Design Jury Mitglied ist kein leichter Job. Bei den unzähligen Kategorien ist sich selber eine Meinung zu den teils absolut diversen Einreichungen zu bilden schon eine Herausforderung. Einen Konsens mit den eigenwilligen Mitstreitern zu finden eine Leistung. So gab es in der Pressekonferenz durchaus Feedback zu den Einreichungen - es wurde deutlich mehr "green work und less paper art", von Adrian Burton, Executive Creative Director, Lambie-Nairn, UK, gefordert. Seine Botschaft : die Millennium-Generation lebt längst in einer anderen Welt, Cannes hinkt hier deutlich hinterher und verliert somit an Relevanz was das Marktgeschehen betrifft. Nicht das erste Mal das wir dies in dieser Woche hören.
Sein Favorit war die ganz grosse Arbeit für den Kunden LIDL: das Restaurant Dill. LIDL, seit 10 Jahren auf dem schwedischen Markt präsent schreibt seit 10 Jahren rote Zahlen. Der Grund: in Schweden passen gut und günstig nicht sehr gut zusammen. Um dies zu widerlegen und den Konsumenten ihre Ignoranz unter die Nase zu halten, vor Augen zu führen und sie im Zweifelsfall dran ersticken zu lassen erfand die Agentur Ingo Stockholm das Restaurant DILL, abgewandelt aus dem Markennamen. Hier gab es nur Produkte aus der eigenen Palette, zubereitet von einem ausgewiesenen 2-Sternekoch. Und was geschah? Die Schweden lieeeebten es! Das Restaurant war auf Wochen ausgebucht, die Medien berichteten umfassend, das Restaurant war der Hit. Wir zeigen Euch den Showcase mit dem mutigen - oder verzweifelten - Kunden, der es wagte bis an die Grenze des "guten" Geschmacks zu gehen und seine Kunden fast mit dem Nudelholz in der Hand zum Umdenken zu bewegen.
INGO STOCKHOLM for LIDL
Auf die Facetten von Design hingegen wies Pum Lefebure, CCO Desing Army aus Washington hin. "Design hat die Möglichkeit über das Branding direkten Einfluss auf die Markenwahrnehmung zu nehmen und gestaltet sie somit langfristig mit. Werbung hngegen erreicht Dich in den ersten 10 Sekunden - oder vermutlich nie." Sie war sehr beeindruckt von dem klassischen Ansatz der Colgate-Packaging Lösung auf schlichtem Karton. Sagte aber auch wortwörtlich über das Jury-Verhalten "es zog uns alle immer wieder zurück zu dem einen Billboard aus Bergen."
Der Jury-Präsident Ije Nwokorie, Global CEO, Wolff Olins, gab ihr Recht und führte aus, dass das übergeordnete Thema zum Thema Design in 2014 wohl gut mit dem Wort "quiet", also ruhig, umschrieben werden könnte. Es wären die nachhaltigen Arbeiten, die sie alle wohl am meisten beeindruckt hätten. Sein Favorit hingegen war ein wenig weniger nachhaltig, dafür umso niedlicher: die Pinguine auf dem Weg zum Zoo.
Was war da also los in Bergen? "Bergen ist so eine kleine Stadt" meldete sich Alisa Wolfson von Leo Burnett zu Wort. "wer Bergen kennt weiß das wenn man einen Job macht wie den für das Festival die ganze Stadt automatisch Bescheid weiss." Ob das hier in Cannes auch funktioniert? "Wir haben uns alle gewundert das es so etwas wie eine Einreichung in einer Kategorie mit einem Billboard noch gibt." lachte Alisa. Wir sparen uns an dieser Stelle Worte und zeigen Euch den Showcase zum Musikfestival, für den es, wie alle Jury-Mitglieder fanden, am Ende dann zu Recht den Grand Prix gab.
Natürlich gab es auch Fragen zu Länder-spezifischen Einreichungen, so auch an die vielfach ausgezeichnete Exil-Britin Claire Parker, Creative Director bei Design Bridge in Amsterdam. Diplomatisch antwortete sie, das es natürlich tolle Arbeiten aus Holland gäbe -die wohl einfach nicht oder auch falsch eingereicht worden seien. Hier setzten wir an und zeigen Euch mittels GoSee-Film drei Arbeiten die Claire gerne mit Euch teilen wollte.
DESIGN GRAND PRIX WINNER : BERGEN FESTIAL
Ausserdem nutzten die Gelegenheit für einen Mini GoSee QUEST und fragten Eric Amaral Rohter, Senior Designer und Partner bei Anti Inc Bergen AS, den wir nach Gewinn der höchsten Lorbeeren in der Altstadt Cannes beim Feiern trafen, zum kreativen Geschehen.
How did it all begin?
