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WOLFF OLINS ON CULTURE

AMBITIOUS FOR CLIENTS

OPTIMISTIC FOR THE WORLD

WE SPECIALIZE IN CAPTURING THE PUBLIC IMAGINATION, CREATING AND TRANSFORMING SOME OF THE WORLD’S MOST DISTINCTIVE MUSEUM, CULTURAL AND DESTINATION BRANDS.

BEYOND MARKETING, BEYOND IDENTITY WE HELP INSTITUTIONS IDENTIFY AND THEN DRIVE A CLEAR SENSE OF PURPOSE THROUGH EVERYTHING THAT THEY DO.

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OUR PROPOSITION IS ARTICULATED AROUND ONE PRINCIPLE:

IN A WORLD WHERE WHAT YOU DO IS MORE IMPORTANT THAN WHAT YOU SAY, WE AIM TO CREATE BETTER REALITIES, NOT JUST A NICER IMAGE.

Brand idea-inspired 85 new “Imagination Breakthroughs,” creating $25 billion in additional revenues.

From the day it opened, London’s Tate Modern was a huge success, attracting double its target visitor numbers and becoming the most popular art gallery in the world. After a year, Tate’s overall annual visitor numbers had risen 87% to 7.5 million. As the wrote in May 2005, Tate “has changed the way that Britain sees art, and the way the world sees Britain.”

Created new business offer that helped Mercedes extend its brand beyond automotive and into services.

In its first five years, Orange attracted a huge and unusually loyal customer base of 7 million people. Year after year, Orange scored highest of the mobile networks on customer satisfaction, and lowest (less than 15%) on churn. By the time France Telecom bought the business, it was worth an astonishing €25 billion.

In the first four months after the launch, the museum attracted a 600% surge in visitors and 400% boom in new members.

Sony Ericsson increased its income by 139% to €362 million.

Created a new business model and raised $100 million to combat AIDS in Africa, Inspi(RED) is the biggest-selling t-shirt in Gap history.

Helping Target deliver more Targetness through a simpler architecture and new product brands.

Since launching the new brand in 2007, NYC tourism has increased by 5% and tourism spending by 13.31%. Every Unilever business,

from China to Argentina, embraced the brand idea of adding vitality to life. The idea continues to be used to determine which businesses to invest in, which to exit from, and where to innovate (almost €1 billion a year is spent on vitality-driven innovation). The new vitality-inspired Knorr Vie drink has sold over 60 million bottles. By June 2008 Unilever was achieving an underlying sales growth close to 8%.

Created a new online social commerce experience to transform the UK’s largest home shopping retailer.

Within the UK, brand recognition has already reached 85% and globally, recognition is over 50%. Sponsorship exceeded expectations with partners spending more than €400 million in the first year and the 2012 Olympic games are setting records for generating more money than any previous games.

SOME OF THE WAYS IN WHICH WE’VE HELPED OUR CLIENTS

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SOME OF OUR CLIENTS

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NEW MUSEUM: NEW ART ENERGY NEW FOR A NEW MUSEUM The New Museum of Contemporary Art is New York City’s only museum dedicated exclusively to showcasing contemporary art. It’s an adventurous, progressive institution with an internationally renowned program.

In a city over-saturated with cultural institutions, we faced an exciting challenge: to create a brand that would drive the museum’s vision and ambition to become a world player in contemporary art and a first-choice 21st century cultural destination.

ACTION Based on the idea of “New Art and New Ideas,” our first step was to simplify the name to loosen up the museum’s institutional feel. More importantly, this broadened their scope from the narrow definitions of an art museum to becoming recognized as a cultural hub.

In an exciting collaboration with the museum, we created a visual expression that features a spectrum of color and language, and a logo that literally moves and flexes to welcome new artists and audiences, and announce new art and the new museum. The mantra “open, fearless and alive” quickly became an invaluable tool for internal decision-making.

IMPACT The award-winning identity system captured the immediate attention, hearts and minds of onlookers and museum lovers. In the first four months after the launch, the museum attracted a 600% surge in visitors and 400% boom in new members. The New Museum – the place and the brand – continues to self-renew, opening the doors to future creative collaborations and inviting in new art and new ideas.

