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Branding Quotes

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Branding Quotes

“Your purpose is the emotional and spiritual energy that surrounds the commercial aspects of what you do; it can’t be to make a lot of money or sell a lot of widgets. While generating a significant financial return may be a result of pursuing your purpose, it can’t be why you do what you do. Money isn’t what the journey’s about. We aren’t here to survive; we’re here to self-actualize and thrive.”

“And then one day everything changed; the world shifted on its axis, our consciousness evolved. Instead of making their purchase deci- sions based solely on price, people became willing to pay more for sustainable or organic products. They no longer wanted their meat mass-produced; they wanted grass-fed beef from a local farmer. Rather than just a good sweat from their exercise, they also wanted mindfulness, so they took up SoulCycle, yoga, or meditation. And rather than settling down to buy their dream home and build their 401k, they spent their resources searching out experiences they could share and cherish more than they would another purse or car. Above all else, they wouldn’t accept the status quo. Instead of working in secure yet unfulfilling jobs, they wanted to create an existence that reflected their innermost desires and beliefs. And they did, in record numbers.”

“Creativity is that special something. It can take you from good to great, from want to need, from admiration to infatuation. It is intangible, emotional, and premium-worthy. It’s honest. It’s simple. It’s generous. It’s beautiful to watch and effortless to enjoy. Once you get in touch with your creativity, nothing else is ever the same. It is an energy deep within, one that connects us all.”

“To manifest your creativity you must believe deeply in the emotional elements and patiently invest in them. Once you find your creativity, it must be encouraged and enhanced, not controlled. The best of the best—the Apples, Nikes, Michael Jordans, Andy Warhols, Meryl Streeps of the world—have it; they protect it, believe in it, and as long as they stay true to their essence they’ll continue to reap the benefits that come with creative thinking and living.”

“Despite our efforts to be practical and logical, humans remain emotional beings, and we all crave meaningful emotional interaction with other humans. We don’t just want meatballs, we want Grandma’s meatballs; we don’t just want a smartphone, we want to Think Different; we don’t just want to go to any old amusement park, we want to go to the Magic Kingdom; and we don’t want water, we want artesian water from Fiji. The story, the experience—that’s what is critical to creating, and the emotional connection established through that art is what drives commerce in the contemporary market.”

“...creators must deeply believe in what they’re manifesting in order for others to believe. Today’s term of choice for this conviction is authenticity. Walk into any boardroom nowadays and you’ll hear executives asking how they can make their products or services more authentic. The chal- lenge is that there’s no way to be authentic without actually doing something that’s genuine. You must believe in what you’re creating and sharing with the world. Authenticity is exactly that—the point at which you manifest your deep beliefs into something tangible. Therefore, in the modern market there’s more value than ever placed on the level of belief that creators have in their creation.”

“When artists start out, no one knows who they are or what they do. Despite this, they start manifesting their vision. A painter begins painting and sharing those paintings with the market. Maybe she sells a cou- ple at a low price, or maybe she can’t sell any. So what does she do? Somehow she begins to share the story behind her art. Why does she paint? Where did she come from? What’s her inspiration? What’s the meaning behind her work? Why does she need—not want, need—to paint? And over time people hear her story: some connect with it and others don’t, but the ones who do connect, who see a reflection of themselves in her story, become her tribe. Maybe eventually she gets a gallerist, manager, patron, or publicist, and they share her resonant story with even more people, growing her tribe. Then what happens? Though the paintings are the same, by combining the work with an authentic, resonant story, our painter magically creates value and demand for her art grows.”

