accoun-
tancy firms: If we take out integrity, respect,
collaboration, and leadership (since at least three
of the big four share these values, which do nothing
to help differentiate the firms), we are left with
very little: some energy and enthusiasm from
Ernst & Young; seeking facts and providing insight
from KPMG; and getting strength from cultural
can feel that their role is being downplayed, or even
in jeopardy. Such strategic decisions must therefore
be carefully and clearly managed to help employees
understand that brand architecture is not about
restructuring the internal organizational chart (which
addresses optimizing delivery and costs), but rather
about the company’s face to its markets (which
concerns maximizing revenue). One is not a mirror
image of the other.
Defining the brand personality
Many brand strategists may be uncomfortable with
the following statement: “There are not an infinite
number of brand ideas in the world, and many
brands occupy very similar territories.” If you look
across the list of global Fortune 500 companies,
the statements about what the organizations stand
for generally use some combination of words similar
to those in figure 2.
We need not be downhearted by this. If, as
Christopher Booker says, there are only “seven
stories in the world,”11
yet tens of millions of books,
films, and plays tell these stories differently, the
opportunity for relevant differentiation remains
strong. BP and Toyota both focus their ideas on
a sense of progress. However, nobody would say
these brands are the same. One way they differ is
through personality, and defining this is the next
important element in building a brand.
The premise behind Rohit Bhargava’s book
Personality Not Included illustrates how critical it
is for companies to move beyond being faceless
organizations and express authentic personalities
in order to thrive in the social media era. Given that
functional attributes and benefits are not unique
The yellow beam of the Ernst & Young
identity symbolizes a brand personality
that is dynamic, optimistic, and always
striving forward.

part of managing expectations when it comes to
reviewing work. Client sign-off should help to guide
discussions around the work at every stage.
Along with the brief, the meeting itself is very
important. This is often the first time a creative
team will come into contact with a business or
product and its challenges. It pays to take time
to inspire and educate team members and involve
them in discussions about the business challenges
and the brand idea. Most brand signals need to last
at least a decade, so bringing the team charged with
creating them into the process early, and agreeing
on the brief together rather than simply handing it
to the agency team, will provide the best, most
engaged start.
diversity from Deloitte. Not exactly the foundations
of a brand personality to get passionate about.
One way of building internal passion for brands
is through the creation of stories. For example,
James Dyson’s inventiveness and tenaciousness
are hallmarks of the Dyson brand personality.
When BP defined its Beyond Petroleum strategy,
one of the first activities it undertook was to conduct
hundreds of interviews with employees within the
organization to get at these stories. The output was
something called the “BP scroll” that was literally
rolled out in a board meeting to help demonstrate
that the audacious brand idea and personality
being proposed for the brand had roots in the
passion and actions of employees. Along with
the brand idea of going beyond, BP has four
values—performance, progressive, innovation,
and green—and people inside the company truly
embrace them; they can be expressed authentically
in communications.
Producing the creative brief
Once a brand idea and personality are in place,
the core visual and verbal symbols can be developed.
They are usually encapsulated in a “creative brief,”
literally a short document that a creative team
will work from as it designs and generates names,
brandlines, and visual and sensory identities. A good
brief is succinct (often only one page), uses words
and pictures to help stimulate creativity, and has
the brand idea and personality at its core. It also
reflects learning about competitors and market
categories from the situation analysis (for example,
by including a section with things to avoid such
as a color that a competitor uses consistently).
Obtaining client sign-off on the brief is a critical
One way of building
internal passion for
brands is through the
creation of stories.

13Landor Associates
• Be ownable and protectable as a trademark in
all countries in which you want to operate
• Have an available domain name
This criteria is often given to an agency before it
begins to generate names. But how many brand
names can you think of that actually live up to all
this criteria? Coke? BlackBerry? Facebook? Audi?
Google? CNN? Target?
Name creation is an incredibly difficult business.
It demands an immense amount of creativity,
coupled with a heavy dose of practicality since
most of the names created will not be legally
available. In fact, almost 90 percent of names
created will have to be rejected due to copyright
considerations. And this is the most important
thing to understand: A name is only one small part
of a brand. Its power to build positive associations
is limited when it is viewed in isolation. It only really
gains meaning over time and in combination with
all other brand signals.
Some brands create more than a name. They create
a naming device that allows them to link a series of
products together under a similar naming conven-
tion. The iMac spawned the iPod, iPhone, and iTunes.
The iPod spawned the podcast. People tweet on
Twitter and use devices such as Power Twitter to
improve their brand experience. A good name will
likely meet some of the criteria above, though not
all; fortunately, there are many other brand signals
to work with to help build a more complete picture
of what you want your brand to stand for. It is
most critical to make sure that the name is legally
protected and that due diligence has been applied to
check for negative connotations in other languages.
Creating the brand experience involves crafting
the verbal identity, designing the visual and
sensory identities, and testing the verbal and
visual identities.
Crafting the verbal identity
Naming A new brand needs a name whereas
a rebrand rarely has a name change. Indeed,
changing a name signals that something significant
has happened in the business, through forced
circumstances, through a merger and acquisition,
or through a negative event. A company that
changes its name is expected to change the way
it does business, too, so a name change should
never be undertaken lightly.
Names can take many forms. They can be acronyms:
IBM, BP, NBC. They can take the form of existing
words or phrases: Shell, Apple, Twitter. They can
be names constructed from other words: Spudulike,
Kwik Save, Accenture. They can be coined: Avensis,
Aventis, Avertis. And they can derive from the names
of specific people or families: Ferrari, Hershey,
Mercedes-Benz. See figure 3 for more examples.
Ideally, a name should be the pure encapsulation of
the brand idea and, along with this audacious goal,
should meet other key criteria:
• Be easy to pronounce in every language
• Be memorable (being brief also helps)
• Help people understand what the business
is about
• Be able to stretch into other categories and areas
in the future
• Have no negative connotations in other languages
Creating the
brand experience

