“Becoming a designer is not just a matter of honing your practical skills, there’s a new language to get familiar with. This series of articles explores some of the most important words used in studios, websites and universities around the world. It lets you know why these terms are so significant and gives you tips on how to use them to your advantage.”
Aysar Ghassan continues our series on Design Keywords with an article on ‘Authenticity’.
The 1998 film The Truman Show tells the story of a salesman whose entire existence is both fabricated and the subject of a reality TV show. After much contemplation, the unsuspecting star (Truman Burbank) begins to twig and starts searching for a more authentic way of life.
Though not quite in the same predicament as Mr Burbank, people the world over are hoping to discover authentic ways of being. This quest is underpinned by the purchase of authentic products and services [1].
So what exactly is ‘authenticity’ and how might you spot it? Changing consumer demands have meant that the term’s definition has altered over the years. Traditionally, ‘authenticity’ meant that a product was what it claimed to be. Marketers used this keyword to reassure customers of provenance [2]. To illustrate, in the early 1900s W.K. Kellogg famously signed every box of his fledgling cereal company to certify them as the genuine article:
[embed][/embed]
A Kellogg’s Advert video: it’s all in the signature.
More recently, the concept of authenticity has taken on an additional meaning. Mass production and efficient distribution have enabled round the clock access to a vast array of consumables. In this context, ‘authenticity’ is a method of differentiating a product or service from its competitors in a wide range of market sectors [3].
Packaging design plays a significant role in helping customers feel that a product is authentic. For example, traditional imagery and warm, earthy colours in the design of Trappist beer labels work together to project a sense of genuineness [4]. Appropriate choice of materials also helps to sway consumer perceptions. The carton used to house Clipper Tea (a brand owned by the multinational Royal Wessanen) provides an “unprocessed, handsome feel” which highlights “the care and attention given to an artisan product”. [5]
Association with a ‘place’ is also key in forming a sense of authenticity. Brands may choose to promote the country or region in which a product is made. Beyond this, it may be advantageous to relate more detailed affiliations with a particular location. Brands may for example wish to highlight connection with specific manufacturing facilities. In a study, customers felt that Levi Strauss jeans made in an old factory contained more of “the essence” of this iconic brand than did garments constructed in a newer factory. Consumers rated the older jeans as more authentic and were willing to pay more for them [6].
Let’s now look at the emphasis one of the world’s most established vehicle manufacturers Renault places on authenticity. Luciano Bove is a Research and Design Manager at Renault’s ‘Cooperative Innovation Laboratory’ (LCI) Design Centre in Paris. He also runs Car Design Education Tips, a site dedicated to helping students learn practical skills. In addition, Luciano writes for Car Design News.
Luciano says that three factors are critical in creating innovative Renault vehicles. Firstly, the design has to be well-considered; secondly, engineering teams work to make designs feasible; thirdly, marketing experts ensure that products appeal to targeted consumers. Luciano is responsible for integrating these factors to safeguard effective product development [7]. Authenticity has been a key element in Renault’s product creation strategy since Laurens van den Acker was appointed Senior Vice President of Renault Design in 2009.
The flowing surfaces on the exterior of the Renault Captur and the New Clio—suggesting French grace and elegance (and of course seduction)—are a prime example of the quest for authenticity translated into three-dimensional form.
Renault’s goal to create more authentic products is driven by both the need to express a new emotional form language and by changing aspirations of consumers. Customers scrutinise surface treatment more closely than they did in the past:
“Consumers have a better knowledge about materials today compared to before the internet era…”
In response, Renault has reduced its use of materials which appear overly-plastic in the design process as consumers perceive these to be inauthentic. Instead, the company concentrates on surface finish to improve consumers’ perception of materials. In addition, through technological innovation, Luciano says that Renault’s LCI Team is exploring the use of:
“new upcoming natural materials like bamboo or cork”
To aid their application in vehicle design, natural materials have to be manipulated to make them suitable for challenging environments. If treated incorrectly, the materials lose their natural appearance. Adapting them therefore means:
“respecting all norms and rules for their correct application”.
For Renault, the issue of authenticity is also closely linked to that of environmental protection. Renault was one of the first European vehicle brands to invest in eco-friendly manufacturing processes and to create sustainable products. Plastics can present a story of unsustainable manufacture and consumption. The use of natural materials enables consumers to sense that companies are acting positively. Indeed, through focussing on materials such as bamboo or cork, Renault:
“see opportunities for protecting the environment”
The quest for authenticity means that companies employ designers who can implement this keyword in the design process. It is important to remember that colours, materials and surface finishes which make something appear authentic in one part of the world may not be read as such in other locations. Also, elements which add an authentic aura today may not have the desired effect in time to come. Because of these shifts, Luciano highlights the importance of research in the creation of authentic artefacts:
“we must try to consider how trends change and also at which speed they change”.
