M-Sphere 2015
Authors:
Sanja Rocco, MSc
Zagreb School of Business
Katarina Kašnar, bacc.oecc.
Title: The Role of Visual Identity: Case study of a national airline company
Extended Abstract
Visual Identity has a strong impact in building the image of a brand. The elements of visual identity, if well created, communicate with the audience in the way that enables emotional bonding. Visual identity of a national airline company is of great importance for its recognition in the market, but at the same time for promoting different values of a country it represents. It is defined as a system of recognizable and consistent visual presentations of a company based on which market recognition is achieved. It manifests itself through all means of marketing communication, inside and outside the company. Creating and designing clearly defined elements of a visual identity precedes shaping the overall identity of the company, its values and ambitions. For all these reasons it is clear that visual identity has an important role in creating an image of a company, encouraging users to create their own emotional images. The combination of visual elements provides a unique identity, and it is precisely this kind of differentiation which can provide great business opportunities. This paper deals with the topic of visual identity, recognition and market positioning of the Croatian national airline company Croatia Airlines. The visual identity of Croatia Airlines, in addition to presenting itself and attracting customers, also has an important role of creating the image of Croatian identity in visitors´ minds.
Keywords: visual identity, brand image, design, communication, Croatia Airlines
Introduction
There has been much research in the field of national brand identity (Kaneva, 2007), but there is lack of research in national visual identity which is part of brand identity. Peter van Ham (2001) draws on theories of post-modernity to argue that international relations are witnessing the rise of “brand-states.” The most recent group of studies come from the field of media and cultural studies (e.g. Aronczyk, 2009; Baker, 2008; Jansen, 2008; Kaneva, 2009; Kaneva & Popescu, 2008; Roy, 2007), along with one in anthropology (Dzenovska, 2005)
Although national identity differs from corporate identity, there are some touchpoints between the two. Carter defined the concept of corporate identity as “the logo or brand image of a company and all other visual manifestations of the identity of a company”(Carter, 1982, p. 5). Growing research has shown that the concept of corporate identity is a strategic issue which includes an awareness of all organisation’s stakeholders. This is supported by Olins who defines corporate identity as „… the explicit management of all the ways in which the organisation presents itself through experience and perceptions to all its audiences (Olins, 1995, p. 3).
The corporate identity model developed by Melewar and Jenkins (2002, p.140) breaks down corporate identity into the following areas: communication and visual identity, behaviour, corporate culture and market conditions.
National brand identity
Nation-states have historically used various forms of persuasion to advance their political, economic, and cultural agendas (e.g. Bernays, 1955). Nation branding programs can be directed at both domestic and international audiences, and they are often funded with public money. In short, nation branding seeks to reconstitute nations both at the levels of ideology, and of praxis, whereby the meaning and experiential reality of nationhood itself is transformed in ways that are yet to be fully understood (Kaneva, 2011, p.118).
Anholt Nations Brands Index, first published in 2005 and still annually reprinted, by the consultant and scholar Simon Anholdt measures worldwide perceptions of nation states using seven dimensions: culture, governance, population, exports, tourism, investments, and immigration (Anholt, 2006).
According to Anholt (2009), most countries and regions communicate with the outside world, and thus create their images in the minds of others, through six basic channels or areas of activity. these are: tourism promotion, exports of products and services, Government policy, how the country or region attracts inward investment and recruits foreign “talent”, cultural exchange and cultural activities and the country or region’s inhabitants.
The reputations of countries (and, by extension, cities and regions) function rather like the brand images of companies and products, and they are equally crucial to the progress, prosperity and good management of those places. This was the observation which led the author, a decade ago, to coin the term “nation brand”. However, his preferred term, “competitive identity”, better communicates the fact that managing the reputations of places has more to do with national and regional identity and the politics and economics of competitiveness than with branding as it is usually understood in the commercial sector. Places get their brands from public opinion, not from marketers or governments. In a busy and crowded world, most of us do not have time to learn about what other places are really like. We navigate through the complexity of the modern world armed with a few simple clichés, which form the background of our opinions, even if we are not fully aware of this and do not always admit it to ourselves (Anholt, 2009: 206).
Place tone exists in the material, symbolic, and virtual worlds but to have impact in destination reputation management it must be consistently and effectively communicated in all these worlds. Places are trying to engage visitors, residents, and other stakeholders in a stimulating conversation and place reputations must be communicated with a strong, distinctive, and engaging tone of voice in all online and offline interactions with the key target audience (Chapter 10). A place’s tone (its ambience, the attitudes of its people, its heritage, and narratives) is inseparable from a destination’s sense of place. Yet, communicating this is no simple undertaking and opens up controversial challenges of place authenticity, brand narratives, leadership and authorship, performativity, story-telling, and aesthetics (see Chapters 5–9) (Morgan et al. 2011, 12).
