James Nesbitt Design LLC

Toyota's "We're Sorry" Campaign

2010-02-11T19:18:00.000-08:00

http://www.toyota.com/recall/videos/commitment-commercial.html

It seems to be the latest trend. A corporation, long after denying or ignoring a problem simply says “I’m sorry. I’ll do better.” Its nothing new, really. Politicians, preachers, and business leaders alike have done it for years. Sometimes it works, sometimes not. However, some companies do it better than others; they at least feel sincere. Where Domino’s “we know we suck” campaign miserably failed in its effort to communicate sincerity, Toyota’s recent communications are almost successful in navigating the bumpy waters between spin and sincerity.

Their recent advert, aimed at those afraid to drive their Toyotas or afraid to buy a new one, position the company in the voice of it’s employees: “WE are sorry. WE let you down as much as we let down ourselves.” The spot gives you the feeling that Toyota's employee’s are taking it on the chin. Its personal. The self-deprecation is so thick you want to take them all out for a beer and tell them it’s OK, these things happen, we forgive you. Stop groveling already.

If it wasn’t for the fact that the company ignored the problem until there were fatalities, that the reigning CEO was not only stand-offish when probed for questions then quickly dashing away in Audi, and that more vehicles keep getting added to the recall list, we may give them the benefit of the doubt. However, if we judge them by what they do, rather than what they say, the laments, promises, and apologies all ring hollow. Do as you say Toyota, even if it hurts. Then we’ll be willing to accept that apology and, as your tagline goes, Move Forward.

From the Hip: Designing in the Dark

2008-06-30T10:02:00.000-07:00

Normally, I work in two ways: either I have an idea at 4am and jot it down in my journal or I quickly work it out on-screen in Illustrator. I had chosen to do the latter when, in the midst of a warm summer evening, the power went out for no apparent reason. Normally the MacBook Pro is ready to roll, but I forgotten to plug it in the night before and it was as dead as the rest of the house.

After an expletive or two, I quickly scolded myself: a pen and sheet of paper is the birthplace of most of my designs anyway. It was then that I fully appreciated my design education.

I was taught to think. It sounds simple enough, but its not a given. Many Designers attend institutions that do them the disservice of teaching software and technique rather than basic, critical thinking. The quest for the cool overwhelms the need for the considered. These are the folks that, in the same situation - sitting in the dark - are lost.

I started out the evening with a concept and ended with an epiphany. Thank God for power outages.

(In an effort to update the blog more often, I'll be submitting such non-essay-form entries for your consideration that will range from simple observations to highly-opinionated rants. This is the first.)

Fashion Bulimia + Saving Grace

2008-06-11T08:09:00.000-07:00

Once exclusive to small boutiques, garments that employ the use of embroidery, top stitch, and overprinting have become available to the masses. Such garments can now be found everywhere from Macy's to your local Target. So then, how would Fashionistas separate themselves from the general public? Would designers re-think the overall aesthetic and move in a markedly different, markedly "cleaner" direction? Would those who would rather die than look like everyone else cry out for something different? Unfortunately not. At least in Miami.

It seems that instead of trying to elevate the aesthetic, clothing designers, Ed Hardy being the worst offender, have taken the easy way out with the "more is more" approach wherein layer of inconsequential, random elements are haphazardly stacked one upon the other until the wearer looks more like an abused, 60 year-old street walker than a runway model. In other words, battered, worn, and difficult to stomach.

The once carefully scrutinized use of color and texture, both visual and tactile, has given way to the sweeping use of metallic overprints, glitter and flocking. If this is the future of fashion, its time to dust off those old Bedazzlers kids. It’s going to be a bumpy, gaudy ride.

All is not lost, however. If you ever get to Miami's South Beach neighborhood, you'll quickly learn that Lincoln Street is the epicenter of all things fashion. Nestled among the usual suspects such as Banana Republic, Lucky Brand Jeans, and Anne Taylor Loft, there are a few surprises. Halfway up Lincoln Street, past rows and rows of the same glitter-filled storefronts, is a small shop—two small shops actually—called Paris Source.

No stranger to the showy, but certainly above the fray, these small shops for men and women, directly import all of their clothing from France. This isn't to say that their offerings are superior just because they're imported, rather they are specifically chosen by the owners and, thankfully, the owners are more interested in a nice line on a pair of pants than how large a jeweled iguana can be sewn on a T-shirt.

There were quite a few beautiful typographically-driven designs as well as moderately fitted jeans and, yes, even cardigans that more than made up for the visual sins here and there. I spoke with one of the owners and he too expressed dismay at the visual jumble of the current trend. "I have to carry some of it, but I am not really into all of that. I am into quiet, beautiful designs that delight."

Across the street is Base. This store is very unique in that it is a wonderful convergence of clothing, footwear, books, and music. Clean, high-end design permeates all corners of this small shop. It is a virtual mash-up of Taschen, Rogan and Hed Kandi. A heady mix of typography, architecture, fashion, and underground culture, this is a must-visit when in South Beach.

I was about to give up on the larger fashion retailers until I was pleasantly surprised by BCBG Max Azaria and to a lesser extent, French Connection and yes, The Gap. BCBG is well known for its over-40 fare, but obvious thought has been put into how a garment actually hangs on a body. The intent here is not shock-and-awe, but to accentuate a woman's curves. In sharp contrast to the uber-tight fitting blouses and T-shirts that make even the most anorexic of models look like muffin-top refugees, the designs accentuate the beauty of the female body while allowing freedom of movement.

