Kodak 1971: Some logos don’t need to change. This 1971 version was resurrected in 2016. If you look hard enough you can nearly see the original ‘Eastman Kodak Company’.

Lego 1972: For a block-based business to have a soft logotype says a lot about the vision and imagination behind it. This is the logo everyone knows as Lego.

Sony 1973: If you like slab serifs, this sets the benchmark for its classic simplicity.

Led Zeppelin 1973: There are too many great band logos (Rolling Stone, Iron Maiden, Kiss, Queen, ABBA, Pearl Jam, The Who, The Clash, The Beatles, Buzzcocks) but for craft, Led Zeppelin takes it.

NASA 1975: Even though the ‘worm’ logo was retired in 1992, it’s the one people remember and it’s the granddaddy of squiggly logos.

Apple 1976: Brilliant name, brilliant logo, and there is no going back after the first byte – sorry, not sorry.

Sex Pistols: This logo says everything about 1976, and Jamie Reid’s ‘hostage’ lettering was genius.

I love NY 1977: A classic logo from a classic designer – Milton Glaser

Zildjian late 1970s: I always loved the cursive, slightly mystical script and when I discovered the Turkish heritage of the business, I simply loved it more.

Absolut Vodka 1979: I was surprised to discover this iconic brand identity was developed in 1979 as it went on to define spirit chic in the 80s and 90s.

1980’s: Print technology was maturing but creativity was still largely expressed through drawing.

Stussy (early 80s): Created in the early 1980s by Shawn Stussy, the founder of the streetwear brand (and surfboard shaper). It defined a lasting graffiti spirit.

MTV 1981: This appeared to be the first logo that opened the idea of consistency through flexibility.

Channel 4 1982: For decades there were only three channels in the UK, so when the channel 4 logo came along, you knew the content was going to be different.

La Caixa 1982: What a brilliant idea for a Basque Bank to leverage Juan Miro – just brilliant!

Espana 1982: Twice in one year for Juan Miro – that’s just greedy.

Jones 1985: Seeing the carrier bags around Covent Garden was everything about cool.

WWF 1986: WWF had been using a panda since 1961 but the 1986 design by Jenny Leibundgut at Landor is considered one of the best logos of all time – I agree.

Air Jordan 1988: Under the design direction of Tinker Hatfield. This is arguably the silhouette that made Nike.

First Direct Launched in 1989 by HSBC. first direct promised simplicity through a beautifully understated name and logo.

V&A Museum 1989: Alan Fletcher crafted this piece of elegance.

1990’s: The decade that allowed personal computers to open everything up. This was the decade where technology unleashed creative hands

The Pixies 1991: Vaughan Oliver was a cult hero and everything he did was full of an ethereal craft that came from another world.

BT 1991: The BT piper heralded in a new wave of figurative logos.

The National Lottery 1994: It’s everyone’s logo

Orange 1994: ‘The future’s bright, the future’s orange’. So ambiguous, so clever. Now that was a teaser campaign.

FedEx 1994: from abbreviating the name to FedEx, to the iconic logo, just brilliant. Lindon Leader who was a senior design director at Landor Associates is attributed to this piece of genius.

RAC 1997: It seemed like the first in a futuristic genre of logotypes – it copied nothing – sorry Jaguar

National Geographic 1997: Who knew that a simple rectangular yellow frame could travel so far?

BBC 1997: it’s … definitive words and pictures in a logo.

Pathe 1999: Irreverently French – love it!

100% Pure New Zealand 1999: I was working in Wellington at the time, and this logo was just awesome aye.

2000’s: A brave new world of platforms and tools.

Dopod 2003: The definitive ‘round lettered logo’. not immediately obvious but so cool for one of the first convergent mobile / PDA devices.

Uniquely Singapore 2004: A beautifully crafted destination logo that reflects the sophistication of its multicultural blend.

Rapha 2004 another era-defining logo, that made MAMILs smarten up!

Unilever 2004: Paul Polman’s dream in a symbol that ‘adds vitality to life’.

