The Effects of Globalization on Design - Essay Example

The Impact of Globalization on Design In 1944, Williamson d that, “thinking and acting globally has become the order of the day in many corporations, both in the US and overseas. The proliferation of telephone service, fax, and electronic mail make it possible for even small companies to have global reach”.1 Increasing globalization has huge impact on not only the way businesses function but also the ways they are presented and promoted. This paper explores the impact of brand globalization on global design firms and its implication on local design markets with a special reference to Walter Associates. Founded by Mr. Walter in 1941, the Landor Associates is considered to be the pioneering and largest global branding company of this age. The company was founded when the idea of ‘a brand’ was still in its early stages of conception by several companies in particular and society in general.2 In their efforts to establish ‘brand’ as an identity that works as leading communication of the business and reinforces the company’s image, products or services, Landor moved the concept of brand forward through his customers in order to achieve the status of a brand-focused design firm today. In addition, he promoted the idea that served as company’s identity and established it as a synonymous for all forms of media in contemporary society. Landor’s idea of brand was unique as he created the company’s identity and put company’s values and credibility under one umbrella that served on national and global scale. As a result of their efforts, Landor coined the term ‘Brand Led Business Growth’3 that transformed Walter Landor’s design practices into a design firm it is today. Landor Associates perfectly fits the definition of first global design firm with more than 20 global branches and a portfolio of global blue chip clients. According to Catharine Fishel, “You have to find what is unique about the product and bring it into the imagery.”4 Following Landor’s blue print, several design firms developed into globalized brands and transformed their design practices into globally established design firms. Lienhart explains that every firm creates a unique style of design practice that caters a unique group of clients. The competition has always been a driving force for continuous innovation that leads to success. In a recent literature review by Ulijn et al., it is observed that briefings on organizations’ vision, impact, direction, and mission have necessitated the innovation and expansion beyond borders.5 Initially, Landor Associates credit referrals that served as primary form of getting operational business. With firm’s expansion, it had reversed energy and numerous reviews of direction were merged. The company was diversified into a marketing base from merely a design firm and it happened only because of reviews which exposed the business model limitations. Generally, after the identification of such issues through internal reviews, success is directly associated with creating gratification in the company. The review directs formation of an internal client development team which identifies and employs innovative prospects. Positive and encouraging referrals by existing clients proved to be the primary source for new business. Working as a designer with Landor Associated, Timon states that, “we just received a brochure from a client who has used the colors and type and such that we set up for them…some less creative clients may want us to be their design police…but I still go home and beat myself up about it when what we design isn’t used as we intended for the client.”6 For instance, when Landor couldn’t create new projects, he worked on relationship building and concentrated more on existing client’s and their needs. Consequently, it developed a customer-centric approach in firm that built long-term relationships rather than focusing on new projects. This scenario led to the development of Client Relationship Management that worked towards engaging clients in a hospitable manner, to negotiate the firm’s requirements, and to enhance the relationship based on the feedback on reports from top managements. Design firm is a natural evolution of a design company that has developed a client portfolio, move beyond its national boundaries, and sought the services of same design company in order to establish their identity at international level.7 On this stage, the company does not remain a design company but starts progressing as a big branding firm. The company evolves with the expansion of clientele. With establishing its early international base, the design company re-establishes the brand in a foreign culture and unique environment. The process of redefining the brand can be daunting; however, the process is productive and pays back in the form of further investments and company’s further expansion on global scale. International brands are consumed on a massive scale, therefore, companies’ need to be represented on a global scale for their services by an international design firm. It is an overwhelming challenge for local companies to compete with international brands in the absence of particular methods and tactics that lead to expansion unless they collaborate with international brands. A design firm is an establishment that is formed to communicate a brand. On the other hand, design company is established to communicate as a creative company that creates physical brand identity and intellectual media. Global design firm disseminates this material and promote the company by distributing it through their marketing channels. Design firm may also serve the similar functions of creating physical branding media; however, a firm’s role is not limited to design and associated more with brand and commerce. In contemporary practice, the definition of a design firm seems to be muddled with creative design practice as client companies are frequently utilizing the services of design studios which facilitate them with additional branding and marketing services. In reality, such practice transgresses the management capacity of the design company.8According to Sam Landers, “we think like business people, and though the work is artful, we have no illusions about art. Our work aims to support competitive advantage.”9 With the advent of internet and digital systems, our fast-paced society changes every day. Advanced communication technologies have reduced the distances on global level. Time-frame of communication inception, its development, and delivery has also reduced in a dramatic way. This scenario led global companies to appoint internal brand managers and representatives who coordinate with local design firms in order to deal their delivery requirements. Local establishments are aware about the fact that their management has selected global design which engages in branding communications. However, if given a choice, each local set up would select smaller local design practice that can figure out their requirements. It is due to the fact that using their global design firm internal communication is adversely affected for brand media approval which reduces the delivery time due to the scale and complexity of communication needed between the design firm and client company.10 Similar issue was identified in Landor Associates’ work system which was addressed by Client Relationship Managers. They are the consultants who worked for client companies in Landor Associates and were responsible for reporting clients’ relationship, developments, and their branding requirements to the top management.11 Generally, a creative design company does not specialize in marketing practices. However, in contemporary practice, they are compelled to get involved into marketing in order to ensure the delivery speed that is essential for communication media. It can be inferred that this form of marketing is not genuine because usually design companies do not have the required expertise and commerce background that can influence the brand in a local or international market. Therefore, a local design firm should consider global business as a greater source of business rather than considering them a rival force. A local design company should coordinate with global business as means of outsourcing the required projects and in a credible way. A very good example of this practice and its extent can be taken from Landor who appointed Client Relationship Managers in their own right in order to deal with the accounts outsourced from design firm. This scenario can generate productive opportunities for both stakeholders as design firm can seek to utilize the design company by outsourcing their services, therefore, this mutual relationship can lead to social and financial benefits for both global firm and local company. A business’s best interest lies in growth and value enhancement that makes it a viable asset. However, ultimate verdict is given by design company’s management or a group of executives when it comes to deciding whether they consider it the beneficial relationship. These are the repercussions that a design firm has to experience. However, several design companies get involved in various projects, for instance, the ones explained by Paul Rodger of Bull Rodger. Sometimes recent trends are followed because most clients are inclined to stay secure. In such situations, there remains little room for innovation and design company’s complacency. It may be one of the implications if local design company is limited to one major account outsourced from a design firm. Though the local company is not owned by global design firm, there are fair chances that it pursues other projects and clients for various forms of work and utilize its skills to develop innovative forms and means of communication. Local businesses always have numerous business opportunities; therefore, global design firms should not be considered a threat but another opportunity. Bibliography Fishel C, Inside the Business of Graphic Design, New York: Allworth Press; 2002. Fishel C, Redesigning Identity: Graphic Design Strategies for Success, Massachusetts, Rockport Publishers; 2002 Heller S & Georgette B, Graphic Design History, New York, Rockport Publishers; 2002 Pulos AJ, The American Design Adventure, Massachusetts, MIT Press; 1988 Stamm, V. Bettina. Managing Innovation, Design and Creativity .London: John Wiley & Sons Ltd, 2003. Read More