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The Modern East, Jimmy Kmeid at Dubai Lynx

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The document discusses the evolution of branding and logo design, emphasizing the importance of brand experience over logo significance. It highlights that modern consumers prioritize experiences related to brands, particularly among the younger generation, who expect seamless interactions shaped by technology. The paper also touches on cultural characteristics in branding and the risk of clichés when symbols are overused in marketing efforts.

Marketing
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JIMMY KMEID DESIGN DIRECTOR @FITCHDESIGN #DUBAILYNX
• Brand first, logo later • Why brand experience • Cultural characteristics • Globalization • The Modern East
‫المعنى؟‬ ‫ـاع‬‫ـ‬‫ض‬ ‫ـل‬‫ـ‬‫ه‬ LOST IN TRANSLATION LOGO ‫الشعار‬ BRAND ‫التجارية‬ ‫العالمة‬ TRADEMARK ‫التجارية‬ ‫الماركة‬
TOP BOTTOM ‫التجارية‬ ‫ـة‬‫ـ‬‫م‬‫العال‬ ‫ـم‬‫ـ‬‫ث‬ ، ً ‫أوال‬ ‫ـعار‬‫ـ‬‫ش‬‫ال‬ LOGO FIRST, BRAND LATER LOGO BRAND
Logos are too often expected TO CARRY MORE WEIGHT THAN THEY SHOULD HANDLE ‫أن‬ ‫ـي‬‫ـ‬‫ف‬ ‫ـن‬‫ـ‬‫م‬‫تك‬ ‫ـكلة‬‫ـ‬‫ش‬‫الم‬ THE PROBLEM IS ‫أن‬ ‫توقع‬ ُ ‫ي‬ ‫ـا‬‫ـ‬‫م‬ ً ‫ـرا‬‫ـ‬‫ي‬‫كث‬ ‫ـعارات‬‫ـ‬‫ش‬‫ال‬ ‫تحمل‬ ‫ومغزى‬ ً ‫ـة‬‫ـ‬‫م‬‫قي‬ ‫المفترض‬ ‫ـن‬‫ـ‬‫م‬ ‫ـر‬‫ـ‬‫ب‬‫أك‬
‫عادلة‬ ‫ـر‬‫ـ‬‫ي‬‫غ‬ ‫ـات‬‫ـ‬‫ع‬‫توق‬ UNFAIR EXPECTATIONS Logo needs to tell the WHOLE STORY of the brand The logo will make the BUSINESS SUCCESSFUL A new logo should have the SAME IMPACT AS KNOWN BRANDS
It doesn’t mean that a logo shouldn’t be CREATIVE, EFFECTIVE AND DISTINCTIVE ‫أن‬ ‫ـي‬‫ـ‬‫ن‬‫يع‬ ‫ال‬ ‫ـذا‬‫ـ‬‫ه‬ ‫ض‬ َ ‫فتر‬ ُ ‫ي‬ ‫ـعار‬‫ـ‬‫ش‬‫ال‬ً ‫إبداعيا‬ ‫ـون‬‫ـ‬‫ك‬‫ي‬ ‫أال‬
‫التجارية‬ ‫العالمة‬ ‫نفسه‬ ‫هو‬ ‫الشعار‬ ‫كان‬ ً ‫قديما‬ IN THE OLD DAYS THE LOGO WAS THE BRAND And the brand was the product ‫التجارية‬ ‫ـة‬‫ـ‬‫م‬‫والعال‬ ‫المنتج‬ ‫ـت‬‫ـ‬‫ن‬‫كا‬
Today a brand is much more than its logo, IT’S A LIFESTYLE CHOICE ‫فالعالمة‬ ‫اآلن‬ ‫ـا‬‫ـ‬‫م‬‫أ‬ ‫مجرد‬ ‫من‬ ‫ـر‬‫ـ‬‫ث‬‫أك‬ ‫ـة‬‫ـ‬‫ي‬‫التجار‬ ‫اختيار‬ ‫إنها‬ ،‫ـعار‬‫ـ‬‫ش‬ ‫حياة‬ ‫ـلوب‬‫ـ‬‫س‬‫أ‬
ONLIN E O U T OFSTORE IN STORE Mall-based stores present an edited version of the range NIKE STORES The Flagship experience that presents the brand in the ultimate way NIKETOWN An opportunity to explore and buy the brand at a discounted price FACTORY OUTLET NIKE ID STUDIO RUNNING LAB DISPLAY POSM POS SIS The majority of the retail experience and is often the focal point of a sports department THIRD PARTY RETAIL In this environment it is important to present the brand in a consistent and dynamic way with less physical touchpoints than owned stores. Perfect for those exploring and locating particular products A vehicle that follows you while you trial running shoes in the great outdoors NIKE TRIAL VAN A training aid that further secures the loyalty of all the mind states NIKE + Aimed at the sports enthusiast and casual athlete - filled with sports inspiration and editorial content NIKE.COM 1948 POP UP NIKE 6 NIKE LEBRON NIKE + RED RUN CITY HUMAN RACE NIKE ID APP NIKE TRUE CITY APP NIKE TRAINING APP A comprehensive shopping site NIKE.STORE.COM A commerce site that also contains tips and inspiration - allows explorers and locaters to browse by sports or product type Customise your own pair of trainers - perfect for dreamers who want a personalised product NIKE ID Brands are made of many elements coming together to CREATE A COHERENT EXPERIENCE ‫التجارية‬ ‫ـات‬‫ـ‬‫م‬‫العال‬ ‫ـون‬‫ـ‬‫ك‬‫تت‬ ‫من‬ ‫العديد‬ ‫ـن‬‫ـ‬‫م‬ ‫ـوم‬‫ـ‬‫ي‬‫ال‬ً ‫معا‬ ‫ل‬ ّ ‫ـك‬‫ـ‬‫ش‬ ُ ‫ت‬ ‫ـي‬‫ـ‬‫ت‬‫ال‬ ‫ـر‬‫ـ‬‫ص‬‫العنا‬ ‫مترابطة‬ ً ‫ـة‬‫ـ‬‫ب‬‫تجر‬
A big investment in a logo is worthless when it is not supported by a CONSISTENT BRAND EXPERIENCE ‫ـتثمارات‬‫ـ‬‫س‬‫لال‬ ‫فائدة‬ ‫ال‬ ‫ـعار‬‫ـ‬‫ش‬‫ال‬ ‫في‬ ‫الكبيرة‬ً ‫مدعومة‬ ‫تكن‬ ‫ـم‬‫ـ‬‫ل‬ ‫ـا‬‫ـ‬‫م‬ ‫عالمة‬ ‫ـة‬‫ـ‬‫ب‬‫بتجر‬ ً ‫ـة‬‫ـ‬‫ن‬‫ومقتر‬ ‫ـقة‬‫ـ‬‫س‬‫مت‬ ‫تجارية‬
Logos have always been about differentiation BUT NOW IT’S AT THE EXPERIENCE LEVEL, NOT JUST THE PRODUCT LEVEL ‫ـعارات‬‫ـ‬‫ش‬‫ال‬ ‫كانت‬ ‫لقد‬ ‫حول‬ ‫تدور‬ ً ‫ـا‬‫ـ‬‫م‬‫دائ‬ ‫ولكنها‬ ،‫ـز‬‫ـ‬ّ‫التمي‬ ‫ـل‬‫ـ‬‫م‬‫عا‬ ‫ـمل‬‫ـ‬‫ش‬‫لت‬ ‫امتدت‬ ‫اآلن‬ ‫التجربة‬ ‫ـتوى‬‫ـ‬‫س‬‫م‬ ‫للجمهور‬ ‫ـة‬‫ـ‬‫م‬‫المقد‬
BOTTOM TOP BOTTOM ‫ـعار‬‫ـ‬‫ش‬‫ال‬ ‫ثم‬ ، ً ‫أوال‬ ‫ـة‬‫ـ‬‫ي‬‫التجار‬ ‫ـة‬‫ـ‬‫م‬‫العال‬ BRAND FIRST, LOGO LATER LOGO BRAND
‫متزنة‬ ‫غير‬ ‫ـة‬‫ـ‬‫ي‬‫تجار‬ ‫ـة‬‫ـ‬‫م‬‫عال‬ ‫ـة‬‫ـ‬‫ب‬‫تجر‬ ‫ـن‬‫ـ‬‫م‬ FROM:A DISORDERED BRAND EXPERIENCE BRAND ESSENCE LOGO BRAND EXPERIENCE SHIFT METHODOLOGY
BRAND ESSENCE LOGO BRAND EXPERIENCE SHIFT METHODOLOGY ‫الة‬ ّ ‫وفع‬ ‫ـة‬‫ـ‬‫س‬‫سل‬ ‫ـة‬‫ـ‬‫ي‬‫تجار‬ ‫ـة‬‫ـ‬‫م‬‫عال‬ ‫ـة‬‫ـ‬‫ب‬‫تجر‬ ‫ـى‬‫ـ‬‫ل‬‫إ‬ TO:A SEAMLESS BRAND EXPERIENCE
Future STATIC DYNAMIC PLATFORM FOR EXPERIENCE ‫ر‬ّ‫والتغي‬ ‫ر‬ ّ ‫ـو‬‫ـ‬‫ط‬‫الت‬ ‫ـة‬‫ـ‬‫م‬‫دائ‬ ‫ـعارات‬‫ـ‬‫ش‬‫ال‬ LOGOS ARE EVOLVING
The logo as the primary representation of the brand IS DEAD THE LOGO AS A PLATFORM FOR EXPERIENCE IS ALIVE ‫ـعار‬‫ـ‬‫ش‬‫ال‬ ‫وظيفة‬ ‫رت‬ ّ ‫ـو‬‫ـ‬‫ط‬‫ت‬ ‫ـد‬‫ـ‬‫ق‬‫ل‬ THE ROLE OF THE LOGO HAS EVOLVED ‫كعنصر‬ ‫ـعار‬‫ـ‬‫ش‬‫ال‬ ‫ـر‬‫ـ‬‫ص‬‫ع‬ ‫العالمة‬ ‫في‬ ‫ـي‬‫ـ‬‫س‬‫اسا‬ ‫انتهى‬ ‫ـة‬‫ـ‬‫ي‬‫التجار‬ ‫مفهوم‬ ‫عصر‬ ‫ـة‬‫ـ‬‫ي‬‫بدا‬ ‫كمنصة‬ ‫ـعار‬‫ـ‬‫ش‬‫ال‬ ‫للتجربة‬ ‫ـور‬‫ـ‬‫ح‬‫وم‬
‫تجربة‬ ‫ـاذا‬‫ـ‬‫م‬‫ل‬ ‫التجارية؟‬ ‫ـة‬‫ـ‬‫م‬‫العال‬ WHY BRAND EXPERIENCE?
