李小龍“打敗”綠巨人

It was David versus Goliath， with Attila the Hun thrown in to make it interesting. Microsof t (NASDAQ:MSFT) had invited three brand designers to Redmond， Washington， in 2004 to present a new identit y for the upcoming Xbox 360. Landor， the incumbent， was an obvious choice as it had created the packaging for Windows and attained legendary marketing status for transforming Federal Express into FedEx (NYSE:FDX)， including the slogan \"The world on time\" and the masterpiece logo. Turner Duck wor th， out of London and San Francisco， authors of the Amazon.com (NASDAQ:AMZN) identity (with its \"logo that smiles from A to Z\") was also a contender. And then there was David: JDK Design. From ... Vermont.

Led by Xbox's global brand director at the time， Don Hall， some 20 members of the gaming division gathered to hear the back-to-back-to-back presentations. First up was Michael Jager， JDK's creative director. Standing before the tribunal， Jager (pronounced like the Rolling Stone) illustrated his vision through a combination of street theater ， design psychology， and cultural fluency. Comparing the original Xbox with the Incredible Hulk， Jager used a razor to slash an X in a she et of paper and then thrust his head through the hole. \"X today is all A ARGGHHH!\" he bellowed. Pure aggressive power. He then withdrew his head， flipped the paper， and revealed how that X could become a do or way，\"an invitation to an experience.\" Jager acknowledged power as a critical component separating Xbox from its competitors but urged the company to see it——and express it——differently.\"Our approach was to transition Xbox from this hulk of escaping power into this quiet power that is lurking， something still incredibly dangerous but with more of an elegance and grace，\" he recalls. \"The analogy we used was Bruce Lee.\" And thus were t wo

firms felled by a single stone.

\" We were all just blown away by JDK，\" Hall remembers. \"As soon as Michael and his team walked out， I looked around the room and knew it was just a formalit y to sit through the other presentations.\" Indeed， Jager's illustrative shorthand became a mantra for the 360 team as it created the look and feel of the new system . \" When ever we evaluated our work in terms of guiding our decisions for Xbox 360，\" Hall says， \"it was like， 'This is to o Hulk' or 'We ne ed more Bruce Lee.'\"

Getting Away With It

JDK was no doubt the dark horse for the Xbox account， but the Burlington-based company is no overnight sensation. Over the past 18 years， its client list has included MTV (NYSE:VIA)， Nike (NYSE: NKE)，Levi's， Patagonia， and Timex. But the rock in JDK's sling on that day in Redmond dates back to its relationship with another Vermont shop. \"In the beginning， we were three people in the basement of my house doing design， and Jake had come up the same way--five people in a barn pressing his own boards，\" says Jager at JDK's SoHo studio in New York (it has a third satellite in Por tland， Oregon， and 105 employees). Jager's fellow basement dwellers complete the firm's name : \"D\" is Jager's wife ， Giovanna Di Paola， the associate creative director， and \"K\" is David Kemp， the marketing director and CFO. J\" ake，\" of course， is Jake Burton Carpenter， the founder of Bur ton Snowboards.

With Burton as its lab rat， the fledgling JDK ignored text book marketing and branding strategies and began producing things Madison Avenue had never seen. In print ads， Burton rarely used the same logo twice， and the messaging was of ten cr yptic， even unintelligible， to outsiders. One 1992 magazine spread shows a snowboarder smoking a cigarette and charging into a splintering tree stump; a tiny fragment of text reads \"lucky strike.\" On the facing page， in equally small type， are a phone number and the words \"free catalog of new s-t.\" Near the bottom right corner is a wee B logo， barely noticeable and basically meaningless to anyone not in on the nascent culture.Another vintage piece， from 1993， shows a frog splayed on a dissecting board with the copy \"Bur ton. Advanced Snowboard Science. It's what's inside that counts.\" \"There were no traditions，\" says Jake Burton. \"There was no religion to our logo or word mark. We felt free to do whatever looked good and whatever seemed to work.\"

