Advertising campaigns last a season, logos last a lifetime. This is not going to be an industry debate on design versus advertising, that's tired and boring. Advertising is equally important. After all, some ad campaigns have changed the face of a brand, awoken the world to its existence, defined it, made it famous, infamous, sold millions of products, won awards... the list is infinite. However, as we know, icons outlive us all. So, what does it take to create an icon?
When I began this I pondered for a while, wondering how icons are created. I came to the conclusion that in fact true icons are seldom intentionally created. It's a retrospective process. They don't develop because of some deliberate plan, they come into being over time, through memorable events and collective experience. They develop out of an abstract idea, or theology or philosophy and become an image. Take Nelson Mandela's face for example. His face embodies the intangible qualities of justice and equality; his face, its image is freedom and democracy. And because of what he represents, he and his image have reached iconic status. Unintentionally, but justifiably.
Ironically, the origin of the icon lies too in the visage of a great man. According to Reyer Kras, Dutch industrial designer and art historian, the origin of the term “icon” goes back to the Byzantine empire, when the emperor dispatched portraits of himself to the furthest corners of the empire to ensure that he was not forgotten. The portraits not only depicted his likeness but also represented his power and absolute rule, and so symbolised the unity of the empire despite his absence.
Since then, icons have been developed to support religions with a deeper symbolic interpretation. They became manifestations of ideas from an intangible, mystical world. Worship occurred on the idea embodied in the icon. That we know, hasn't changed. But other things have.
Today, icons have moved beyond the transference of an idea to an image. Borne out of necessity, icons have been purposefully developed, not as icons, but as a means to an end. The STOP sign is an icon, it controls traffic. It speaks universally, with authority; we respect and obey it (well, some of us!). The intangible idea behind it was the creation of order. The more we understand the intangible idea behind the creation, the greater the stature it is likely to possess.
From a South African perspective, we've seen the rise of products that have magical qualities. They represent daily life in South Africa yesteryear and today. From Lucky Star pilchards and Kiwi polish to Lion matches and Iwisa mealie-meal. These products' packaging have graced many a chic shack in the way of wallpaper and decoration. They've made their way into our lives far beyond their original intention and have transcended their everyday utility to achieve iconic status.
And so learning from history, even recent history with the Coke bottle or Lucky Strike cigarette packaging, and understanding the effects of attaining iconic status, there is a concerted effort in the development and creation of icons and iconography - most noticeably among modern brands. Logos, emblems, product design, graphics on packaging, slogans, inter alia, are being developed in the hope that they may be rich in symbolic message, be memorable and that one day soon they may become an icon. Great brands are developing these layers in an attempt to find the emotional link, to have cultural relevance, and to preserve continuity.
The development of logos, emblems, typefaces, brand icons and slogans, all contribute to the brand experience and its essence. Developing all these disciplines within a brand's portfolio is an important component of brand building because their collective representation illustrates the values and the positioning of the brand. Developed over time, they can assist with ensuring a much deeper and more meaningful relationship with the consumer. They ensure longevity. The development of experiences that have the power to create long-term, emotional connections with consumers is critical if a brand is to differentiate itself from others. Get that right, and your brand may achieve iconic status. But, only time will tell.
If I had to consider what's next it would be developing those icons that represent social investment, sustainability and community interests, There is an opportunity in South Africa in the SAPS: an icon needing assistance but crucial to our existence is the SAPS badge. The ‘brand' has stood the test of time, been with us through thick and thin, good times and bad. The potential that exists is enormous. It could and should stand for all things right; justice, protection, safety, shielding, community, caring. Achieving iconic status, having its inherent qualities realised is something, I have no doubt, we'd all welcome.
ABOUT THE AUTHOR
Adelle Wapnick is MD of Cross Colours.
Visit our PRESS OFFICE: In 1995 three friends, Joanina Pastoll, Janine Rech and Adele Wapnick, broke away from an established advertising and design agency to start something they believed would be more agile, flexible and creative than what clients were used to. They called their agency Cross Colours. Andrew Broom and Craig Wapnick have since joined as partners, and Shona Danckwerts as an executive director.- more....
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When I began this I pondered for a while, wondering how icons are created. I came to the conclusion that in fact true icons are seldom intentionally created. It's a retrospective process. They don't develop because of some deliberate plan, they come into being over time, through memorable events and collective experience. They develop out of an abstract idea, or theology or philosophy and become an image. Take Nelson Mandela's face for example. His face embodies the intangible qualities of justice and equality; his face, its image is freedom and democracy. And because of what he represents, he and his image have reached iconic status. Unintentionally, but justifiably. 
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