Concluding my initial research, I have established a concept for my IXD303 digital product: a mobile app which provides users with content how creating and restyling their closets to reduce the demand for fast fashion. As I begin to develop the product and it’s content through wireframes, I have also decided to work on the product’s branding.
When embarking on a digital product development journey, it's essential to consider branding. As I begin to develop low fidelity wireframes, I am conscious that distinct visual features will improve the user’s experience.
Manipulating visual elements like icons and colour theory will allow me to communicate concepts more efficiently to a user; not only providing a more aesthetically engaging design but also appealing to their mental model. For example, red and pink are tones associated with love and warmth; as is imagery like a heart.
(Above) Examples of imagery now associated with enjoying a post
(bove) Instagram utilising consistent interactions to integrate new features including the ability to like user stories
(Above) Facebook utilises an iconic thumbs up; distinguishing it from other digital products
(above) YouTube also utilises a thumbs up icon to create indicate to their user’s that a video has been
These subconscious associations are utilised by social media platforms including Instagram, TikTok and Twitter to assert to a user that they have liked a post; greatly improving services’ user feedback. A consistent visual identity across all of a services touch points (e.g., their website, mobile interfaces, software) also allows a user to easily and comfortably adapt to more products efficiently; providing a greater, simpler user experience.
Branding is also an important consideration when designing for my target audience: Millennials and Generation Z. As I gathered in my target audience research, this audience has grown up alongside the rapid evolution of the internet and smartphones; allowing this younger user base to easily adapt to new trends and become more tech savvy than older generations. As marketing chief, Tracey Francis describes:
“Generation Z are true digital natives: from earliest youth, they have been exposed to the internet, to social networks, and to mobile systems.”
Thus, the target audience spend more time online on services like social media platforms where they are bombarded with digital marketing everyday. To break through this stream of content, brands must create an exciting visual identity that catches and maintains their attention.
(above) Depop’s bold branding keenly reflects the style and aesthetic trends of their user base
(above) Depop’s bold branding keenly reflects the style and aesthetic trends of their user base - appealing to subcultures and alternative creators
As I discussed in my initial research, I think Depop’s visual marketing is incredibly effective in capturing the current aesthetics being explored by Generation Z. The company utilises visual elements like dynamic, ironic imagery; a consistent, bold colour scheme and alternative photography to appeal to young people (shown above). I think the use of a high contrast colour palette and high exposure images create clean, blunt visuals which reflect the company’s values included transparency and accessibility.
David Harper, branding strategist for Digital Bank, also notes that Generation Z are known as the “generation of researchers,” as they are more likely to consider a company’s values before developing brand loyalty. Due to the quantity of marketing Generation Z and Millennial’s encounter, they have a keen ability to identify inauthentic campaigns and content. Max Pinas, Creative Director for Dept, supports this claim praising Generation Z’s “increased social awareness,” which inspires them to “put their money where their heart is.”
(above) Patagonia’s ad campaigns throughout the years
Pinas cites clothing brand Patagonia’s honest branding as a factor in its resurgence; bolstered by a new generation of adolescent consumers who are impressed by the brand’s social consciousness. Founded in 1973, Yvon Chouinard (a French mountaineer), Patagonia quickly became a popular outdoor lifestyle brand. However, Chouinard - who describes himself as a ‘reluctant businessman’, has a surprising attitude towards profit which distinguishes the brand from market competitors like The North Face. The founder has frequently spoken about his discontent for business and the soulless nature of capitalism; in his 2006 memoir: Let My People Go Surfing, Chouinard mused:
“When I die and go to hell, the devil is going to make me the marketing director for a cola company. I’ll be in charge of trying to sell a product that no one needs, is identical to its competitors and can’t be sold on its merits.”
Rather than focusing solely on creating a profitable company, Patagonia instead ventured into environmental philanthropy; establishing their mission statement: “Save Our Home Planet”. Their main tactic to achieve this goal is pursuing Slow Fashion practices. Slow Fashion is achieved by designing durable garments; produced ethically and constructed to serve the customer for a long period of time. In addition, the company has also adopted policies to achieve this goal. Since 1998 the company has donated 10% of its profits to a series of environmental charities. In 2018, Patagonia sued President Trump in a battle to preserve 1 million acres of redwood trees. In 2022, the company announced all profits are to be donated to charities combatting climate change.
(above) Patagonia’s 2011 “Don’t Buy This Jacket” campaign challenges Black Friday and fast fashion
And in 2011, while other high street brands were pushing their Black Friday sales reductions in the November issue of The New York Times; Patagonia debuted their shocking, subversive new marketing campaign. The ad immediately jumps out at its audience; displaying an image of the brand’s best selling R2 fleece jacket; headed with the campaign’s title in loud, bold capital letters: