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置换品牌形象

八月 1, 2011

在这项工作中,英国设计师 Graham Smith 通过刻意篡改市场中两个彼此性质相同或接近的品牌形象从而揭示出品牌间的共存关系。显然,这项玩笑般的实验计划的目的不仅仅在于博大家一笑,设计师试图通过图形化的方式引发观众对品牌市场背后更多探知真相的主动思考。如果我们稍加留意这些有趣的置换方式的设计,便很容易发现,那些经营内容类似或重复的品牌,一直以来他们之间的关系总是处于相互维系与抗衡的状态,甚至有一种潜在的默契。也许在阴谋论者眼中,这亦是另一个存在已久的圈套,只是他基本上是在无意中共谋的结果。包括品牌自身在内,所有人正漫步于色彩缤纷的商标花园内,以此为乐。

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与这项实验性质和目的完全相反的是,在中国大陆有一种品牌文化被称之为“山寨”,这种文化就像发作的癌细胞一样,已经蔓延至我们可知以及尚未可知的任何一个物质乃至思想领域。

在意大利,小偷早已成为一道众人皆知的城市风景。值得庆幸的是,这些扒手的故乡还有 Ferrari , LV , GUCCI , PARDA这些受人追捧的品牌形象。而在这方面,现代中国对人类的消费欲望几乎没有任何持久的积极的贡献,所以当我们试图掩盖、辩解偷窃行为的时候总是缺少说服与自我说服的证据。
 

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在品牌认知这个问题上,经营者并没有随着大众消费欲望的爆发进而有意增强对品牌形象与价值方面的理性探索。品牌经营者在巨大的利润诱惑面前无心建造值得信任的形象,同样,各个阶层的消费者也长期被割裂于极其狭窄的消费空间内,这就导致几乎任何一款来自大洋彼岸的品牌在这里都有咸鱼翻身的可能,而那些毫无顾忌的品牌(价值)偷窃者也因大众消费本性的爆发应运而生。
 

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与“山寨”文化相对应的是,国内奢侈品消费市场爆发性增长的现象又是公众对本土消费市场缺乏公信力的另一面极端的镜像式的写照,更是长期因偷窃导致丧失价值创造能力最可悲的佐证。Graham Smith 的这项实验的潜在动机是鼓励人们探讨品牌形象背后的真相以及促使普通消费者思考自身消费动机,但对于国内消费者而言,眼前需要做的是辨明并揭露寄宿在整个系统中的癌细胞的真面目。事实让我们有理由相信,未来国内的主流消费群体在买和不买以及买什么这类问题上只会比选择奶粉品牌、抨击“山寨”现象表现出更加“冷酷无情”的姿态。一旦公众消费价值观进入相对理性的区间,留给偷窃者的唯有自生自灭。

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品牌接触: LN-CC ( Late Night Chameleon Café )

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