Brand Aesthetics by Gerald Mazzalovo is not for the faint-of-heart or casual reader. An adaptation of the author's doctoral thesis from Universite' Paris-Dauphine, Brand Aesthetics is an exhaustive analysis of the power of the visual in the formulation and presentation of a brand or corporate image.
But, for the brand manager or creative director intent on gaining a deeper understanding of the role that aesthetics plays in defining and cementing in the consumer's mind an affinity for a certain graphical representation of the brand, this book is a must-read. In addition to a wealth of resources ranging from The Dutch Kononklijk Museum to well-known brands such as Samsonite and Mercedes, the author calls on his own experience in roles ranging from President or CEO at luxury brand companies such as Ferragamo, Loewe, Bally, and Clergerie to consultant on strategic brand management for many multinational firms, including Pininfarina,.
According to Denis Darpy, Professor at Universite' Paris-Dauphine, in his introductory remarks for Brand Aesthetics, “Objects are increasingly signaling consumers' choices and affiliations to affirm individual personalities…aesthetics gets involved in the sharing of experiences and therefore of emotions” (p. xiv). Brand Aesthetics is the author's explanation of that role and its implications for the brand manager or creative director.
The book's 11 chapters are grouped into two main categories: Part I, “Brand aesthetics: theory and direct applications,” which examines the concept of the term itself and its historical foundations, and Part II, “Brand aesthetics: applications to linear aesthetic expressions.”
As the author states in Chapter 1, “Brand aesthetics: an oxymoron?,” “The juxtaposition of two words rarely combined and drawn from such seemingly incompatible fields – of aesthetics on the one hand and of trade and marketing on the other – would appear to be something of an oxymoron” (p. 11). According to Mazzalovo, “The aesthetics of a brand is comprised of stable and specific elements that characterize its ‘approach to the sensory world’; that is, to everything which can be perceived by the senses: not only aspects relating to vision (shapes, colours, textures, light treatments and so on) but also to sound (music, the noise of engine, a door slamming, and so on), odour, taste, and touch” (p. 15). He goes on to explain: “The brand manifestations, in turn, are all the possible physical interfaces between the brand and the consumers (products, advertisements, website, shops, among others)” (p. 15).
Having clarified both the concept and the context of brand aesthetics, Mazzalovo next offers an explanation of “The Relevance of the Concept” in Chapter 2. Noting that “brands compete with movies, television, the entertainment industry and literature by offering new ways to dream” (p. 30), the author also notes that “it is then important to understand the nature of brand aesthetics, its evolution, how it is perceived, and its ability to influence, in order to gain a certain degree of control over it” (pp. 31-32).
“Aesthetics” as a descriptive term is not a new concept, says the author in Chapter 3, “Historical Foundations from Experimental Aesthetics to Postmodernism.” “The study of beauty (and more generally, of visual phenomena that generate pleasure) as a discipline was first called ‘Aesthetics’ by Alexander Gottlieb Baumgarten in his work Aestetica Acroamatica in 1750” (p. 37). Thus, the point is made that the concept is neither “new” nor is it “temporary.”
But what is a “brand”? Chapter 4, “Brand identity,” explains. “Brands are…signs, texts, discourses that link content and expression, form and substance, idea and matter” (p. 47). But to effectively achieve that connection, the brand manager must be able to communicate those connections. “In the media bombardment that characterizes society today, having something interesting and original to say is a prerequisite for effective communication” (p. 48). Management of the brand is crucial, says the author, and “[t]he person ultimately responsible for the brand (CEO, Marketing Director, Creative Director, or Brand Manager, depending on the organization), is like a musician sitting at a keyboard: he can control (or at least influence) all brand manifestations which make up the sensory aspects of the brand; he can compose and play the brand ‘music’ – that is, the coordinated use of all brand manifestations” (p. 59).
