Five Recurring Steps of Holistic Branding : : Our Evolved Comprehensive Approach of Branding



Previously, the massive tasks enlisted of holistic branding of a brand or a corporation or a person may frighten people. Every task has its purpose however. Some are used to countercheck previous thoughts that you have made, and to proceed to another task. Once you put something into words, you naturally think logically… Alright, you may argue that it depends on what language you are using. Here, I am referring to use English in general.

“A brand is the intangible sum of a product’s attributes: its name, packaging, and price, its history, its reputation, and the way it’s advertised.” – David Ogilvy, founder of Ogilvy & Mather Advertising

Holistic branding consists of numerous tasks, both tangible and intangible. Drezier Communications approaches with five steps. By each step, neccessary tasks have to be accomplished. Here and now we suggest how to start. Continue reading →


What is the Different Between Branding and Holistic Branding? (I’ve My Brand Logo Designed Already.)

First of all, it is sensible to answer the question: “What is branding?”

“Branding is a disciplined process used to build awareness and extend customer loyalty. It requires a mandate from the to and readiness to invest in the future. Branding is about seizing every opportunity to express why people should choose one brand over another. A desire to lead, outpace the competition, and give employees the best tools to reach customers are the reasons why companies leverage branding.” – Alina Wheeler, brand consultant

I make the above quote in modern times to reinforce that it is not easy to define an ever-developing concept of a complicated business process in a few words. Branding has been evolved to a more comprehensive collective of marketing practices since 1981, in which Al Ries and Jack Trout’s “Positioning: The Battle for Your Mind” was published. At that time, Ries and Trout invented a new approach of communication called positioning. They referred to position a product, a piece of merchandise, a service, a company, an institution, or even a person in the mind of prospects. Although they had not literally mentioned a brand, they did have a branding concept behind. Also, positioning has been ever since a very important component of any branding or marketing system of ideas.

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20th Century Masterpieces : : Westside Lounge Chair

[ #25 | Westside Lounge Chair ]

1983. Designed by Ettore Sottsass

Reinterpretation of an easy chair from a classical club.
White lacquered steel legs. Polyurethane foam rubber seat.
Seat upholstered in different colours of fabrics.
Height 74 cm. Width 99 cm. Depth 74 cm.

Westside Lounge Chair by Ettore Sottsass, 1983 | from drezier’s blog [20th Century Masterpieces : : Westside Lounge Chair] dated 2017/9/02

“Westside Lounge Chair” ^ Copyright © Alan TF So

第一個出場的意大利建築師,Ettore Michealo Sottsass (1917-2007) 也是一名不折不扣的後現代主義建築師及設計師。他的父親是一名建築師,隨後就讀於意大利都靈理工大學,1939 年建築學士榮譽畢業。意大利正處於二戰戰火中心,他也參軍了。不過,他很快便被關進南斯拉夫的集中營。1948 年,他終於回家,並急不及待開設他的位於意大利米蘭的建築設計事務所。 Continue reading →

20th Century Masterpieces : : Art Deco 665 Chair

[ #24 | Side Chair “Art Deco 665” ]

1978. Model No.665
Designed by Robert Venturi

Screen-printed laminate over bent plywood structure.
Height 79 cm. Width 60 cm. Depth 58 cm. Seat Height 43 cm.

20th Century Masterpieces : : Art Deco 665 Chair by Robert Venturi, 1978 | from drezier’s blog [20th Century Masterpieces : : Art Deco 665 Chair] dated 2017/8/22

“Art Deco 665 Chair” ^ Copyright © Alan TF So

Robert Charles Venturi, Jr. (1925- ) 是著名美國後現代主義的建築師,他的箴言「少即是乏味」(Less is a bore),強烈對比於現代主義的 Mies 密斯的箴言「少即是多」(Less is more)。 Continue reading →

20th Century Masterpieces : : Conoid Chair

[ #23 | Chair “Conoid” ]

1971. Designed by George Nakashima 中島 勝寺

Black walnut and hickory structure.
Height 90 cm. Width 47.5 cm. Depth 52.5 cm. Seat Height 43 cm.

20th Century Masterpieces : : Coniod Chair by George Nakashima, 1971 | from drezier’s blog [20th Century Masterpieces : : Conoid Chair] dated 2017/7/22

“Conoid Chair” ^ Copyright © Alan TF So

中島 勝寺 (George Katsutoshi Nakashima;1905-1990) 是美籍日裔建築師,也是美國最有影響力的傢具設計師及木工匠。他於美國華盛頓州斯波坎出生,就讀華盛頓大學的建築系,1929年取得建築學學士學位,1931年於麻省理工學院取得碩士學位。勝寺氏售賣了他的車子,用來購買環遊世界的郵輪船票,觀摩多處的建築物,最後落腳於日本。 Continue reading →

20th Century Masterpieces : : Dr. Glob Chair

[ #22 | Chair “Dr. Glob” ]

1968. Model No.4876
Designed by Philippe Starck

Smooth dyed polypropylene seat.
Epoxy-polyester powder coated steel backrest & structure.
Stackable. Suitable for outdoor.
Height 73 cm. Width 48 cm. Depth 47.5 cm. Seat Height 46 cm.