CUSTOMERS REMEMBER BRAND EXPERIENCES, NOT THE LOGO ‫مع‬ ‫تجاربهم‬ ‫العمالء‬ ‫يتذكر‬ ‫وليس‬ ‫التجارية‬ ‫العالمات‬ ‫نفسه‬ ‫الشعار‬
MODERN LIFE IN THE GULF ‫في‬ ‫العصرية‬ ‫الحياة‬ ‫الخليج‬ ‫منطقة‬
‫حولهم‬ ‫من‬ ‫بالعالم‬ ً ‫اتصاال‬ ‫أكثر‬ MORE CONNECTED We often hear about a brand for the first time from friends ­not from brands themselves. Experience is taking over many roles that used to belong to the domain of communications.
‫الرفاهية‬ ‫لوسائل‬ ً ‫طلبا‬ ‫أكثر‬ MORE LEISURE SEEKING Millennial are seeking out experiences over products. We are seeing a swing to thinking about products as the artefacts of a continuous shopping journey.
ً ‫ـاركة‬‫ـ‬‫ش‬‫وم‬ ً ‫وعيا‬ ‫أكثر‬ MORE INFORMED & INVOLVED People are participating more and more with products and brands ­sometimes to tailor-make a special product and sometimes to influence the direction of a brand. We see people spending time to influence the decision-making of the brands they like.
‫الجديد‬ ‫الجمهور‬ NEW AUDIENCE
By 2020, today’s 15–19 year olds (Gen z) will be the LARGEST GROUP OF CONSUMERS WORLDWIDE Source: FITCH Gen Z Shopping: Designing retail for the constant state of partial attention Z ‫الجيل‬ ‫ـيمثل‬‫ـ‬‫س‬ ‫جمهور‬ ‫من‬ ‫ـة‬‫ـ‬‫ئ‬‫ف‬ ‫ـر‬‫ـ‬‫ب‬‫أك‬ ‫حول‬ ‫ـتهلكين‬‫ـ‬‫س‬‫الم‬ ‫حلول‬ ‫في‬ ‫ـم‬‫ـ‬‫ل‬‫العا‬ ٢٠٢٠ ‫العام‬
Gen Z were born seamless and expect a similarly SEAMLESS EXPERIENCE Source: FITCH Gen Z Shopping: Designing retail for the constant state of partial attention ‫في‬ ‫في‬ Z ‫الجيل‬ ‫لد‬ ُ ‫و‬ ‫بالسهولة‬ ‫تتسم‬ ‫بيئة‬ ‫وبالتالي‬ ‫والسالسة‬ً ‫تجربة‬ ‫يتوقعون‬ ‫فهم‬ ‫الوتيرة‬ ‫نفس‬ ‫على‬
THEY DON’T BELIEVE THERE WAS A DIGITAL REVOLUTION, they were born in it ‫يؤمنون‬ ‫ال‬ ‫ـم‬‫ـ‬‫ه‬ ‫رقمية‬ ‫ـورة‬‫ـ‬‫ث‬ ‫ـود‬‫ـ‬‫ج‬‫بو‬ ‫فيها‬ ‫لدوا‬ ُ ‫و‬ ‫ـم‬‫ـ‬‫ه‬‫ألن‬
‫التكنولوجيا‬ ‫فضاء‬ ‫في‬ ‫يسبح‬ ٌ ‫جيل‬ ‫هم‬ THEY SWIM IN TECHNOLOGY SOCIAL MEDIA PENETRATION: (active accounts) 29% in Saudi Arabia 56% in the UAE MOBILE BROADBAND PENETRATION: (3G & 4G connections) 144% in both Saudi Arabia and the UAE Source: We Are Social’s Digital, Social and & Mobile report, 2015 MOBILE SOCIAL MEDIA PENETRATION: (active accounts) KSA 8M UAE 4.6M
Gen Z want nothing more than to SHARE THEIR DATA AND INFORMATION but most organisations currently are unable to receive it Source: FITCH Gen Z Shopping: Designing retail for the constant state of partial attention Z ‫ـل‬‫ـ‬‫ي‬‫الج‬ ‫ـد‬‫ـ‬‫ي‬‫ير‬ ‫ال‬ ‫ـاركة‬‫ـ‬‫ش‬‫م‬ ‫من‬ ‫أكثر‬ ‫ومعلوماته‬ ‫ـه‬‫ـ‬‫ت‬‫بيانا‬
DATA CAN NOW TAKE A PHYSICAL FORM Technology has made data accessible like never before which extends the conversation beyond the brand name and logo ‫التكنولوجيا‬ ‫ـت‬‫ـ‬‫ح‬‫أتا‬ ‫ـد‬‫ـ‬‫ق‬‫ل‬ ٍ‫ـكل‬‫ـ‬‫ش‬‫ب‬ ‫للبيانات‬ ‫ـول‬‫ـ‬‫ص‬‫الو‬ ‫ـبوق‬‫ـ‬‫س‬‫م‬ ‫غير‬ ‫البيانات‬ ‫ـذ‬‫ـ‬‫خ‬‫تأ‬ ‫ـد‬‫ـ‬‫ق‬ ‫مادية‬ ً ‫ـة‬‫ـ‬‫غ‬‫صي‬ ‫ـوم‬‫ـ‬‫ي‬‫ال‬
QATAR FOOTBALL ASSOCIATION ‫القدم‬ ‫لكرة‬ ‫القطري‬ ‫االتحاد‬
QFA MAKES EVERYONE PART OF THE BRAND by visualising pure, human emotions and energy created during the game ‫القطري‬ ‫ـاد‬‫ـ‬‫ح‬‫اإلت‬ ‫يجعل‬ ‫القدم‬ ‫ـرة‬‫ـ‬‫ك‬‫ل‬ ‫من‬ ً ‫جزءا‬ ‫ـخص‬‫ـ‬‫ش‬ ‫كل‬ ‫من‬ ‫ـة‬‫ـ‬‫ي‬‫التجار‬ ‫ـة‬‫ـ‬‫م‬‫العال‬ ‫الطاقات‬ ‫تصوير‬ ‫ـال‬‫ـ‬‫خ‬ ‫ـرية‬‫ـ‬‫ش‬‫الب‬ ‫واالنفعاالت‬ ‫المباريات‬ ‫ـال‬‫ـ‬‫خ‬
THE QFA LOGO REACTS TO THE POWER OF THE FANS using social feeds to create a living, breathing and interactive identity ‫مع‬ ‫ـعار‬‫ـ‬‫ش‬‫ال‬ ‫ـل‬‫ـ‬‫ع‬‫يتفا‬ ‫من‬ ‫ـجعين‬‫ـ‬‫ش‬‫الم‬ ‫ـة‬‫ـ‬‫ق‬‫طا‬ ‫التواصل‬ ‫ـبكات‬‫ـ‬‫ش‬ ‫خالل‬ ‫أجل‬ ‫من‬ ‫ـي‬‫ـ‬‫ع‬‫االجتما‬ ‫تفاعلية‬ ‫ـة‬‫ـ‬‫ي‬‫هو‬ ‫ـق‬‫ـ‬‫ل‬‫خ‬ ‫بالحيوية‬ ‫ـض‬‫ـ‬‫ب‬‫تن‬
THE LOGO IS NEVER STATIC and continuously in motion ‫يكون‬ ‫ال‬ ‫ـعار‬‫ـ‬‫ش‬‫ال‬ ‫وإنما‬ ً ‫ـدا‬‫ـ‬‫ب‬‫أ‬ ً ‫ـا‬‫ـ‬‫ت‬‫ثاب‬ ‫التطور‬ ‫ـم‬‫ـ‬‫ئ‬‫دا‬
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‫الثقافية‬ ‫الخصائص‬ CULTURAL CHARACTERISTICS
Every culture has its own set of symbols associated with DIFFERENT EXPERIENCES AND PERCEPTIONS ‫مجموعة‬ ‫ـة‬‫ـ‬‫ف‬‫ثقا‬ ‫ـكل‬‫ـ‬‫ل‬ ‫الخاصة‬ ‫ـا‬‫ـ‬‫ه‬‫رموز‬
Excessive use of these symbols runs the risk of producing CLICHÉD REPRESENTATIONS of the local culture THIS WAS PROMINENT IN THE MIDDLE EAST OVER THE PAST DECADE‫الزائد‬ ‫ـتخدام‬‫ـ‬‫س‬‫اال‬ ‫يؤدي‬ ‫الرموز‬ ‫ـذه‬‫ـ‬‫ه‬‫ل‬ ‫إنتاج‬ ‫مخاطرة‬ ‫ـى‬‫ـ‬‫ل‬‫إ‬ ‫نمطية‬ ‫ـرات‬‫ـ‬‫ي‬‫تصو‬