So how should you go about communicating your design research? Illustrated personas work wonders to relate your target consumers to tutors and prospective employers. Clever use of mood boards and material swatches will narrate your trend analysis succinctly. A few key words or phrases will help focus your findings—but don’t be tempted to use too much text, it really puts viewers off! Research is vital, but it should never overpower your design work…
With ‘design’ becoming more and more important in organisations, the final article in this series focusses on perhaps the most important keyword of current times, Design Thinking.
If you enjoyed reading Design Keywords: Authenticity, read more from the ARTS THREAD series on Design Keywords
Aysar Ghassan teaches Automotive and Transport Design at Coventry University. He writes on 21st Century Design Philosophy and Design Education in international journals and conferences. Aysar can be reached on ab5835(AT)coventry.ac.uk
REFERENCES
[1] Gilmore, J. H. and Pine, B. J., (2007). Authenticity: What consumers really want. Boston:
Harvard Business School Press.
[2] Beverland, M.B. (2009) Building brand authenticity: 7 habits of iconic brands. New York:
Palgrave Macmillan.
[3] Beverland, M.B. (2005) Brand Management and the Challenge of Authenticity. Journal of
Product and Brand Management, Volume 14, Issue 7, pages 460-461.
[4] Beverland, M.B., Lindgreen, A., and Vink, M. W. (2008), Projecting authenticity through advertising: consumer judgment of advertisers’ claims. Journal of Advertising, Volume 37, Issue 1, pages 5-15.
[5] Klanten (2008) CrEATEe: Eating, Design and Future Food. Berlin: Gestalten
[6] Newman, G. E. and Dhar, R. (2014) Authenticity is contagious: Brand essence and the original source of production. Journal of Marketing Research, Volume 51, Issue (3), pages, 371-386.
[7] Renault LCI Design Team is the R&D Studio headed by Mr Patrick Lecharpy (Design), Mr Gilles Lallement (Engineering) & Mr Benoit Brochard (Product Planning) at Renault’s SA Design department in the Technocentre, Guyancourt, France.
Aysar Ghassan continues our series on Design Keywords with an article on ‘Authenticity’.
The 1998 film The Truman Show tells the story of a salesman whose entire existence is both fabricated and the subject of a reality TV show. After much contemplation, the unsuspecting star (Truman Burbank) begins to twig and starts searching for a more authentic way of life.
The Truman Show: Burbank nearing the end of his search
Though not quite in the same predicament as Mr Burbank, people the world over are hoping to discover authentic ways of being. This quest is underpinned by the purchase of authentic products and services [1].
So what exactly is ‘authenticity’ and how might you spot it? Changing consumer demands have meant that the term’s definition has altered over the years. Traditionally, ‘authenticity’ meant that a product was what it claimed to be. Marketers used this keyword to reassure customers of provenance [2]. To illustrate, in the early 1900s W.K. Kellogg famously signed every box of his fledgling cereal company to certify them as the genuine article:
[embed][/embed]
A Kellogg’s Advert video: it’s all in the signature.
More recently, the concept of authenticity has taken on an additional meaning. Mass production and efficient distribution have enabled round the clock access to a vast array of consumables. In this context, ‘authenticity’ is a method of differentiating a product or service from its competitors in a wide range of market sectors [3].
Packaging design plays a significant role in helping customers feel that a product is authentic. For example, traditional imagery and warm, earthy colours in the design of Trappist beer labels work together to project a sense of genuineness [4]. Appropriate choice of materials also helps to sway consumer perceptions. The carton used to house Clipper Tea (a brand owned by the multinational Royal Wessanen) provides an “unprocessed, handsome feel” which highlights “the care and attention given to an artisan product”. [5]
Clipper Tea
Association with a ‘place’ is also key in forming a sense of authenticity. Brands may choose to promote the country or region in which a product is made. Beyond this, it may be advantageous to relate more detailed affiliations with a particular location. Brands may for example wish to highlight connection with specific manufacturing facilities. In a study, customers felt that Levi Strauss jeans made in an old factory contained more of “the essence” of this iconic brand than did garments constructed in a newer factory. Consumers rated the older jeans as more authentic and were willing to pay more for them [6].
Levi Strauss’ ‘Two Horse’ Logo
Let’s now look at the emphasis one of the world’s most established vehicle manufacturers Renault places on authenticity. Luciano Bove is a Research and Design Manager at Renault’s ‘Cooperative Innovation Laboratory’ (LCI) Design Centre in Paris. He also runs Car Design Education Tips, a site dedicated to helping students learn practical skills. In addition, Luciano writes for Car Design News.