“A platform is a raised, level surface on which people or things can stand. A platform business works in just that way: it allows users—producers and consumers of goods, services, and content— to create, communicate, and consume value through the platform. Amazon, Apple’s App Store, eBay, Airbnb, Facebook, LinkedIn, Pay- Pal, YouTube, Uber, Wikipedia, Instagram, etsy, Twitter, Snapchat, Hotel Tonight, Salesforce, Kickstarter, and Alibaba are all platform businesses. While these businesses have done many impressive things, the most relevant to us is that they have created an oppor- tunity for anyone, even those with limited means, to share their thoughts, ideas, creativity, and creations with millions of people at a low cost. Today, if you create a product or have an idea, you can sell that product or share that idea with a substantial audience quickly and cost-effectively through these platforms. Not only that, but the platforms arguably give more power to individuals than corporations since they’re so efficient at identifying ulterior motives or lack of authenticity. The communities on these platforms, many of whom are millennials, know when they’re being sold to rather than shared with, and quickly eliminate those users from their con- sciousness (a/k/a their social media feeds). Now, smaller organizations and less prosperous individuals are able to sell to or share their products, services, or content with more targeted demographics of people. That’s exactly what the modern consumer desires: a more personalized, connected experience. For example, a Brooklyn handbag designer can sell her handbags to a select group of customers through one of the multitude of fashion or shopping platforms and create an ongoing dialogue with her audience through a communication platform such as Instagram. Or an independent filmmaker from Los Angeles can create a short film using a GoPro and the editing software on their Mac and then instantly share it with countless people through one of a dozen video platforms and get direct feedback. Or an author can write a book and sell it directly from his or her website and social channels to anyone who’s excited about it. The reaction to standardization and globalization has been enabled by these platforms. Customers can get what they want, from whomever they want, whenever they want it. It’s a revised and personalized version of globalization that allows us to maintain and enhance the cultural connections that create the meaning we crave in our lives.”

“While the arrival alone was magnificent, it wasn’t until I entered the lobby that I was swept away: fifty-foot ceilings, a straight-shot visual hundreds of feet from the entrance to the rear orchard, and charming vignettes of whimsical seating and social areas throughout. The beauty was unmistakable, and the energy was so real you could almost drink it. Every step I took built on the drama of the experience. By the time I exited the lobby and stepped into the orchard, I felt changed, as if my appreciation for what the imagination could manifest had been heightened. I didn’t say a word for ten minutes after I walked outside. I just smiled, completely satisfied by what I had just consumed.”

“Ian and Steve knew there were no hotels cater- ing to the taste and lifestyle of their clientele. It was obvious to them that the hotel business was stale with sameness; if they could infuse art and lifestyle into this segment of commerce, they would disrupt the industry.”

“While many say Schrager’s work is about design, it isn’t—it’s about ideas and experiences. Ian uses the power of his ideas to tap into what he calls the “collective unconsciousness, the ethereal, elusive, and hard-to-define magic and energy.” He understands the power of this intangible, emotional place and uses it to connect deeply with his customers. He knows that “the way a product makes you feel is more important than how it looks. The goal is to create experiences that people will remember, to touch them in emotional and visceral ways, to lift their spirits, to assault their senses, and to wow them in tasteful ways.” But just as important, Schrager under- stands that an amazing experience can’t be created from ideas alone, knowing that “good execution is just as important as a good idea.” And he has consistently manifested his creative potential because he has regularly married the four key elements that create value in our new age: purpose, creativity, execution, and emotion.”

“Instead of leasing buildings in a traditional manner to multiple larger tenants, coworking companies lease entire structures and then sell these leases at a higher rate to members, a/k/a tenants. A change in use, not physical form. Combine that with the intangibles of inventive branding and experiential activation, and you’ve transformed one of the largest industries in the world—commercial real estate—sim- ply by changing the way people perceive it.”

“By shifting the perception of a person, product, or place, you will significantly impact their value and how the market interacts with them. Per- ception is closer to reality than ever before, and your ability to positively shift perception directly correlates to how much value you can create in the Age of Ideas.”

“Let’s discuss our Swoosh-less Nike sneaker for a moment. My guess is that if you removed the branding from a pair of Nike Dunk sneakers, they would be worth no more than twenty-five percent of their retail price. That means that at least seventy-five percent of the value of a Nike sneaker is tied up in the emotional elements you can’t see or touch, the intangibles. But just because you can’t see them or touch them doesn’t mean they aren’t real.”

“Let’s discuss our Swoosh-less Nike sneaker for a moment. My guess is that if you removed the branding from a pair of Nike Dunk sneakers, they would be worth no more than twenty-five percent of their retail price. That means that at least seventy-five percent of the value of a Nike sneaker is tied up in the emotional elements you can’t see or touch, the intangibles. But just because you can’t see them or touch them doesn’t mean they aren’t real. For a parallel example, let’s look at Kanye West’s relationship with Adidas. Kanye has little or no athletic prowess—he’s a musi- cian, a tastemaker, a hype man. Whatever you may think of Kanye, he gets people talking and has been able to use his brand to create value for his partners. And that’s exactly what he did when he designed a line of sneakers for Adidas, the Yeezy Boost. In February 2015, a limited run of his shoes sold out within ten minutes at a retail price of two hundred dollars. The shoes were then released to a wider audience a month later and once again sold out in record time. This is where things start to get interesting. According to Complex magazine, in the following quarter the Yeezy Boost accounted for $2.3 million in sales on eBay, three times the gross sales of its closest competitor, for an average price of $751 per pair. Let’s generously assume it cost Adidas fifty dollars per pair to produce and market a pair of Yeezy Boost. If that’s the case, Kanye West’s creativity is worth $701 per pair, and that doesn’t include the halo value to the overall Adidas brand.”

