This article can also be read at SCMP.COM
You have probably noticed that there is something of a backlash underway against the free movement of money. In America and Europe, even people who were for it have looked at how the wind’s blowing and are suddenly against it. Borders and barriers and sounding like you’ve read a Noam Chomsky book are in vogue. Free trade is being spoken of in tones usually reserved by conspiracy theorists for the Jesuits or the Bilderberg Group.
Some aspects of globalisation are likely invulnerable, though. However far the nations of the world opt to go in protecting their own industries against foreign encroachment, or in turning the screws on capital flows, the universal triumph of branding seems a fait accompli.
Branding has gone viral – in the way that pathogens are viral. It is both a pollutant and a parasite. Every organisation under the sun has been hoodwinked into adopting a “vision”, and a “mission”, and “values”. It is all so much tumescent mumbo jumbo, but the hubris of the so-called creative industries has conquered the globe.
That is why when the PR and marketing monkeys mess up, it becomes news. On the face of it, this is what has happened with the Tokyo Olympic Games over the last year. First the British architect Zaha Hadid’s winning design for a new stadium for 2020 was thrown over due to exorbitant costs and another bid hastily selected. Then along came a plagiarism controversy over the logo. I am not so sure, though: I think perhaps the Japanese organisers are smarter than all the PR hustlers competing for their largesse give them credit for.
The original winning proposal for the Games emblem, by Kenjiro Sano, was withdrawn late last year. A theatre in the Belgian city of Liege had said it must have been copied from their own logotype and threatened to sue. Sano’s design, an assortment of shapes arranged to form a “T”, certainly looked like something you had seen before. Quite possibly a “T”. At any rate, it hardly rivalled Caravaggio in its originality.
A few days ago, a new design shortlist was revealed. The selection process had been opened to the public and the 15,000 entries received have been whittled down to four. Stressing their “outstanding” qualities, Ryohei Miyata, head of the Tokyo 2020 emblem committee, told journalists: “I’m proud to say that these are the best works at this point.”
I have long believed having a sense of humour to be among the most vital qualities in a public functionary. Mr Miyata is therefore to be congratulated. Unkind appraisals of previous Olympic logos have likened them to drawings done by slightly backwards children. At least two of the four presented for public consultation by Miyata et al fall into this category, which may or may not be explicable by the fact that over a thousand Japanese schoolchildren entered.
In any event, the important thing is that throwing the contest open has irked the creative wallahs. The American Institute of Graphic Arts says the design profession has been “disrespected”. I don’t know; maybe they’re miffed about the money. The emblem for the London Olympics, which looked like some pieces of broken glass, cost the British public £400,000 (HK$4.5 million). The winning design in Japan will be awarded ¥1 million (HK$70,000) and a ticket to the opening ceremonies of both the Olympic and Paralympic Games. Same result, fraction of the cost.
The joke gets even better, though, when you consider the stress put on the committee’s rigorous “international trademark verification procedures” to ensure that the designs were all original this time. According to a statement on the subject, applicants were referred to the Tokyo 2020 Games Vision and “key concepts” for inspiration.
Alas, there is nothing original whatsoever contained in these sources of inspiration. They tell us that the Games are “innovative”. There is some drivel about diversity (“Accepting one another”) and some equally nebulous stuff about legacy. And there is a derisory nod to actual sport: “Striving for your personal best”. One could be reading about Kentucky Fried Chicken, or the Agricultural, Fisheries and Conservation Department of the Hong Kong government, or hell, who knows, the Bilderberg Group.
It’s conceivable that I’m wrong about this but what I’d like to believe the Japanese are saying here is that all corporate emblems are rubbish, modern corporate branding is stupid and we hope you enjoy the Games, lol. As with the stadium, they’re just not up for being rinsed financially. Fair play to them.