CONCLUSIONS

 

 

Although centered in brand identity, this research makes a contribution to methods and cultural diversity. It shows that the methods developed can serve various fields of application beyond the commercial purpose that brands are usually attached to. It made it possible to understand that brands produce cultural objects that allow us generating meaning, and that their study enables us to know more about the contexts from which they originate.

It also made it possible to understand the value of brand archives to present design contexts and that the methods developed enclose a great deal of potential for applications within design research, design education, design practice, and the feeding of cultural dissemination. Not only do the methods enable the rescuing and analysis of historical memory, but they also can help others to make sense of visual and material culture related with locally specific brands.

Thinking about brand archives as containers of historical memory makes them a source to derive and convey cultural memory into the future, and visual identity is a channel through which cultural memory can be acknowledged, displayed and experienced.

 

Tangible objects back to symbolic values:

  • Acknowledging designers are mediators of cultural transformation
  • Producing ethnographic research and brand archaeology
  • Acknowledging the relevance of archives
  • Rethinking approaches to visual identity
  • Acknowledging cultural difference
  • Placing a brand in the right context
  • Acknowledging that an archive is a rich source for feeding developments
  • Developing substantial visual and contextual analysis
  • Provoking the resurgence of archival materials
  • Returning history to products
  • Back to symbolic values

 

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