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DesignSingapore Council IAP
BY Ninart Lui
BY Ninart Lui
Exclusive Highlight on TAXI Design Network
Interview with Steve Hayden
TAXI >>We're seeing a lot of low-cost, high-impact advertising campaigns come out these days from developing countries who work on virtually a shoestring budget. What do you think is behind this shift in paradigm from the established powerhouses, and can you share with us perhaps one or two countries to look out for in the near future?
Steve Hayden >>This might break your virtual shoestring budget paradigm, but I see three factors, maybe four. First, it doesn't take big budgets to make great stuff. Everybody everywhere has access to the tools and technology. Second, you don't need a big media budget. Anybody with an Internet connection has access to a global audience. A great spot will fly around the world in less than 24 hours. Third, there are tons of talented people who, thanks to all of the above, are no longer restricted by their borders. More and more global clients now have marketing leadership from India and Latin America and ASEAN, and if they discover a hit campaign, they have no problem moving it to other markets or worldwide.
Putting it another way, the scarce resource used to be access. Now everyone has access via the Internet, because the abundant resources are bandwidth and what I call “sling tech”, technology for slinging any media format across the globe in milliseconds. The live-or-die question for our industry is, how scarce is creativity? Because if creativity is abundant too, then we’ll see a world-wide surge in ad geniuses, and “user-generated content” will become “ubiquitous generic-creativeness”. But I’m not so sure—there is a skill and an art in what we do, and by shear numbers, some lucky jerk with a DV camera will stumble upon once, maybe twice. But our clients can’t wait around and hope for that; they need “creativity on demand”. And that’s why the best of us are paid so well. Sometimes.
I think the emerging countries with the most potential as global communicators are those, like India, that have many languages and cultures within their own borders. Malaysia is another example. We've gotten terrific and outrageous work from KL, along with the usual award-winning suspects from Singapore and Bangkok.
TAXI >>3. I read that you once joked that your entire career has been riding on the fumes of 1984. In one of your other interviews, you said that “1984 was a gift from God” - in your opinion, do you think this is the most definitive work you've done, or is there another project that is more representative of your personality?
Steve Hayden>> Turning around the IBM brand was much tougher than doing the “1984” commercial. But that was a gift from God, too. The company was about to be sold off for scrap—and that was before crystal-meth addicts found it cost-effective to salvage copper scraps for cash— when Ogilvy got the account and recruited me. I'm very proud of the fact that Lou Gerstner said our efforts added about $100 billion to the value of the company.
I'm also very proud of the part I played in Dove's “Campaign For Real Beauty”. I didn't lift a marker or write a line, but I did bring together London, Dusseldorf, Chicago, Toronto and Sao Paulo in a creative effort that yielded great work from all of them, culminating in the first double Gran Prix in Cannes' history for “Evolution” - a viral video done on a shoestring by our Toronto office.
I'm also very proud of the “Hello Moto” campaign for Motorola. It transformed that storied Chicago engineering firm into a fashion brand. Not many people know that I did the “Hello Moto” voiceover that wound up as a ringtone on about a billion phones. I forgot to ask to get paid, which is unfortunately very representative of my personality.
TAXI >>If you could go back to the beginning, relocate to anywhere you want and do whatever you wanted to do, what do you think you'd be doing right now?
Steve Hayden>>Well, if I'd stayed in Silicon Valley, where I was raised, I'd probably be a billionaire by now. But if I had become a billionaire, I'd probably want to work around immensely talented people from around the world and make stuff up. So I'd be doing pretty much what I'm doing now. Besides, if you're a billionaire, who cares about money? If I had that much money I could say something clever about abundant resources, but I don’t.
TAXI >> How important do you think are the elements of taking risk vs doing your research when it comes to a successful campaign? Do you think putting in the hours of solid research actually bolsters a campaign, or does it take away the edges of something that could be truly radical?
Steve Hayden >> Two quotes come to mind. First, David Ogilvy said, “Most marketers use research the way a drunk uses a lamp post: more for support than illumination.” The majority of communications research is CYA, as in Cover Your Ass. So if the campaign bombs, everyone can point to all the research that said it wouldn't.