Luciano Bove, Research and Design Manager, Renault
Luciano says that three factors are critical in creating innovative Renault vehicles. Firstly, the design has to be well-considered; secondly, engineering teams work to make designs feasible; thirdly, marketing experts ensure that products appeal to targeted consumers. Luciano is responsible for integrating these factors to safeguard effective product development [7]. Authenticity has been a key element in Renault’s product creation strategy since Laurens van den Acker was appointed Senior Vice President of Renault Design in 2009.
Inside Renault’s Paris R&D Centre
The flowing surfaces on the exterior of the Renault Captur and the New Clio—suggesting French grace and elegance (and of course seduction)—are a prime example of the quest for authenticity translated into three-dimensional form.
Generation Renault Clio
Renault’s goal to create more authentic products is driven by both the need to express a new emotional form language and by changing aspirations of consumers. Customers scrutinise surface treatment more closely than they did in the past:
“Consumers have a better knowledge about materials today compared to before the internet era…”
In response, Renault has reduced its use of materials which appear overly-plastic in the design process as consumers perceive these to be inauthentic. Instead, the company concentrates on surface finish to improve consumers’ perception of materials. In addition, through technological innovation, Luciano says that Renault’s LCI Team is exploring the use of:
“new upcoming natural materials like bamboo or cork”
Cross Section from Quercus suber, Commonly Called the Cork Oak
To aid their application in vehicle design, natural materials have to be manipulated to make them suitable for challenging environments. If treated incorrectly, the materials lose their natural appearance. Adapting them therefore means:
“respecting all norms and rules for their correct application”.
For Renault, the issue of authenticity is also closely linked to that of environmental protection. Renault was one of the first European vehicle brands to invest in eco-friendly manufacturing processes and to create sustainable products. Plastics can present a story of unsustainable manufacture and consumption. The use of natural materials enables consumers to sense that companies are acting positively. Indeed, through focussing on materials such as bamboo or cork, Renault:
“see opportunities for protecting the environment”
Zero Emissions Renault Zoe
The quest for authenticity means that companies employ designers who can implement this keyword in the design process. It is important to remember that colours, materials and surface finishes which make something appear authentic in one part of the world may not be read as such in other locations. Also, elements which add an authentic aura today may not have the desired effect in time to come. Because of these shifts, Luciano highlights the importance of research in the creation of authentic artefacts:
“we must try to consider how trends change and also at which speed they change”.
So how should you go about communicating your design research? Illustrated personas work wonders to relate your target consumers to tutors and prospective employers. Clever use of mood boards and material swatches will narrate your trend analysis succinctly. A few key words or phrases will help focus your findings—but don’t be tempted to use too much text, it really puts viewers off! Research is vital, but it should never overpower your design work…
With ‘design’ becoming more and more important in organisations, the final article in this series focusses on perhaps the most important keyword of current times, Design Thinking.
If you enjoyed reading Design Keywords: Authenticity, read more from the ARTS THREAD series on Design Keywords
Aysar Ghassan teaches Automotive and Transport Design at Coventry University. He writes on 21st Century Design Philosophy and Design Education in international journals and conferences. Aysar can be reached on ab5835(AT)coventry.ac.uk
REFERENCES
[1] Gilmore, J. H. and Pine, B. J., (2007). Authenticity: What consumers really want. Boston:
Harvard Business School Press.
[2] Beverland, M.B. (2009) Building brand authenticity: 7 habits of iconic brands. New York:
Palgrave Macmillan.
[3] Beverland, M.B. (2005) Brand Management and the Challenge of Authenticity. Journal of
Product and Brand Management, Volume 14, Issue 7, pages 460-461.
[4] Beverland, M.B., Lindgreen, A., and Vink, M. W. (2008), Projecting authenticity through advertising: consumer judgment of advertisers’ claims. Journal of Advertising, Volume 37, Issue 1, pages 5-15.
[5] Klanten (2008) CrEATEe: Eating, Design and Future Food. Berlin: Gestalten
[6] Newman, G. E. and Dhar, R. (2014) Authenticity is contagious: Brand essence and the original source of production. Journal of Marketing Research, Volume 51, Issue (3), pages, 371-386.
[7] Renault LCI Design Team is the R&D Studio headed by Mr Patrick Lecharpy (Design), Mr Gilles Lallement (Engineering) & Mr Benoit Brochard (Product Planning) at Renault’s SA Design department in the Technocentre, Guyancourt, France.