‫المتحدة‬ ‫ـة‬‫ـ‬‫ك‬‫الممل‬ ‫ـم‬‫ـ‬ َ ‫ل‬ َ ‫ع‬ UK - THE UNION FLAG
SIMILAR TO THE GULF, the art of calligraphy is at the core of the Chinese cultural heritage ‫الصين‬ CHINA ‫الخط‬ ‫فن‬ ‫ـي‬‫ـ‬‫ت‬‫يأ‬ ‫التراث‬ ‫صميم‬ ‫ـي‬‫ـ‬‫ف‬ ‫الصيني‬ ‫ـي‬‫ـ‬‫ف‬‫الثقا‬
TRADITIONAL MODERN GLOBAL By Qian QianBy Haji Noor Deen By Nod Young
WITH THE CONCERN OF WESTERNIZATION it is interesting to see how ancient Chinese art and craft could adapt to the modern context and started to have a global visual language‫ـاهد‬‫ـ‬‫ش‬‫ن‬ ‫أن‬ ‫ثير‬ ُ ‫الم‬ ‫من‬ ‫الفنون‬ ‫ف‬ّ‫تكي‬ ‫ـدرة‬‫ـ‬‫ق‬ ‫القديمة‬ ‫ـة‬‫ـ‬‫ي‬‫الصين‬ ‫المعاصر‬ ‫ـم‬‫ـ‬‫ل‬‫العا‬ ‫ـع‬‫ـ‬‫م‬ ‫التأثر‬ ‫ـاوف‬‫ـ‬‫خ‬‫م‬ ‫ـم‬‫ـ‬‫غ‬‫ر‬ ‫الغربية‬ ‫ـة‬‫ـ‬‫ف‬‫بالثقا‬
TRADITIONAL MODERN GLOBAL By Qian QianBy Mamoun Sakkal By Tewfik Tewfik
TRADITIONAL MODERN GLOBAL
‫ـري‬‫ـ‬‫ص‬‫ع‬ ‫أو‬ ‫ـدي‬‫ـ‬‫ي‬‫تقل‬ TRADITIONAL OR MODERN Arabic calligraphy has and continued to be the key element TO REPRESENT A STRONG ARABIC IDENTITY ‫العربي‬ ‫ـط‬‫ـ‬‫خ‬‫ال‬ ‫ـزال‬‫ـ‬‫ي‬ ‫ال‬ ‫المقومات‬ ‫ـد‬‫ـ‬‫ح‬‫أ‬ ‫ـيد‬‫ـ‬‫س‬‫تج‬ ‫في‬ ‫ـية‬‫ـ‬‫س‬‫الرئي‬ ‫العربية‬ ‫ـة‬‫ـ‬‫ي‬‫الهو‬ By Khawar Bilal
That shouldnt restrict us from taking a CONTEMPORARY APPROACH whilst keeping a link to the culture in this modern globalizing world ‫ـا‬‫ـ‬‫ن‬‫يمنع‬ ‫أن‬ ‫ـب‬‫ـ‬‫ج‬‫ي‬ ‫ال‬ ‫ـذا‬‫ـ‬‫ه‬ ‫معاصر‬ ‫نهج‬ ‫ـاع‬‫ـ‬‫ب‬‫ات‬ ‫ـن‬‫ـ‬‫م‬ ‫على‬ ‫الحفاظ‬ ‫ـع‬‫ـ‬‫م‬ ‫مع‬ ‫العالقة‬ ‫ـر‬‫ـ‬‫ص‬‫أوا‬ ‫في‬ ‫ـة‬‫ـ‬‫ي‬‫الثقاف‬ ‫ـم‬‫ـ‬ّ‫القي‬ ‫الحديث‬ ‫العالم‬ ‫ـذا‬‫ـ‬‫ه‬
CULTURE VALUES Communication in the Gulf is still focused heavily on symbols ‫الثقافة‬ ‫ـر‬‫ـ‬‫ص‬‫عنا‬ ELEMENTS OF CULTURE LANGUAGE SYMBOLS OF CULTURE
‫العولمة‬ GLOBALIZATION
Skyscrapers dominate almost every major city in the world. Should they be considered ‘Western’? OR IS A GLOBAL STYLE EVOLVING? ‫ـحاب‬‫ـ‬‫س‬‫ال‬ ‫ناطحات‬ ‫نرى‬ ‫الكبرى‬ ‫ـدن‬‫ـ‬‫م‬‫ال‬ ‫كل‬ ‫ـي‬‫ـ‬‫ف‬ ‫العالم‬ ‫ـي‬‫ـ‬‫ف‬
The Modern East, Jimmy Kmeid at Dubai Lynx
The Modern East, Jimmy Kmeid at Dubai Lynx
Global design is usually criticised for LACKING ELEMENTS OF LOCAL CULTURE ‫العالمي‬ ‫ـم‬‫ـ‬‫ي‬‫التصم‬ ‫من‬ ‫ـر‬‫ـ‬‫ص‬‫عنا‬ ‫ـه‬‫ـ‬‫ص‬‫تنق‬ ‫المحلية‬ ‫ـة‬‫ـ‬‫ف‬‫الثقا‬
The Modern East, Jimmy Kmeid at Dubai Lynx
THE ISSUE IS... Global design is considered A WESTERN IMPORT in an Arabic context ‫العالمي‬ ‫ـم‬‫ـ‬‫ي‬‫التصم‬ً ‫غربيا‬ ً ‫ـرا‬‫ـ‬‫ص‬‫عن‬ ‫ـر‬‫ـ‬‫ب‬‫عت‬ ُ ‫ي‬ ‫في‬ ً ‫ـتوردا‬‫ـ‬‫س‬ ُ ‫م‬ ‫العربي‬ ‫ـياق‬‫ـ‬‫س‬‫ال‬
HOWEVER... People in the Middle East WELCOME WHAT THEY FIND RELEVANT to their culture and reject what is not ‫في‬ ‫األفراد‬ ‫ـرق‬‫ـ‬‫ش‬‫ال‬ ‫منطقة‬ ‫رحبون‬ ُ ‫ي‬ ‫ـط‬‫ـ‬‫س‬‫األو‬ ‫يمثل‬ ‫ـه‬‫ـ‬‫ن‬‫يجدو‬ ‫ـا‬‫ـ‬‫م‬‫ب‬ ‫ويرفضون‬ ‫ـم‬‫ـ‬‫ه‬‫ثقافت‬ ‫ذلك‬ ‫غير‬ ‫ـو‬‫ـ‬‫ه‬ ‫ـا‬‫ـ‬‫م‬
TOM FRIEDMAN American journalist, columnist and author Friedman believes that GLOBALIZATION SERVES MORE TO ENRICH AND PRESERVE CULTURE than to destroy it ‫العولمة‬ ‫ـتهدف‬‫ـ‬‫س‬‫ت‬ ‫تعزيز‬ ‫ـر‬‫ـ‬‫ب‬‫أك‬ ‫ـكل‬‫ـ‬‫ش‬‫ب‬ ‫والحفاظ‬ ‫ـة‬‫ـ‬‫ف‬‫الثقا‬ ‫محوها‬ ‫ـس‬‫ـ‬‫ي‬‫ول‬ ،‫ـا‬‫ـ‬‫ه‬‫علي‬
THERE IS AN EXCHANGE BETWEEN THE EAST AND THE WEST not only change is happening in the east ‫تبادل‬ ‫ـاك‬‫ـ‬‫ن‬‫ه‬ ‫قائمة‬ ‫ـات‬‫ـ‬‫ق‬‫وعال‬ ‫والغرب‬ ‫ـرق‬‫ـ‬‫ش‬‫ال‬ ‫بين‬ ‫ليس‬ ‫التبادل‬ ‫ـذا‬‫ـ‬‫ه‬‫و‬ ‫فقط‬ ‫ـرق‬‫ـ‬‫ش‬‫ال‬ ‫في‬
Koeweiden Postma Dolce and Gabbana hijab and abaya collection Romon Yang
TRADITIONAL GLOBAL ‫الجديدة‬ ‫ـة‬‫ـ‬‫ي‬‫الثقاف‬ ‫ـة‬‫ـ‬‫ي‬‫والهو‬ ‫ـج‬‫ـ‬‫ي‬‫الخل‬ ‫ـة‬‫ـ‬‫ق‬‫منط‬ THE GULF AS A NEW CULTURAL IDENTITY NEW CULTURAL IDENTITY
GABER ASFOUR Professor and former Minister of Culture of Egypt We should not resort to preserving identity in its form of origin but rather USE IT AS A POTENTIAL FOR CREATIVITY ‫المفترض‬ ‫من‬ ‫ـس‬‫ـ‬‫ي‬‫ل‬ ‫الحفاظ‬ ‫ـى‬‫ـ‬‫ل‬‫إ‬ ‫ـأ‬‫ـ‬‫ج‬‫نل‬ ‫أن‬ ‫بهيئتها‬ ‫ـة‬‫ـ‬‫ي‬‫الهو‬ ‫ـى‬‫ـ‬‫ل‬‫ع‬ ‫من‬ ً ‫بدال‬ ‫ـة‬‫ـ‬‫ي‬‫األصل‬ ‫كفرصة‬ ‫ـتخدامها‬‫ـ‬‫س‬‫ا‬ ‫لإلبداع‬ ‫ـة‬‫ـ‬‫ل‬‫محتم‬
‫الحديث‬ ‫الشرق‬ THE MODERN EAST
The GULF has one of the fastest-growing populations in the world and THE VAST MAJORITY WILL BE UNDER 25 YEARS OF AGE BY 2020 © The Economist Intelligence Unit Limited ‫الخليج‬ ‫ـة‬‫ـ‬‫ق‬‫منط‬ ‫ـع‬‫ـ‬‫ت‬‫تتم‬ ‫يعد‬ ‫ـكاني‬‫ـ‬‫س‬ ‫ـداد‬‫ـ‬‫ع‬‫بت‬ ‫على‬ ً ‫نموا‬ ‫ـرع‬‫ـ‬‫س‬‫األ‬ ‫العالم‬ ‫ـتوى‬‫ـ‬‫س‬‫م‬
