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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