CYA research has destroyed vast quantities of great work. Arnold Advertising recently filmed a focus group on a board-o-matic of the “1984” commercial (http://www.youtube.com/watch?v=624FxhJlVM0) as the opening video for The Hatch Awards in Boston. They used real people who had never seen it before. And, of course, using this traditional technique, the spot bombed big time. People hated it. Which brings me to the second quote that applies. Henry Ford said, “If I asked people what they wanted, they would've said 'faster horses'.”
TAXI >>What's the one source that you keep returning to for inspiration, all these years?
Steve Hayden>> Mortgages. As long as I owe enough money, I'll have to keep coming up with ideas.
TAXI >>What is the WORD, which you think would reside and reverberate in the design world for the next 10 years?
Steve Hayden >> Cybernetics.
..........................................................................................................
Exclusive Highlight on TAXI Design Network
Interview with Toshiyuki Kita
TAXI >>You mentioned concerns over global environmental issues and ageing society in an article with ‘Innovation’. Besides working with environmentally friendly materials for your designs, how else do you see yourself addressing these issues in your future designs?
Toshiyuki Kita>> It is important to be able to use electricity produced by solar energy and wind power to operate the many products in our daily lives. Global warming and environmental destruction are progressing at a faster pace than we think. I believe that now is the time for design to demonstrate its benefits.
TAXI >> You have been working in Milan since 1979, and your works have been displayed in numerous countries and received countless awards. Looking back, what was the biggest obstacle you felt that you had to overcome in conquering the international market?
Toshiyuki Kita>>There are no big obstacles in the international market of design. If there is anything, it would be when there is difficulty communicating. Communication is very important when designing.
TAXI >> I’m particularly enamoured by your Wink armchair and Kick table, both designed for Cassina over twenty years ago. What do you think is the key of creating timeless designs which remain relevant to society over the years?
Toshiyuki Kita>>My goal is to create timeless designs, but that doesn’t mean that I can do so all the time. It is especially so regarding works in collaboration with technology, since when the technology changes, everything changes, too. People’s views of a trend change as well. To imagine the near future is also important in design.
TAXI >> You have always maintained the view that there are 3 points of perspective to a good design: consumer, maker and marketing. Out of these 3, who do you think has the most influence to drive a design?
Toshiyuki Kita>>When designing, I believe that it is essential to think about the people’s everyday lives and to imagine their dreams.
TAXI >>You designed Wakamaru, a Linux-powered humanoid intentionally with a cute expression and a human-like shape. What is your opinion on Dr. Hiroshi Ishiguro’s robotic creations where he tries to make his robots as life-like as possible?
Toshiyuki Kita>>Robots will become indispensable in the aging society and in 24-hour operating factories and such. But I cannot see how robots could ever be the same as humans. I believe that they will play a supporting role in our work place and everyday lives.
TAXI >> Last question: Which WORD do you think would reside and reverberate in the design world for the next 10 years?
Toshiyuki Kita>> I believe that the words are “Ecology/ Environmental Issues”, “Balance between Nature and Technology”, and “Communication”.
..........................................................................................................
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© 2003 - 2008 by TAXI Design Network. All rights reserved.
Interview with Steve Hayden
 | TAXI >>Hello Steve. You're known for saying “Don't write a check with your advertising that your product can't cash.” How has this influenced the direction of your various projects over the years?
Steve Hayden>>I began saying that after we launched The Macintosh Office in 1985, the subject of a commercial called “Lemmings” which portrayed the business customers Apple wanted to reach - IBM loyalists all - jumping off a cliff to the tune of “Hi Ho, Hi Ho, It's Off To Work We Go”. The problem wasn't so much the shock value, but the fact that The Macintosh Office didn't exist. It's one thing to do a commercial that pisses off the very people you're trying to sell. But if you're lying on top of that, they'll tear you limb from limb. Which is precisely what happened. It took Apple 20 years to recover from that one. On the other hand, if they'd been successful selling computers to business, there might never have been an iPod. Ever since, I've tried not to pretend a product or company is something it's not. Doing so is the fastest way to put a client out of business. Or, what I call “biting the karmic wienie”. |
TAXI >>We're seeing a lot of low-cost, high-impact advertising campaigns come out these days from developing countries who work on virtually a shoestring budget. What do you think is behind this shift in paradigm from the established powerhouses, and can you share with us perhaps one or two countries to look out for in the near future?