13 T.L. Stanley, “Taglines Lose Their Starring Role in Ads”
(26 November 2007) brandweek.com/bw/esearch/
article_display.jsp?vnu_content_id=1003677226
(accessed 12 May 2009).
what the firm wants to be about as a brand—
going beyond. GE’s Imagination at work captures
the driving mission of the company. The brand
overhaul of Citroën saw an end to the tagline Just
imagine what Citroën can do for you and replaced it
with a brandline that captures its business strategy:
Créative technologie.
Creating a brandline presents many of the same
challenges as creating a name (for example, it
needs to be legally protectable and often needs
to work in different countries), which may be why
so many brands eschew a brandline altogether.
Other brands seem to feel that a brandline is
mandatory but create something that does not
work hard enough to help to differentiate them.
Look at PwC’s competitors: KPMG locks up three
words with its logo: Audit. Tax. Advisory. It tells
people what the ﬁrm does but nothing about why
it is different from its competitors (who are already
perceived as very similar). There is already very
little differentiation in this category, and KPMG’s
brandline does nothing to help. Ernst & Young
is stuck with a legacy line from the immediate
post-Enron days, Quality in everything we do; surely
a given for one of the most regulated industries in
the world. It focuses on an unspecific parity point
(quality) with Ernst & Young’s competitors rather
than something that differentiates the organization.
Deloitte has chosen not to use one, which, accord-
ing to Brandweek, is an increasing trend.13
Perhaps
some companies are ﬁnding that if you cannot
have a good one (that is, one that focuses on your
differentiation and relevance), it is better not to
have one at all.
Furthermore, prepare to develop a hard skin at the
launch of your new name. The media like nothing
more than a name change they can react to, and
their reaction is almost never positive. A name
only becomes imbued with true meaning postlaunch.
So as long as the homework has been completed up
front, it pays to be patient and focus on constructing
all of the many other signals that will help to support
and give weight to this meaning.
Brandline Because names can only do so much,
brandlines are often developed in conjunction
with the name to help signal what the brand stands
for. Brandlines are often called “taglines”; however,
taglines suggest a sign-off at the bottom of a piece
of communication, and they can change as different
marketing campaigns change. A brandline is
developed as a permanent brand element to be
used across different channels, often everywhere
the logo appears. For example, FedEx’s brandline
is The world on time. It appears consistently on
FedEx trucks, planes, and packaging and has been
in place since 1995. Since then, however, FedEx
has had many advertising campaigns that have
featured different taglines, such as When it
absolutely, positively has to be there overnight
and Relax, it’s FedEx.
Taglines can change (they are tactical), but
brandlines remain the same unless a significant
rebrand occurs. PricewaterhouseCoopers’
brandline, Connected thinking, is at the heart
of what the company says it stands for as an
organization. Beyond Petroleum works cleverly to
change associations with the name of the company
from British Petroleum to something that implies
Name types
Abstract
Associative
Descriptive
Real
Apple
Twitter
Egg
Lucent
Oracle
Sprint
British Airways
America Online
Computer Associates
Coined
Google
Kodak
Avaya
Agilent
Clarica
Visteon
FedEx
Microsoft
Wikipedia
Figure 3: Names of Brands

15Landor Associates
Although we cannot predict what external,
uncontrollable events might transpire during
2003, we can forecast with considerable
certainty that our valorous, caring, nimble,
good-hearted, and resilient people will ensure
that Southwest ends 2003 just the way it ended
2002—at the forefront of our industry.
—Southwest Airlines 2002 Annual Report
To help an organization understand tone of voice
and its implications for business communications,
a common step is to take some current pieces of
communication and rewrite them in the new tone.
It is better to show than to tell, and focusing on
high-profile, visible pieces of communication
helps ensure that the new brand voice is noticed.
Getting people to act on tone of voice is more
difficult, however.
Designing the visual and sensory identities
Great design gives people the shorthand markers
of identification and engagement with a product,
service, or organization. It stops us in our tracks
to think again about our usual choices. It helps us
find coffee, aids us in sending urgent documents
in an unfamiliar city, or can make us feel part of
a smarter or more stylish community. As we sit at
the neighborhood Starbucks, typing on a MacBook,
wearing Uggs or Adidas, minding a baby asleep in
a Bugaboo stroller, we may suddenly realize that all
these brands stand for something singular, that all
of them have a personality, and that all of them use
their visual and sensory identities to create powerful
associations that we connect with.
Tone of voice Tone of voice is another means of
conveying what a brand stands for. Tone of voice
is not messaging or writing; it is about how you
say things rather than what you say. For example,
a brand’s voice can be friendly, informative, precise,
grounded, real, honest, daring, playful, irreverent,
emotional, or witty. The brand voice can express
the personality of a friend or teacher, a geek or
gamer, a leader or an advocate, a visionary or
a knowledge seeker, a magician or an engineer.
When tone of voice is consistent, it gives the
consumer another means of recognizing the
brand and its promise.
When you consider how many people within
a company use words to communicate with a
target audience on a daily basis, tone of voice
would appear to be an incredibly important part
of branding. Yet, compared with the development
of a visual identity, creating tone of voice is less
common. Whatever the reason, many brands do
not have a consistent tone of voice, or their tone
of voice is not considered when creating the
foundational signals for a brand. Even brands
that have crafted a tone of voice often do very
little to train people on how and where to use it,
or to promote its use on an ongoing basis.
A few brands are known for their tone of voice,
and they deliver it consistently and memorably.
For example, tone of voice helps differentiate
maverick brands such as Virgin, as well as staid
brands such as the BBC and the Economist.
Southwest Airlines has a tone of voice that links
strongly to its brand personality. The Southwest
style is fresh and immediate, expressing respect
and warm regard for people in general:
Good Co. Coffee’s brand voice uses clever,
lighthearted parody to brighten the day of
the overstressed corporate coffee drinker.

brand. It is notably progressive and innovative—
no other petroleum brand had done anything like
the sunflower symbol at the time it was created—
and it successfully represents BP’s brand idea of
going beyond to become an environmental leader
and a truly great company. Incorporating green,
a heritage color for BP, the symbol captures the
feeling of pure energy, and its solar power initiative
represented in the sunburst flame evokes broader
environmental meanings for BP’s future.
Some logos add essential communication that is
missing from the name alone. For instance, a literal
visualization of the word “Amazon” would take you
to rainforests or Greek mythology. But instead,
Amazon.com’s logo helps suggest the range of
products available (the arrow points from a to z)
and forms a smile to communicate a sense of the
welcoming, helpful, customer-friendly nature of
the brand. The FedEx logo incorporates a hidden
(negative space) arrow to subtly imply its speed
and guarantee that packages will always get there
on time. Evoking a story within the brand symbol
presents not only a visual metaphor for the brand,
but also a word-of-mouth communication campaign.
Over the years, many people have recounted the
story of discovering the arrow in the FedEx logo as
an amusing “aha” moment.
While virtually no brand identity can convey
everything about a product, service, or company,
a logo must be evaluated on its ability to communi-
cate at least one or two important concepts about
the brand. The brief should incorporate these
concepts, guiding both the creative team and the
client in appraising the recommended designs.
Logo There is something revered about the logo,
and it is probably the first thing that comes to mind
when we think about branding. It can mistakenly be
where the desire to rebrand begins (“The new CEO
doesn’t like our logo”) and is often where emotions
can ride high in a branding project. It may have to
do with the fact that the logo becomes personal
on our business cards, or perhaps it has acquired
such hallowed status that its role in branding is
often overemphasized.
A logo becomes a visual shorthand for the meanings
people attach to a brand, but it is not the only strong
visual symbolism. As with a name, a logo will play
up some aspects of the brand but will not be able
to communicate others. However, it is also often
undervalued, and stories about logos being “drawn
on a napkin over a pint” abound, suggesting there
is nothing difficult about their creation.
Most logos (also called “brandmarks,” “brand
identities,” or “corporate identities”) are made up
of several components: the wordmark (usually the
name of the company), a symbol (a graphic device
placed within, adjacent to, or around the logo), and
the colors chosen to reflect the brand. Some logos
comprise only a wordmark (such as Kiehl’s, Virgin,
Google, FedEx, IBM); a few use just a symbol (Nike,
Apple, Prince); and others combine a symbol and
a wordmark (The Body Shop, UBS, BP).
Some of the most memorable logos communicate
myriad meanings, breaking new ground while
respecting heritage. For example, the BP sunflower
symbol (officially called the Helios mark) is a highly
effective encapsulation of the core values of the
Some of the most memorable logos
communicate multiple meanings. The
Amazon.com logo forms a smile and
also suggests an a to z product range.
The FedEx logo incorporates an arrow,
implying speed and precision.

