Tag Archives: Advertising

Sakamoto Ryuichi x Luis Vuitton x Switch Magazine

Ryuichi Sakamoto Luis Vuitton Switch

Switch magazine recently featured a photo spread of Ryuichi Sakamoto for Luis Vuitton.

The photos show Sakamoto, looking particularly grim and serious, wearing pristine Vuitton gear, amdist a darkly saturated forest environment. Sakamoto as solitary wanderer, as “sticking out” from the environment to such an extent that he manages to blend back in. Notice how the color of his suit so adequately matches the water behind him as he looks out, looks away from us, transfixed in thought. Also, the color of his hair seems to blend well with the silver sheen of the water.

Sakamoto’s stance, as well, shows us a stern confidence, a calm seriousness. The suit, perfectly fitted to his stance and posture, shows the buyer a person in the midst of becoming. Moreover, a fitting outfit for the engagement of thinking.


The Visual Poetics of Erick Ifergan’s Public Safety Videos

Erick Ifergan, director of Johnny 316, recently finished a video campaign for the Russian Road Security Program in conjunction with the YesTasteWinNow advertising agency in Moscow.

The videos tackle the subjects of road manners, drinking and driving, speeding, driving cautiously, and watching out for children. Each video features the same piano score by composer Max Golovin and do an effective job at merging the “real” with the “imaginary”” through the sharp eye of director, Ifergan.

Moreover, the visual poetics of this series do a great job at reminding us of the consequences of decisions and the need to drive safely and responsibly through their, at times, “harsh” imagery. The video posted below, showing the bloody consequences of car crashes without the cars, uses the copy, “Watch out! It’s flesh and blood inside the iron cars.”

To see the rest of the videos, please visit the YesTasteWinNow Youtube channel – HERE

Also, for more information on this series, please see: Seriously Fetish Newsletter. “Fetish Films” is the production company that produced this series.

A Living Fluidity

Sara Batterby’s article Brand Personification is a concise look at the living fluidity that one’s brand undergoes through the use of social media and search engine dissemination. It is also a call to recognize the “human” element of branding.

Batterby writes, “Brands, like us, have no meaningful existence outside of the constantly changing perceptions, interactions and relationships that they share with others. They must learn to see themselves this way. Through the eyes of their virtual community.”

Branding in an online world is subject to fluxuations, relationship building and collaboration, noise, and spread. One’s brand identity shifts and becomes unstable through interaction (or non-interacation) with others. It is no longer paid advertising, but publicity (i.e. conversations), that sway a brand to the ranks of the favorable or unfavorable. People have a voice and it counts consequentially. Moreover, it is the one who spends time with the work that counts, the one who helps construct our brand by making it apart of who they are.

The virtual communities that one is apart of communicates to others a part of who one is. The online identity of the brand is caught up within these micro-conversations, this labryinth of interconnectedness.

Batterby goes on to write , “This fluidity of what constitues the brand has given it a living quality that is more akin to our own existence and this should give us some insight into what to do about it.” Some companies are recognizing this and have joined the conversation. Directors, writers and artists using services such as Twitter to connect with others have put themselves into a vulnerable, albeit necessary state – they have embraced the human element of their brand.

We knew all along that behind the facade of the brand lurked real flesh-and-blood humans, but now, the facade is fading before our eyes and many brands are using social media, engaging with others and changing the way that we interact with and view their brand. Also, this flux has, in general, gone on to transform what used to be an online “profile” into a brand, a virtualization of the self.

Batterby ends by asking the deceptively simple question, “If your brand was a person, what kind of person would you want it to be?” Look within. Look without. Listen to the conversation. Listen to your self. Who are you?

Sara Batterby is the editor of WORD UP!.

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Branding and Identity: Three Questions with Håvard Gjelseth

Skop 2
Håvard Gjelseth: Producer/Director

Håvard Gjelseth is a designer. His company is “This Way Design” based in Oslo, Norway. His website is a grid comprised of images of projects that he has worked on. The grid is then divided by project type: Record Covers, Interactive, Illustration, Identity, Photos, Products, Motion, and Art: This Way Design.

Brand identity is created by way of people like Gjelseth. That is, people able to connect with the client’s needs while bringing to the floor something authentic to themselves. Creating a brand that “feels” right, that resonates with the recipient of the product or company. One look at the “grindcore” series of logos that he did for Norweigan noise-unit Jazkamer and it is apparent how special his vision is. Who else uses the images of twisting branches as a representation of “grindcore” music? Now, that’s successful and emotionally satisfying branding.

I asked Havard Gjelseth three questions and present them to you, unedited. If you are looking to work with design or in the creative field in general, I recommend you pay attention to the words of such a tasteful designer:

1. What factors do you take into account when working with the identity of a company or individual?

For me it is about the balance between what reflects the client’s personality and the unexpected twist to make it stand out. Personally I find it inspiring to tell a story when working with identities – to
find unexpected sources of inspiration; to get closer.

On top of all that of course I take pride in – and love – the handcraft part of the work, either it is photography,pixel-perfectness or the details of the typography.

2. What advice would you give to people looking to work in the design business?

1) It has to be in your heart – or it will show
2) Make sure business doesn’t swallow you, keep doing personal projects
3) Work with people better than you

3. In your opinion, what are some key elements to a successful brand?

I think I’ll answer that by saying what factors in my experience make
bad brands: Fear, complexity and similarity.

On behalf of The Eyeslit-Crypt: Thank you, Håvard Gjelseth.

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The Cobrasnake: Creating Culture

The Cobrasnake (Mark Hunter) takes photographs and makes T-shirts. His brand has expanded; he has infiltrated the clubs and the streets of the world. A casual glance at his website shows only the latest T-shirts available for purchase and a dense archive of Cobrasnake’s photographs. Said simply: the man is busy. The people caught in the lens of his camera are not models, posing professionally, but seemingly random people, musicians(or people who happen to be wearing Cobrasnake T-shirts). Through the photographs, a new culture is created and takes form. Cobrasnake is not simply taking pictures, he’s creating cultural identity. Take note.

In this developing age of openness to personal branding, the Cobrasnake’s idea of selling limited runs of handmade T-shirts and hitting the clubs to snap the young and the restless works well. Everyone, it seems, these days is using some kind of social media as an extension of their daily life. What Cobrasnake goes is gives people a base from which to view the blossoming of club culture, the fashion of a certain party or event and so on. As he says in an interview with MediaTemple, “When i started shooting nightlife it was funny because people were not used to having their photo taken by someone that wasn’t their friend. Now most people want as many people as possible to take their photo.”

Gazing at the pictures on his website, we can see a myriad of “beautiful” people, enjoying themselves or at least being out, being seen. They do not possess the lifeless “looking past the camera” gaze that many professional advertisements rely on, but offer a more personal view of the scene. Some of them are almost inviting, comforting. After spending enough time clicking through the photo albums, you, too, may be enticed by the idea of joining the social enterprise that Cobrasnake offers. Or…

One Twitter user, wrote, “Not sure if he hates the Cobrasnake due to hatred or jealousy.” as his tweet. Perhaps this is the feeling that many viewers of the brand experience. The Cobrasnake, by showing you what is fashionable, what is happening in the “hot spots,” may make you realize how actually detached you are from those scenes. Wanting to leap into the scene, but unable to press beyond the computer screen. Meanwhile, somewhere, maybe right now, The Cobrasnake is plotting, working, selling, and enchanting folks with an invitation to transform themselves into a new person.

Links for more information on this enterprise:

The Cobrasnake (Official)
Cobrasnake Interview
Cobrasnake on Wunderbuzz
Cobrasnake Interview on The Brilliance

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