Today there are MORE CULTURES PRESENT IN THE MIDDLE EAST than almost anywhere in the world ‫ثقافات‬ ً ‫ـا‬‫ـ‬‫ي‬‫حال‬ ‫ـد‬‫ـ‬‫ج‬‫تو‬ ‫األوسط‬ ‫ـرق‬‫ـ‬‫ش‬‫ال‬ ‫في‬ ‫آخر‬ ‫مكان‬ ‫أي‬ ‫ـن‬‫ـ‬‫م‬ ‫ـر‬‫ـ‬‫ث‬‫أك‬ ‫العالم‬ ‫ـي‬‫ـ‬‫ف‬
QATAR 85% UAE 88% KUWAIT 69% BAHRAIN 52% KSA 32% ‫الخليج‬ ‫دول‬ ‫ـي‬‫ـ‬‫ف‬ ‫ـن‬‫ـ‬‫ي‬‫الوافد‬ ‫ـدد‬‫ـ‬‫ع‬ NUMBER OF EXPATS IN THE GULF OMAN 44% Source: The Gulf labour markets and migration. National institutes of statistics.
Expats in the UAE make up over 200NATIONALITIES 88% POPULATION ‫الوافدون‬ ‫ـل‬‫ـ‬‫ث‬‫يم‬ ‫من‬ %88 ‫ـن‬‫ـ‬‫م‬ ‫ـر‬‫ـ‬‫ث‬‫أك‬ ‫اإلمارات‬ ‫ـكان‬‫ـ‬‫س‬ ‫تعداد‬ Source: expo2020dubai.ae
JACQUE BERQUE French Islamic scholar and sociologist ”EAST IS THE HOME OF THE WORLD” ‫العالم‬ ‫موطن‬ ‫ـو‬‫ـ‬‫ه‬ ‫ـرق‬‫ـ‬‫ش‬‫ال‬” ”
‫محلي‬ ‫ـح‬‫ـ‬‫ب‬‫أص‬ ‫ـي‬‫ـ‬‫م‬‫العال‬ GLOBAL IS LOCAL
‫يتمتع‬ ‫الجديد‬ ‫الشرق‬ ‫أن‬ ‫محلي‬ ‫عالمي‬ ‫بطابع‬ THE MODERN EAST IS GLOCAL
There is a desire to CREATE BRANDS THAT APPEAL TO INTERNATIONAL AUDIENCES built on values from the Arabic culture ‫في‬ ‫رغبة‬ ‫ـاك‬‫ـ‬‫ن‬‫ه‬ ‫عالمات‬ ‫ـكار‬‫ـ‬‫ت‬‫اب‬ ‫ـرائح‬‫ـ‬‫ش‬‫ل‬ ‫تروق‬ ‫تجارية‬ ‫العالمي‬ ‫ـور‬‫ـ‬‫ه‬‫الجم‬
Emirates has maintained its position as both the top ARAB BRAND, AND MOST VALUABLE NAME IN GLOBAL AVIATION ‫طيران‬ ‫ـركة‬‫ـ‬‫ش‬ ‫ـتطاعت‬‫ـ‬‫س‬‫ا‬ ‫تحتفظ‬ ‫أن‬ ‫ـارات‬‫ـ‬‫م‬‫اإل‬ ‫عالمة‬ ‫ـل‬‫ـ‬‫ض‬‫كأف‬ ‫ـا‬‫ـ‬‫ه‬‫بمركز‬ ‫وأفضل‬ ‫ـة‬‫ـ‬‫ي‬‫عرب‬ ‫ـة‬‫ـ‬‫ي‬‫تجار‬ ‫على‬ ‫قيمة‬ ‫ذي‬ ‫ـم‬‫ـ‬‫س‬‫ا‬ ‫خدمات‬ ‫ـتوى‬‫ـ‬‫س‬‫م‬ ‫العالمية‬ ‫ـران‬‫ـ‬‫ي‬‫الط‬
TO BUILD A SUCCESSFUL GLOBAL BRAND WITH LOCAL RELEVANCE... ‫عالمة‬ ‫ـيس‬‫ـ‬‫س‬‫لتأ‬ ‫ناجحة‬ ‫ـة‬‫ـ‬‫ي‬‫عالم‬ ‫ـة‬‫ـ‬‫ي‬‫تجار‬ ...‫محلي‬ ‫ـع‬‫ـ‬‫ب‬‫طا‬ ‫ذات‬
CULTURE VALUES Shift of focus from symbol to values to deliver unique experiences LANGUAGE SYMBOLS OF CULTURE ‫الثقافة‬ ‫ـر‬‫ـ‬‫ص‬‫عنا‬ ELEMENTS OF CULTURE
SUCCESS IS DRIVEN BY A BRAND’S ABILITY TO LISTEN TO ITS CUSTOMER ‫على‬ ‫ـاح‬‫ـ‬‫ج‬‫الن‬ ‫ـد‬‫ـ‬‫م‬‫يعت‬ ‫العالمة‬ ‫ـدرة‬‫ـ‬‫ق‬ ‫تلبية‬ ‫ـى‬‫ـ‬‫ل‬‫ع‬ ‫ـة‬‫ـ‬‫ي‬‫التجار‬ ‫عمالئها‬ ‫ـات‬‫ـ‬‫ج‬‫احتيا‬
With an international audience eager to be entertained and inspired, BRANDS NEED TO PROVIDE UNIQUE AND MEMORABLE EXPERIENCES TO MEET THEIR EXPECTATIONS THEY NEED TO FEEL IT IS TAILORED FOR THEM, infused with purpose, meaning and character relevant to their culture while making it ready for the world ‫العالمات‬ ‫ـاج‬‫ـ‬‫ت‬‫تح‬ ‫تقديم‬ ‫ـى‬‫ـ‬‫ل‬‫إ‬ ‫ـة‬‫ـ‬‫ي‬‫التجار‬ ‫وبارزة‬ ‫فريدة‬ ‫ـارب‬‫ـ‬‫ج‬‫ت‬ ‫ـعر‬‫ـ‬‫ش‬‫ي‬ ‫أن‬ ‫ـور‬‫ـ‬‫ه‬‫الجم‬ ‫ـاج‬‫ـ‬‫ت‬‫يح‬ ‫مم‬ ُ ‫ص‬ ‫تقدمه‬ ‫ـا‬‫ـ‬‫م‬ ‫ـأن‬‫ـ‬‫ب‬ ‫أجله‬ ‫ـن‬‫ـ‬‫م‬ ً ‫ـا‬‫ـ‬‫ص‬‫خصي‬
IT DOESN’T MATTER HOW YOU LOOK IT’S WHAT YOU DO THAT COUNTS ‫يقتصر‬ ‫ال‬ ‫ـر‬‫ـ‬‫م‬‫األ‬ ‫ـكل‬‫ـ‬‫ش‬‫ال‬ ‫على‬ ‫على‬ ‫وإنما‬ ‫ـط‬‫ـ‬‫ق‬‫ف‬ ‫والتجارب‬ ‫ـال‬‫ـ‬‫ع‬‫األف‬
IN SUMMARY THE ROLE OF THE LOGO HAS CHANGED CREATE UNIQUE BRAND EXPERIENCES THE MODERN EAST IS GLOCAL EMBRACE YOUR CULTURE, INSPIRE AND INNOVATE DESIGN THE FUTURE OF THE MODERN EAST
THANK YOU JIMMY KMEID DESIGN DIRECTOR @FITCHDESIGN #DUBAILYNX

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The Modern East, Jimmy Kmeid at Dubai Lynx

  • 2. • Brand first, logo later • Why brand experience • Cultural characteristics • Globalization • The Modern East
  • 3. ‫المعنى؟‬ ‫ـاع‬‫ـ‬‫ض‬ ‫ـل‬‫ـ‬‫ه‬ LOST IN TRANSLATION LOGO ‫الشعار‬ BRAND ‫التجارية‬ ‫العالمة‬ TRADEMARK ‫التجارية‬ ‫الماركة‬
  • 4. TOP BOTTOM ‫التجارية‬ ‫ـة‬‫ـ‬‫م‬‫العال‬ ‫ـم‬‫ـ‬‫ث‬ ، ً ‫أوال‬ ‫ـعار‬‫ـ‬‫ش‬‫ال‬ LOGO FIRST, BRAND LATER LOGO BRAND
  • 5. Logos are too often expected TO CARRY MORE WEIGHT THAN THEY SHOULD HANDLE ‫أن‬ ‫ـي‬‫ـ‬‫ف‬ ‫ـن‬‫ـ‬‫م‬‫تك‬ ‫ـكلة‬‫ـ‬‫ش‬‫الم‬ THE PROBLEM IS ‫أن‬ ‫توقع‬ ُ ‫ي‬ ‫ـا‬‫ـ‬‫م‬ ً ‫ـرا‬‫ـ‬‫ي‬‫كث‬ ‫ـعارات‬‫ـ‬‫ش‬‫ال‬ ‫تحمل‬ ‫ومغزى‬ ً ‫ـة‬‫ـ‬‫م‬‫قي‬ ‫المفترض‬ ‫ـن‬‫ـ‬‫م‬ ‫ـر‬‫ـ‬‫ب‬‫أك‬
  • 6. ‫عادلة‬ ‫ـر‬‫ـ‬‫ي‬‫غ‬ ‫ـات‬‫ـ‬‫ع‬‫توق‬ UNFAIR EXPECTATIONS Logo needs to tell the WHOLE STORY of the brand The logo will make the BUSINESS SUCCESSFUL A new logo should have the SAME IMPACT AS KNOWN BRANDS
  • 7. It doesn’t mean that a logo shouldn’t be CREATIVE, EFFECTIVE AND DISTINCTIVE ‫أن‬ ‫ـي‬‫ـ‬‫ن‬‫يع‬ ‫ال‬ ‫ـذا‬‫ـ‬‫ه‬ ‫ض‬ َ ‫فتر‬ ُ ‫ي‬ ‫ـعار‬‫ـ‬‫ش‬‫ال‬ً ‫إبداعيا‬ ‫ـون‬‫ـ‬‫ك‬‫ي‬ ‫أال‬