Jager， who was and still is obsessed with snowboarding， saw he had a chance to not only help invent a culture but also crank his own creative dial to 11. \" You can look back and say it was experimentation and challenging the paradigm of traditional identit y， which is cool，\" he says. \"But the realit y is， at the time we were asking， What can we get away with? Why can't we run an image of Charles Manson with a Bur ton logo on his forehead? Why can't we take a page out of Madonna's Sex bo ok and make it a poster and T-shir t? Who gives a s#693;t if Warner Bros. (NYSE:TW X) calls us?\"

Despite its growing status as a cult hero among boarders， JDK was hemorrhaging nearly $60，000 a year in working with Bur ton， leaving it to rely on early clients such as Converse to help under write Jager's

\"snowboard-design addiction.\" Not that JDK's design counsel to even that old-school client was remotely traditional: Jager worked with Baysie Wightman and DeeDee Gordon (protot ypical cool hunters who helped inspire Malcolm Gladwell's The Tipping Point) to pull dead products —the Dr. J， for example， and the One Star—out of the archives and repackage them with a retro-modern lo ok. They launched a guerrilla campaign that plucked New York hipsters of f the street， photographed them in a Larr y Clark (Kids) documentar y st yle， and then manipulated the images to create jazzy Blue Note—inspired album covers that became the centerpieces of the ad campaign. The early years also included work for an obscure local division of IBM (NYSE:IBM)， a relationship that eventually produced a JDK classic: a postmodern take on the iconic Paul Rand pictogram poster (an eye nex t to a bee， followed by an M#693;get it?)， which transformed the bee into an animated， chrome， Terminator- esque avatar for a Web redesign.

The Anti-McKinsey

In many ways， JDK defies tidy definition. It is not a pure design firm or management consultancy or ad agency so much as it is a combination of the three. \"As a consultancy， it is the anti-McKinsey，\" says Bur ton marketing chief Br yan Johnston. \"It is not trying to run a company based on mathematical data or distilled versions of consumer logic . Michael utilizesall the hard information available， plus he has a deep understanding of culture——pop and everything else——that can't be taught.\"

More than anything ， the JDK crew is a bizzaro creative hit squad that helps clients zero in on (and at times unear th) their psychographic id.\"It's like we've given them the keys to our car and asked them to drive a bit because we're a little lost，\" says Duke Stump ， chief marketing officer for Seventh Generation， an eco-conscious products maker and JDK client. Once the brand GPS is reset， JDK digs in to amplif y its identit y through a design of fensive that covers the industrial design of the product itself， its online presence， adver tising strategy， in- store merchandising， and trade-show displays.

But while JDK puts each client through a similar analysis， the end result is not some cool-pill-induced， co okie-cutter \"personality.\" JDK lo oks instead to peel back the layers that may be concealing some inner kernel of zeitgeist y appeal. For backpack manufacturer Eastpak， it commissioned a Roman Coppola (son of Francis， brother of Sofia) video: The spot shows a backpack perched on a suburban mailbox， with a 1970s topless Ford (NYSE:F) Bronco barreling down on it. In the backseat， a teenage girl wielding a baseball bat delivers the pack a brutal thwack. Then the Bronco screeches to a halt， punches into reverse， and runs back over the bag. The passenger then picks it up， the Bronco burns rubber， and it's off to scho ol. With Levi's， JDK invited creative directors from around the world for a two-day \"collaboratory \" summit in New York.

One afternoon， a creative director from London was smashing jeans covered in plaster on the sidewalk and got a vision for a new way to distress denim; because a fabric specialist from Italy was there as well ， they were able to discuss whether it was even possible . \" I t's amazing how many times the process we use gets people in the same room who have never met or only know each other from email，\" Jager says. \"Together， they had an idea and figured out a way to pull it off .\"

The ubiquitous design process leads to what DK calls its Living Brand concept .\" We had an early belief that design distinction is what drove things on every level，\" says Jager ， who's 47 but looks much younger. \"The Living Brand is about how to synchronize the emotional ， rational， and cultural ideas of a brand into a cross-fer tilized form.\"