Of the national retail brands for the under-40 crowd, French Connection had some of the best designs. Many pieces were actually designed with intent. The intent may have been to simply create a fun, sparsely adorned, fitted T-shirt, but overall I was impressed with the the clean lines, simple illustrations and woven patterns. Now, if they would only do away with the Bevis and Butthead inspired "fcuk." Gee, it's like "fuck," but not. Haw haw haw. We get it. Now get over it.

The last place I would have ever thought of to look for good fashion is The Gap, but I will fully admit that I was wrong. Sort of. Buried among pulsating heaps of generic wash-n-toss mundaness (is that a word?), I was happily surprised to find the Whitney Museum and (RED) collections. The Whitney Museum collection is a limited edition line of T-shirts featuring original artwork by the likes of Jeff Koons, Chuck Close and Kenny Scharf. They range from simple adornment such as a bird, or in the case of Cai Guo-Qiang, bird droppings, to typography and montage. Many of the tops for the (RED) line feature large, heraldic imagery of safety-pins and typography shouting some incarnation of CLEVERWORD(RED). However, even with all of the visual shouting going on, the design of both garment and graphic are relatively simple and unambiguous. In addition, all of the tops I perused through had a wonderful hand and, compared to the cost of similar tops in luxury boutiques, were a steal at under $30.

And finally worth noting is the only non-retail business on Lincoln Street: Art Center/South Florida. It is here where the overly-bright, overly-painted, chunky canvases that dominate most Miami art galleries give way to clean blue-white walls, vibrant blood-red minimalist installations and the joy that comes from experiencing a well-conceived piece; a stark contrast to the usual neon abstractions of a bowl of fruit that I had encountered thus far.

In closing, I fully understand that making general statements about the entire fashion industry based upon my experiences from one country, let alone one street, is rather ridiculous. I also fully understand that my opinion is subjective at best and not a "final" word on current trends in any way. That said, although there is a lot of what I will kindly call "vulgar" fashion being offered for the Summer season, I am heartened by the small wisps of progressive conceptual design that continue to spring up amidst the fray. My hope is that a well-conceived piece will stand the test of time in a temporary world and that the general public will someday catch on. A lofty wish? I suppose. But one can only hope.

The Use of Expletives in Design

2007-10-10T18:19:00.000-07:00

For the sake of argument, I’m going to assume that you are like me: an art/design/architecture aficionado. That said, you’ve most likely had the experience of standing in the middle of a bookstore happily flipping through a beautifully designed large-format tome only to come across a piece screaming “fuck” at the top of it’s lungs in an attempt to shock the viewer. Quite frankly, the only thing that shocks me is that such a half-heartedly designed piece got into a collection of superior design in the first place. To be fair, I must admit that I tend to use expletives on a daily basis, so I had to honestly consider that this directly ties into my reaction. Which brings me to the question: Does “fuck,” or the use of any other expletive for that matter, have any shock value in a modern context or is it simply an ambiguous, obsolete attempt to garner attention? Has it become the hallmark of a linguistically and conceptually-challenged individual or is it a legitimate, communicative means of expression? And, if so, can such deeply personal sentiments be expressed in another definitive, immediate manner? The above poster by Modern Dog was designed for the Hurricane Poster Project (www.thehurricaneposterproject.com). The charity is an important one and Modern Dog creates some great stuff. I even own one of their posters myself, but in this particular design, I think it’s a lazy way to communicate. You toss in a curse word in the hope to get attention. Expletives simply don’t have as much punch as a well considered, well designed presentation. You’ve lost the argument if all you’re doing is throwing about insults with little-to-no context. It dilutes any intended message to a “sticks-and-stones” recess argument. Its boring and without substance.

This poster, by May Sorum, is far more powerful because it not only gets immediate attention, but also quickly communicates the facts about the sitting President and his cabinet members. It quickly expresses similar sentiments, but in a far superior manner as context is equally balanced by message.

To further support my point, the Jonathan Barnbrook poster, above, is a spectacular example of how to grab the viewer’s attention, without insulting his personal sensibilities or intelligence, and immediately communicate the message. Like Sorum’s poster above, he utilizes rich color and visual textures that draw the viewer in. However, as the viewer moves closer, there is even more context and detail to absorb. The poster has moved on from a simple collection of images to a fully realized presentation.

The question then becomes: can one utilize vulgarity in a way that maximizes both the communicative and attention-grabbing aspects of a well-constructed communication? I’m sure there is a way, although I have yet to see it. At best, I believe that you run the risk of insulting the viewer, causing them to overlook any concise, succinct communication contained within the piece. It may also cause a backlash against the cause you were trying to support. In most cases, the recipient may simply feel talked down to.

Being fully aware that I am quite opinionated, I asked another designer I look up to for an opinion, and he eloquently summed up the situation and, in turn my sentiments as well: “Of course, everything is ultimately contextual, but consider this: expletives, when used for an audience that accepts them because they are part of their own speech usually produces little effect. Expletives experienced by people who use them rarely generally respond with shock and withdrawal. Consequentially, it never seemed like an effective way to communicate important ideas.”