17Landor Associates
This kind of “open branding” is not appropriate
for all brands, but what these examples highlight
is that there is no one-size-fits-all approach to logo
usage, and tools like animation, customization, and
flexibility need to be considered along with colors,
fonts, and symbols.
Color Logos are not designed in black and white.
The creation of a logo always introduces other core
aspects of the brand. For some brands, color is
one of the most important associations they have:
for example, the Tiffany robin’s-egg blue box, ING’s
orange versus the blue and red of other financial
institutions, and Coca-Cola’s red.
There is much written about color theory and the
meaning of color in different societies. While white
is traditionally the color of death or mourning in Asia,
yellow means caution in the United States, and red
is the color the eye is drawn to most—differing
meanings of color should not be the overriding
reason to either choose or discount these colors
for a given brand. It is more important to go back
to the brand idea and personality, and the situation
analysis, to ensure that a color palette is chosen
that first and foremost differentiates the brand from
the competition and is relevant to what it is trying
to stand for. Without doing this, designers face the
inevitable risk of designing a logo and then being
asked, “Can we just see it in red/blue/yellow/pink/
aqua?” This exercise should rarely be necessary. If
you plot your competitors on a color wheel and are
clear about how color theory relates to your brand
idea, the choice of colors will be limited.
Logos were once designed as purely static,
two-dimensional devices with strict rules around
usage that no one could distort or change in any
way, on any application. This is still the case in
many instances, but there are some logos that are
designed to be more fluid. This trend started with
the MTV logo in 1981, but it can also be seen with
brands such as Google, which creates new designs
within its wordmark and encourages its audiences
to engage in the practice as well. The RED logo
builds the brand by associations with others
(iPod, Bono) and was created to work with brands
as diverse as Dell, American Express, Gap, Hallmark,
Converse, and Emporio Armani.
The Olympic 2012 logo created a negative media
frenzy when launched in the United Kingdom. Its
purpose was to be used in conjunction with other
brands, allowing partners to adapt the logo to their
own brand colors. But even this flexibility did not
go far enough for some who felt that the logo had
been “foisted on” the United Kingdom without
properly involving members of the community
it would represent.
By contrast, in creating the branding for Worldeka
(a social-networking platform that brings together
citizens who aim to change the world), Landor
provided some brand structure—including the
simplification of Worldeka to WE, the key insight
that encapsulates the brand’s collective voice—
but decided along with the client to let the online
community own the logo and the brandline. This
encouraged a multitude of design executions that
expanded the visual and verbal language (such as
allowing various interpretations of WE: Wrestling Evil,
Working Effectively, or World Engaged).
The Worldeka identity system encourages
myriad design executions.

to long and extensive awareness-building efforts
(and expenditures) while technically having little,
if anything, to do with the original brand idea or
personality of MetLife. Rather, Snoopy’s relationship
to MetLife began as an advertising idea, intended
to add warmth and borrowed interest to an
otherwise somber and impersonal industry.
Packaging A package may have only half a
second to engage with a consumer, yet it has
a laundry list of functions to fulfill. For example,
the structure needs to respect shelf space,
sustainability, and safety considerations; the
graphics need to include legal information such
as weight, nutritional facts, and bar codes, along
with names (parent brand, subbrand, flavor names,
unique ingredient names), illustrations, photography,
icons, logos, and the list goes on. Great package
design manages to serve the brand first and
foremost, while working within the mandatory
limits of legal and structural constraints.
It is important to understand what the brand idea
and personality are and project these associations
onto the packaging. Innocent smoothies are a
much-cited case of packaging success in the
United Kingdom. Every aspect of Innocent packaging
gets across its brand, from tone of voice and copy,
to its recycling efforts, to its name and logo design.
Moreover, Innocent packaging does not follow
category conventions. Its labels do not show
photographs or illustrations of cranberries or
raspberries—these images are not a means
of differentiation. Breaking traditional category
conventions is a simple way to stand apart, but
few brands have the courage to do it.
Look and feel, or “house style” Other graphic
elements that make up the visual identity can help
create something that becomes differentiated and
communicates the right associations about the
brand. Some agencies call this collection of
elements the “look and feel,” others the “house
style.” They consist of the color palette (main and
supporting colors), fonts, photography, imagery
style, and any other graphic element.
A successful rebrand can occur without ever
touching the logo, name, or brandline. Ernst &
Young’s rebrand is a case in point. Its brand idea
is about achieving potential, implying a personality
that is dynamic, optimistic, and always striving
to move forward. The yellow beam powerfully
translates this brand idea and personality into
a graphic element that allows an organization
of more than 130,000 people to create diverse
communications that nonetheless look and feel
like they came from one brand—Ernst & Young.
Absolut used a graphic element derived from its
unique bottle shape as a symbol that became far
more important than the actual logo in identifying
its brand. Target’s use of the bull’s-eye makes its
communications so distinctive that the name Target
is unnecessary. These graphic elements are all part
of a visual toolbox that help these brands become
differentiated and memorable.
Occasionally, however, the use of another graphic
element can detract from your brand idea. Snoopy,
although now associated with MetLife insurance,
is an icon created independently of this organization
and one also used by other, albeit nonﬁnancial
products. Yet the Peanuts canine character has
become virtually synonymous with MetLife owing
Crest Vivid White differentiates its whitening
toothpaste by using the visual cues of the
cosmetics category to position it as part
of a beauty regimen.

19Landor Associates
14 Mary Zalla, “Creating Great Design Takes Guts: Daring to
Be Different Can Give Instant Boost to Market Share,”
Package Design (April 2009).
15 Martin Lindstrom, “Smashing Your Brand,”
martinlindstrom.com/pdf/articles/
Smashing%20your%20brand.pdf (accessed 12 May 2009).
temperatures have reduced cleaning power. The
idea was to make the promotion the actual pack
design. The “Turn to 30°C” message is reinforced
visually by placing the Ariel logo on a washing
machine dial that mirrors the act of physically
turning the dial down. This concept maintains
Ariel brand equities while pushing the boundaries
of promotional packaging. Following the launch,
Ariel became the market leader.
As noted, package design is connected to both
graphics and structure. Branding has usually been
reserved for the former, while packaging structure
and materials are often unfortunately designed
before the brand idea and personality have been
defined. A missed opportunity, but one some iconic
brands have fully grasped. Martin Lindstrom calls
this the “smash your brand” principle, explaining,
“Nearly a century ago, when the first-ever Coca-Cola
bottle was in the planning stages, the designer
received his marching orders. Company executives
wanted him to develop a bottle so distinctive that if
you smashed it against a wall, you would still be able
to recognize the pieces as part of a Coke bottle. The
designer obviously lived up to the requirement, and
to this day it works.”15
But how many brands could
you smash today and still identify—Coke, Heinz
Tomato Ketchup, Marmite in the United Kingdom,
Gatorade, Absolut? And then it gets harder.
The deliberate use of structure to build brand
differentiation varies even within product categories.
Perrier, Johnnie Walker, Smirnoff, and other drink
brands use bottle shape as a distinctive brand
element, while graphics in the canned-drinks
market are generally the only differentiator. In
another sector, Ferrero Rocher chocolates’ gold
Another way of differentiating packaging is by
taking cues from innovation and design in other
categories. When Landor designed the packaging
for Crest Vivid White toothpaste, it took inspiration
from the cosmetic category. The package’s vertical
orientation, sans serif font, embossing, and clean
side panel clearly define a cosmetic product,
appealing to consumers who consider oral care
part of their beauty regimen. But the design speaks
just as loudly to consumers more focused on health
care. In the first three months following its launch,
Crest Vivid White exceeded sales forecasts by nearly
300 percent, and Vivid White was the top-selling
oral care item in Target stores in the United States
during the first quarter of 2006. According to Mary
Zalla, managing director of both the Cincinnati and
Chicago offices of Landor Associates, “Just because
no company had ever designed a cosmetic-looking
oral care package didn’t mean it should never be
done. What has been done will only get you so far.
Great design is about what can be done.”14
Packaging is usually created before all other
marketing communications, which may be why,
when there is something new to say, a branding
violator is added to the front of a pack to link it to
a current promotion or ad campaign. Why not use
the pack more creatively to link better to these other
brand associations that consumers are picking up
elsewhere? When U.K. laundry detergent brand
Ariel launched Ariel Cool Clean, it was the second
in a series of innovative brand-led approaches to
on-pack promotion. The goal was to advocate
Ariel’s effectiveness at 30°C and its inherent
energy cost savings to consumers by washing
at a lower temperature. One of Ariel Cool Clean’s
challenges was to overcome perceptions that lower
Ariel Cool Clean detergent turned its pack
into a promotion by depicting the physical
act of turning the dial down to 30°C.