Tiger Beer 2005: A beautiful illustration from Chris Mitchell for Design Bridge.

Aboitiz 2006: An entrepreneurial conglomerate, whose logo illustrates there are always alternatives.

Visit Australia 2006(ish). Captures the earthy spirit of a nation.

Globe Telecom 2007: There are lots of Telecoms Globes but this is the best Globe Telecom.

Jin Air 2008: The budget airline from Korean Airlines has the fuselage of a butterfly beautifully crafted into the negative space.

Dulux 2009: The ‘Let’s colour’ logo, tagline and activation campaign was a step change for Dulux.

2010 to present: As creativity became commoditized, gems are still everywhere.

Instagram 2011: Didn’t we all love the original? And, it’s great when a co-founder designs the logo. It’s a shame that it got dumbed down again and again.

San Diego Zoo 2010: Makes me want to visit the zoo just because of the logo.

Pinterest 2011: Such a great name that translates in a lovely ‘Favicon’ and logotype – another regrettable move to a simpler typeface.

Owl Coffee 2011: Can you see the coffee bean? A beautifully updated heritage brand that drove a dramatic shift in sales.

Cancer Research UK 2012: Interbrand designed this original logo. It confidently captures the collective struggle.

American Airlines 2013: Redesigning an Icon is tough, but the designer crafted a beautiful solution for American Airlines.

Premier League 2016: One of the best interpretations of the big cat and superbly implemented.

Cadburys 2020: I always loved the Cadburys logo and was pleasantly surprised to see such an elegant historic evolution.

F1 2017: Wieden+Kennedy designed the new ‘F1’ logo. It’s great to see an iconic logo get even more iconic.

Kia 2021: Appropriate to finish on one of my favourites. I love the craft in every letter – it completely changed my view of the brand and looks great on every vehicle.

I hope you’ve enjoyed this stroll through logo memory lane and I hope they illustrate that craft is alive and kicking.

Merry Christmas and a Happy New Year and let’s look forward to a creative 2025

The post Issue 50: Q4 2024 appeared first on Tangible.

Spotlight on Copse Studio
Several Southeast Asian brands have won my loyalty, and one of them is Copse Studio. This Thai contemporary brand specialises in apparel, with a primary focus on footwear and leather goods. Amid the frenzy of short-form content and social media marketing on platforms like TikTok, where fast fashion and over-consumerism prevail, Copse Studio distinguishes itself by creating handcrafted, classic pieces that transcend fleeting trends. Each product is inspired by culture, travel, and utility, resulting in essential items for everyday life.

None of their products seem out of place, with every product meticulously designed with attention to detail. Take their two shirt designs, for instance – it showcases their unwavering dedication, from the choice of material to the precision of the embroidery. This focus on essential items embodies their philosophy of creating timeless pieces suitable for any occasion.

A Common Origin Story
Copse Studio’s origins echo the humble beginnings of many luxury brands, like Gucci. Gucci started as a small workshop producing high-quality leather goods. Guccio envisioned combining the refined aesthetics he observed in high-end hotels with the craftsmanship of local artisans. Similarly, Copse Studio was born from a intention to merge quality Thai craftsmanship with modern, contemporary design.

Driven by a simple passion for leather fisherman shoes that were nearly impossible to find in Thailand, Copse Studio’s founders took matters into their own hands and decided to create their own. They enlisted the help of a friend’s father, who had expertise in shoe design. Launched in 2019, Copse Studio faced a rocky start amid the COVID-19 pandemic, which caused many shoe factories to close. However, through perseverance and strategic partnerships, Copse Studio emerged strong and managed to navigate through the pandemic. As word spread about Copse contemporary style, they found a community of customers who shared their distinct taste in style.

Over time, Copse Studio’s dedication to craftsmanship and quality has distinguished them from typical shoe brands in Thailand. The founders, who also serve as designers, work hand-in-hand with shoemakers. The parallels between Gucci and Copse Studio are evident: both brands began with a strong emphasis on quality materials and meticulous craftsmanship, aiming to create products that were not only functional, but also stylish and built to last.