  • 8. ‫التجارية‬ ‫العالمة‬ ‫نفسه‬ ‫هو‬ ‫الشعار‬ ‫كان‬ ً ‫قديما‬ IN THE OLD DAYS THE LOGO WAS THE BRAND And the brand was the product ‫التجارية‬ ‫ـة‬‫ـ‬‫م‬‫والعال‬ ‫المنتج‬ ‫ـت‬‫ـ‬‫ن‬‫كا‬
  • 9. Today a brand is much more than its logo, IT’S A LIFESTYLE CHOICE ‫فالعالمة‬ ‫اآلن‬ ‫ـا‬‫ـ‬‫م‬‫أ‬ ‫مجرد‬ ‫من‬ ‫ـر‬‫ـ‬‫ث‬‫أك‬ ‫ـة‬‫ـ‬‫ي‬‫التجار‬ ‫اختيار‬ ‫إنها‬ ،‫ـعار‬‫ـ‬‫ش‬ ‫حياة‬ ‫ـلوب‬‫ـ‬‫س‬‫أ‬
  • 10. ONLIN E O U T OFSTORE IN STORE Mall-based stores present an edited version of the range NIKE STORES The Flagship experience that presents the brand in the ultimate way NIKETOWN An opportunity to explore and buy the brand at a discounted price FACTORY OUTLET NIKE ID STUDIO RUNNING LAB DISPLAY POSM POS SIS The majority of the retail experience and is often the focal point of a sports department THIRD PARTY RETAIL In this environment it is important to present the brand in a consistent and dynamic way with less physical touchpoints than owned stores. Perfect for those exploring and locating particular products A vehicle that follows you while you trial running shoes in the great outdoors NIKE TRIAL VAN A training aid that further secures the loyalty of all the mind states NIKE + Aimed at the sports enthusiast and casual athlete - filled with sports inspiration and editorial content NIKE.COM 1948 POP UP NIKE 6 NIKE LEBRON NIKE + RED RUN CITY HUMAN RACE NIKE ID APP NIKE TRUE CITY APP NIKE TRAINING APP A comprehensive shopping site NIKE.STORE.COM A commerce site that also contains tips and inspiration - allows explorers and locaters to browse by sports or product type Customise your own pair of trainers - perfect for dreamers who want a personalised product NIKE ID Brands are made of many elements coming together to CREATE A COHERENT EXPERIENCE ‫التجارية‬ ‫ـات‬‫ـ‬‫م‬‫العال‬ ‫ـون‬‫ـ‬‫ك‬‫تت‬ ‫من‬ ‫العديد‬ ‫ـن‬‫ـ‬‫م‬ ‫ـوم‬‫ـ‬‫ي‬‫ال‬ً ‫معا‬ ‫ل‬ ّ ‫ـك‬‫ـ‬‫ش‬ ُ ‫ت‬ ‫ـي‬‫ـ‬‫ت‬‫ال‬ ‫ـر‬‫ـ‬‫ص‬‫العنا‬ ‫مترابطة‬ ً ‫ـة‬‫ـ‬‫ب‬‫تجر‬
  • 11. A big investment in a logo is worthless when it is not supported by a CONSISTENT BRAND EXPERIENCE ‫ـتثمارات‬‫ـ‬‫س‬‫لال‬ ‫فائدة‬ ‫ال‬ ‫ـعار‬‫ـ‬‫ش‬‫ال‬ ‫في‬ ‫الكبيرة‬ً ‫مدعومة‬ ‫تكن‬ ‫ـم‬‫ـ‬‫ل‬ ‫ـا‬‫ـ‬‫م‬ ‫عالمة‬ ‫ـة‬‫ـ‬‫ب‬‫بتجر‬ ً ‫ـة‬‫ـ‬‫ن‬‫ومقتر‬ ‫ـقة‬‫ـ‬‫س‬‫مت‬ ‫تجارية‬
  • 12. Logos have always been about differentiation BUT NOW IT’S AT THE EXPERIENCE LEVEL, NOT JUST THE PRODUCT LEVEL ‫ـعارات‬‫ـ‬‫ش‬‫ال‬ ‫كانت‬ ‫لقد‬ ‫حول‬ ‫تدور‬ ً ‫ـا‬‫ـ‬‫م‬‫دائ‬ ‫ولكنها‬ ،‫ـز‬‫ـ‬ّ‫التمي‬ ‫ـل‬‫ـ‬‫م‬‫عا‬ ‫ـمل‬‫ـ‬‫ش‬‫لت‬ ‫امتدت‬ ‫اآلن‬ ‫التجربة‬ ‫ـتوى‬‫ـ‬‫س‬‫م‬ ‫للجمهور‬ ‫ـة‬‫ـ‬‫م‬‫المقد‬
  • 13. BOTTOM TOP BOTTOM ‫ـعار‬‫ـ‬‫ش‬‫ال‬ ‫ثم‬ ، ً ‫أوال‬ ‫ـة‬‫ـ‬‫ي‬‫التجار‬ ‫ـة‬‫ـ‬‫م‬‫العال‬ BRAND FIRST, LOGO LATER LOGO BRAND
  • 14. ‫متزنة‬ ‫غير‬ ‫ـة‬‫ـ‬‫ي‬‫تجار‬ ‫ـة‬‫ـ‬‫م‬‫عال‬ ‫ـة‬‫ـ‬‫ب‬‫تجر‬ ‫ـن‬‫ـ‬‫م‬ FROM:A DISORDERED BRAND EXPERIENCE BRAND ESSENCE LOGO BRAND EXPERIENCE SHIFT METHODOLOGY
  • 15. BRAND ESSENCE LOGO BRAND EXPERIENCE SHIFT METHODOLOGY ‫الة‬ ّ ‫وفع‬ ‫ـة‬‫ـ‬‫س‬‫سل‬ ‫ـة‬‫ـ‬‫ي‬‫تجار‬ ‫ـة‬‫ـ‬‫م‬‫عال‬ ‫ـة‬‫ـ‬‫ب‬‫تجر‬ ‫ـى‬‫ـ‬‫ل‬‫إ‬ TO:A SEAMLESS BRAND EXPERIENCE
  • 16. Future STATIC DYNAMIC PLATFORM FOR EXPERIENCE ‫ر‬ّ‫والتغي‬ ‫ر‬ ّ ‫ـو‬‫ـ‬‫ط‬‫الت‬ ‫ـة‬‫ـ‬‫م‬‫دائ‬ ‫ـعارات‬‫ـ‬‫ش‬‫ال‬ LOGOS ARE EVOLVING
  • 17. The logo as the primary representation of the brand IS DEAD THE LOGO AS A PLATFORM FOR EXPERIENCE IS ALIVE ‫ـعار‬‫ـ‬‫ش‬‫ال‬ ‫وظيفة‬ ‫رت‬ ّ ‫ـو‬‫ـ‬‫ط‬‫ت‬ ‫ـد‬‫ـ‬‫ق‬‫ل‬ THE ROLE OF THE LOGO HAS EVOLVED ‫كعنصر‬ ‫ـعار‬‫ـ‬‫ش‬‫ال‬ ‫ـر‬‫ـ‬‫ص‬‫ع‬ ‫العالمة‬ ‫في‬ ‫ـي‬‫ـ‬‫س‬‫اسا‬ ‫انتهى‬ ‫ـة‬‫ـ‬‫ي‬‫التجار‬ ‫مفهوم‬ ‫عصر‬ ‫ـة‬‫ـ‬‫ي‬‫بدا‬ ‫كمنصة‬ ‫ـعار‬‫ـ‬‫ش‬‫ال‬ ‫للتجربة‬ ‫ـور‬‫ـ‬‫ح‬‫وم‬
  • 19. CUSTOMERS REMEMBER BRAND EXPERIENCES, NOT THE LOGO ‫مع‬ ‫تجاربهم‬ ‫العمالء‬ ‫يتذكر‬ ‫وليس‬ ‫التجارية‬ ‫العالمات‬ ‫نفسه‬ ‫الشعار‬
  • 20. MODERN LIFE IN THE GULF ‫في‬ ‫العصرية‬ ‫الحياة‬ ‫الخليج‬ ‫منطقة‬
  • 21. ‫حولهم‬ ‫من‬ ‫بالعالم‬ ً ‫اتصاال‬ ‫أكثر‬ MORE CONNECTED We often hear about a brand for the first time from friends ­not from brands themselves. Experience is taking over many roles that used to belong to the domain of communications.