16 Linda Tischler, “Smells Like Brand Spirit,” Fast Company
(19 December 2007).
17 Reena Amos Dyes, “Brands Target Sense of Smell,”
Emirates Business 24/7 (20 June 2008).
18 See note 17.
10,000 odors. According to the Sense of Smell
Institute, 75 percent of all emotions we generate
are due to what we smell.16
Some brands are synonymous with a smell.
Johnson’s has become the baby smell. The smell
of Crayola crayons is instantly recognizable and can
take most of us on a nostalgic trip back to childhood.
In fact, Crayola’s smell is ranked 18 among the
20 most recognizable smells in the United States.
Kentucky Fried Chicken now regards its signature
aroma as one of its key “brand ambassadors.”17
Scent branding is a relatively new field, but more
and more companies are realizing the power of
scent to build brand experiences. In 2003, about
$30 million was spent on aroma marketing around
the world; in 2010, that figure is set to reach
$220 million.18
Some brands, such as Victoria’s Secret and
Starbucks, have used scents to connect with their
consumers for years. Singapore Airlines, which
regularly achieves top ranking as the world’s most
preferred airline, incorporates the Stefan Floridian
Waters scent in perfume worn by its flight atten-
dants, on hot towels, and in numerous other
elements of service.
Besides food, fashion retailers, and the occasional
airline, scent has been underused as a branding
symbol. Things are changing, however: Breathe
in Westin Hotels’ white tea signature fragrance or
the mandarin orange and vanilla scent in the Sony
Style stores. Furthermore, scent branding does not
need to be limited to a retail, service, or product
experience. Most corporations have office spaces
wrapping and clear container are essential parts
of the brand experience, while a low-cost chocolate
product’s propylene flow wrap is designed purely
to grab attention at the point of sale. Apple is expert
at designing packaging that engages us even after
we have penetrated the first layer, as anyone who
has opened an iPod Nano box will attest.
Great package design will only become more
important as differentiation on-shelf gets harder.
Couple this with the increasing consumer interest
in ecofriendly options and better functionality,
and the stakes rise dramatically. In the 2008
ImagePower® Green Brands Survey, one of the
most notable trends that surfaced is the attention
consumers are giving to sustainable packaging.
In 2008, Amazon launched a Frustration-Free
Packaging initiative to make it easier for customers
to liberate products from their packages, focusing
on two kinds of items: those enclosed in hard plastic
cases known as “clamshells” (said to cause “wrap
rage,” as anyone who has tried to open one will
attest), and those secured with plastic-coated wire
ties, commonly used in toy packaging. These types
of packaging pose a challenge for brick-and-mortar
retailers attempting to prevent incidents of theft.
Green and frustration-free are two other aspects
to juggle in the development of future packaging
that can create positive brand associations.
Smell Smell is one of the most powerful senses.
Memories, imagination, old sentiments, and
associations are more readily reached through
the sense of smell than through any other channel.
In humans there are four genes for vision, whereas
there are 1,000 allocated to scent, which means
we have the ability to differentiate more than
The ImagePower Green Brands Survey
is conducted annually by Landor and WPP
partners to gauge consumer perceptions
of the “green market” around the world.
The Greenest Brands in 2008
u.s. u.k.
1 Whole Foods The Body Shop
2 Burt’s Bees Marks & Spencer
3 Trader Joe’s Waitrose
4 Tom’s of Maine Tesco and Sainsbury’s (tie)
5 Toyota ASDA
6 Seventh Generation Dove and Google (tie)
7 Honda and GE (tie) The Co-operative Bank
8 Whirlpool e-on
9 Aveda Morrisons
10 Method Toyota and Nivea (tie)

21Landor Associates
19 See note 16.
associations (United Airlines uses Gershwin’s
Rhapsody in Blue). These identifying sounds have
been a prominent signal of brand experience since
the invention of radio (such as the NBC chimes), but
in today’s cluttered, multimedium, audiovisual, and
online world, sonic branding has evolved into an
increasingly serious business.
Originally used as a one-off piece of music for
a British Airways ad, Leó Delibes’ “The Flower Duet”
from the opera Lakmé became so connected to its
brand that when the airline dropped the music in
2000, it received such a volume of complaints that
it was reinstated. Today British Airways nurtures its
accidental sonic brand: even Dave Stewart from
the Eurythmics has worked on one of the many
British Airways–commissioned versions of the song.
However, trying to appropriate a famous song for
your brand, rather than composing something
original, is costly and often unsuccessful. In France
some years ago, a David Bowie song was used to
dramatize the Vittel brand. After a few months,
consumers remembered David Bowie but forgot
Vittel. In essence, Vittel was asking consumers to
remember two brands, David Bowie and Vittel, but
the connection was strictly promotional and the
stronger brand dominated recall.
and lobbies into which prospective clients walk,
and where events, meetings, and interviews are
held. The effective use of a positive scent could
have a potentially dramatic impact on employees
and customers alike.
Choosing the right scent for your brand should link
back to the brand idea and personality attributes.
Alex Moskvin, director of BrandEmotions at
International Flavors & Fragrances, says he studies
the DNA of the brand and its relationship to
consumers to ﬁgure out what resonates olfactorily.
In designing a hotel fragrance, for example, Moskvin
wants to know if the chain is trying to stand for
family-friendly hostelry (think chocolate chip
cookies) or a haute couture Zen-like retreat (think
sandalwood or hinoki). “We want to capture a smell
that makes people feel part of the club,” he says.19
Sound Sonic brand identity, like its visual counter-
part, has many components. Sound can be used
as an identiﬁer of a brand, the equivalent of a sonic
logo (like the Intel chime, McDonald’s “I’m lovin’ it,”
Nokia’s ring tone, or Yahoo’s yodel), or on the device
itself to accompany certain actions (such as the
always-welcome sound of Microsoft Windows and
Apple operating systems booting up). A longer piece
of music can also be used to create positive brand
KFC regards its signature aroma as a core
brand equity.