Visual identity and image
Visual identity has a strong impact in building the image of a brand. So the approach should be interdisciplinary. Visual identity is more than just a logo, it is a visual expression that can be associated with reputation. According to Van den Bosch et al. (2005) visual identity can be seen through five dimensions: visibility, distinctiveness, authenticity, transparency and consistency. The use of visual identity elements on a variety of carriers increases the organisation’s visibility. The logo (alongside other visual cues) communicates not only the existence of an organisation, but also – particularly when the organisation is in the news – can come to symbolise its reputation. (Van den Bosch et al, 2005, 110)
The meaning of a brand is not contained in an organization´s logo, or even its products or services, but in the power of the brand image. Design can help build the reputation of a brand through customer touch points – places where the customer sees and experiences the brand. The act of translating a brand and its values into tangible and intangible products, services, spaces and experiences is called brand expression (Best, 2006: 100)
According to Anhold´s index, Spain has come within the top ten nations in culture, heritage and tourism (Anholt, 2009). Spain has along tradition in branding as a tourism destination. Its national image incorporates a specific visual identity for a long time. The famous Spanish painter Joan Mirò created Spain´s logo in 1985, which still remains today. This fact started a new era in the promotion of Spain because since that moment a unique brand has been used internationally, which meant a big step for Spanish marketing from the central government, overall because it started in the eighties and today is still on top. Mirò´s logotype has been introduced to every communication element of TURESPAŃA and it has become one of the signs of identity of Spanish tourism, used not only by TURESPAŃA, but also by different promoting entities.
The permanence and success of this image has been possible thanks to a simple draw which represents the art, the colors, the sun, the modernism… in short, a succsessfull combination of symbols making a brand that lasts through the years, although the slogans change. (Plumed Lasarte, 2012, 226)
According to Vranešević, some brand gained more relevance by using their brand logo than their brandname. These examples could be Apple, IBM, Mercedes or BMW (Vranešević, 2007, p.50). How important visual identity is in the context of corporate identity shows the case of British Airways. The corporation attempted at changing its image by repainting its tail fins. British Airways changed their designs from a distinctive and well-known logo to a diverse set of designs trying to appeal to the global market but failed (Melewar and Jenkins, 2002, p.140).
Another example of a national airline company is American Airlines which went through changing its visual identity in 2011. The brand’s new look is inspired by the company’s heritage and incorporates colors and symbols universally associated with American. A reimagined logo — called the Flight Symbol — evokes the star, “A” and iconic eagle of the airline’s past, all brought to life in refreshed shades of red, white and blue. The logo is reinforced by a bold, new livery. With proud stripes and a timeless silver body, the livery expresses American’s origins, but also the uplifting spirit of modern America: innovative, proud and open to the world (FutureBrand, 2011).
Croatia Airlines is the Croatian national airline company, established in 1989, two years before creation of the new Croatian independant state. Its visual identity was created in 1991. The company has a corporate designer Ivana Ivanković from its beginnings. The country name incorporated in the company name was of great importance for the new, only recognized state and its national image. The foundation for symbol design are the elements of Croatian coat of arms, the red and white squares. The inspiration for the form of the symbol was a bird`s wing. Even the primary corporate colors are national colours from the flag: red and blue. Croatia Airlines also received the international award ReBrand 100 for the redesign project of planes in 2012.
Picture 1. Croatia Airlines: redesign of visual identity applied to planes in 2012.
Source: corporate website
On-line research couducted between Croatian citizens about visual identity of Croatia Airlines for the purpose of undergraduate student final paper, (during spring 2014) gave 71 responses out of 100 e-mail contacts. For 78,9% of respondents the logo was valued as successful, clear and informative. Most of them have positive associations, they underline recognizability of national identity elements, which are in tune with the philosophy of the company, However, they have doubts about global recognition of the company and its contribution to national identity. The limitation of this research is that it has not concluded foreing passengers to examine their perception of Croatia Airlines visual identity.
To conclude, visual identity is an important part in creating an image. A country image can be interpreted as a function of many country associations with varying characteristics. The combination of characteristics of diversified associations will determine how extendable they are. Brand associations should be strong, positive, and unique (Keller 1993), but also important, abstract, and holistic.
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