  • 22. ‫الرفاهية‬ ‫لوسائل‬ ً ‫طلبا‬ ‫أكثر‬ MORE LEISURE SEEKING Millennial are seeking out experiences over products. We are seeing a swing to thinking about products as the artefacts of a continuous shopping journey.
  • 23. ً ‫ـاركة‬‫ـ‬‫ش‬‫وم‬ ً ‫وعيا‬ ‫أكثر‬ MORE INFORMED & INVOLVED People are participating more and more with products and brands ­sometimes to tailor-make a special product and sometimes to influence the direction of a brand. We see people spending time to influence the decision-making of the brands they like.
  • 25. By 2020, today’s 15–19 year olds (Gen z) will be the LARGEST GROUP OF CONSUMERS WORLDWIDE Source: FITCH Gen Z Shopping: Designing retail for the constant state of partial attention Z ‫الجيل‬ ‫ـيمثل‬‫ـ‬‫س‬ ‫جمهور‬ ‫من‬ ‫ـة‬‫ـ‬‫ئ‬‫ف‬ ‫ـر‬‫ـ‬‫ب‬‫أك‬ ‫حول‬ ‫ـتهلكين‬‫ـ‬‫س‬‫الم‬ ‫حلول‬ ‫في‬ ‫ـم‬‫ـ‬‫ل‬‫العا‬ ٢٠٢٠ ‫العام‬
  • 26. Gen Z were born seamless and expect a similarly SEAMLESS EXPERIENCE Source: FITCH Gen Z Shopping: Designing retail for the constant state of partial attention ‫في‬ ‫في‬ Z ‫الجيل‬ ‫لد‬ ُ ‫و‬ ‫بالسهولة‬ ‫تتسم‬ ‫بيئة‬ ‫وبالتالي‬ ‫والسالسة‬ً ‫تجربة‬ ‫يتوقعون‬ ‫فهم‬ ‫الوتيرة‬ ‫نفس‬ ‫على‬
  • 27. THEY DON’T BELIEVE THERE WAS A DIGITAL REVOLUTION, they were born in it ‫يؤمنون‬ ‫ال‬ ‫ـم‬‫ـ‬‫ه‬ ‫رقمية‬ ‫ـورة‬‫ـ‬‫ث‬ ‫ـود‬‫ـ‬‫ج‬‫بو‬ ‫فيها‬ ‫لدوا‬ ُ ‫و‬ ‫ـم‬‫ـ‬‫ه‬‫ألن‬
  • 28. ‫التكنولوجيا‬ ‫فضاء‬ ‫في‬ ‫يسبح‬ ٌ ‫جيل‬ ‫هم‬ THEY SWIM IN TECHNOLOGY SOCIAL MEDIA PENETRATION: (active accounts) 29% in Saudi Arabia 56% in the UAE MOBILE BROADBAND PENETRATION: (3G & 4G connections) 144% in both Saudi Arabia and the UAE Source: We Are Social’s Digital, Social and & Mobile report, 2015 MOBILE SOCIAL MEDIA PENETRATION: (active accounts) KSA 8M UAE 4.6M
  • 29. Gen Z want nothing more than to SHARE THEIR DATA AND INFORMATION but most organisations currently are unable to receive it Source: FITCH Gen Z Shopping: Designing retail for the constant state of partial attention Z ‫ـل‬‫ـ‬‫ي‬‫الج‬ ‫ـد‬‫ـ‬‫ي‬‫ير‬ ‫ال‬ ‫ـاركة‬‫ـ‬‫ش‬‫م‬ ‫من‬ ‫أكثر‬ ‫ومعلوماته‬ ‫ـه‬‫ـ‬‫ت‬‫بيانا‬
  • 30. DATA CAN NOW TAKE A PHYSICAL FORM Technology has made data accessible like never before which extends the conversation beyond the brand name and logo ‫التكنولوجيا‬ ‫ـت‬‫ـ‬‫ح‬‫أتا‬ ‫ـد‬‫ـ‬‫ق‬‫ل‬ ٍ‫ـكل‬‫ـ‬‫ش‬‫ب‬ ‫للبيانات‬ ‫ـول‬‫ـ‬‫ص‬‫الو‬ ‫ـبوق‬‫ـ‬‫س‬‫م‬ ‫غير‬ ‫البيانات‬ ‫ـذ‬‫ـ‬‫خ‬‫تأ‬ ‫ـد‬‫ـ‬‫ق‬ ‫مادية‬ ً ‫ـة‬‫ـ‬‫غ‬‫صي‬ ‫ـوم‬‫ـ‬‫ي‬‫ال‬
  • 31. QATAR FOOTBALL ASSOCIATION ‫القدم‬ ‫لكرة‬ ‫القطري‬ ‫االتحاد‬
  • 32. QFA MAKES EVERYONE PART OF THE BRAND by visualising pure, human emotions and energy created during the game ‫القطري‬ ‫ـاد‬‫ـ‬‫ح‬‫اإلت‬ ‫يجعل‬ ‫القدم‬ ‫ـرة‬‫ـ‬‫ك‬‫ل‬ ‫من‬ ً ‫جزءا‬ ‫ـخص‬‫ـ‬‫ش‬ ‫كل‬ ‫من‬ ‫ـة‬‫ـ‬‫ي‬‫التجار‬ ‫ـة‬‫ـ‬‫م‬‫العال‬ ‫الطاقات‬ ‫تصوير‬ ‫ـال‬‫ـ‬‫خ‬ ‫ـرية‬‫ـ‬‫ش‬‫الب‬ ‫واالنفعاالت‬ ‫المباريات‬ ‫ـال‬‫ـ‬‫خ‬
  • 33. THE QFA LOGO REACTS TO THE POWER OF THE FANS using social feeds to create a living, breathing and interactive identity ‫مع‬ ‫ـعار‬‫ـ‬‫ش‬‫ال‬ ‫ـل‬‫ـ‬‫ع‬‫يتفا‬ ‫من‬ ‫ـجعين‬‫ـ‬‫ش‬‫الم‬ ‫ـة‬‫ـ‬‫ق‬‫طا‬ ‫التواصل‬ ‫ـبكات‬‫ـ‬‫ش‬ ‫خالل‬ ‫أجل‬ ‫من‬ ‫ـي‬‫ـ‬‫ع‬‫االجتما‬ ‫تفاعلية‬ ‫ـة‬‫ـ‬‫ي‬‫هو‬ ‫ـق‬‫ـ‬‫ل‬‫خ‬ ‫بالحيوية‬ ‫ـض‬‫ـ‬‫ب‬‫تن‬
  • 34. THE LOGO IS NEVER STATIC and continuously in motion ‫يكون‬ ‫ال‬ ‫ـعار‬‫ـ‬‫ش‬‫ال‬ ‫وإنما‬ ً ‫ـدا‬‫ـ‬‫ب‬‫أ‬ ً ‫ـا‬‫ـ‬‫ت‬‫ثاب‬ ‫التطور‬ ‫ـم‬‫ـ‬‫ئ‬‫دا‬
  • 35. CLICK HERE TO PLAY VIDEO
  • 37. Every culture has its own set of symbols associated with DIFFERENT EXPERIENCES AND PERCEPTIONS ‫مجموعة‬ ‫ـة‬‫ـ‬‫ف‬‫ثقا‬ ‫ـكل‬‫ـ‬‫ل‬ ‫الخاصة‬ ‫ـا‬‫ـ‬‫ه‬‫رموز‬