Nowhere is the Living Brand

more apparent than in Patagonia's upcoming spring fo ot wear line. The project had multiple chefs and thus all the ingredients for a disaster: Patagonia licensed Wolverine Worldwide， a billion- dollar shoe manufacturer that not only produces its own line but also has deals w ith Caterpillar ( NYSE:C AT ) ， Harley-Davidson (NYSE:HOG)， and Hush Puppies， among others， to do the manufacturing. Wolverine—which had worked with JDK on the hugely successful Merrell line —recruited Jager. \"It was an interesting dynamic，\" says Wanda Weller， a Patagonia design director， \"because with thre e par ties， you're kind of always like， 'Who's on first?'\" But with design， one plus one plus one doesn't always equal three--sometimes it adds up to ∏ .\" With Michael， it's almost as if there's no ego，\" she adds. \"Even if he's working in an environment where there is turmoil or conflict， he just rises above and uplif ts. He is one of the most optimistic people I've ever come across.\"

From this collaborative triumvirate emerged the slogan \"One small step，\" a succinct capture of Patagonia's proenvironment philosophy of best quality， least harm. In this case， however， JDK's client came away with not only a line of shoes， bo ots， and sandals， but also a bonus product. James Lindars， JDK's \"3-D design director，\" is obsessed with the burgeoning do-it-yourself movement; af ter several verbal jam sessions with Jager， he came up with a shoe for Patagonia that distills the company's 35-year histor y into a single， slightly odd-looking DIY shoe: a modern homage to a Native American moccasin—three pieces of leather and a footbed that are assembled by the customer. No adhesives， no toxins， no sweatshops. And not only are the mocs constructed of scrap leather， the packaging pouch is made from surplus material， too. It's a wearable philosophical statement， built from trash. \"There's this idea of having a creative spine that makes ever y thing work，\" Weller says. \"The consumer may not know what the backbone is， but they still think， 'This works， this is beautiful， I get it.' With Michael and his team， there is so much thought on the back end that creates that subtlety of effectiveness.\"

The X Prize

Jager was surprised JDK even received a request for a proposal from Microsoft， let alone made it to the final three. \"I was like， Microsoft is calling us?\" he laughs. At the time， JDK was pushing capacity and Microsoft didn't exactly have a reputation for risk taking. But Jager was intrigued to see the guts of the machine. At least as impor tant， he had a 13-year- old son: \"Going into that meeting， I told those guys， 'This is great for me regardless， because my son thinks this is the coolest thing in the world.'\" Then Jager—and Bruce Lee—closed the deal.

Microsoft's goal with Xbox 360 was to reach a more mainstream gamer while staying true to its hard-core， hard-won audience. It's a classic catch-22 of brand maintenance， the consumer-electronics version of going from indie-music darling to heavy rotation on Clear Channel(NYSE:CCU). Microsoft's resident enfant terrible and development guru J Allard was keenly aware of the conundrum.\" When we talked about the qualities of the brand that we wanted in 360，I immediately gravitated to Bur ton，\" writes a caf feinated Allard， who is a boarder in his own right， in a late-night email. It \"prides itself on innovation and product quality， but more important， has scaled without selling out.\"

As JDK worked with the Xbox 360 team， they continued to build on the Bruce Lee idea. The final reverse-parenthesis design of the console is itself Jager's symbologic conjuring of the martial-arts master， representing the inhalation of breath before a strike. JDK helped design a font specifically for ever y aspect of the new system.Even the crossbar of the B in \"box\" packs a punch—it's shaped like a specialized type of box cutter， an Olfa knife. \" When animated， this mark could unleash a razor-quick assault，\" Jager says. \" Very Bruce.\"