• Research should be designed to inform
your decisions. Do not aim to pick winners and
losers from brand signal research. Use it instead
to understand attributes people associate with
the signals and assess how well they match what
you intend to communicate in your brand idea
and personality. Do not expect every signal to
communicate everything equally well. Understand
strengths and weaknesses and make decisions
with the whole picture in mind.
• Think laterally and metaphorically. Our brains
are programmed this way. Use images, metaphors,
and cross-category analogies to help consumers
help you. If you want to communicate a sense of
indulgence for a chocolate bar name, ask about
the name’s appropriateness in another indulgent
category, such as spas or retail stores specializing
in cashmere.
• Consumers are not namers or designers.
Consumers live in the real world, not the concep-
tual world. Put the names and designs in as real
a context as possible. Let the designers do the
designing and the consumers the reacting.
• Familiarity is a powerful force. New designs
are usually less findable on a shelf than ones with
which people are already familiar. Because of this,
the strength of a new design must be evaluated on
more than just “shelf pop.” And new designs often
underperform current ones in research; consum-
ers often need time to adjust to new strategies
and may not immediately like a new design.
• Place more importance on emotional rather
than rational responses. Use the research to
help you understand them. Do not underestimate
emotional identification that cannot be rationalized.
Try harder to understand it.
Although it may take time to build recall, composing
a sonic identity or longer piece of music based
around a brand idea is a very efficient way to create
differentiation and identifiable associations with
your brand. Sounds are less likely to exacerbate
cultural differences than words and images,
particularly in a short sonic identity, and most
contain only a few notes that can become relevant
across most of the world.
Testing verbal and visual identities
Once you have established a direction for a brand’s
verbal, visual, and sensory identities, the next step
is to test leading concepts on targeted consumers
to learn whether the brand signals effectively
communicate the intended idea and have the
desired impact. Research can be used in two main
ways to inform and optimize the design process:
insight and equity understanding before design
and postdesign validation. Preferably, both should
be incorporated into a branding project because
you learn different things at each stage.
Many different methodologies for testing brand
signals are appropriate, depending on your goals,
the category, geography, and whether you are
introducing a new brand or a rebrand. Here are
some lessons and principles to remember when
undertaking a design or naming a research project:
• People are skeptical about things that are
different. Brand signals are designed to be
different. Skepticism is magnified in a group
situation. Focus groups are therefore not the
right choice for design research. Be creative.
Talk to individuals; find them where they shop.
Consumers derive their
perception of a brand from
the sum of interactions
they have with it.

23Landor Associates
In a world that gets noisier and more complex
by the day, a company can design a relevant and
differentiated brand and still not cut through the
clutter to capture public imagination. If you can
add a single catalyst, or power application, to the
mix and ignite consumer excitement, the entire
brand will be elevated by it. Finding this powerful
interaction with customers can significantly stretch
your marketing dollars and the impact of your brand.
It is important to stress that only in combination
do brand signals make an impact on a customer’s
experience of a brand. And only when they are
deployed boldly, with courage and single-minded-
ness, will they create impact in the cluttered world
of brands we live in. You might notice the logo of an
airline first, but it is your experience buying a ticket,
waiting in line, flying in the cabin, and interacting
with service people that will form your opinion of
that airline brand. Red Bull may have a distinctive
can, but its sponsorship and events probably imprint
the idea of the Red Bull brand most firmly in our
minds. Consumers derive their perception of a
brand from the sum of interactions they have with
it. And delivering the promise of that idea is the
work of an entire organization, not just the
marketing department.
Only through a deep understanding of its customers
can airlines, soft drink companies, or financial
institutions deliver a brand promise that lives up
to the brand idea. Occasionally, the brand idea will
be so well understood that an organization can hit
on something that has the power to generate viral
communications and amplify the brand idea. For
example, Virgin Atlantic’s head massage service
got everyone talking about how amazing the
Virgin experience was. In truth, it was one of the
smallest parts of a holistic brand experience, but
it generated buzz and marked the Virgin experience
as remarkable.
Delivering the
brand experience
Adopting a female-focused strategy,
Preem’s petrol and convenience stores
added more relevant merchandise and
turned its toilet facilities into a genuine
point of differentiation, giving women
something to tell their friends about.

This process is typically seen as a key part of
brand management, which is generally interpreted
as the means of controlling your brand and keeping
its expression consistent. It jars significantly with
some of the other key aspects of branding: the
two-way interactions with customers on their
journey, the continually evolving impressions of
a brand in people’s minds, and the use of social
media channels to develop a dialogue with
customers rather than push out a stock message.
Brand management used to be about limiting
external influences. Rigidity was the means to
consistency, and consistency emphasized scale
and professionalism. But the Internet and the
democratization of image creation have made
everything public property. (Is there really such
a thing as internal and external communications
today?) Today we create brand ideas that transcend
the need to impose discipline by inviting partner-
ships with people, inside and outside an organization,
who want to be part of the idea. Brands are no
longer about one-way communication; they are
about dialogue between the brand and its customers.
Indeed, brand implementation can often incorporate
cocreation with the consumer; the MyStarbucksIdea
website and Dell’s IdeaStorm are examples of this.
Brand management today should be about
determining what cannot change and what must
change. Advertising agency DDB talks about the
70/30 rule: 70 percent consistency but 30 percent
flexibility. The 30 percent portion relates to language
and cultural differences, buying behavior nuances,
insights into the target market and its preferences
Once the foundational signals are in place for a new
or refreshed brand, the next step is to begin the
process of codifying and communicating these to
all the people who will use them. This very involved
process takes a long time. You may read about a
firm undertaking a rebrand in July of one year, but
not actually see it until a year later. It is not usually
the production of the visual identity elements that
generally takes the most time (and money) but the
implementation. This can include media testing, the
creation of templates (for specific applications such
as presentations, business cards, stationery suites,
brochures, internal websites, country-specific
homepages), the design of packaging mechanicals
(printer-ready files created to printer’s specifica-
tions), and so on. Implementing a brand requires
developing a plan for every touchpoint on the
customer journey. It inevitably means creating
guidelines: visual identity guidelines, verbal identity
guidelines, digital guidelines, and print guidelines.
Often these are translated into other languages for
online accessibility.
An implementation process might involve updating
training modules and brand resource centers.
Some organizations develop help centers, particu-
larly in the months pre- and postlaunch, and create
brand modules for new recruits to educate them
on exactly what the brand stands for and how to
use and “live” it. The implementation process also
needs to factor in all the other communications
partners and their work (advertising, marketing,
Facebook sites, screen savers, press releases,
leadership speeches, conferences, events, exhibi-
tions, offices, chairs, pens).
Managing a brand

25Landor Associates
20 DDB, “Brand Consistency Redefined: Achieving
Constancy of Purpose and the 70/30 Rule,” Ddb.com/
yellowpapers/2007/10 (accessed 12 May 2009).
for media consumption, and so on. For example,
this understanding of the balance of consistency
and ﬂexibility allows McDonald’s to offer a teriyaki
burger in Japan and porridge in the United Kingdom,
yet still deliver a consistent set of expectations for
the familiar golden arches.20
Consider the role of the brand launch. Rather than
seeing it as the way to push out tools and informa-
tion, brand managers should make sure that it fully
engages employees with the brand idea so that
they are inspired to be part of delivering a customer
experience that expresses the brand. Brand
management in the future should not be about
policing standards but rather about nurturing
and developing the ongoing brand experience.
It can take more than a year for
a well-managed brand like Citroën
to implement a refreshed brand across
all customer touchpoints.