  • 38. Excessive use of these symbols runs the risk of producing CLICHÉD REPRESENTATIONS of the local culture THIS WAS PROMINENT IN THE MIDDLE EAST OVER THE PAST DECADE‫الزائد‬ ‫ـتخدام‬‫ـ‬‫س‬‫اال‬ ‫يؤدي‬ ‫الرموز‬ ‫ـذه‬‫ـ‬‫ه‬‫ل‬ ‫إنتاج‬ ‫مخاطرة‬ ‫ـى‬‫ـ‬‫ل‬‫إ‬ ‫نمطية‬ ‫ـرات‬‫ـ‬‫ي‬‫تصو‬
  • 40. SIMILAR TO THE GULF, the art of calligraphy is at the core of the Chinese cultural heritage ‫الصين‬ CHINA ‫الخط‬ ‫فن‬ ‫ـي‬‫ـ‬‫ت‬‫يأ‬ ‫التراث‬ ‫صميم‬ ‫ـي‬‫ـ‬‫ف‬ ‫الصيني‬ ‫ـي‬‫ـ‬‫ف‬‫الثقا‬
  • 41. TRADITIONAL MODERN GLOBAL By Qian QianBy Haji Noor Deen By Nod Young
  • 42. WITH THE CONCERN OF WESTERNIZATION it is interesting to see how ancient Chinese art and craft could adapt to the modern context and started to have a global visual language‫ـاهد‬‫ـ‬‫ش‬‫ن‬ ‫أن‬ ‫ثير‬ ُ ‫الم‬ ‫من‬ ‫الفنون‬ ‫ف‬ّ‫تكي‬ ‫ـدرة‬‫ـ‬‫ق‬ ‫القديمة‬ ‫ـة‬‫ـ‬‫ي‬‫الصين‬ ‫المعاصر‬ ‫ـم‬‫ـ‬‫ل‬‫العا‬ ‫ـع‬‫ـ‬‫م‬ ‫التأثر‬ ‫ـاوف‬‫ـ‬‫خ‬‫م‬ ‫ـم‬‫ـ‬‫غ‬‫ر‬ ‫الغربية‬ ‫ـة‬‫ـ‬‫ف‬‫بالثقا‬
  • 43. TRADITIONAL MODERN GLOBAL By Qian QianBy Mamoun Sakkal By Tewfik Tewfik
  • 45. ‫ـري‬‫ـ‬‫ص‬‫ع‬ ‫أو‬ ‫ـدي‬‫ـ‬‫ي‬‫تقل‬ TRADITIONAL OR MODERN Arabic calligraphy has and continued to be the key element TO REPRESENT A STRONG ARABIC IDENTITY ‫العربي‬ ‫ـط‬‫ـ‬‫خ‬‫ال‬ ‫ـزال‬‫ـ‬‫ي‬ ‫ال‬ ‫المقومات‬ ‫ـد‬‫ـ‬‫ح‬‫أ‬ ‫ـيد‬‫ـ‬‫س‬‫تج‬ ‫في‬ ‫ـية‬‫ـ‬‫س‬‫الرئي‬ ‫العربية‬ ‫ـة‬‫ـ‬‫ي‬‫الهو‬ By Khawar Bilal
  • 46. That shouldnt restrict us from taking a CONTEMPORARY APPROACH whilst keeping a link to the culture in this modern globalizing world ‫ـا‬‫ـ‬‫ن‬‫يمنع‬ ‫أن‬ ‫ـب‬‫ـ‬‫ج‬‫ي‬ ‫ال‬ ‫ـذا‬‫ـ‬‫ه‬ ‫معاصر‬ ‫نهج‬ ‫ـاع‬‫ـ‬‫ب‬‫ات‬ ‫ـن‬‫ـ‬‫م‬ ‫على‬ ‫الحفاظ‬ ‫ـع‬‫ـ‬‫م‬ ‫مع‬ ‫العالقة‬ ‫ـر‬‫ـ‬‫ص‬‫أوا‬ ‫في‬ ‫ـة‬‫ـ‬‫ي‬‫الثقاف‬ ‫ـم‬‫ـ‬ّ‫القي‬ ‫الحديث‬ ‫العالم‬ ‫ـذا‬‫ـ‬‫ه‬
  • 47. CULTURE VALUES Communication in the Gulf is still focused heavily on symbols ‫الثقافة‬ ‫ـر‬‫ـ‬‫ص‬‫عنا‬ ELEMENTS OF CULTURE LANGUAGE SYMBOLS OF CULTURE
  • 49. Skyscrapers dominate almost every major city in the world. Should they be considered ‘Western’? OR IS A GLOBAL STYLE EVOLVING? ‫ـحاب‬‫ـ‬‫س‬‫ال‬ ‫ناطحات‬ ‫نرى‬ ‫الكبرى‬ ‫ـدن‬‫ـ‬‫م‬‫ال‬ ‫كل‬ ‫ـي‬‫ـ‬‫ف‬ ‫العالم‬ ‫ـي‬‫ـ‬‫ف‬
  • 52. Global design is usually criticised for LACKING ELEMENTS OF LOCAL CULTURE ‫العالمي‬ ‫ـم‬‫ـ‬‫ي‬‫التصم‬ ‫من‬ ‫ـر‬‫ـ‬‫ص‬‫عنا‬ ‫ـه‬‫ـ‬‫ص‬‫تنق‬ ‫المحلية‬ ‫ـة‬‫ـ‬‫ف‬‫الثقا‬
  • 54. THE ISSUE IS... Global design is considered A WESTERN IMPORT in an Arabic context ‫العالمي‬ ‫ـم‬‫ـ‬‫ي‬‫التصم‬ً ‫غربيا‬ ً ‫ـرا‬‫ـ‬‫ص‬‫عن‬ ‫ـر‬‫ـ‬‫ب‬‫عت‬ ُ ‫ي‬ ‫في‬ ً ‫ـتوردا‬‫ـ‬‫س‬ ُ ‫م‬ ‫العربي‬ ‫ـياق‬‫ـ‬‫س‬‫ال‬
  • 55. HOWEVER... People in the Middle East WELCOME WHAT THEY FIND RELEVANT to their culture and reject what is not ‫في‬ ‫األفراد‬ ‫ـرق‬‫ـ‬‫ش‬‫ال‬ ‫منطقة‬ ‫رحبون‬ ُ ‫ي‬ ‫ـط‬‫ـ‬‫س‬‫األو‬ ‫يمثل‬ ‫ـه‬‫ـ‬‫ن‬‫يجدو‬ ‫ـا‬‫ـ‬‫م‬‫ب‬ ‫ويرفضون‬ ‫ـم‬‫ـ‬‫ه‬‫ثقافت‬ ‫ذلك‬ ‫غير‬ ‫ـو‬‫ـ‬‫ه‬ ‫ـا‬‫ـ‬‫م‬
  • 56. TOM FRIEDMAN American journalist, columnist and author Friedman believes that GLOBALIZATION SERVES MORE TO ENRICH AND PRESERVE CULTURE than to destroy it ‫العولمة‬ ‫ـتهدف‬‫ـ‬‫س‬‫ت‬ ‫تعزيز‬ ‫ـر‬‫ـ‬‫ب‬‫أك‬ ‫ـكل‬‫ـ‬‫ش‬‫ب‬ ‫والحفاظ‬ ‫ـة‬‫ـ‬‫ف‬‫الثقا‬ ‫محوها‬ ‫ـس‬‫ـ‬‫ي‬‫ول‬ ،‫ـا‬‫ـ‬‫ه‬‫علي‬
  • 57. THERE IS AN EXCHANGE BETWEEN THE EAST AND THE WEST not only change is happening in the east ‫تبادل‬ ‫ـاك‬‫ـ‬‫ن‬‫ه‬ ‫قائمة‬ ‫ـات‬‫ـ‬‫ق‬‫وعال‬ ‫والغرب‬ ‫ـرق‬‫ـ‬‫ش‬‫ال‬ ‫بين‬ ‫ليس‬ ‫التبادل‬ ‫ـذا‬‫ـ‬‫ه‬‫و‬ ‫فقط‬ ‫ـرق‬‫ـ‬‫ش‬‫ال‬ ‫في‬
  • 58. Koeweiden Postma Dolce and Gabbana hijab and abaya collection Romon Yang
  • 59. TRADITIONAL GLOBAL ‫الجديدة‬ ‫ـة‬‫ـ‬‫ي‬‫الثقاف‬ ‫ـة‬‫ـ‬‫ي‬‫والهو‬ ‫ـج‬‫ـ‬‫ي‬‫الخل‬ ‫ـة‬‫ـ‬‫ق‬‫منط‬ THE GULF AS A NEW CULTURAL IDENTITY NEW CULTURAL IDENTITY