Hand-crafted sandals by Thai artisans at Copse Studio

Gucci grew steadily, prioritising quality and exclusivity, paving its ascent to global luxury status. Copse Studio follows a similar path. Beginning with a small community, Copse Studio has evolved into a niche brand, resonating with like-minded individuals who value classic and quality apparel. Their latest masterpiece, the Overlap Shoulder Bag, exemplifies their artistry – a handcrafted made-to-order piece composed from 90 individual leather pieces, meticulously assembled and interconnected using rings.

Copse Studio’s Overlap shoulder bag, crafted from 90 individual leather pieces

The Rise of Southeast Asian Brands
Southeast Asian fashion brands like Copse Studio are capturing attention with their unique blend of traditional craftsmanship and contemporary design, often rivalling Western counterparts but at more accessible prices. Drawing on a rich heritage of traditional crafts such as weaving, dyeing, and hand embroidery, these brands incorporate locally sourced materials into their modern designs. This fusion of the old and the new not only showcases the region’s cultural wealth but also gives these brands a distinctive edge.

As these brands continue to expand their reach through digital platforms, they are reshaping perceptions of Southeast Asia as a hub of craftsmanship and creativity. Their ability to deliver premium-quality products at accessible prices underscores their potential to disrupt and diversify the global fashion landscape, making luxury and artisanal craftsmanship more inclusive and desired.

Conclusion
In celebrating ‘Ideas, Perseverance, and Attention to Detail’, Copse Studio exemplifies these values through their commitment to quality and thoughtful design. As Southeast Asian brands continue to rise, they bring with them stories of resilience and creativity, proving that even the smallest, home-grown brands can make a significant impact on the global stage. Copse Studio is a testament to this potential, blending tradition and meticulous craftsmanship to create lasting fashion statements.

The post Issue 48: Q2 2024 appeared first on Tangible.

With the series of redundancies by digital platforms (such as Meta’s Facebook, Snap’s Snapchat and most notably, Twitter) resulting from the decline in their digital advertising revenue, brands should be questioning if there is still any credit left in spending large sums of money on paid ads.

The truth is, the decline in digital advertising revenue is indicative of the increasing ineffectiveness of paid ads in recent years. In other words, brands who are still allocating high budgets for paid advertisements might be wasting money. Fortunately, there are better, more efficient methods in digital marketing which brands can, and should, look into to further their brands’ growth organically; the prime of which is to develop their in-house content marketing capability.

Understanding the decline of digital advertising industry 

So far, more than 20,000 employees were laid off in the slew of retrenchments by Silicon Valley in 2022. Among which, Facebook’s Meta had axed around 13% (11,000 staff) of its workforce, while Snapchat’s Snap dismissed 20%. Further job cuts, hiring freezes and other contingency plans were also executed widely across the Valley.

Meta and Snap are examples of some Big Tech companies in Silicon Valley, whose main source of revenue is generated from ad placements on their platforms. So the decrease in their revenue means brands are spending lesser for ads to be placed on Big Tech’s platforms. The seemingly obvious reason behind this is the threat of an imminent economic crisis; when companies tighten their belts in preparation for upcoming crises, advertising budgets are usually the first to be cut. But assigning blame only to the economic downturn seems too easy a way out. As with all things, there is more than what meets the eye. 

The fact is, the digital advertising industry already hasn’t been performing well since years before the looming economic crisis. Albeit yearly projected increases in revenue, a closer look at the number reveals that the industry’s growth rate is actually on a declining trajectory.

As 19th century businessman, John Wanamaker famously said: “Half the money I spend on advertising is wasted: the trouble is, I don’t know which half.”, a statement that is especially relevant in the age of digital ads. 

During the nascent stages of the digital advertising industry, companies jumped at the opportunities and potential it seemed to offer. But because the industry’s operation has always been opaque with its obscured metrics, the effectiveness of paid ads remains questionable. Therefore, it is difficult for brands to track the return on investment of their digital ad spend. To that end, brands are starting to realise the money pit they’ve been in, and have increasingly stopped betting on paid ads.

