VALET Involving startups in the design process of their brand.Lucia Ciranova & Flaminia Zanotti Master Thesis Master Peogsam in Business & Design, MSe University of Gothenburg - School of Fusiness, Eeanemice and Law SHDK School of Design and Ceafte Supervisot: Lena Hansson Jane 5, 2015ABSTRACT Despite brands being stiategic assets cential to company’s long teem success little o: no attention to branding can be eeen in the business literanure and resources for starnips. If so, itis usually by adapting the branding approaches for large otganisations into the context of smaller ones. However, startups are nct just smaller sions of big ceganisations; they are living organisms of their cum with specific chassctesisties and cul affecting theie business operstions "Thanks to the size of startup and close proximity to the founder, the startups brand is often the founder himselt/hecsel€ ‘Thecefore, instead of creating the brand fiom scratch, there is a need to find a new branding approach that would help founder to luncawes, exptess and fame che beand essence of the starmap and, consequently, nutn it into a competitive brand steategy For us, az Business Designers, this wat an intecesting possibility to explore whether these is an oppocninity fr application of the strengths and competencies of Business & Design. Thecuigh seconcacy and peimaey ceseacch within the aseas of branding, startups, and design, the opportunity for i oe staetups was became the departure argument for brainstorming Sei Business & Design into branding to the fiaming of the centeal concept of thi thesi Branding, To prove its validity and feasibility, the Participaton fusther tested with six stastups in Gothenburg to pi implications for practitioners in both beanding as wel Design file, Keywords: Branding; Startup; Participatory Desig DesignACKNOWLEDGEMENTS Fiest and foremost, we would like to thank everyon challenged, cuppotted and ensiched ue during the | thesis. In pasticulas, our academic suppott from | Oriana Haselwanter, Ramsin Yacob, Ulises Navarro ‘Yoldam and Nicolas Atroya Furthermore, we would like to thank everyone wh the research process of this thesis. Mainly, the a community of G-Lab 21 for their believe and euppot ‘thesis a eal thing, In pasticulac ta Jens Oatgaacel and as well as all the great startups who believed in d decicied to take part in this peoject: In addition, wwe would like to thank all the people who intetviews and shased their valuable knowledge and « lus. A special thank you goes to the CEO's of Pasad & Mockup fer theie time and willingness to shave process with us ‘This thesis would not happen witheut the geeat supp people through our endless conversations on a meta lunch/coftee/ after-work breaks. Thank you guys. Last but not least, we willie to thanks cur families extended, just like the brand) for theit on-going sup whole duration of our studies and believing that ev swe do is veey Buti to explain, it has a gteat potential“Where absolute superiority is not attainable, you Dear Reader, must produce a relative one at the decisive point by What ace you about to experience is a Business & De Tigi jus dcp oo ldo paseo making skillful nse of what you have.” vedas sok Basinens 8 Desgh is anew, ee the cteative process and methods of desiga into the b atl von Clancewits, 1852 Mainly, Business & Deeign ie a mindset and our mai bing along te everything we do, Even though all the in to ensuse academic excellence of this thesis, i unusual approach that miscors the way we, Business (more detailed desctiption is provided in Chapter 4) ‘The term ‘Business Designe:s’ is going ta be used a thesis. So, just so we ate all on the same page, this ic by it by a Bacinece Devignore’ we are refrrng to a new 52 that come from an interzcplnary background combining de usinasecrategy, they think like a designer and speaks the lan Allin all, we hope you will enjoy your read, learn: and leave with 2 feeling that this peoject was 6 mor ‘And if you happen to want mate, yout can fallowr ot swrw participatorybeanding com Thank you, Flaminia & LuciaPREFACE “Branding is ike music; it becomes better if you do it with experts.” Mia