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Great Brand Theory, Invisible Design and Noddy Holder

13/03/2014 13:18 GMT | Updated 13/05/2014 10:59 BST

Some men are born great. Others have greatness thrust upon them. Slightly abridged, but you'll recognize the line: Shakespeare, Twelfth Night, passing comment on how our natures and our circumstances influence how we step figuratively to the plate. Philosophically speaking, provocatively speaking, the line's also a bit of cheat in that it mashes together opposing schools of thought.

The Scottish philosopher Thomas Carlyle proposed 'Great Man Theory'. Carlyle's thinking was that greatness is the stuff of nature, leadership a slug of DNA code sitting snuggly (or absently) in the double helix. Great men are born that way. That was Carlyle's reckoning.

Tolsty (he of War & Peace and seriously impressive beard) sat on the other side of the debating chamber. Leo argued man's moments of greatness to 'zeitgeist theory', to the times we pass through and how we take whatever slings and arrows on the chin.

As a formula for brands and advertising (and their potential role in culture), I think we can take sage instruction from Messrs.' Carlyle and Tolstoy. Meaning, for one thing, that 'the Bard of Avon' would have also made a damnably shrewd brand builder.

I believe brands are made great. In making them great, I'd like to suggest that 'Great Brand Theory' is not in isolation and opposition to the zeitgeist. Rather, 'Great Brand Theory' is a brand intrinsically designed that it's open-minded and adaptive to change. A great brand is a flexible brand, one that knows what to do with opportunities, as and when they come knocking. Opportunities, of course, are the external factors, those Tolstoyan circs of the day.

Great brands have the skills to surf the zeitgeist's swells and troughs. Ineffectual brands sink beneath them. With a final glug that's equally ineffectual.

And in ensuring that brands surf rather than sink, a simple question arises. What is our zeitgeist, 'der Geist seiner Zeit' (as Gerg Hegel phrased it in 1848), this spirit of our 2014 times?

Certainly enough, it is a digital one. It is a technologically-empowered one. A creatively-enabled one. A 'mobile computer in our pocket that connects us to the world' one. By consequence, it is a liberated one - the Digital Age gives all voice, inviting us all to like/comment/share and tweet/post/upload.

Our zeitgeist is not one where anyone's role is that of passive, mute witness. Our zeitgeist invited us to get actively stuck in. And this has huge implications for how brands can make themselves great, and how advertising must consider the role it gives people. Which brings me to Noddy Holder.

You may be as familiar with the work of Slade as you are with the frequently quoted lines of Shakespeare. And even if you're not so au fait with the former, I'd wager you could sing along to 'Cum on Feel the Noize', a track that first entered the UK charts at number 1 back in February 1973. It sold half a million copies in its first 3 weeks. It's said that the factory couldn't press the vinyl's quickly enough. Ten years later, US heavy metal group Quiet Riot sold 6 million copies of their cover version, and then in 1996, UK pub rockers Oasis paid homage with their take.

'Cum on Feel the Noize' might be a seriously good tune to mosh or jog to - but I also believe its success is due to what it's about. I think it resonates with audiences, because it's about them.

'Cum On Feel the Noize' saw Slade attempt to "recreate and write about the atmosphere at their gigs". Front man Noddy Holder recalled it as, "how I had felt the sound of the crowd pounding in my chest". Co-writer Jim Lea added, "I thought - why not write the crowd into the songs." (Wikipedia)

"Why not write the crowds into the song?" I love this sentiment, the acknowledgement that a moment is defined by its audience, that they make it what it is. Without the audience, Holder & Co were just a group of crazy-haired guys up on a stage performing to an empty room.

Why not write the consumer into the campaign? This is what 'Great Brands' do. In our connected and converged age, great brands ensure their audience feels the noise by making them the centerpiece of the campaign moment. Great brands acknowledge that it's the energy and participation of the audience that defines the advertising. Great brands put consumers not just in control but 'in character'.

Bud Light's 'Ian Up For Whatever' is a perfect example of a brand putting 'The Consumer' in character, of literally writing them into the campaign. The ad might center on Ian Rappaport, but we enjoy his adventures vicariously, our delight in watching turning the third person narrative into a first person experience.

The Heist, Zombie Run and Tough Mudder: recent additions to this burgeoning cultural trend in "first person/in character/'gamefied' experiences. We live in an age where we can hire zombies to chase us, and pay for the pleasure of tackling muddy obstacle courses that also electrocute us.

These very physical experiences reflect what's already taken place online, this shift from 'passive observer to active participant'.

Culturally, we're moving more and more from 'See it' to 'Live it', meaning the designing of ad campaigns has become the designing of human experiences, of brands creating something for us all to live through.

Advertising campaigns were once all about visibility: messages piped to us through static media. A big poster on a big flat poster site. 2D, unmoving, changing every 2 weeks. There was a time when posters couldn't change image in the blink of an eye, that change not be prompted by, say, the passing of a plane overhead. In our analogue past, 'media' was rather unremarkable, where 'The Campaign' was obvious in intent and 'on the nose' in message.

We've moved from using media that makes the brand message 'Visible & Literal' to something much more 'Staged & Revelatory'. 21st century advertising isn't simply about the stuff that comes at you head on. It's about the stuff that comes at you from the side, wraps round you, that creates a narrative context in which you have a role.

Great brands are becoming cultural architects, their advertising becoming as much about the stuff you can't see, constructs of 'invisible design', about the deliberate crafting of character-based first-person experiences.

Great men, great design, great bands, great brands, great experiences; none of these things happens by chance. In each case, our zeit invites it. But in making it so, we all have our parts to play.

SP.