The situation for the digital advertising industry has been made worse due to the rise of privacy concerns in recent years. Paid ads can be accurately targeted the way they do because of data collection by Big Tech. Fearing that their privacy will be compromised, consumers have grown to be less receptive towards paid ads. Hence, when Apple introduced its App Tracking Transparency (ATT) feature– which gives Apple users the choice to stop apps from tracking their online activities– it was praised by users for taking a step in the right direction towards privacy protection.

Undoubtedly, the limitations placed on data collection have had a huge impact on the digital advertising industry, since advertisers would not be able to track critical data that make ad placements more accurate. With lesser accuracy, the industry loses its appeal and is unable to continue charming brands to spend on paid ads. Apple’s ATT has been estimated to result in a loss of USD 10 billion in Meta’s revenue, and USD 546 million for Snap. 

What’s next? Build an in-house content marketing team. 

In facing the decline of the digital advertising industry, it is crucial that brands venture into other aspects of digital marketing to ensure further growth for their brands. So, what should brands start doing? Instead of spending large amounts of money in paid ads with lost credibility, brands should start investing in building in-house content marketing through hiring and capacity-building. 

What is content marketing, exactly? Content marketing is the development and distribution of valuable and useful content and information that are relevant to target audiences through various means. These include emails, blogs, videos, podcasts, etc. Simply put, it is the creation of strong content that evokes the emotions of target audiences. 

The current shift of focus to content marketing is also timely, as the social media landscape simultaneously moves into a content-driven economy. The proliferation of social media and technology in the last few decades has placed consumers in the driver’s seat to decide for themselves the kind of content they wish to see. With the abundance of information users come across daily, they’ve developed mental shortcuts to sieve out only meaningful and impactful content deemed worthy of their time. Hence, information put out by brands must be meaningful and impactful– they need to tell stories that consumers can resonate with to boost brand loyalty and conversions.

Having an in-house content marketing team has several advantages that can greatly benefit brands (this article does a great job explaining them). But to summarise, an in-house marketing team does a better job at ensuring sustainable business growth, especially for brands with a strong customer base. Of course, building a strong in-house team takes time, effort and capital. But the investment in building in-house content marketing teams can certainly yield better results than paid ads.

What is also crucial is that, with an in-house content marketing team, the marketing process is made dynamic, and brands are able to better adapt to changes as the business needs evolve. 

Unlike paid ads hiding behind obscured metrics, in-house teams are able to embark on a process that lets them continuously see what are the strategies that work, adjusting them accordingly in the right direction to ensure brand growth. In other words, having in-house teams means brands are able to put out more dynamic content that can definitely connect with their ever-evolving target audience in a more effective way.

(Check out this article to find out the roles in an in-house team, areas of focus, and how to ensure efficiency of the team.)

Conclusion

Safe to say, the digital advertising industry has lost its grip on brands. While paid ads may have been effective for brands in the 2010s, the decline in its growth rate in recent years clearly indicates that it’s time for brands to stop relying heavily on paid ads. Instead, the future of brand growth calls for brands to start developing and strengthening their internal capabilities, and going beyond basic advertising to adopting a holistic approach for more sustainable and meaningful brand growth.

Tangible is a brand strategy and business consulting firm, synergising our consulting and creative offers to give clients comprehensive solutions. We believe brands are strategic management tools that should go beyond simply delighting customers. For more information on how Tangible can assist you with your branding, or other related digital services, please contact us here.

Issue 39: Q1 2022

Issue 32: Q2 2020

The post Issue 42: Q4 2022 appeared first on Tangible.

Designed to serve the millennial travellers who are now making up the largest percentage of the workforce, lyf by Ascott allows for work, play and socialising, all under one roof.

The lyf ‘”one-of-a-kind” studio room. Source: lyf by Ascott 

On first glance, some might be thinking, “where’s the TV?”. Then again, who watches TV these days?

lyf, the largest co-living property in South East Asia, was created “by millennials for millennials and the millennial-minded”. On the surface level, its central location and shared facilities such as kitchen, laundry and working spaces are just bare basics for what these young working adults are looking for. The abundance of shared spaces features various quirks to accommodate the lifestyles of millennials, from an actual life-sized hamster wheel for the fitness junkie, to the fully equipped social kitchen for the culinary masters.