Spinning off from the font itself， Allard and Jager invented a \"codified language\" based on a pattern of concentric circles linked to an alphanumeric system. \"If you don't know what it is， it looks like this supermodernist pattern that was just sexy and cool，\" Jager explains. \"But weeks before the release， we leaked hints on how to decode [it] to the core audience and created a subversive language.\" The code was disseminated via a Web site within teamxbox.com called the Colony (an allusion to the notion that ants， while individually puny， take on incredible power in the collective). So when Microsof t debuted the Xbox 360 in May 2005 on MTV， the half-hour telecast was pitched at two levels: On the surface， it was your standard- issue buzz circus with celebrities， athletes， and musicians taking the new system for a ride. But embedded on posters， stickers， and badges throughout the set were innocent geometric patterns that， to Colony members， carried hidden messages. The words themselves were not the point. They were simple and sarcastic: \"Xbox is your friend，\" \" You are the Colony，\" \"Be the first kid on your block to destroy your block.\" But Microsoft's effort to connect on such an intimate--and complex--level certainly wasn't wasted: By the end of December 2006， it had sold more than 10 million consoles; that month， it outsold Sony's (NYSE:SNE) PlayStation 3 and Nintendo's (OTC:NTDOY) Wii combined. \"There's a transformation happening that is about a need for the humanization of brands，\" Jager says. \"If you can't humanize your brand and connect with the audience， you're f—ked.\"

In humanizing Microsof t， JDK won a major evangelist for the Living Brand idea.\"[JDK] is the only company in my 15 years at Microsof t I've collaborated with [that] I've wanted to work for，\" Allard gushes. \"I've had of fers--silly of fers--but as amazing as some of the people I've met and worked with are， I've never been tempted to consider a career change until I met Michael and JDK.\"

At JDK's current headquarters in Burlington， a well-used skateboard ramp nods to the company's roots. Behind a door lies a silk-screen workshop where staf f members create posters and T-shir ts for local nonprofits and charities. JDK also has a pro bono relationship with the local music venue Higher Ground. In exchange for total design freedom， JDK creates concer t posters for bands such as Ween， Yo La Tengo， and Aimee Mann. Art covers the of fices: A mural by one of Jager's friends stretches more than 20 feet across a wall in a common area; a trio of black- and-white photos of the Clash hang near the elevator.

In a top-floor conference room， floor-to-ceiling windows lay out a panorama of Lake Champlain， etched with the wakes of ferr yboats. Here， Jager talks about the intersection of ar t and commerce. Turns out， he's still asking the question， \" What can we get away with?

\"I believe in an Andy Warholian philosophy， really. Just as the Factory helped Lou Reed and the Velvet Underground， John Cale， and Nico， I love to inspire progression and possibility because we all too easily get trapped by packaged process and protocol，\" he says. Then，indulging in a snowboarding metaphor，he goes on， \" You try to lead by example， focus your energy where it's needed， and nudge people—whether designers or clients—as they stand， frightened， on the lip.\"

2004年，受到微軟邀請，到華盛頓Redmond角逐Xbox360設(shè)計(jì)的三位品牌設(shè)計(jì)師分別是:曾成功包裝Windows并為聯(lián)邦快遞品牌轉(zhuǎn)變立下汗馬功勞的Landor、成功打造亞馬遜品牌的功臣TurnerDuckworth和來自佛蒙特州JDK設(shè)計(jì)室的David。

在眾多創(chuàng)意中，JDK的是創(chuàng)意總監(jiān)MichaelJager通過街頭劇場、設(shè)計(jì)心理學(xué)、文化影響娓娓闡述他的觀點(diǎn)。Jager認(rèn)為力量Xbox區(qū)別于其他產(chǎn)品的關(guān)鍵因素。

有別于原先Xbox通過綠巨人形象傳遞單純的力量概念，Jager認(rèn)為現(xiàn)在的策略是讓Xbox從綠巨人驚人的逃脫力量過渡到某種安靜潛伏的，雖危險(xiǎn)卻又帶有優(yōu)雅的另一種力量，“我們用李小龍來比喻這種力量。”

JDK公司名稱的字母組合分別取自公司創(chuàng)意副總監(jiān)、公司市場總監(jiān)和BurtonSnowboard公司創(chuàng)始人的名字。

它無疑是脫穎而出的一匹黑馬，然而成功絕非一日之寒:在過去的18年，他們?yōu)榘∕TV、耐克、李維斯、Timex等眾多客戶都提供過專業(yè)而周到的服務(wù)。