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TATE: DEMOCRATIZING ART AMBITION In the 1990s, the Tate Gallery at Millbank had opened new sites in Liverpool and St. Ives and formed a breathtaking new ambition: to create a huge new modern art gallery at Bankside power station in London. Tate wanted to make all four sites into something new: not traditional institutions, but exciting destinations.

ACTION With help from Wolff Olins, Tate reinvented the idea of a gallery from a single, institutional museum, with a single, institutional view, to a branded collection of experiences, sharing an attitude but offering many different ways of seeing. The new Tate would become a part of everyday national life, democratizing without dumbing down. Wolff Olins created the Tate brand under the idea “look again, think again”: both an invitation and a challenge to visitors. Instead of the confusing “Millbank” and “Bankside,” we named the London sites Tate Britain and Tate Modern to signal what kind of art people would find inside. We designed a range of logos that move in and out of focus, suggesting the dynamic nature of Tate –always changing but always recognizable. And we shaped Tate’s visual style, influencing its posters, website, publications and shops. Seven years after the initial launch, we helped Tate refresh its vision for the decade ahead.

IMPACT From the day it opened, Tate Modern was a huge success, attracting double its target visitor numbers, and becoming the most popular modern art gallery in the world. After a year, Tate’s overall annual visitor numbers had risen 87% to 7.5 million. As the wrote in May 2005, Tate “has changed the way that Britain sees art, and the way the world sees Britain.”

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FINE ARTS MUSEUMS OF SAN FRANCISCO (FAMSF): CONNECTING PEOPLE TO ART AMBITION The Fine Arts Museums of San Francisco (FAMSF) is the San Francisco organization that manages its two public museums, the MH de Young Memorial Museum and the Palace of the Legion of Honor. The de Young museum was a major site for significant art exhibitions on the west coast of the United States until it was severely damaged by an earthquake in 1989. This led to the design of a new museum by architects Herzog & de Meuron. In the spring of 2001, Wolff Olins was approached about developing a brand for the museum, due to open in 2005.

ACTION After considering the initial request, Wolff Olins realized that it would be equally important to clearly identify and articulate the brands for the Palace of the Legion of Honor and the Fine Arts Museums of San Francisco. We concluded that the core mission of the Fine Arts Museums of San Francisco is to represent the city’s world art collection and to reach out to the widest possible range of people to experience it. Put simply: FAMSF exists to connect people to art. To convey a less intimidating image, Wolff Olins suggested that the museums simplify their names to “de Young” and “Legion of Honor.”

IMPACT The result of the Wolff Olins program is a clear understanding of what each of the three entities, FAMSF, the de Young and the Legion of Honor stand for and how they are linked. Wolff Olins has provided clear and evocative brands for the two museums, which encourage participation, understanding and enthusiasm. Wolff Olins were engaged in implementing the brand throughout the FAMSF community, and discussing further ways to bring the brand to life in these 21st century museums.

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V&A: 2003 EUROPEAN MUSEUM OF THE YEAR AMBITION The V&A’s strengths are the diversity and breadth of its permanent collections, the world-class expertise of its curators and conservators and its record-breaking programme of temporary exhibitions. Yet the museum’s very size and diversity have resulted in organisational fragmentation. Curatorial expertise was seen as ‘deep but narrow’, making the Museum appear introverted. Wolff Olins was asked to provide the fragmented ‘family’ of V&A museums with a new, overarching ‘parent’ brand.

ACTION Wolff Olins’ first task was to identify some values that would address these weaknesses. To counteract the sense that the V&A’s people are more concerned with what they’ve got rather than what they can give, the first value Wolff Olins identified was a generosity of spirit. It would make the objects accessible, sharing ideas and knowledge, internally as well as externally, and making visitors feel welcome. As these values became integrated into the life of the Museum through different initiatives, these values gradually became the drivers for change in the culture of the V &A, which we called the CulturePlan. The next element of CulturePlan was to clarify the relationships between the different parts of the Museum. We provided a Corporate or ‘Parent’ V&A world brand – one that over-arches all three museums.

IMPACT The brand has continued to influence every aspect of the Museum’s activities - catering, development, retail, and design. In 2003 the V&A was announced as winner of the European Museum of the Year and visitor numbers have increased by 113% since 2001.

