Articles by Manon F. Herzog
A few weeks ago, I attended the Atlantic World Foodways Conference at the University of North Carolina, Greensboro. The event was remarkable in quality and diversity of thought and an excellent example of partnerships between non- and for-profit organizations. In particular, The Fresh Market, a specialty grocer headquartered in Greensboro, is to be commended for co-sponsoring the event.
In its August issue, Vanity Fair charges Microsoft with losing its mojo, pinning much of the blame on CEO Steve Ballmer. While the article makes some useful and valid observations, it never completes the circle, relating them back fully to the larger, underlying issue that ails brand Microsoft: the company has strayed far from the management and proper deployment of its founding vision.
The term "Guggenheim Effect" used to denote the positive role the brand played in Bilbao's resurgence as a destination site. It became well accepted vernacular, not only in the museum community, but among the wider community of brand and marketing experts. In recent weeks, however, the term has been re-appropriated by European media and citizens to express a much more negative and even sarcastic view of the cultural institution.
QR codes have become ubiquitous and so has the term digital strategy. Both are often treated by businesses as "silver bullets" without much understanding how to leverage either. QR codes, in particular, have been reduced to gadget status with little meaning but to annoy the consumer.
Fast Company's cover story in the September issue is a must-read for any marketer, no matter the industry.
A note of thanks from World Market's CEO reached inboxes across the U.S. last Thursday, August 11, while financial markets around the globe were on a roller coaster ride and London experienced the worst riots in decades. At first blush, World Market's move was unusual and timely. Unusual, because consumers don't typically receive "personal mail" from a corporate leader and timely, because the note acknowledges the current economic woes. Unfortunately, these are the only two "positives." Ultimately, the note is memorable for all the wrong reasons.
Mormons and The Church of Jesus Christ of Latter-day Saints, or LDS - not to be confused with LSD(!) - have been on my my radar screen lately. It has nothing to do with HBO's popular drama Big Love or Mitt Romney's failed presidential campaign. Rather, LDS has embarked on a brand image campaign which, upon a closer look, is much more than a polished, high-gloss initiative aimed at a younger generation of potential disciples. In fact, it is both a timely move for a marketplace in search of answers and a bold competitive move among religious institutions.
PBS chef and 1999 James Beard award winner Lidia Matticchio Bastianich is a stark contrast to the Food Network's lineup of chef entertainers. She exudes knowledge and offers simple, clear instruction on her PBS show Lidia's Italy. There's no pageantry or pretense -- just a serious chef with a love and appreciation for Italy's many classical, regional dishes. Yet while I'm a fan of her show and her approach to cooking, her brand strategy lacks the refinement of her recipes. As meticulous and knowledgeable as she comes across on her program, the translation of the promise she establishes isn't consistently translated across her many ventures, most notably her restaurant Lidia's in Kansas City.
Swiss Tourism has long struggled to promote its country in a modern, meaningful way, oftentimes relying on national cliche. The situation is compounded by an apparent lack of brand strategy or a sound understanding thereof. As a result, in its most recent attempt Swiss Tourism tells the wrong story well. Switzerland isn't the only mismanaged national brand, but as a Swiss citizen and brand strategist, I find this latest fumble particularly painful, if pretty, to watch.
The Museum of Modern Art's recent acquisition of the @ symbol challenges, in the museum's own words, "the assumption that physical possession of an object [is] a requirement for an acquisition." The move has provoked varying responses, from mystified to dismissive. While some consider it no more than a clever marketing ploy, the move is not only bold and necessary, but indicative of something much more momentous: MoMA's redefinition of "modern" and evolution of the role of today's museum.