在以Burton作為實(shí)驗(yàn)室小白鼠試水以后，JDK愈加拋開課本知識，超脫傳統(tǒng)，自由地運(yùn)用自己的創(chuàng)意來開展業(yè)務(wù)。JakeBurton表示在公司內(nèi)部并沒有所謂的傳統(tǒng)必須要遵循，或者圖標(biāo)字符需要固定不變。只要是看起來不錯(cuò)、可以奏效的，盡可以拿來大膽嘗試。

Jager和他團(tuán)隊(duì)成員的腦海中總是充滿著那些看似不著邊際的奇思妙想。

JDK發(fā)展迅速，但仍然每年花6萬美元在Burton一項(xiàng)上。Jake、BaysieWightman和DeeDeeGordon一起通過重新包裝讓日漸衰退的產(chǎn)品如theDr.J起死回生。早期他們?yōu)镮BM當(dāng)?shù)氐牟块T工作時(shí)就已經(jīng)成功創(chuàng)造了眾多經(jīng)典案例。

許多情況下，JDK早已超越了一個(gè)單純的設(shè)計(jì)公司、管理咨詢公司或者廣告公司的概念——它更像是三者結(jié)合的產(chǎn)物。Burton市場部總監(jiān)BryanJohnston認(rèn)為從咨詢公司的角度看，他們是反麥肯錫式的。JDK不是一個(gè)單純以數(shù)學(xué)數(shù)據(jù)或消費(fèi)邏輯為立論的公司，他們會利用所有可以實(shí)現(xiàn)的信息，再加上對于流行文化的理解以及其他一切書本上所不能學(xué)到的東西，來全力支持公司業(yè)務(wù)。

JDK也會對客戶進(jìn)行有針對性的標(biāo)準(zhǔn)化分析，但最后的結(jié)果并非程式化。JDK早就樹立的信仰是:設(shè)計(jì)的不同特性正是事物在不同階段產(chǎn)生奇妙變化的原因所在。

“這種方式非常有意思。就好像是我們把他們領(lǐng)到我們的車邊，把鑰匙交給他們，請求他們載我們一段——因?yàn)槲覀兯坪跤悬c(diǎn)迷路了。”

品牌中有三方的協(xié)作溝通，所以運(yùn)作起來往往既有活力，又存疑惑。但是互動總是非常美妙。

三人協(xié)作中呈現(xiàn)的口號是:“前進(jìn)一小步”，可謂是對Patagonia信仰的精妙概括:最好的質(zhì)量，最少的危害。這個(gè)理念使得JDK的客戶往往獲得額外收獲。

事實(shí)上Jager很驚訝能收到微軟的提案邀請并最終進(jìn)入最后一輪。Jager13歲的兒子認(rèn)為這是世界上最酷的事，使他深受感染。參加會議的時(shí)候，Jager大聲告訴來賓:“無論結(jié)果如何，我感覺都非常棒!因?yàn)槲覂鹤诱f，這本身就是世界上最酷的事情!”

微軟的目標(biāo)是留住核心用戶的同時(shí)爭取更多主流游戲玩家。微軟的開發(fā)主管JAllard心里很明白這是一個(gè)充斥著矛盾的難題。

JDK在同Xbox360小組一起工作時(shí)不斷發(fā)展有關(guān)李小龍的創(chuàng)意，最后的Xbox符號就是源自Jager對于武術(shù)的靈感。

JDK總部設(shè)計(jì)也別出心裁:辦公室里到處都是藝術(shù)作品;有一個(gè)滑板用的斜坡;門后那個(gè)絲印的工作室便于員工為當(dāng)?shù)氐姆菭I利組織或慈善機(jī)構(gòu)制作海報(bào)和T恤。

此外JDK還樂于贊助當(dāng)?shù)氐囊魳穲F(tuán)體。Jager說他傾向于在過程和潛在可能中尋找靈感。正因?yàn)槿藗兲菀妆怀淌交蛡鹘y(tǒng)影響，所以更應(yīng)當(dāng)充分利用自身的熱情和活力去影響他人。

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