Steve Hayden >>This might break your virtual shoestring budget paradigm, but I see three factors, maybe four. First, it doesn't take big budgets to make great stuff. Everybody everywhere has access to the tools and technology. Second, you don't need a big media budget. Anybody with an Internet connection has access to a global audience. A great spot will fly around the world in less than 24 hours. Third, there are tons of talented people who, thanks to all of the above, are no longer restricted by their borders. More and more global clients now have marketing leadership from India and Latin America and ASEAN, and if they discover a hit campaign, they have no problem moving it to other markets or worldwide.
Putting it another way, the scarce resource used to be access. Now everyone has access via the Internet, because the abundant resources are bandwidth and what I call “sling tech”, technology for slinging any media format across the globe in milliseconds. The live-or-die question for our industry is, how scarce is creativity? Because if creativity is abundant too, then we’ll see a world-wide surge in ad geniuses, and “user-generated content” will become “ubiquitous generic-creativeness”. But I’m not so sure—there is a skill and an art in what we do, and by shear numbers, some lucky jerk with a DV camera will stumble upon once, maybe twice. But our clients can’t wait around and hope for that; they need “creativity on demand”. And that’s why the best of us are paid so well. Sometimes.
I think the emerging countries with the most potential as global communicators are those, like India, that have many languages and cultures within their own borders. Malaysia is another example. We've gotten terrific and outrageous work from KL, along with the usual award-winning suspects from Singapore and Bangkok.
TAXI >>3. I read that you once joked that your entire career has been riding on the fumes of 1984. In one of your other interviews, you said that “1984 was a gift from God” - in your opinion, do you think this is the most definitive work you've done, or is there another project that is more representative of your personality?
Steve Hayden>> Turning around the IBM brand was much tougher than doing the “1984” commercial. But that was a gift from God, too. The company was about to be sold off for scrap—and that was before crystal-meth addicts found it cost-effective to salvage copper scraps for cash— when Ogilvy got the account and recruited me. I'm very proud of the fact that Lou Gerstner said our efforts added about $100 billion to the value of the company.
I'm also very proud of the part I played in Dove's “Campaign For Real Beauty”. I didn't lift a marker or write a line, but I did bring together London, Dusseldorf, Chicago, Toronto and Sao Paulo in a creative effort that yielded great work from all of them, culminating in the first double Gran Prix in Cannes' history for “Evolution” - a viral video done on a shoestring by our Toronto office.
I'm also very proud of the “Hello Moto” campaign for Motorola. It transformed that storied Chicago engineering firm into a fashion brand. Not many people know that I did the “Hello Moto” voiceover that wound up as a ringtone on about a billion phones. I forgot to ask to get paid, which is unfortunately very representative of my personality.
TAXI >>If you could go back to the beginning, relocate to anywhere you want and do whatever you wanted to do, what do you think you'd be doing right now?
Steve Hayden>>Well, if I'd stayed in Silicon Valley, where I was raised, I'd probably be a billionaire by now. But if I had become a billionaire, I'd probably want to work around immensely talented people from around the world and make stuff up. So I'd be doing pretty much what I'm doing now. Besides, if you're a billionaire, who cares about money? If I had that much money I could say something clever about abundant resources, but I don’t.
TAXI >> How important do you think are the elements of taking risk vs doing your research when it comes to a successful campaign? Do you think putting in the hours of solid research actually bolsters a campaign, or does it take away the edges of something that could be truly radical?
Steve Hayden >> Two quotes come to mind. First, David Ogilvy said, “Most marketers use research the way a drunk uses a lamp post: more for support than illumination.” The majority of communications research is CYA, as in Cover Your Ass. So if the campaign bombs, everyone can point to all the research that said it wouldn't.