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SCHAULAGER: NOT ANOTHER MUSEUM AMBITION Schaulager is the ground breaking building by Herzog de Meuron, home of the Emanuel Hoffmann collection in storage, based near Basel. The idea to build Schaulager arose from a basic question: what is the best way to store, maintain and use art when it is not in display at a gallery? From the outset, Schaulager challenged convention, and this spirit was to become an important part of the brand itself. The brand needed to place Schaulager at the forefront of thinking around contemporary art. Rather than an art showcase, this was to be more of an art lab: serious, creative and active.

ACTION By working closely with the curator, the benefactor and the architects, Wolff Olins began to explore the ambition behind Schaulager and find a way to express this. Wolff Olins brought all of this together under the idea Art Works – a concept that immediately focuses on the activity that happens around art. Art Works is about thinking and doing: the spirit to explore the boundaries of contemporary art. In turn, the visual style had to find a way of communicating that was challenging and unique to Schaulager. This wasn’t about creating a logo but rather a system that could bring the idea of Art Works to life.

IMPACT Schaulager opened in May 2003. The brand has helped define its public face and can be seen across all its communications – from advertising to web presence to publications. Perhaps more importantly, however, the development of the brand helped to crystallise Schaulager’s own understanding of what it was seeking to do. Art Works is a belief that art should be always active, always ‘on’. It has placed Schaulager confidently on the world stage and is as unique as Schaulager is itself.

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SOUTHBANK CENTRE: DESTINATION AMBITION Southbank Centre was built in 1951 to house the Festival of Britain, and has a long tradition of connecting arts, in sometimes obscure forms, to people. By 2007, however, it was fragmented, with great expertise within each of its four venues—Royal Festival Hall, Purcell Room, Queen Elizabeth Hall and Hayward Gallery—but little to celebrate the greater whole. Its ambition was to unite these venues under a new purpose.

ACTION Wolff Olins helped create a new idea for the organization. “Arts new chemistry” encapsulates the mission to create new types of relationships across art forms, and new types of relationship—less static, less one way—with audiences. It means a new kind of venue, in which particular arts are not confined to particular buildings, nor performances to a stage or audiences to seats. Instead the whole site is fluid and ever-changing. Hence our visual identity, born from mixing pure singular elements to create an ever new series of outcomes.

IMPACT In partnership with the organization’s new artistic vision, the new brand is having a transformative effect. Southbank Centre is now the instigator and producer of events, not just the receiving house. Visitors have a more integrated experience, which leads them across the site and encourages return visits. Southbank Centre is becoming a destination—a regular haunt for Londoners and an even more desirable partner for performers and artists from all over the world.

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2012 AMBITION London’s bid for the 2012 Olympic and Paralympic Games was like no other. It promised to inspire the youth of the world. To engage, involve and enthuse—to change lives. It promised to put the Olympic and Paralympic Games at the heart of contemporary life. To achieve this, London’s Organizing Committee needed a powerful brand, one that could inspire and engage with a global audience of four billion people. A brand that could make the Olympic and Paralympic Games more relevant, accessible and inspiring than ever.

ACTION We worked with London’s Organizing Committee to define a clear ambition for London 2012. These Games were to be everyone’s. They would call on people to challenge themselves—to try new things, to go further, to discover new abilities. The brand we created supports this ambition. The emblem is 2012, an instantly recognizable symbol and a universal form—one already closely associated with the Games in London. It is unconventionally bold, deliberately spirited and unexpectedly dissonant, echoing London’s qualities of a modern, edgy city. Containing neither sporting images nor pictures of London landmarks, the emblem shows that the Games is more than London, more than sport. It is for everyone, regardless of age, culture and language. It is designed to be populated, to contain infills and images, so it is recognizable enough for everyone to feel and be part of London 2012.

IMPACT The ambition—everyone’s—is already shaping London 2012. For the first time the Olympic and Paralympic Games will share the same brand, using their own variant of the emblem. And in another first, the Cultural Olympiad will be able to share the brand. New technology is being put in place to get everyone closer to the action and more deeply involved. Digital media will be used to create a Games in which everyone can play a part wherever they are. The brand we created will shape the experience of 2012. It will take the Games beyond sport, creating wider interest and even greater inspiration. It will create a Games for everyone.

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UNILEVER: ADDING VITALITY TO BUSINESS AMBITIONUnilever is big. 150 million times a day, in 150 countries, people choose to make Unilever brands part of their lives. But in the consumer goods industry, growth is hard. Unilever decided that it was too diffuse, with too many brands and with no unifying driver of growth. Unilever wanted to become a single-minded, idea-led growth business.