20th Century Masterpieces : : Dr. Glob Chair by Philippe Starck, 1968 | from drezier’s blog [20th Century Masterpieces : : Dr. Glob Chair] dated 2017/7/01

“Dr. Glob Chair” ^ Copyright © Alan TF So

Philippe Patrick Starck (1949- ) 出生於法國,土生土長的鬼才法國設計師,他涉獵範疇廣泛,包括建築、傢具、工業產品及室內設計。Philippe Starck 的父親為一名航空工程師,他入讀一所五年制位於巴黎的私立設計學院 — École Camonodo,曾入讀該校的著名舊生,有傢具設計師 Pierre Paulin、城市規劃師 Jean-Michel Wilmotte、室內設計師 Jacques Grange、越裔演員 Tran Nu Yen Khe,以及建築師 Robert Couturier 等。 Continue reading →

20th Century Masterpieces : : Spoke Chair

[ #21 | Chair “Spoke” ]

1963. Model No. S-5027NA-ST.
Designed by Kappei Toyoguchi.

Wood structure and legs. Seat upholstered in fabric.
Height 83 cm. Width 81 cm. Depth 69 cm. Seat Height 34 cm.

20th Century Masterpieces : : Spoke Chair by Kappei Toyoguchi, 1963 | from drezier’s blog [20th Century Masterpieces : : Spoke Chair] dated 2017/6/10

“Spoke Chair” ^ Copyright © Alan TF So

豊口 克平 (Kappei Toyoguchi;1905-1991) 是日本最早一批現代工業設計師。豊田氏出生於日本秋田縣,先從秋田縣工業學校的機械科畢業,於橫濱市工業學校任職助理。1923 年的關東大地震,他差點兒喪命。之後,他考上東京高等工藝學校的工藝設計系,跟隨名師 宗近 倉田(Kurata Munechika)學習,畢業時為 23 歲。宗近倉田氏是從德國包豪斯(Bauhaus)畢業的日籍設計師。豊田氏曾短暫於宗近倉田氏的 Keiji Kobo 設計公司任設計工作。 Continue reading →

20th Century Masterpieces : : Corona Chair

[ #20 | Easy Chair “Corona” ]

1961. Model No. EJ 5
Designed by Poul M. Volther.

Model polyurethane foam structure.
Matte chromed spring steel frame.
Seat upholstered in fabric.
Height 96.5 cm. Width 87 cm. Depth 85 cm. Seat Height 42 cm.

20th Century Masterpieces : : Corona Chair by Poul Volther, 1961 | from drezier’s blog [20th Century Masterpieces : : Corona Chair] dated 2017/5/20

“EJ5 Corona Chair” ^ Copyright © Alan TF So

Poul M. Volther (1923-2001) 也是一位出色的丹麥籍傢具設計師,受訓於哥本哈根藝術及工藝學院。作為設計師,他受包豪斯影響反而是功能主義者,喜用簡單設計及精工,被免太過關注短暫的美術潮流。其後,於丹麥設計學院任教,Volther 當然一樣推嵩他的理念,極力鼓勵他的學生高舉精準工藝。 Continue reading →

20th Century Masterpieces : : Round Rattan Chair

[ #19 | Round Rattan Chair ]

1960. Model No.T-3010.
Designed by Isamu Kenmochi.

Rattan woven structure. Wool covered cushion.
Height 75 cm. Width 99 cm. Depth 94 cm.

Round Rattan Chair by Isamu Kenmochi 野口勇, 1960| from drezier’s blog [20th Century Masterpieces : : Round Rattan Chair] dated 2017

“Round Rattan Chair” ^ Copyright © Alan TF So

一齊由著名美籍日裔藝術家 野口 勇(Isamu Noguchi, 1904-1988)說起。戰後 1950 年,野口勇再次回到日本,巧遇同名字的日本工業設計師 劍持 勇(Isamu Kenmochi, 1912-1971)。他們不同背景,但藝術修養類同。劍持勇對藤傳統製品極濃,野口氏亦然。他們共同設計及製作了原型樣本—竹籃椅(The Bamboo Basket Chair),野口氏選用他喜好的雕塑鋼結構作椅腳。這張椅子從未量產,而原版樣本又遺失了,最終只於美國野口博物館,依照一張照片製作了一張「克隆」展出。 Continue reading →

20th Century Masterpieces : : Swan Chair

[ #18 | “The Swan™” Easy Chair ]

1958. Model No.3320.
Designed by Arne Jacobsen

Polyurethane foam structure with glass fibre reinforcement.
Casted aluminium base. Seat upholstered in black leather.
Developed for the SAS Royal Hotel of Copenhagen.
Height 77 cm. Width 74 cm. Depth 68 cm. Seat Height 40 cm.

20th Century Masterpieces : : Swan Chair by Arne Jacobsen | from drezier’s blog [20th Century Masterpieces : : Swan Chair] dated 2017

“Swan Chair ” ^ Copyright © Alan TF So

繼實現真正整合設計(Gesamtkunstwerk)的 SAS 皇家酒店,Arne Jacobsen 隨後錄陸續承接不同大型項目,有位於丹麥的勒藻勒市政大廈(Rødovre Town Hall)、位於英國的牛津大學聖凱瑟琳學院(St. Catherine’s College, Oxford)等。牛津大學聖凱瑟琳學院是他最巔峰之作,整合設計的典範。整個學院佔地 8公頃,全部一磚一瓦、一花一草都全由 Arne Jacobsen 設計、挑選身與整合,就連池塘內的魚類也由他決定。此項目在 1962 年完工啟用,並於 1993 年列入英國一級歷史建築物Continue reading →