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Brand Bible by Debbie Millman

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F39 Job:09-26878 Title:RP-Brand Bible
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BRAND BIBLE240
(Text)
how To Brand
a paper producT

Its all about “the brand promise.” Every brand
communicates to the public what it promises to
deliver on. This is done through marketing, commu-
nications, and design, and all of that adds up to
how the brand presents itself and its products. The
public then evaluates that brand on whether or not
its keeping that promise. Does the brand messaging
ring true? Is it resonating? Is the company acting
the way it told you it will? People develop an anity
for a brand because they believe in the promise the
company makes. If the brand keeps, and even over-
delivers on that, then the anity continues to grow.
And thats how someone begins to feel passionate
about that brand.

Christine Mau
Kimberly-Clark
21
Giving Kleenex new
relevance to young and
old consumers alike
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
I came to Kimberly-Clark because of my anity for
the brand. To me, the Kleenex boxes were these little
pieces of art that could go into everybodys home.
This is a really powerful idea. We’re not talking
about one piece of art that goes into one home—
we’re talking about something that becomes part of
the everyday landscape, because its in millions of
homes and other settings. At Kleenex, I got to work
on the branding and graphic design, and I also got to
focus on the print, pattern, and style I was passion-
ate about. I liked the opportunity to leverage both of
these, to dene the interplay of the print and pattern
with the brands positioning.


In 2009, Massimo Vignelli said that if you can design
one thing, then you can design everything. At that
time, Kimberly-Clark realized that a successful
strategy for the company needed to be a brand-
centric one, so our leadership dedicated the top-level
talent to one particular brand. In this approach, each
person evaluates and creates a design strategy for
that brand, no matter what the channel or medium is.
I’m the Brand Design Director of Family Care Brands.
My scope of design encompasses everything from
product development all the way through to oversee-
ing television production.


Early on, the Kleenex brand had a strong propensity
to use design to create an anity with its consum-
ers. In 1967, Kleenex came out with the upright
cube box—what consumers call “the cube.” That
box featured the hippest, trendiest, grooviest
graphics. Then the business went back to the
plain pattern—what we call “the tortoise shell,
ame stitch pattern”—something that was more
expected and traditional. Looking at the entire
tissue category after a few years, Kleenex real-
ized that it was at and stagnant. I kept asking,
Whats wrong?” It turns out that Generation
Y was not purchasing facial tissues as previous
generations had.
So I started interviewing every twenty-year-old
I could nd—at the airport, at family reunions,
wherever I was. I would ask them about Kleenex,
and they would tell me these stories about the
fact that when they were kids, it was a big deal to
choose which Kleenex box to buy. People would
light up as they were reminiscing about this.

Two packages for
Kleenex Boutique
Tissues, 1970s

Contemporary
Kleenex packaging
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