The lyf guard team. Source: lyf by Ascott 

One of the highest-rated feature, 9.2/10 for service on booking.com, was its lyf guard team, the service staff that provides the human aspect of the youthful and friendly vibe of the entire space.

With the perfect mix of design, facilities and service, lyf is the brand for millennials looking for work + play.

For the Solo Travellers

The new Destination Gen Z report from Booking.com, for example, finds that independence is a top priority for those aged 16 to 24, with 34% planning to travel alone.

As more and more people lean towards the idea of solo travel, big hotel rooms are no longer trendy nor important to travellers, especially the Gen Zs who have overtaken the millennials in percentage of the global population. Rather than spending the money on material-related desires, Gen Zs are more experience-focused as compared to the millennials.

Visually appealing lobby designed for the Minimalists. Source: Muiu Capsule Inn

Of the economy hotels, we thought the wooden themed MUIU Inn Capsule Hotel, situated in Taipei, would best serve this segment of travellers.

Double room in MUIU. Source: Muiu Capsule Inn

Alongside its minimalistic design, the rooms at MUIU are also no-frills, providing just enough space for a good night rest after a day out exploring the city of Taipei. Towels and charging points are also included for basic refreshening and recharging of tech-devices.

By providing just what’s needed and nothing more, MUIU is ideal for the value-seeking, frugal Gen Z solo traveller.

For the Tech Loving Travellers

If you prefer robots to humans, we recommend trying out the Henn Na hotel the next time you visit Japan.

Enter the world of technology at Henn Na Hotel. Source: The Smart Local

From the moment you step into the hotel, pretty much everything you need is served by technology. Besides getting checked in by a robot receptionist (which also comes in the form of a T-rex at certain Henn Na branches), get ready to see robot fishes swimming around in water tanks, and music in the background played by a robot orchestra.

Need your shirt ironed for a business meeting the next day? No problem. Gimmicks aside, tech-enabled services such as the LG styler is available to help your clothes (and you) looking your best.

LG styler available at Henn Na Hotel. Source: The Smart Local

Unfortunately, Henn Na hotel has announced earlier this year that it will be firing some of its robots who are apparently creating more work for humans, the opposite of what was initially intended. If you’re one of those tech junkies who is all down for a technology hotel experience, we hope you get to try out some of these tech features at Henn Na before they are once again replaced by humans!

From focusing just on a specific demographic, the millennials or Gen Z, to having robot receptionists for today’s technologically advanced travellers, it’s becoming clearer that hotel brands can no longer hope to appeal to travellers based on just price.

With the constant need to stand out, hotels face the challenge to find new ways to stay fresh and relevant, while keeping their brand consistent. Our advice? Don’t shy away from these revolutionary ideas, stay close to what your guests are saying and keep a lookout for future fans of your brand!

Happy holidays!

From Team Tangible.

The post Issue 30: Q4 2019 appeared first on Tangible.

When we look at the history of modest wear, the influence of faith often comes to mind as the main motivation for women to cover up. From the nuns’ habits to the black niqabs and abayas worn by Arab women, modesty in dressing can sometimes be viewed as frumpy, unfashionable, and at times even oppressive. Modest wear has traditionally been antithetical to the skin-baring trends of miniskirts and low-rise jeans. However, evident in more recent years, individual motivations and interpretations of modesty are wide-ranging. The increased visibility and awareness of movements on female empowerment have influenced others to choose more modest styles as an expression of their femininity which is not defined by the male gaze.

Having been underserved by the fashion industry, women with modest styles found their voice on online platforms and communities. Personalities such as Noor Tagouri and Dian Pelangi gained strong online followings for their brand of modest fashion that has led them to being leaders in their respective fields. Their rise to prominence charted the way for increased visibility of Muslim women in fashion, bringing the headscarf and layered styles into mainstream fashion’s consciousness.