“Brand” is dependent on the intended public's perception of its meaning, says the author in Chapter 5, “The Chain of Brand Aesthetics,” and iconic brands such as Coca-Cola have cemented their place in the hearts and minds of their audiences. “Even in the Thai language, the Coca-Cola ads, with the wave (two sinuous lines) which echoes the bottle shape and the calligraphy of the name, are universally readable and are the result of an aesthetic treatment that meets the three purposes: memory, decoration, and the expression of vitality and energy that characterize the brand ethics” (pp. 93-94).
Moving into Part II, “Applications to linear aesthetic expressions,” Mazzalovo embarks on an exhaustive analysis of the graphical elements that comprise a brand's persona. Chapter 6, “Lines and forms,” examines this topic in great detail, beginning with “There are many elements and attributes that characterize the objects perceived by the human visual system: size, shape, contour, shading, texture, colour, composition, play of light, and so on” (p. 101). A thorough discussion, replete with excellent examples from art and advertising spanning the centuries, makes the point clearly.
But why are lines important? This basic question that underlies any approach to brand development is addressed in Chapter 7, “The relevance of lines in brand aesthetic management.” A particular linear form, says the author, communicates a specific message and triggers a response in the mind of the viewer. “The choice of specific lines in the design of products or any other manifestations, knowingly or not, has an impact on the perception that consumers have or the brands and influences their purchasing decisions” (p. 108).
Chapter 8, “The semiotic square of linearity,” is an in-depth discussion of the role that shapes, sounds, words, signs, and “body language” play in brand conception and brand development. Semiotics, says the author, is an “analysis of consumer preferences for certain linear aspects of brand manifestations” (p. 123. An examination of lines…straight, angular, single-curved, and sinuous…again with extensive use of examples to explain or clarify meanings leads the reader to a better understanding of how a certain line shape can influence the consumer.
“Possible meanings of the four lines” (Chapter 9) is a continuation of the semiotic discussion with deeper examination of the significance that a particular line depiction can hold for the viewer. For example, “[The sinuous line] is, with the single-curved line, characteristic of the living world, but the change of curvature adds a measure of sensuality and a very strong connotation of tactile pleasure. It is a sign of a gradual transition, of change within continuity” (p. 146). From this discussion, the reader gains a greater appreciation for the effect that a particular line's shape or form has on the view, the intended consumer.
A graphical analysis of line forms and their perceived meanings follows in Chapter 10, “Managerial applications of the SINC© square.” The SINC© square, or semiotic square, is a means of analyzing lines and their visual impact; it “makes it possible to structure studies on how the intentions of brand managers are perceived by consumers and directly identify their responses to linear expressions” (p. 182). Again, extensive use of visual examples and explanatory charts enables the reader to better understand the emotional and sensual effects of a particular shape on the viewer.
Chapter 10, “Consumers' preferences for the four lines,” provides specific examples of how a particular line shape affects the viewer. For example, “the straight line, the simplest of all, generates preferences barely above the threshold of indifference. Because people prefer stimuli of average complexity, the single-curved line gets the highest score of preference. The sinuous line, more complex than the first two, produces a mild aversion. The angular line, being the most complex, causes a major aversion” (p. 194). The chapter's discussion leads to a better grasp of the significance of line choice in brand development and presentation.
The final chapter, “Conclusions,” is the author's recap of the research and analysis that comprise Brand Aesthetics and helps put the enormous amount of information contained in the book into perspective. According to the author, “This investigation in the field of brand aesthetics, through both theoretical and practical considerations, essentially follows utilitarian purposes: to provide brand leaders with the means to better manage their brands, understand their nature as well as the behavior of consumers, in order to be more competitive” (p. 206).
Brand Aesthetics is for the brand manager or creative director who is faced with the challenge of positioning a product in the marketplace amid the plethora of competing images and ideas. While it is not an easy read, the information presented will enable that individual to better grasp the true effect that a particular graphical representation can have on the consumer.