“At Supreme they do things their way, with little if any con- cern for how the rest of the fashion industry operates. Instead of releasing their new collections all at once, Supreme releases a small number of items at a time, usually somewhere between five and fifteen. The “drop,” as they call it, occurs online at 11 A.M. local time in America, the UK, and Japan, typically selling out in minutes. While many people believe this strategy is about building hype, the truth is that short runs of product were actually born out of not wanting to saddle their business with excess inventory. The strategy was discov- ered, not manufactured.”

“the ability to reach customers is more cost effective than ever—therefore the intangible and emotional elements have become the key differentiating factor. There are plenty of places to purchase a great spicy tuna roll, but there’s only one Masayoshi Takayama. According to his website, “Masayoshi Takayama’s appreciation for food started at a young age, growing up working for his family’s fish market in a town of Tochigi Prefecture, Japan. From his early years of delivering fresh sashimi to neighbors on his bicycle, to prepping and grilling hun- dreds of fish courses to cater weddings in high school, his relation- ship with food has always been a way of life.” That’s the beginning of a story that makes Takayama’s sushi different and special—that makes it art. And that art is what induces people to pay $600 per person in his New York restaurant for a chance to try it.”

“The value of story—of creator reputation—was vividly demon- strated in a social experiment conducted by the street artist Banksy during a 2013 New York residency. This is an artist whose work has sold for as much as $1.87 million at auction. Banksy erected a street stall on a sidewalk bordering Central Park and had a vendor sell his prints for sixty dollars each. He then posted a video of his experi- ment. Footage from a hidden camera captures some of his most iconic images displayed on a table. Tourists and locals meander by. His first sale doesn’t come for hours. A woman buys two small works for her children, negotiating a fifty percent discount. Around four in the afternoon, a woman from New Zealand buys two more. A little over an hour later, a Chicago man who “just needs something for the walls,” buys four. With each sale, the vendor gives the buyer a hug or kiss. At 6 p.m., he closes the stall, having made $420. In June 2015, one of these stenciled prints, Love Is in the Air—an image of a masked protestor throwing a bouquet of flowers—sold for $249,000. How much of the value of Banksy’s art is tied up in his name, his global brand?”

“Visual art is a compelling illustration of the power of story because art serves no practical purpose. Its value doesn’t grow because more people need paintings, like we need shovels after a blizzard—it grows because people connect with the artist through the art. The combination of the work and the story make them feel, and when that happens, people take action to satisfy their emotional need—in this case, desire—by buying and sharing the art. And it’s occurred this way since the beginning of time, except now the art—the intangibles—have more power than ever before.”

“The beauty, quality, and deeply personal nature of Chapman’s music, which had clearly resonated with so many early listeners in Boston, did so in exactly the same way with a large national audience. While she didn’t fit into any clear category, the fact that she was different and had manifested a deeply personal message resonated powerfully with the world. Chapman was recently asked what advice she might have given herself when she was starting out, and she responded, “It really is okay to be yourself.... If you are living a life that feels right to you, if you’re willing to take creative chances or a creative path that feels like it’s mostly in keeping with your sensibilities, you know, aesthetic and artistic, then that’s what matters.”

“The fact is, your creative potential is unrealized without execution. You love Apple products not only because they’re beautiful, you love them because they work really well. You love your favorite restaurant not only because the food is great, but because it’s consistently great.”

“Emotional generosity is when an individual or organization combines empathy—the willingness to feel, understand, and share another person’s experiences and emotions—and sacrifice, surren- dering something you need or desire so that someone else can have it. The result of combining these two attributes is trust: the belief that someone or something is good, honest, and reliable. And when someone trusts you, they’re willing to emotionally connect with you. That connection, that bond, is invaluable, both in personal relationships and organizational loyalty and growth. When people feel trust and connection, they allow themselves to be taken on a journey, and that’s what makes it possible to create something truly special.”