With Reuters and Dinarstandard estimating that the modest fashion economy could grow to $368bn by 2021, global brands and fashion runways have since taken notice and are responding to the increasing demand for modes fashion. From Net-a-Porter’s modest clothing category, Mango’s Ramadan collections for the Middle Eastern market, to Nike Pro’s hijab, the influence of the veiled and modest woman in fashion has definitely been felt by the fashion industry in recent years. For many brands, their foray into modest fashion focuses on Middle Eastern and North American markets.

However, these attempts by global fashion brands have not been spared from critique. Alia Khan, founder of the Islamic Fashion And Design Council told Fast Company

“Brands have tended to miss the mark. They don’t understand that this audience is just as stylish and demanding of their fashion wardrobes as anybody else. What these women really want is the same miniskirt they saw on the runway, but slightly looser and longer.”

While global brands have taken notice of the modest fashion markets of the Middle East and North America, less attention has been paid to the large market of women in Southeast Asia. This has allowed for local brands to fill the gap and meet the demand led by younger consumers. Fashion e-commerce platforms such as Zalora and FashionValet, have found success in these markets by carrying local brands, highlighting the growing demand and consumption power of modest women in the region.

However, with a significant middle class emerging, and the corresponding increased spending power, larger companies are paying attention and making more intentional efforts to appeal to the younger, more tech-savvy demographic.

The post Issue 29: Q3 2019 appeared first on Tangible.

The ideals of male beauty have changed over the years. Today, personal vanity is socially encouraged. Men, especially in Asia, are paying a lot more attention and have a greater interest in their grooming habits. Popular subcultures such as the Korean Wave are strong factors in influencing this rising trend. Men have greater access to a wide variety of beauty and skincare products⁠—such as toners, exfoliating masks, BB creams, and lip tints. Some men even participate in the rigorous, hallmark Korean 10-step skincare routine. This skincare routine is regarded as a lifestyle choice and has become a global phenomenon, grounded in South Korea’s cultural obsession with healthy skin.

The emerging market of men’s beauty is attracting big global brands – such as Chanel and Tom Ford –  to invest in creating product specifically for men. For instance, China’s booming beauty market is expected to double by 2030. As men today are eager to express themselves and redefine the concept of masculinity, beauty companies are diving deeper and experimenting with the growing needs, or wants, of the new generation of men.

K-beauty and J-beauty 

In the first half of 2019, there were speculations that J-beauty was going to overtake K-beauty as the next champion of the beauty industry. Why is J-beauty only starting to resurface now when Japanese brands such as Shiseido have been around for years? Once known as the pioneer of the beauty industry, Japanese beauty brands have been overshadowed by K-beauty in recent years. One possible reason is that they are deemed less trendy than their Korean counterparts due to the massive influence of K-pop. Another reason is the price point; well-known Japanese brands are known to be more luxurious and less affordable. 

While J-beauty is presumed to keep a low profile in recent years, Japanese brands are actually busy dedicating their time to dermatological research & development. With the rise of consumer’s spending power in developing Asian countries, consumers are increasingly willing to splurge on J-beauty’s established luxurious brands (such as SKII, THREE, and Astalift) that are proven to be clinically effective.

While undoubtedly J-beauty is a strong player in the skincare and cosmetics’ industry, there is still room for K-beauty globally, ensuring K-beauty is unlikely to be ousted by J-beauty any time soon. Both beauty cultures target different audiences effectively; J-beauty targets mature consumers with higher spending power primarily through luxurious and clinically tested products, while K-beauty targets younger consumers mainly via affordable skincare and trendy cosmetics. All in all, the Asian beauty industry is definitely prospering and will continue to thrive.

Demand for organic and eco-friendly beauty

The beauty industry is sadly notorious for its negative impact on the environment. Zero Waste discloses that every year, 120 billion units of packaging produced by the global beauty industry is not recyclable. Nonetheless, there has been a shift in the consumers’ mindsets. Consumers are increasingly health-conscious and well-informed about the importance of going green, which has consequently led to increased demand for more organic and eco-friendly products. 