BAV posits a proven model on how brands are built
that is based on the interrelationship of four brand
dimensions, known as the four pillars:
1. Differentiation: What makes your brand
stand apart
2. Relevance: How appropriate this difference
is to the audience you want to reach
3. Esteem: How well regarded your brand is in
the marketplace
4. Knowledge: How well consumers know and
understand your brand
This model shows how brands are built one pillar
at a time, with differentiation being the first, most
critical step. A strong brand has high levels of
differentiation and relevance. The healthiest brands
have greater differentiation than relevance, which
gives them room to grow. When a brand has a higher
degree of relevance to differentiation it is in danger
of being seen as a commodity; Energizer, Bic, and
Saran Wrap are examples of this.
Esteem and knowledge, the other two pillars, make
up a brand’s stature. A brand with a higher level of
esteem than level of knowledge is a brand that has
a good reputation, although people may not know
much about it. This puts a brand in a great position
to convince consumers to get to know it better.
Brands such as Coach and Movado ﬁt this mold.
Too much knowledge and not enough esteem is
an uncomfortable place to be, however.
In the case of leadership brands, such as Disney,
Coca-Cola, Sony, and IBM, all four pillars are
strong. A successful new brand, or a successfully
relaunched brand, will demonstrate a desirable
Tracking brand strength
Building a brand based on differentiation and
relevancy is not simply common sense; its success
can be proven. In the mid-1980s it was recognized
that all brands, regardless of category, country,
or target, seemed to live by certain rules. To
understand those rules and describe the strongest
brands, Landor Associates developed ImagePower®
,
the first cross-category, multicountry study of
brands. In the early 1990s, the ImagePower study
was expanded from a few key measures of brand
stature to the largest study of brands in the world,
the BrandAsset®
Valuator (BAV).
BAV stands apart from other brand studies because
it is predictive, highlighting leading indicators
of brand strength. Moreover, it is an incredible
diagnostic tool, illustrating how a brand is
performing against not only direct competitors
but also against all other major brands in different
categories. In this way it replicates a consumer’s
real experience of brands in the very cluttered
brandscape. (You wake up to a Sony alarm clock,
eat Kellogg’s cereal for breakfast, watch the CNN
morning news, turn on your iPhone, and get in
a Toyota car to drive to a Safeway supermarket
to use the HSBC ATM inside.)
To date, BAV has been fielded in 48 countries, covers
some 30,000 brands, has conducted interviews with
more than 500,000 consumers, and includes dozens
of brand metrics and attitudinal questions. BAV
is currently run by Young & Rubicam Brands,
a consortium of companies that includes Landor.
Measuring the
performance of
a brand

27Landor Associates
21 Jon Miller and David Muir, The Business of Brands
(John Wiley & Sons, 2004).
approach to valuation and the degree of subjectivity
used in determining their primary inputs. On one
hand, several models employ expert judgment to
assess structural factors such as the role of brand
in driving business results, and the brand risk that
is reflected in the rate used to discount a business’
branded cash flows to determine value. In many
people’s minds, this subjectivity casts doubt on
the reliability of the valuations such models produce.
On the other hand, more rigorous approaches use
statistical models built on objective market data for
brand strength and financial performance to assess
the value contribution of a brand to a company’s
financial success.
For example, significant progress has been made
with BAV, the research database that employs
a well-established approach to measuring brand
strength. In one study, partnering with Stern Stewart,
a financial consulting firm, BAV was used to show
a correlation between brand differentiation and
operating margins. The study found that those firms
whose brand differentiation grew tended to have an
operating margin of 10.5 percent, while those that
saw differentiation decline had an average operating
margin of 7 percent.21
Longer term, BAV has been
used to track how declines in differentiation often
set a precedent for a long-term decline in business
performance.
Another brand strength methodology, Millward
Brown Optimor’s BrandZ, is as expansive as BAV
(more than 23,000 brands across 31 countries).
BrandZ uses a pyramid model that plots increasing
levels of rational and emotional engagement of
consumers over six levels. The top of the pyramid,
the level called bonding (where, on average,
step-down pattern of pillars, from differentiation as
the highest to knowledge as the lowest, indicating
that the brand has found a meaningful way to
differentiate itself in people’s minds. It is ready to
intensify its marketing efforts in order to expand
its knowledge base. JetBlue and Ikea were in this
situation early on and only grew stronger from there.
In the early 1990s Starbucks had this profile, moved
to a balanced pillar leadership profile, and now is
beginning to show slight declines in differentiation.
Measuring brand value
There is a natural desire to understand how much
a brand is worth—to have a tangible means to
measure what is fundamentally an intangible asset.
However, just as absolute control in brand manage-
ment is not an achievable goal, neither is there
a widely accepted, definitive way to accord value
to a brand in financial terms.
Nonetheless, several approaches and models have
been developed to create estimates for brand value.
The application of these numbers falls broadly into
two categories: “brand rankings” published in the
business press and “brand valuations” that provide
more serious support for business decisions.
The lack of consensus over valuation techniques
is most clearly seen in the widely divergent value
estimates for brands in published rankings and,
for many people, calls into question the usefulness
of such estimates for more serious purposes.
However, there is good academic and practical
evidence that certain approaches provide more
robust results than others. Brand value models
generally differ in two areas: their structural
0
20
40
60
80
100
0
20
40
60
80
100
0
20
40
60
80
100
0
20
40
60
80
100
0
20
40
60
80
100
0
20
40
60
80
100
Disney
Coke

JetBlue
Ikea
Starbucks
Energized
differentiation
Relevance Esteem Knowledge
Energized
differentiation
Energized
differentiation
Energized
differentiation
Energized
differentiation
Energized
differentiation
Figure 4: Brand Strength as Measured by BAV in 2009

22 See note 21.
projections, companies’ financial reports, and
Interbrand’s own qualitative and quantitative
analysis.
Millward Brown Optimor first launched its list of top
100 global brands in 2005, establishing a methodol-
ogy based purely on market data that looks both at
financials (a brand’s reported earnings and assets)
and the results of surveys that assess consumers’
perceptions of the brands versus their competition.
Another approach, used by U.K. consultancy Brand
Finance, aims to forecast the top 500 global brands
and focuses its reporting on a number that is said
to signify future brand earnings.
Unsurprisingly, there are differences in these
rankings. In 2008, Interbrand identified Coca-Cola,
IBM, Microsoft, GE, Nokia, Toyota, Intel, McDonald’s,
Disney, and Google in its top 10. Millward Brown
Optimor’s BrandZ included Google, GE, Microsoft,
Coca-Cola, China Mobile, IBM, Apple, McDonald’s,
Nokia, and Marlboro. Brand Finance selected
Coca-Cola, Microsoft, Google, Walmart, IBM, GE,
HSBC, HP, Nokia, and Citi. More significant, as
8 percent of customers sit), contributes, along
with claimed purchasing data, to a Voltage score,
a one-number summary of the growth potential of
a brand. Millward Brown Optimor has mapped this
score against market share and has proved that
brands with strong Voltage scores are more likely
to grow market share. Ogilvy and Mather and
consultant A.T. Kearney have done further work
with these Voltage scores in the United States and
the United Kingdom, linking them not only to market
share growth but also to profit, total shareholder
returns, and levels of business risk.22
Three companies publish annual rankings of
brand value. The longest-running global study is
Interbrand’s Global Brand Scorecard, published
annually in conjunction with BusinessWeek. It
assigns a brand value, measured in billions of
U.S. dollars, to the world’s top 100 brands and
plots this against past-year results to show the
year-on-year change in brand value. Arguably
the best-known and most publicized approach,
the scorecard includes qualitative judgments
to assign relative weight to contributing factors.
It also includes a range of inputs such as analysts’
Methodology: Landor studied approxi-
mately 2,500 brands in BrandAsset®
Valuator’s U.S. database, identifying
those brands that exhibited the greatest
increases in brand strength from
2005–2008.
brands 2005 2008 growth
listed alphabetically percentile percentile in brand
rank rank strength
Apple 83 96 45%
Google 99 100 26%
Häagen-Dazs 84 95 35%
Hallmark 99 100 25%
National Geographic TV 99 100 20%
Payless ShoeSource 39 78 58%
PayPal 75 92 40%
Special K 60 87 48%
Super Bowl 94 99 41%
Trader Joe’s 93 98 29%
The 2009
Breakaway
Brands
®

