Becoming an object of desire

We all adopt strategies to make ourselves attractive in our context and consequently desirable. It is not just a question of caprice: the engine of our existence is desire, so it is something serious.

 
Desirability is common to plants and animals, indeed for many it is the basis of survival. If you were a flower, for example, the best strategy for attracting the insects necessary for your fertilization would be to be colourful and perfumed in line with your environment and the tastes of your prospective pollinators. This is the way to be irresistible and achieve your objective: survival.
 

On the other hand, if you were an animal, in addition to appearance, the “attraction package” will include sounds and smells that you can use to lure the right partner. And, of course, there is also the question of physical performance. If you are a female deer, then you will be attracted by the male who has locked antlers in a fight for you. The winner of such a fight will be the best way of producing many fawns (and surviving).
 
We humans, too, have an issue of desirability regarding (surprise, surprise) the survival of the species. The strategies we adopt to make ourselves desirable (and therefore last longer, i.e. not die out) are broadly similar to those of other living organisms. But there is something that makes all the difference: awareness.
 
The features that define our desirability vary considerable. Mozart, the great genius of music, is attractive in a different way to Einstein, the great genius of physics, but also Miss Universe 1969 from Miss Universe 2018 both examples of outstanding beauty in the competition of the same name. Moreover, each of us is able to distinguish our distinctive characteristics from those that are irrelevant without having to be a phenomenon. This awareness is created by combining the idea that everyone has of himself, by comparison with others and the feedback that others give us.
 
Strategies to make us an object of desire involve the implementation of actions that highlight the qualities we have and that others recognise, the rest is of little use. In short, to become objects of desire we make use of what we believe is our best and we do this by playing the winning cards that luck has dealt us or by trying to win with whatever cards we have, and playing them as smartly as we can.
 
Brands are projections and respond precisely to the issues of desirability just as they do for we who imagine them. They are born of a social need, they are based on skill, and in order to survive they must produce continuous beauty. This means that there is an (unavoidable) audience to which brands must be addressed, and the brand must have the ability to do something special (or very close to the idea of special) and, above all, to become a mythical entity that goes beyond the merchandise the brands produce and our real consumption needs.
 
And you can arrive at this mythological status with beauty. Beauty is a quality to which we are naturally attracted because it triggers pleasant sensations, which in a flash become emotions, and in an instant can ignite desire. No brand can escape the logic of beauty; because beauty makes us biologically and commercially available.
 
Beauty is not the exclusive preserve of fashion, architecture, art, design, or cooking: it is also important for those who produce drills, garden gnomes or hairpins. Of course, we are talking about different, but competing, types of beauty, in terms of the specifics, the formation of the mythology of a brand. And the more this develops, the more the brand becomes an object of desire. Consequently, beauty must be sought and cultivated in every moment of the life of a brand and it is no less important than ideas, strategies, values, stories, fantasies, likes and dislikes, what’s true and what’s false, success and failure, which in making a brand unique.
 
 
Rossetti brand design: what do we do to make a brand an object of desire
 
If we were to replace the word ‘brand’ with personality, and ‘branding’ with giving the personality drive, we would have an individual and the combination of activities needed to affirm itself. While for the former the branding activity can be more or less spontaneous – a sort of optional – for brands careful design is more than ever necessary. What this means is that it takes both thought and actions to achieve results; to drive growth or correct development by hold tightly to the helm of identity.
This is how at Rossetti brand design we help brands:
 
We give it a name (naming). For a new brand, providing a suitable name is the most delicate part of the branding process. Coming up with a suitable name is the most delicate part of the branding process. It is a phase that should not be underestimated. Many, a great many, names that emerge in the creative process have already been thought up by someone else, have already been registered or been shipwrecked in the sea of legal verification. On the other hand, improvising during meetings rarely works and following the fashions of the “double O” or similar, is not very distinctive. So, finding a good name takes a lot of work, intuition, technique and, let’s be honest, a good deal of luck. There is no method that really helps: we all know this. But to make a brand an object of desire, it is essential to start with the right name.

 
Just to give you an idea, here is a selection of the names we have conceived: D’Osa, Ego, Fallo Protetto! HappyDì, Io, Insalata Mia Amata, Ironik, Natura Chiama, Origine, Primi Anni, Saper di Sapori, Tenuta Venterra, Val’Or, Vivi Bene.
 

We give it a visual identity (brand design identity). Although the beginning of a visual identity system generally coincides with the design of a symbol and/or logo, this is not the whole story: it is just the beginning of a visual language, the most unique that can be found. And to design a visual language there is not a single style of design, nevertheless, in our experience we have seen that an essential design (i.e. one that is not a victim of fashionable trends), works better. To make a brand into an object of desire, you need to start from the most promising visual identity possible.
 

Here is a sample of some of the visual identities that we have designed: Artica, brumbrum, facile.it, ibs.it, Investire, Libraccio, MyCli, Surgiva, Telecom Italia, Wind.
 
Brand identity is implemented through packaging design. For us this means working on one aspect of the brand identity. If a brand is a bearer of values and if it delivers its goods by means of some form of packaging, it is precisely this that gives the brand the opportunity to establish a special and tangible relationship with consumers. We know that packaging design must comply with the rules of shelf visibility, but we think that brands (and their packaging) are made to become part of the environment in which we live, which is not a supermarket or a shopping mall, but rather a home. To make a brand an object of desire, its packaging design must be able to communicate the brand at first sight, and that is what we know how to do.
 
Among the things that we don’t do is trying to tell you what you should and shouldn’t do with your brand. We stick to working on the visual language that is the external expression of the brand. And in this we can help you with specific projects to make you bran desirable. Sound good? Call us.

Date

August 2018