According to Ecovia Intelligence, the Asian market for natural and organic cosmetics was valued at $652m in 2017. This value is expected to increase rapidly as the industry is in its infancy. Skincare companies in Asia are ramping up their efforts to enter this new market. Unfortunately, many companies in Asia are still ‘greenwashing’ their products due to the lack of stringent advertising guidelines.

A key target market of the industry are millennials. Millennials, also known as the Green Generation have a keen interest in sustainability. According to research conducted by Neilsen in 2015, millennials view sustainability as a shopping priority and are willing to pay extra for sustainable offerings. As such, there has been a rise in businesses taking positive measures to eliminate plastic packaging and limiting water usage. The journey towards a greener supply chain in the Asian beauty industry is still a long one. Companies should aim to be more transparent in their operations – sourcing of ingredients, packaging, and internal processes.

The post Issue 28: Q2 2019 appeared first on Tangible.

Out all of the companies in the top 10 of Interbrand’s 2018 Best Global Brands ranking, Samsung (#6) and Toyota (#7) were the only two brands from Asia. Both brands tackled the fundamental issue faced by numerous Asian brands in recent years –  clarifying the purpose that drives them.

Because of Asia’s highly diverse markets, it is crucial for brands to communicate a single unifying belief that employees and customers across demographics can rally around, one that goes beyond being first-in- market.

Both Samsung and Toyota’s brand purposes go beyond the usual “being the first” and “beating the competition” but focus on how their businesses contribute and have positive impacts on the world.  Stuart Green, former CEO of Interbrand Asia Pacific, notes “A meaningful purpose should center itself around doing something of direct benefit to customers, or the world at large.” Customers today are not just looking at brands, but the values that surround them.

2. Don’t go digital for the sake of digital

With the rise of buzzwords like “digital transformation” and new emerging technologies like artificial intelligence and augmented reality, many Asian companies are racing towards such applications and attempting to integrate these processes into their businesses. Because it’s new, exciting and unknown, one doesn’t stop to question do we really need it? Do customers want it? Will it add value to what we are currently doing?

Brands should focus more on solving and improving customers’ problems than keeping up with the latest technology. If you first focus your attention on designing and improving services that add value to a customer’s experience and then work in the latest technology around it, you will create something long-lasting and not die as quickly as the trend.

Brands need to understand that their customers are unique, so we have to match them with services that answer their needs rather than assuming that this is what they want and need.

3. Local insights, global standards

Every market in Asia has its own unique cultural characteristics and way of conducting business. To succeed in Asia requires a deep understanding of local culture as well as delivering global levels of service and engagement. One great example is Go-Jek in Indonesia. Founders at Go-Jek understood the terrible traffic conditions in Jakarta and developed the motorcycle taxi service to improve the efficiency of how locals commute, work and play. From its early days of being an on-demand mode of transport, Go-Jek has evolved into a comprehensive service provider covering transportation, food, entertainment, postal and health services.

Go-Jek has since expanded to Singapore, Vietnam and Thailand and it will be interesting to see how they adapt their business model accordingly to suit customers from different countries.

4. Attract and keep talent

One key strategy that companies seem to overlook is the importance of attracting and retaining talent. The best brands are built from the inside out and without passionate employees, your brand purpose is meaningless. Much of today’s workforce consists of millennials, and the amount is continuing to rise. It’s crucial for brands to adjust to this generation in order to ensure growth.

Asian millennials, like their counterparts globally, are the most attracted to not just the biggest or richest organizations – but to the ones with a strong sense of purpose and share a similar set of values.

Adrian Ridner, CEO and co-founder of Study.com, comments “Millennials want to feel good about their work and make an impact on society at large. If a millennial feels that they are not personally connected to their company, they likely won’t stick around.”

Retaining employees is just as important as attracting them, so be sure to align your mission with your workers and create a platform for their voice.

The post Issue 27: Q1 2019 appeared first on Tangible.