29Landor Associates
well as differing top 10 lists, the single-number
evaluations of brand worth also diverge considerably.
For example, in the 2008 studies, Millward Brown
Optimor suggested that the Google brand is worth
more than three times what Interbrand reported
($86.1 billion versus $25.6 billion).
Clearly, brand valuation scores are not as definitive
as other measures of financial performance, but
the better models going forward will be those that
take into account objective measures of brand
strength based on consumer perception. After all,
if we go back to what a brand is, and if we believe
it is ultimately held in the minds of consumers,
brand valuation models that do not factor
consumer perceptions into their results may
be seriously flawed.
Brand value is perhaps still best understood in
hindsight, by looking at the price that companies
are prepared to pay for brands. P&G bought Gillette
in 2005 for $57 billion, and the value that P&G put
on the Gillette brand was 17 percent higher than its
stock market value.
1 Google 114,260 14%
2 IBM 86,383 30%
3 Apple 83,153 32%
4 Microsoft 76,344 0%
5 Coca-Cola1
67,983 1%
6 McDonald’s 66,005 -1%
7 Marlboro 57,047 15%
8 China Mobile 52,616 -14%
9 GE 45,054 -25%
10 Vodafone 44,404 -17%
11 ICBC 43,927 15%
12 HP 39,717 48%
13 Walmart 39,421 -4%
14 BlackBerry 30,708 12%
15 Amazon.com 27,459 29%
16 UPS 26,492 -5%
17 Tesco 25,741 12%
18 Visa 24,883 52%
19 Oracle 24,817 16%
20 Verizon 24,675 39%
21 SAP 24,291 3%
22 AT&T 23,714 18%
23 HSBC 23,408 23%
24 Bank of China 21,960 4%
25 BMW 21,816 -9%
26 Toyota 21,769 -27%
27 China Construction Bank 20,929 -8%
28 Gillette 20,663 -10%
29 Louis Vuitton 19,781 2%
30 Wells Fargo 18,746 16%
31 Santander 18,012 12%
32 Nintendo2
17,834 -2%
33 Pampers 17,434 -8%
34 BP 17,283 N/A
35 Cisco 16,719 -7%
36 RBC 16,608 12%
37 Bank of America 16,393 6%
38 Budweiser3
15,991 20%
39 Exxon Mobil 15,476 N/A
40 Shell 15,112 N/A
41 Disney 15,000 -35%
42 Carrefour 14,980 0%
43 Nokia 14,866 -58%
44 Accenture 14,734 -2%
45 ICICI Bank 14,454 N/A
46 Honda 14,303 -2%
47 Colgate 14,224 15%
48 Intel 14,210 -38%
49 L’Oréal 14,129 -6%
50 Orange 14,018 6%
51 PetroChina 13,935 N/A
52 American Express 13,912 -7%
53 Mercedes-Benz 13,736 -11%
54 Citi 13,403 -8%
55 T-Mobile 13,010 20%
56 BBVA 12,977 3%
57 NTT DoCoMo 12,969 -18%
58 Pepsi4
12,752 -15%
59 Nike 12,597 5%
60 Movistar 12,434 14%
61 Chase 12,426 17%
62 Target 12,148 -1%
63 H&M 12,131 1%
64 Subway 12,032 9%
65 Porsche 12,021 -31%
66 Dell 11,938 -23%
67 MasterCard 11,659 57%
68 Samsung 11,351 80%
69 Telcel 10,850 N/A
70 O2
10,593 23%
71 TD 10,274 -7%
72 MTS 9,723 6%
73 Petrobras 9,675 N/A
74 FedEx 9,418 -1%
75 Baidu 9,356 62%
76 eBay 9,328 -28%
77 Siemens 9,293 -31%
78 Goldman Sachs 9,283 25%
79 Wrigley’s 9,201 -15%
80 Zara 8,986 4%
81 The Home Depot 8,971 -3%
82 Red Bull5
8,917 9%
83 ALDI 8,747 1%
84 Nissan 8,607 -16%
85 Starbucks6
8,490 17%
86 Hermès 8,457 8%
87 Barclays 8,383 20%
88 US Bank 8,377 N/A
89 Standard Chartered 8,327 1%
90 China Mercantile Bank 8,236 2%
91 State Farm Insurance 8,214 19%
92 Beeline 8,160 -8%
93 J.P. Morgan 8,159 4%
94 Sony7
8,147 30%
95 Morgan Stanley 8,003 18%
96 Auchan 7,848 N/A
97 Gucci 7,588 2%
98 Bradesco 7,450 13%
99 Avon 7,293 -16%
100 TIM 7,280 14%
BrandZ Top 100 Most Valuable Global Brands 2010
brand brand value % brand value
2010 ($m) change ’10 vs. ’09
2010 ($m) change ’10 vs. ’09
2010 ($m) change ’10 vs. ’09
1 The Brand Value of Coca-Cola includes Lites, Diets and Zero
2 The Brand Value of Nintendo includes Wii and Nintendo DS
3 The Brand Value of Budweiser includes Bud Light
4 The Brand Value of Pepsi includes Lites, Diets and Zero
5 The Brand Value of Red Bull includes sugar-free and Cola
6 The Brand Value of Starbucks includes stores as well as coffee
sold at the supermarket
7 Brand Value includes PlayStation 2 and 3, as well as PSP
Although measuring the ultimate worth of a brand is
still evolving as a discipline, what is firmly accepted
is the importance of brands to business perfor-
mance the world over. Creating a strong brand is
an even more complicated task than valuing one,
and it is never actually complete. The stronger the
foundation, however, the more chance there is that
all the “scraps and straws” that consumers pick up
along the way will accumulate into strong preference
and long-term affinity for a brand. ■