  • 60. GABER ASFOUR Professor and former Minister of Culture of Egypt We should not resort to preserving identity in its form of origin but rather USE IT AS A POTENTIAL FOR CREATIVITY ‫المفترض‬ ‫من‬ ‫ـس‬‫ـ‬‫ي‬‫ل‬ ‫الحفاظ‬ ‫ـى‬‫ـ‬‫ل‬‫إ‬ ‫ـأ‬‫ـ‬‫ج‬‫نل‬ ‫أن‬ ‫بهيئتها‬ ‫ـة‬‫ـ‬‫ي‬‫الهو‬ ‫ـى‬‫ـ‬‫ل‬‫ع‬ ‫من‬ ً ‫بدال‬ ‫ـة‬‫ـ‬‫ي‬‫األصل‬ ‫كفرصة‬ ‫ـتخدامها‬‫ـ‬‫س‬‫ا‬ ‫لإلبداع‬ ‫ـة‬‫ـ‬‫ل‬‫محتم‬
  • 62. The GULF has one of the fastest-growing populations in the world and THE VAST MAJORITY WILL BE UNDER 25 YEARS OF AGE BY 2020 © The Economist Intelligence Unit Limited ‫الخليج‬ ‫ـة‬‫ـ‬‫ق‬‫منط‬ ‫ـع‬‫ـ‬‫ت‬‫تتم‬ ‫يعد‬ ‫ـكاني‬‫ـ‬‫س‬ ‫ـداد‬‫ـ‬‫ع‬‫بت‬ ‫على‬ ً ‫نموا‬ ‫ـرع‬‫ـ‬‫س‬‫األ‬ ‫العالم‬ ‫ـتوى‬‫ـ‬‫س‬‫م‬
  • 63. Today there are MORE CULTURES PRESENT IN THE MIDDLE EAST than almost anywhere in the world ‫ثقافات‬ ً ‫ـا‬‫ـ‬‫ي‬‫حال‬ ‫ـد‬‫ـ‬‫ج‬‫تو‬ ‫األوسط‬ ‫ـرق‬‫ـ‬‫ش‬‫ال‬ ‫في‬ ‫آخر‬ ‫مكان‬ ‫أي‬ ‫ـن‬‫ـ‬‫م‬ ‫ـر‬‫ـ‬‫ث‬‫أك‬ ‫العالم‬ ‫ـي‬‫ـ‬‫ف‬
  • 64. QATAR 85% UAE 88% KUWAIT 69% BAHRAIN 52% KSA 32% ‫الخليج‬ ‫دول‬ ‫ـي‬‫ـ‬‫ف‬ ‫ـن‬‫ـ‬‫ي‬‫الوافد‬ ‫ـدد‬‫ـ‬‫ع‬ NUMBER OF EXPATS IN THE GULF OMAN 44% Source: The Gulf labour markets and migration. National institutes of statistics.
  • 65. Expats in the UAE make up over 200NATIONALITIES 88% POPULATION ‫الوافدون‬ ‫ـل‬‫ـ‬‫ث‬‫يم‬ ‫من‬ %88 ‫ـن‬‫ـ‬‫م‬ ‫ـر‬‫ـ‬‫ث‬‫أك‬ ‫اإلمارات‬ ‫ـكان‬‫ـ‬‫س‬ ‫تعداد‬ Source: expo2020dubai.ae
  • 66. JACQUE BERQUE French Islamic scholar and sociologist ”EAST IS THE HOME OF THE WORLD” ‫العالم‬ ‫موطن‬ ‫ـو‬‫ـ‬‫ه‬ ‫ـرق‬‫ـ‬‫ش‬‫ال‬” ”
  • 68. ‫يتمتع‬ ‫الجديد‬ ‫الشرق‬ ‫أن‬ ‫محلي‬ ‫عالمي‬ ‫بطابع‬ THE MODERN EAST IS GLOCAL
  • 69. There is a desire to CREATE BRANDS THAT APPEAL TO INTERNATIONAL AUDIENCES built on values from the Arabic culture ‫في‬ ‫رغبة‬ ‫ـاك‬‫ـ‬‫ن‬‫ه‬ ‫عالمات‬ ‫ـكار‬‫ـ‬‫ت‬‫اب‬ ‫ـرائح‬‫ـ‬‫ش‬‫ل‬ ‫تروق‬ ‫تجارية‬ ‫العالمي‬ ‫ـور‬‫ـ‬‫ه‬‫الجم‬
  • 70. Emirates has maintained its position as both the top ARAB BRAND, AND MOST VALUABLE NAME IN GLOBAL AVIATION ‫طيران‬ ‫ـركة‬‫ـ‬‫ش‬ ‫ـتطاعت‬‫ـ‬‫س‬‫ا‬ ‫تحتفظ‬ ‫أن‬ ‫ـارات‬‫ـ‬‫م‬‫اإل‬ ‫عالمة‬ ‫ـل‬‫ـ‬‫ض‬‫كأف‬ ‫ـا‬‫ـ‬‫ه‬‫بمركز‬ ‫وأفضل‬ ‫ـة‬‫ـ‬‫ي‬‫عرب‬ ‫ـة‬‫ـ‬‫ي‬‫تجار‬ ‫على‬ ‫قيمة‬ ‫ذي‬ ‫ـم‬‫ـ‬‫س‬‫ا‬ ‫خدمات‬ ‫ـتوى‬‫ـ‬‫س‬‫م‬ ‫العالمية‬ ‫ـران‬‫ـ‬‫ي‬‫الط‬
  • 71. TO BUILD A SUCCESSFUL GLOBAL BRAND WITH LOCAL RELEVANCE... ‫عالمة‬ ‫ـيس‬‫ـ‬‫س‬‫لتأ‬ ‫ناجحة‬ ‫ـة‬‫ـ‬‫ي‬‫عالم‬ ‫ـة‬‫ـ‬‫ي‬‫تجار‬ ...‫محلي‬ ‫ـع‬‫ـ‬‫ب‬‫طا‬ ‫ذات‬
  • 72. CULTURE VALUES Shift of focus from symbol to values to deliver unique experiences LANGUAGE SYMBOLS OF CULTURE ‫الثقافة‬ ‫ـر‬‫ـ‬‫ص‬‫عنا‬ ELEMENTS OF CULTURE
  • 73. SUCCESS IS DRIVEN BY A BRAND’S ABILITY TO LISTEN TO ITS CUSTOMER ‫على‬ ‫ـاح‬‫ـ‬‫ج‬‫الن‬ ‫ـد‬‫ـ‬‫م‬‫يعت‬ ‫العالمة‬ ‫ـدرة‬‫ـ‬‫ق‬ ‫تلبية‬ ‫ـى‬‫ـ‬‫ل‬‫ع‬ ‫ـة‬‫ـ‬‫ي‬‫التجار‬ ‫عمالئها‬ ‫ـات‬‫ـ‬‫ج‬‫احتيا‬
  • 74. With an international audience eager to be entertained and inspired, BRANDS NEED TO PROVIDE UNIQUE AND MEMORABLE EXPERIENCES TO MEET THEIR EXPECTATIONS THEY NEED TO FEEL IT IS TAILORED FOR THEM, infused with purpose, meaning and character relevant to their culture while making it ready for the world ‫العالمات‬ ‫ـاج‬‫ـ‬‫ت‬‫تح‬ ‫تقديم‬ ‫ـى‬‫ـ‬‫ل‬‫إ‬ ‫ـة‬‫ـ‬‫ي‬‫التجار‬ ‫وبارزة‬ ‫فريدة‬ ‫ـارب‬‫ـ‬‫ج‬‫ت‬ ‫ـعر‬‫ـ‬‫ش‬‫ي‬ ‫أن‬ ‫ـور‬‫ـ‬‫ه‬‫الجم‬ ‫ـاج‬‫ـ‬‫ت‬‫يح‬ ‫مم‬ ُ ‫ص‬ ‫تقدمه‬ ‫ـا‬‫ـ‬‫م‬ ‫ـأن‬‫ـ‬‫ب‬ ‫أجله‬ ‫ـن‬‫ـ‬‫م‬ ً ‫ـا‬‫ـ‬‫ص‬‫خصي‬
  • 75. IT DOESN’T MATTER HOW YOU LOOK IT’S WHAT YOU DO THAT COUNTS ‫يقتصر‬ ‫ال‬ ‫ـر‬‫ـ‬‫م‬‫األ‬ ‫ـكل‬‫ـ‬‫ش‬‫ال‬ ‫على‬ ‫على‬ ‫وإنما‬ ‫ـط‬‫ـ‬‫ق‬‫ف‬ ‫والتجارب‬ ‫ـال‬‫ـ‬‫ع‬‫األف‬
  • 76. IN SUMMARY THE ROLE OF THE LOGO HAS CHANGED CREATE UNIQUE BRAND EXPERIENCES THE MODERN EAST IS GLOCAL EMBRACE YOUR CULTURE, INSPIRE AND INNOVATE DESIGN THE FUTURE OF THE MODERN EAST