One of the most well-known ad agen­cies in the world has a new iden­tity, cour­tesy of Collins. Three creatives weigh in…

Computer Arts - - Contents -

Three creatives weigh in on Collins’ am­bi­tious re­brand of global ad agency Ogilvy

TOM WILDER Cre­ative di­rec­tor, Collins www.wearec­ollins.com

“The Collins team has a deep un­der­stand­ing and ap­pre­ci­a­tion for the Ogilvy brand, largely be­cause Brian Collins him­self spent a decade as CCO of the de­sign and brand ex­pe­ri­ence divi­sion be­fore found­ing Collins in 2008. He felt first-hand the cre­ative drive be­hind the whole com­pany.

By be­ing de­sign-led and fo­cus­ing on the holis­tic ex­pe­ri­ence, our part­ner­ship with Ogilvy goes be­yond just ‘re­brand­ing’ to a true re-found­ing. Collins helped re­shape the iden­tity and de­sign sys­tem, re­defin­ing Ogilvy’s new brand di­rec­tion from global her­itage to a sim­ple, client-first value propo­si­tion us­ing a joint strat­egy process.

The project in­cluded re-de­sign­ing Ogilvy. com, over­haul­ing the visual iden­tity and re­fin­ing the com­pany’s core val­ues. It’s now an over­all sys­tem with legs and scale: flex­i­ble and durable enough to be in­def­i­nitely used across the globe, in a wide range of ser­vices.”

JESSE MACKENZIE Cre­ative di­rec­tor, Trust Printshop www.trust­printshop.com

“The star of this iden­tity is the word­mark. Based on Baskerville, it’s both sim­ple and beau­ti­ful with great lig­a­tures and spac­ing. It also ben­e­fits from the name, which has a nice rhythm and bal­ance to it.

The pair of cus­tom type­faces are both fan­tas­tic and ex­ten­sive, with great lit­tle de­tails through­out – es­pe­cially in the serif ver­sion and in the in­cluded lig­a­tures. Some might find these pieces bor­ing or sim­plis­tic, but I love sub­tle, el­e­gant brand­ing for cre­ative agen­cies. It’s both bold and ex­cit­ing.

Be­yond the logo and cus­tom type­faces the iden­tity starts to lose steam. The colour palette feels overly trendy, es­pe­cially next to the sim­ple and time­less logo. And the lack of a visual con­cept leads to some aim­less­ness in the ex­tended ap­pli­ca­tions. Noth­ing looks bad, but I hope the ap­pli­ca­tions will con­tinue to evolve with the brand as the logo and type­faces are un­de­ni­ably fan­tas­tic.”

MIKE SOYLU Chief mar­ket­ing of­fi­cer, Pisano www.pisano.co

“David Ogilvy, the mas­ter ad­ver­tiser, was all about big ideas. And it seems to me that the big idea with this new re­brand is ‘change’. It re­flects a broader trend in busi­nesses to­day.

This re­brand is Ogilvy cap­i­tal­is­ing on change in its cor­po­rate re­struc­ture based on six ‘core ca­pa­bil­i­ties’. Brand strat­egy, ad­ver­tis­ing, cus­tomer en­gage­ment and com­merce, PR and in­flu­ence, part­ner­ships, and most im­por­tantly, dig­i­tal trans­for­ma­tion. ‘We sell. Or Else.’ has been trans­formed into ‘We change. Or else.’

Through this lens, the Ogilvy re­brand hits all the right notes. Big­ger, bolder font. Sim­pler, more res­o­nant name. A more con­nected logo and a whole new cor­po­rate struc­ture. Change is just ooz­ing from ev­ery as­pect of its new iden­tity. Do­ing this with­out throw­ing away the cul­ture and her­itage of the com­pany, or val­ues of David Ogilvy, is what’s most in­spir­ing. That’s brand mas­tery.”

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.