When we started the process, we really focused on understanding and developing the new communication strategy for the festival, which meant creating a strong, coherent brand. This meant that we needed to speak to different audiences with varying visual expressions, yet within one unified voice. We’re all music enthusiasts (we even have some trained musicians and an audio engineer in our office) so we knew that music, through visual expression, had the flexibility and structure to solve our challenge. We did a lot of research and explored how music could be visualised. But when we arrived at the “F” and it’s systematic application, we knew we had the solution. It has endless possibilities and will continue to evolve and grow over time.
Who decided to participate in Cannes?
Our Creative Director, Endre Beretnzen, used Cannes to set the bar when we started to document the project for Bergen International Festival. Great design needs to be well documented, and with such a diverse and elaborate identity, the documentation needs to clearly communicate the concept, challenges and solutions for the design. When we created the case study film, we used Cannes guidelines as a starting point. But we always believe that a good brand tells it’s own story. We saw that the project had a lot in common with the Cannes philosophy, and we decided it was the perfect project to enter.
And in just one category?
We believed in the project. The client believed in the project. And most importantly, we saw that the design community responded to the project with great enthusiasm. We felt confident that the project fit perfectly into the 360 degree branding campaign category. The Bergen International Festival brand is much more than just a brand. It's an evolving, growing, organic visual expression. Although we put detail and craft into each individual element that made up the identity as a whole, we felt the full package was what resinated the most with audiences. So we took a big gamble..but when you believe in the idea, you believe in the success and impact it can have. We took a big risk, and it paid off.
Why just one board?
The idea was simple, and we didn’t want to overcomplicate the presentation with details and ornaments. We wanted the jury to focus on the idea, the system, and the non-traditional branding applications we pursued. One board, clear text, and a clean presentation helped to guide the jury through the concept and design process. However the case-study film, in our opinion, is was really inspires people and shows the full expression and possibilities of the brand.
Is Bergen going crazy about your Grand Prix?
In Norway, we have an unwritten moral tradition called Janteloven, which essentially emphasises the importance that individual success and importance should not be something that is flaunted publicly. We got alot of comments from the jury and others at the festival that they we’re surprised by our calm attitude and our quiet celebration. But trust us…we were thrilled. And of course, we have to celebrate and appreciate the hard work and pay-off that this project has given us. Bergen is excited and extremely proud to be the first Norwegian city to win Grand Prix in the design category. This helps us emphasis Bergen’s importance as a creative centre, both nationally and internationally.
BERGEN INTERNATIONAL FESTIVAL (Festspillene i Bergen) presents art in all its guises from music to theatre, dance, opera and visual art. Established in 1953, the festival is one of the oldest and the largest of its kind in the Nordic countries, with more than 220 events during the 15 days it lasts. Redesigning a festival brand—whose program ranges from the classical to the Avant Garde—it was important to create a playful, versatile platform, that spoke to different audiences in a unified voice, yet allowed for individuality in content and appearance. Looking to bridge musical and visual language, we started with what they both had in common: being constructed from a single fundamental element—a note and a pixel. Using this singular element to build the iconic ”F” logo, like a chord constructed of various notes, we were able to establish a mathematical system—a system that allows the logo to grow, subdivide and rhythmically repeat like musical units creating a beat or tempo.
By visualising music through these modular systems, we were able to create an identity that is strong and flexible with endless possibilities, yet never looses brand recognition. A logo that is both a traditional logo, and a living identity. In addition to more traditional festival materials, we looked at new ways to create brand awareness through new channels. The festival is based in Bergen, the rainiest city in Europe, so we designed a rain poncho, covered in the brand patterns. We also created a traditional Norwegian sweater, which connected the brand & the sweaters traditional knitting patterns. At the opening performance, drone helicopters created the logo in the sky. City hall used it’s windows to light up the logo. We also created a digital campaign "Sound Smith" where people could play & compose on our music sequencer. fib.no
About ANTI is an acronym for A New Type of Interference – a manifest for the studio’s approach to communication design. ANTI believes that in a world where we are bombarded with several thousand pieces of communication a day it requires an untraditional approach and result to make you stand out from the crowd. ANTI was founded in 2008 and has a client list which among others consists of Pepsi International, IMG Models, Tag Heuer, Converse, Nike, Visa, MTV, Docomo Japan, Massimo Dutti, DNB (Norway’s largest bank) and Arcus (Norway’s leading alcohol distributor). The agency has it’s very own denim brand – ANTI Denim – rooted in Norway’s largest cultural export – black metal. In 2013 – visual style powerhouse – Grandpeople became a part of the ANTI team. A team that today consists of 37 people divided into two offices and spread across professional fields like Design, Advertising, illustration/visual style development (Grandpeople) and Conceptual development for TV.
