Comprehensive action at all levels
Companies have noted very well that the image of the product does not only depend on the company’s communication outside, but also on the communication that takes place inside the company itself. In order to be successful, each organization needs a clear sense of purpose shared by people inside it, and they also need a clear sense of belonging. Goal and affiliation are the face and the backwardness of corporate identity.
Communication at all levels
It’s actually about motivating the inner public. Employed employees become promoters of capillary promotion, objective advertising starts to appear, a certain way of life that goes with the product is emphasized. While classical advertising deals with the outside world and puts products first, corporate identity is transparency from inside to outside as well as from outside inward. Visualization is no longer a “mask” that is placed to meet society’s expectations, but becomes the integrity of the entire company that operates at all levels. The advertising project is then also communicated at all levels, from newspaper articles to television shows with round tables where different groups are confronted. The atmosphere of nature-contaminated groups becomes suitable for the discussion in which a social theme is created, the problem of the public, what is being attempted to sell. After that, the project can be extended further: to jingles, spots, fashion collections, a media spectacle that is naturally self-advertised in the media, without any further money investing, and the same theme continues naturally. Emotion, together with the context, aims, acts and sells the product, creates a brand as a consequence of a glance at the world, and it is one that can be an example. By interpenetrating customers and designers to greater creativity – The marketing agencies partially approach the problem of advertising, paying attention only to external communication. They are located between the customers who have the language of the numbers and the designers who look at the language of the symbol. In a spirit of not stopping the flow of money, to get faster and faster, marketing agencies dictate the pace and design products often come out like on a running tape. Direct interception of process participants and designers is prevented, and permeation, in the sense that the two sides learn from one another and thus overcome their limitations, is necessary for creativity. Corporate identity is different from such an approach to the behavior of marketing agencies. It would be difficult to say its exact definition, it also includes unexplained action. If they would like to present it with a mild irony, then they would say that this is a set of compatible and incompatible frustration, when the former has more, the company, the campaign, the product, the trend – they are surviving. The action is in a way the same on all levels: in the identity of a corporation, a national identity, an individual’s identity. For the complete action of an individual, it is necessary to connect his “inner” and “external” ones. Scanned by the corporation, this would be communication to outside and among employees. In the case of national identity, the same thing is done on the outside and within the state itself.
The national identity of a product becomes a marketing value
National identity is easily linked to traditional products. But what about new products, what kind of identity do they have? The question of the national identity of a product is actually a more marketing value. Today there are very few modern products that could be called national, in one pure meaning of the word. The chassis of all cars is produced in the same plants, there is also a foreign product in each product. Or what to say when, for example, a European designer creates an excellent product in Italy. Is it then an Italian or a European product?
The unification of the products brought about by globalization does not, however, lead to problematic expression of identity, it only rises to more subtle and subtler levels. What lacks European identity, which is in fact the main thing. The problem is one general feeling of insecurity. Looking at Italian identity too cruel. There is a dogmatic current that thinks it’s impossible to watch the autochthonous Italian design away from the cubes, and I think it’s completely anacrono. See, for example, the Irish design, which always stands out as one fine example. At the great exhibition at the Museum of Arts and Crafts I saw nothing that would literally be related to Irish identity, if we do not understand it as nature, stones, birds, everything that makes Ireland abundant as natural resources. When I speak of identity, then I’m thinking of such an identity, precisely the one who would answer this blurred question
what is actually Italian – is it?
The Italian design came under the influence of politics that found its identity that ultimately can be seen .