ACTIONWolff Olins helped Unilever change, from an invisible owner of brands to a much more visible business, leading its brands through a single idea: “adding vitality to life.” We created a visual identity that expresses “Vitality” and that is starting to appear on every Unilever product. Under this banner, we also worked on dozens of projects to put vitality at the heart of the organization – from designing workplaces to transforming the recruitment process t o training employees how to pass on the stories that underlie the idea. And we’ve helped Unilever invent new products and projects that deliver vitality.

IMPACTSince implementation of the Vitality idea, Unilever’s operating profit has increased at an average rate of more than 15% per year. Every Unilever business, from China to Argentina, has embraced the Vitality idea. Unilever is using the idea to determine which businesses to invest in, which to exit from, and where to innovate, and now spends almost €1 billion a year on vitality-driven innovation. Results are coming through: the new vitality-inspired Knorr Vie drink, for example, has sold 60 million bottles since launch, driving Unilever’s profits to new heights.

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GE: MOST ADMIRED TWENTY-FIRST CENTURY POWERHOUSE With 300,000 people in 174 countries, and 3,500 businesses, all number one or two in their markets, GE defined the 20th century corporation. With the transfer of leadership from Jack Welch to Jeff Immelt, GE was poised for transformation. From manufacturing to technology and service. From US-centric to an emphasis on Asia and Europe. From a business driven by organizational silos to greater focus on the customer. From an under-leveraged atomized old-world brand to a 21st century powerhouse of innovation and impact.

MARKET-FACING BRAND Wolff Olins worked with GE to create a market-facing brand architecture that hugely simplified its portfolio of businesses into solution platforms for customers. This allowed GE to enhance existing relationships with businesses and develop new relationships with consumers. We created a modern identity that liberates and celebrates the GE monogram, and that’s flexible enough to work with everything from jet engines to light bulbs. We traveled the world to excite GE leaders about the brand idea ‘Imagination at work’, and defined with them how the brand should be made real throughout the business.

$25 BILLION NEW REVENUES GE was named “most admired company” for two years running by Fortune magazine. It’s now pitching to countries and governments, using its new ability to bring unified solutions to its customers. $25 billion in additional revenues have been added by 85 “Imagination breakthroughs,” inspired by the brand idea. GE is now the fourth biggest brand in the world, valued in 2008 at $53 billion.

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MERCEDES-BENZ: 10 MONTHS, 3 NEW BUSINESSES GROWING A GLOBAL ICON In 2007, Daimler set up a team of senior executives to develop new growth initiatives beyond the world of cars. Having identified the brand as one of the most important assets to leverage, the Business Innovation team approached Wolff Olins to help develop appropriate businesses to generated new and profitable growth without putting one of the world’s most iconic brands at risk.

FROM IDEAS TO REALITY Wolff Olins developed a brand-led innovation framework that ensures that each venture protects the Mercedes-Benz brand, leverages what is tangibly special about it (e.g., German engineering), gives the brand new relevance in the world (attracting younger customers and building new sustainability credentials) and makes money (with a return on sales of 20% or more). Working with Daimler’s Business Innovation team and the leaders of the business in UK, US, China and Japan, we developed ten new businesses to pilot. In January 2009 (ten months after the commencement of the project), Daimler launched solutions for family mobility at the Mercedes-Benz brand centre in Surrey UK.

A PLATFORM FOR GROWTH Kinderclass has already led to a significant increase in the sale of child safety accessories and continues to attract younger families to the Mercedes-Benz brand. Later in 2009, a new high profile venture and an exclusive travel service will be launched in the UK and China, respectively. Wolff Olins continues to provide advice and creative assistance as other products and services are being developed and launched around the world.

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BEELINE: RUSSIA’S TOP BRAND COMPETE FOR LOYALTY In 2005, the Russian mobile communications market was approaching saturation, especially in Moscow. The challenge was to turn Beeline into a brand that could stand apart and compete effectively in this context. A more clearly differentiated position was required, one that focused on creating long-term customer relationships and deeper emotional bonds to drive real loyalty. This, combined with a strong identity, has been key to setting a new standard in the Russian market.

