Having written the book ‘Co-creating Brands’, we have now been spending time presenting it and discussing the content. We have had two very participative online events, hosted by Interbrand and C Space – one for Germany and one for Russia. As well as sharing our ideas with managers, talking about the book has also been an opportunity for reflection. It has reminded us of the core principles that underpin co-creation and the benefits it can deliver. This comes through when you start to look at Interbrand’s best global brands and the two most important drivers of brand value: relevance and responsiveness. These drivers are intimately connected with getting close to customers and the ability to deliver powerful experiences – both of which are central to co-creation. It’s also hardly surprising that many of the co-creative brands we researched for the book (SAP, IKEA, adidas and Siemens) have high brand value. Inevitably with a book you thoughts are fixed at the point of publication, but we’re still learning as we go along.
In 2005, the Scandinavian artists, Michael Elmgreen and Ingar Dragset, conceived an art installation in the form of a fake Prada boutique – stocked with bags and shoes – and plonked it down near a small town in Texas, far away from the normal locations of Prada stores. This placing of the store in a desert-like, rural landscape (with echoes of Wim Wenders’ 1984 film Paris Texas) and the pointlessness of a closed shop, point to the artists’ intention of critically commenting on the growth of luxury stores and how they had crept into urban culture. The location near Marfa, Texas, which was once the home of the artist Donald Judd, whose pared-back sculptures are redolent of the minimalism of luxury boutique interiors, added an extra frisson of meaning as to the way that the world of brands co-opts artistic expression. Elmgreen and Dragset, imagined that the boutique, would fall into disrepair and crumble away and in time would become a half-forgotten memory.
However, what the artists intended and what happened diverged with Elmgreen noting, “it’s almost like being a parent who experienced children growing up and going a direction they never intended.” Even though the Prada Marfa was meant as a critique of luxury brands, Miuccia Prada (whose family supports the contemporary art, Fondazione Prada) donated the products for the store. Then, over time vandals stole the products and defaced the building. Elmgreen and Dragset weren’t upset about that – they felt it showed a sort of engagement and reflected life in the decaying real world. However, two art commissioning organizations, decided to step in and maintain the installation, so that it would keep its luxury boutique look, rather than fading into the landscape. Also the artists’ hopes that the installation would become a rumoured, barely remembered idea were also confounded. With the emergence of digital photography and the sharing afforded by social media, so Prada Marfa acquired celebrity status and has become a popular visitor attraction. Visitors started to share selfies, including well-known people such as Beyoncé (photographed leaping into the air in front of the store – over 571,000 likes on Instagram), companies produced Prada Marfa products and in an episode of the Simpsons, Homer peed on the building.
The Prada Marfa shows that it is never only the initiator of an idea that defines the experience, but that others are continually interpreting, subverting and sharing it, so that it morphs into new previously unimagined shapes. As the French film critic, Jean-Louis Comolli, notes, “Never ‘passive’, a spectator works.” It reminds us that the meaning of things is fluid, changing and always co-created together with others.
 Janelle Zara (2019). Prada in the Desert: how a fake luxury boutique became a Texas landmark. The Guardian. 3 October 2019.
The African leg of the launch of the book was held on the Granger Bay Campus (Cape Peninsula University of Technology, Cape Town) recently. Hosted by South Africa’s first Brand and Digital Research Hub which was launched at CPUT last year, the book launch was attended by local business people, academics from other institutions and CPUT staff members. More abut it can be read here: https://www.cput.ac.za/newsroom/news/article/3955/book-launched-by-digital-research-hub
Two days after the launch, Prof. Schmidt had the honor to guest lecture to the Master course in ‘Brand Management’ of Dr. Pieter Steenkamp. The picture shows Steenkamp, Schmidt and young researcher Kuhle Zwakala.
‘Co-Creating Brands’ is a current brand management text book that can be used in undergrad or postgrad lectures. It contains clear learning objectives at the beginning of each chapter, multiple current case studies, interviews with branding experts, as well as suggestions for in-class-activities and questions for reflection. Nevertheless, it is most suitable for lectures on a Master level. Prof. Schmidt uses it as the basic textbook for his course “Brand Management in a Digital World’ that is part of the Master of Science in ‘Business Management’ at Koblenz University of Applied Sciences, Germany.
In an interesting Q&A session, Nicholas Ind shared his thoughts on open innovation, brand co-creation, and intrapreneurship with Nicolas Bry from Orange. You find the interview here.
Peter Brown, a colleague and friend from Medinge and a mastermind on brands and sustainability, raised the following question today:
“If traditional brand direction and management was inside out, monodirectional and organisational, then presumably so was ‘conscience’, from within the organisation expressed outwards (‘here is our conscience, and here we are communicating it to you’). Is part of co-creation that ‘conscience’ also is a shared exercise between many stakeholders? So rather than ‘here is our conscience, hope you believe us’, conscience is a joint exercise and is built up in a co-creative capacity, over time, rather than just a solid, monolithic ‘take it or leave it’?”
Hmmm, we’ll have to think about this. Oriol Iglesias from ESADE Barcelona, in his book contribution ‘ HOW CO-CREATION CAN BOOST TRUST IN CORPORATE SOCIAL RESPONSIBILITY‘, writes something connected to Peter’s thought, but Peter’s question goes farther, beyond CSR. Definitely great food for though, so we thought that we share it on the book’s website.
A nice example of co-creating a start-up brand: Roger Federer, the Swiss tennis champion, is not only a testimonial for the sport shoe brand ‘On’ but gets personally involved in the design and marketing of the brand. He told the paper Schweizer Illustrierte: “I want to help with the development of shoes, will express my opinion on the design and also give tips on marketing.”
We just received the news that the first copies arrived at our publisher Bloomsbury. We are excited and anxiously waiting for the official launch in December.
We are looking forward to the publication of our book. It will be available from 12-12-2019 on. Have a look at the publishers website: Bloomsbury.