CYA research has destroyed vast quantities of great work. Arnold Advertising recently filmed a focus group on a board-o-matic of the “1984” commercial (http://www.youtube.com/watch?v=624FxhJlVM0) as the opening video for The Hatch Awards in Boston. They used real people who had never seen it before. And, of course, using this traditional technique, the spot bombed big time. People hated it. Which brings me to the second quote that applies. Henry Ford said, “If I asked people what they wanted, they would've said 'faster horses'.”
TAXI >>What's the one source that you keep returning to for inspiration, all these years?
Steve Hayden>> Mortgages. As long as I owe enough money, I'll have to keep coming up with ideas.
TAXI >>What is the WORD, which you think would reside and reverberate in the design world for the next 10 years?
Steve Hayden >> Cybernetics.
..........................................................................................................
Exclusive Highlight on TAXI Design Network
Interview with Toshiyuki Kita
 | TAXI >>Hello Toshiyuki. As Chairman of the Good Design Awards, what constantly surprises you with the new submissions that come in each year?
Toshiyuki Kita>> I was surprised that many manufacturers and designers were always pursuing new innovations. It was not just the major industries, but it was particularly apparent among the smaller companies. TAXI >>Your designs are all very expressive in character and have metaphors that relate to birds and to the different body parts of animals. Why is it important that design is well balanced to achieve harmony between persons and objects? Toshiyuki Kita>>I believe that the word “design” embraces many factors such as functionality and safety, ecology, people-friendliness, economic efficiency, form and color, and so on. Only when all these factors are well balanced, something can be called a good design. |
TAXI >>You mentioned concerns over global environmental issues and ageing society in an article with ‘Innovation’. Besides working with environmentally friendly materials for your designs, how else do you see yourself addressing these issues in your future designs?
Toshiyuki Kita>> It is important to be able to use electricity produced by solar energy and wind power to operate the many products in our daily lives. Global warming and environmental destruction are progressing at a faster pace than we think. I believe that now is the time for design to demonstrate its benefits.
TAXI >> You have been working in Milan since 1979, and your works have been displayed in numerous countries and received countless awards. Looking back, what was the biggest obstacle you felt that you had to overcome in conquering the international market?
Toshiyuki Kita>>There are no big obstacles in the international market of design. If there is anything, it would be when there is difficulty communicating. Communication is very important when designing.
TAXI >> I’m particularly enamoured by your Wink armchair and Kick table, both designed for Cassina over twenty years ago. What do you think is the key of creating timeless designs which remain relevant to society over the years?
Toshiyuki Kita>>My goal is to create timeless designs, but that doesn’t mean that I can do so all the time. It is especially so regarding works in collaboration with technology, since when the technology changes, everything changes, too. People’s views of a trend change as well. To imagine the near future is also important in design.
TAXI >> You have always maintained the view that there are 3 points of perspective to a good design: consumer, maker and marketing. Out of these 3, who do you think has the most influence to drive a design?
Toshiyuki Kita>>When designing, I believe that it is essential to think about the people’s everyday lives and to imagine their dreams.
TAXI >>You designed Wakamaru, a Linux-powered humanoid intentionally with a cute expression and a human-like shape. What is your opinion on Dr. Hiroshi Ishiguro’s robotic creations where he tries to make his robots as life-like as possible?
Toshiyuki Kita>>Robots will become indispensable in the aging society and in 24-hour operating factories and such. But I cannot see how robots could ever be the same as humans. I believe that they will play a supporting role in our work place and everyday lives.
TAXI >> Last question: Which WORD do you think would reside and reverberate in the design world for the next 10 years?
Toshiyuki Kita>> I believe that the words are “Ecology/ Environmental Issues”, “Balance between Nature and Technology”, and “Communication”.
..........................................................................................................
Read OTHER INTERVIEWS on DESIGN LEADERS
..........................................................................................................
© 2003 - 2008 by TAXI Design Network. All rights reserved.
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