BRIGHT SIDE With Beeline and BBDO, Wolff Olins developed a new positioning, identity, communications style, image libraries and campaign for launch. We then rolled out the brand across all communications, packaging, retail, web and HQ interiors, alongside a number of internal brand-building initiatives. The rebrand was a huge success and at the end of 2005 revenue was up by 40%, market capitalization by 28% and ARPU by 7%. We continue to work with Beeline as it grows into new regions and product areas.

MOST VALUABLE Since relaunching the brand, Beeline has been independently ranked the most valuable brand in Russia for three consecutive years, according to Interbrand Zintzmeyer & Lux in Business Week. It has become the benchmark for all recent brand launches and the one to beat in mobile telephony.

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(RED) EMBRACING CONSCIOUS COMMERCE AMBITION (RED)’s ambition was to harness the power of the world’s greatest companies to help eliminate AIDS in Africa. To do this, it created both a new business model and a new brand model to achieve three goals: deliver a source of sustainable income for the Global Fund, provide consumers with a choice that makes giving effortless and last but not least, generate profits and a sense of purpose for partner companies.

ACTION The first challenge was to get the all-important founding partners on board. So we helped Bobby Shriver and Bono paint a vision of what (RED) could be. This vision of the future provoked Amex, Converse, Emporio Armani and Gap to take the plunge.

We built the brand around the idea that (RED) inspires, connects and gives consumers power, with a unique brand architecture that unites participating businesses by literally embracing their logos to the power (RED). Many partners have gone the extra mile and manufactured products or packaging in African countries, generating jobs and opportunities for local people.

IMPACT Within the first five weeks of the US launch, the (RED) brand registered 30% unaided awareness. Over 1.35 million people watched a YouTube video showing the impact and there are over 850,000 (RED) friends on MySpace. In its first two years, (RED) partners delivered $108 million to the Global Fund, more than most countries donated in the same period. This is enough money to give 650,000 people life-saving drugs for a year.

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NYC: THE UNBRANDABLE CITY AMBITION

There’s only one New York City. But within that one city are five boroughs, approximately 191 neighborhoods, nearly a million buildings and over 8.2 million people. Each individual has their own New York.

Within the mind of every single New Yorker resides a different version of New York City. It’s a city loved in 138 different languages and viewed through an almost infinite mix of cultures, ideologies and ways of life. Everyone living side-by-side.

This kaleidoscopic quality is one of the greatest things about this city. It’s the very thing we love. But it also makes it difficult to represent. There is no one symbol, no one logo or brand that means New York City to everyone.

ACTION To create a brand for New York City, the challenge was not to define a purpose, but to capture an essence. This was articulated by the idea: “only one, but no one NYC.”

The resulting brand identity has now been embraced not just by New York City’s official marketing, tourism and partnership organization, NYC & Company, but across many City departments.

IMPACT From what was once many disparate and confusing identities, the NYC brand has become the singular strong voice for the City, clearly articulated. Tourism revenues rose and the first international advertising campaign has launched, bringing this rigorous brand to a global audience.

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140 PEOPLE 21 LANGUAGES 3 OFFICES 1BUSINESS

PART OF OMNICOM

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Michael Wolff and Wally Olins set up Wolff Olins in 1965.

In the 60s, we did convention-breaking design work for big companies like boc, for government bodies like Camden and for the Beatles.

In the 70s, we pioneered corporate identity for P&O. And with tough economic times in Britain, we moved into France with Colr and Germany with Aral.

The 80s was the great age of corporate identity. Wally wrote the book. We worked For 3i, Q8 and Prudential. Repsol took us into Spain. And we created a little banking brand in Britain called First Direct.

We started the 90s with Europe’s biggest corporate identity project, BT, and then morphed into branding with Orange, then Heathrow Express. And we closed the decade by opening in New York.

In the 00s, we’ve become a world business with GE, Oi, PwC and (RED) in the Americas. Beeline, London 2012, Macmillan, Sony Ericsson, Tate and Unilever in Europe. And Airtel, Sony, Tokyo Metro and Wacom in Asia.

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WE’D LOVE TO TALK:

Gilles Guilbert Main: +1 212 505 7337 Direct: +1 212 471 1520 Cell: +1 917 721 9068 gilles.guilbert@wolffolins.com

Wolff Olins 200 Varick Street 10th Floor New York, NY 10014 www.wolffolins.com