“Before humans started messing around with the system, nature existed in harmony for millions of years—a beautiful symphony of seasonal change, birth and death, creation and destruction. This same harmony that drives the natural world applies to the intangible, emotional world of humans. We, too, must achieve harmony between all the elements of our lives, between the internal self and the external world.”

“Bottled water is another example. Free, high-quality water is available in much of the developed world. But the developed world is exactly where the majority of bottled water is consumed. In 2012, in the U.S. alone, we spent $11.8 billion dollars on bottled water. Because packaging is a fixed price and water is a low-priced com- modity, what exactly are we paying the rest of the money for? The answer is that much of the value is tied up in the brand, the idea, how it makes you feel, the creativity.”

“Freed from incessant worry about securing the bare essentials to live, the majority of us in the Western world are able to focus on tending to our higher needs—on pursuing happiness, on thriving. And one group has benefited from this shift more than all the rest—millennials, the largest, most diverse generation ever. Millennials, those Americans born between 1980 and the early 2000s, spent their youth in relatively comfortable surroundings. They watched as their parents—the Baby Boomers and Gen Xers—obeyed the rules of the industrial complex, getting steady corporate jobs and saving for retirement. Their parents achieved modern society’s definition of success: material wealth. But millennials could see that, rather than bringing fulfillment, this path often ended with their parents unhappy, divorced, stressed-out, or on antidepressants. In response to this, millennials went in another direction. Well-educated and communicative, they learned from their parents’ experiences and adjusted their needs hierarchy to put meaning ahead of money. Millennials want lives marked by creativity, spiritual satisfaction, expanded knowledge, societal contribution, and multilayered experiences. Sound familiar? We’re in Maslow territory—millennials are seeking to live self-actualized lives and enjoy peak experiences, a generational change that has had extensive repercussions.”

“Extraordinary opportunity is now available and accessible to individuals and organizations with the creativity, passion, ambition, and work ethic to manifest their ideas. And, coincidentally, this is happening at the exact same time that a growing portion of the population is seeking out and rewarding creators for their work. Millennials (and those living with a millennial mind-set) support and consume products, services, and content made by passionate and authentic individuals and organizations they feel a connection with. That’s what we call a product-market fit. Except it isn’t a micro-market—it’s the largest market in the world, and that has changed everything. Welcome to the Age of Ideas.”

“in the Age of Ideas, regular people are able to harness the power of perception in the same way celebrities and big companies have for years. Whether on LinkedIn, Facebook, Ins- tagram, or personal blogs, you can influence your value by affect- ing how people perceive you. And the same way an entrepreneur can change the value of a building or event by changing people’s perception of it, you too can change people’s perception of you through authentic storytelling.”

“Most businesses have the goal of getting as big as possible. Supreme, on the other hand, strives to remain underground and boutique, growing only when they deem it will enhance the brand. As style writer Glenn O’Brien put it, “Supreme is a company that refuses to sell out.” But why? Well, first off, because it wouldn’t be authentic to who they are, what they do, and what they’re into. For instance, when asked why they wouldn’t expand into women’s wear, Jebbia simply replied, “It’s not what we know.” And that’s all they’ve done—manifest an authentic reflection of their core beliefs with unyielding discipline. Supreme is a reflection of Jebbia’s life experiences and pas- sions. It just happened that his passion for “cool and unusual things for young people” was in harmony with the global youth movement that his brand has come to represent. Supreme continues to succeed on a massive scale because they have the discipline to focus their resources on creating great products rather than over-expanding. Or, as Jebbia puts it, “Staying true to what you do best has played a major role in our longevity. I would like people to see that we’re a small, independent skate company that has done our own thing, in our own way, over many years, and will hopefully continue to do so.”

“It is no accident that in the field of philosophy ontology is the study of reality, existence and coming into being. In the fields of information retrieval (semantic search) and computing, ontology is the naming of the types, interrelationships and properties of the entities that exist (in reality or conceptually) and which define a particular domain of knowledge or expertise.”

“Semantic search requires three things: Trust, Authority and Reputation. All three revolve around your digital profiles, their activity and the sentiment levels and engagement that each generates. Semantic search also requires differentiation – the ability of search to understand the “uniqueness” of you.”

“Calling for change and being part of making change are two very different things. Stop calling for change and be a part of making the change you want to see.”