and consulting team develops with the client to
help bridge the brand idea and the visual identity.
From the Brand Driver platform came the Helios
logo and other aspects of the visual identity
symbolizing energy and environmental sensitivity.
The logo in particular became an external represen-
tation of the brand idea and a powerful internal
symbol. But the real transformation came from
the inside. The branding process involved creating
a series of tools including websites, CDs, brand
movies, newsletters, and all manner of company-
branded items that emphasized not only the
excitement of the new visual identity but, more
importantly, the idea behind it. Indeed it was
the story of the brand and its promise that BP
focused on telling.
Brand champion workshops were organized to train
trainers, generating ownership among individuals
within the company who then evangelized the
mission to others. In all, more than 1,400 brand
champions were trained in 19 countries over the
initial two months following the launch in July 2000.
This was viral marketing at its best: from the inside.
The impact was also measured, revealing that by
the ninth month postlaunch, 97 percent of all BP
employees were aware of the Beyond Petroleum
brand idea and new identity.
Awareness and action, of course, are two different
things. BP leadership knew that to engage the
hearts and minds of employees over the long term,
the brand transformation would have to be about
more than flag waving. The result, among other
initiatives, was the creation of the Helios awards.
This annual program honors those employees who
The BP story is one of the most famous corporate
brand transformations in recent memory. It began
with a clear vision from a strong leader, Lord John
Browne, who wanted to forge a new kind of company
from the merger of several well-established brands,
chief among them British Petroleum, Amoco,
Castrol, and bits and pieces of major oil and gas
companies such as Mobil and Arco. Like all good
visions, it was a serious stretch for the organization.
Lord Browne and his team did not set out to be
merely one of the best petroleum companies in
the world; they wanted BP to be one of the best
companies in the world, period.
This meant redefining itself from being primarily
a refiner of hydrocarbons to a provider of complete
energy solutions. It also meant evolving from
a British corporation to becoming a diverse
global citizen organized around a clear brand idea
and personality. With BP’s upstream and down-
stream markets spanning over 100 countries, the
challenge was to find an idea that could resonate
meaningfully and credibly across multiple audiences
while differentiating the brand from competitors.
Through work with Ogilvy & Mather and Landor,
the Beyond Petroleum brand idea became the
mantra that championed both a vision and
a promise for the future.
The brand idea was expanded into a Brand Driver™
platform consisting of the core brand idea, articu-
lated as a verbal brand driver and statement of
relevant differentiation (essentially a brand promise);
personality, expressed in terms of brand beliefs
(performance, progressive, innovation, and green);
and an added tool Landor calls a visual Brand Driver,
which is a metaphorical set of images the creative
Case study: BP
Delivering the
brand promise

31Landor Associates
23 Wall Street Journal (July 2002).
24 Al Ehrbar, “Breakaway Brands: How Ten Companies,
Making Products from Drills to Waffles, Took Good
Brands and Made Them Much, Much Better,” Fortune
(31 October 2005).
25 Chicago Business Journal (3 April 2000).
These actions have been well noted by the public
and press. Fortune magazine consistently ranks
BP a Most Admired Company and as one of the
10 most improved brands in terms of brand equity
value. Indeed, if we apply BAV metrics and Stern
Stewart’s Economic Value Added analytics, BP’s
brand assets alone were quantified as having
increased by more than $7 billion between 2001
and 2005 while competitors declined in value.24
In the intervening years, economic, competitive,
and professional ups and downs have plagued all
companies of BP’s scale, but its brand continues
to be regarded as one of the most respected and
progressive in the world. And no other company
comes close to owning BP’s green positioning in
its industry.
BP is still clearly committed to keeping and
delivering its brand idea. As Lord Browne himself
said: “In a global marketplace, branding is crucially
important in attracting customers and business.
It is not just a matter of a few gasoline stations or
the logo on pole signs. It is about the identity of the
company and the values that underpin everything
that you do and every relationship that you have.”25
have contributed to the company and their
respective communities through actions judged to
be on-brand: performance, progressive, innovation,
and green. In this way, leadership communicates
that Beyond Petroleum is to be a way of life at BP,
not a transient tagline.
Of course, it is all well and good to get the founda-
tions in place, but, in the end, deeds count for more
than words. BP chose its initial actions carefully.
Early on, it committed publicly to reducing green-
house emissions 10 percent by 2010, the equivalent
of taking 18 million cars off the road. It initiated
partnerships with leading auto manufacturers in
the pursuit of more efficient engines and practical
alternative fuels. BP quickly became one of the
world’s largest producers of solar panels and solar
power, and the second-largest provider of natural
gas. In the summer of 2005, the company announced
an $8 billion investment in alternative energy.
These were among the many clear indicators
that BP was committed to: achieving its goal of
taking the promise of Beyond Petroleum seriously
and becoming one of the world’s greatest compa-
nies. But did this have any impact on the bottom
line? That, too, was impressive. Retail sales at
convenience stores increased 23 percent within
one year of the rebranding effort.23
Overall sales,
and sales of lubricants and fuels, increased steadily
between 5 and 10 percent above market growth
through 2004. Profits were exceptional at $91.3
billion in 2005, enabling BP to fund new initiatives
to drive its business.

33Landor Associates
The Helios logo is an external representa-
tion of BP’s brand and a powerful internal
symbol. To highlight its goal to go beyond
petroleum, BP features a Helios sculpture
in its headquarters and decorates with
aloe vera, the plant that most efficiently
converts carbon dioxide to oxygen.

automobile activity
furniture object
animal drink
typography
architecture
mood
Beyond petroleum
At the core of BP is an unshakable commitment to human progress.
We aim for radical openness: We will be the magnet for people who
want to change the world with new ideas by delivering a performance
standard that challenges the world’s best companies.
Progressive – transforming the way we do business
Innovative – delivering breakthrough solutions
Performance – setting world-class standards
Green – demonstrating environmental leadership
VERBAL BRAND DRIVER
BRAND PROMISE
BELIEFS
VISUAL BRAND DRIVER
Brand Driver Platform

Landor Associates created many of the
brands and designs pictured in this article.
PGA identity, p. 3
Gatorade packaging, p. 6
Xbox packaging, p. 7
Downy packaging, p. 9
Crest Glide packaging, p. 9
Puffs packaging, p. 9
Fairy packaging, p. 9
Daz packaging, p. 9
NyQuil packaging, p. 9
Always packaging, p. 9
Tide packaging, p. 9
Alldays packaging, p. 9
Crest Pro-Health packaging, p. 9
Ariel packaging, p. 9
Febreze packaging, p. 9
Blend-a-med packaging, p. 9
Secret packaging, p. 9
P&G identity, p. 9
Ernst & Young identity, p. 11
BP identity, p. 31–34
Good Co. Coffee identity and packaging, p. 15
FedEx identity, p. 16
Worldeka identity, p. 17
Crest Vivid White packaging, p. 18
Ariel packaging, p. 19
KFC identity and packaging, p. 21
Preem identity and environments, p. 23
Citroën identity and environments, p. 25
For more information about our work,
visit landor.com.

www.landor.com
Beijing
Chicago
Cincinnati
Dubai
Geneva
Hamburg
Hong Kong
Jakarta
London
Madrid
Melbourne
Mexico City
Milan
Mumbai
New York
Paris
San Francisco
Seoul
Shanghai
Singapore
Sydney
Tokyo
hello@landor.com

Essentials of Branding - The big Book of Marketing

More Related Content

What's hot (19)

Viewers also liked (20)

Similar to Essentials of Branding - The big Book of Marketing (20)

More from brandsynapse (20)

Recently uploaded (20)

Essentials of Branding - The big Book of Marketing