Hesselgsen, BVD Branding has always been our passion. We both approached branding dusing our studies, ‘Matketing perspective and Flaminia fiom a Commu petspective. After gradkating fom cur bachelor st pursued this passion by working with branding for st the Head of Branding and Design at Nutkase Accers Flaminia as a freelance Beand Designer for vations Even though we approached branding feom diffece (mscksting and design) at diffevent places in the worl inthe agceement that thece was a need for anew appe: Gesigned for startups After starting the Business & and learning about the strengths and competences « saw possible oppornuinities for intervention in oes issue which became the lending thoughat of this thes: Having approached beanding fiom different viewpoi fiom different background was a steength foe ws. the meeting of cur diverse backgrounds and o interdisciplinary natuce of the Business & Design p made tealIndPART 1: RESEARCH 1.0 Setting the Scene: Introduction 1.1 hat is out there: New Petspectives on Bran 1.2 Problematisation 1.3 urpose 1.4 Research Questions 2.0 Methodology & Methods 2. Approach 2.2 Research Process 23 Analysie 2.3.1 Reseaseh Phase Analysis 2.3.2 Testing Phase Analysis 2.4 Validity & Limitations 25 Bthies 2.6 Structute of the Thesis 3.0 IMMERSE: Secondary Deck Research. 3.L Branding 3.2 Starmp 3.3 Business & Design 3.4 Summary 4.0 DISCOVER: Interview Findings 4. Intecviewee Profiles 4.2 Findings Discussion 4.2.1 Branding 1.2.2 Staxtups 4.23 Business & Design,PART 2: TESTING 5.0 IDEATE: Disews 5.1 Discussion of the previous findings 5.2 Ideation 6.0 CONCEPTUALIS! 6.L Concept Development G.L.l Setting Brand Objectives 6.1.2 Finding the Approach: Participatory De articipatory Branding 6.1.3 Development of the design methods 6.2 Patticipatory Branding Concept 7.0°TEST 7.1 Concept Testing TLL Case snicies 7.1.2 Testing Weelsshops & Observations 7.2 Findings Summary 8.0 CONCLUSION 8.1 Reflections 8.2 Implications 5.2.1 Implications fae practitioners of Pasticipat: Branding 8.3 Contsibutions 5.4 Fucther Reseacch 9.0 REFERENCES 10.0 APPENDICESIY A LFigute 1.0: Figure 2.0: Figure 2.1: Figute 4.0: Figure 6.0: Figure 6.1: Figure 6.2: Figute 7.0: ‘Thesis Peablematisation Reseasch Process Structute of the Thesis Finding Summary Pasticipatory Design Process Concepnualisation of Participatory Brand Patticipatory Branding Concept Patticipatory Branding Workshop:I ALES ALL1.0 SETTING THE SCENE: INTRODUCTION (One of the biggest assets of Business Designers lies in theie ability to ssues from different perspective and obtain a holistic viewpoint con the subject (Jones, 2015)! . Thus, the pre-step of cur thesis was to submerge outselver in the topic of branding in order to obtain fan oveeall comprehensive pecapective. Hy connecting it with the topics of startups and design, the Prablomatization of this thesis was fomslated. 1.1 WHAT IS OUT THERE: NEW PERSPECTIVES ON BRANDING Gerzema & Lebar (2008) affiemed that the “tnedtimal bacnase adele aed crater marktors have wed fr generations na larger nore? (p.2)."Theie faikire is not only due to the fact that we ive ina highly technological ‘world, but alee that consumer behavicues have changed peafeuindly, equiting a new vision of bennd management (Gerzema & Lebar, 2008. "These ace many trends auppocting this chitt the ongoing alterations in the economy, shifts in the patterns of how people consume, the fast pace at which markets ace changing, obliging companies to steet ‘hecuigh misulent oceans to stay fexible, competitive and attractive ntecview. See in Chapter 4 to their customers (Wheeler, 2006). In addition, the f globalisation has dcastically shortened the product lit ‘companies to Jock for mote competitive and sustains a brands (Gromark et al, 2005). ‘The value and perception of branding in busine significantly ae well: brande are no longer ceen az tan sighs of ownership or recognition of status, Instead t a strategic key role (Gromark et al, 2005; Simfes a ‘Woong and Merrilees, 2008), anc have become the ve vvaluee, cultuce and knowledge of companies (Abbing 2008). ‘hie shift in perception of biand as a stiategic inceensed its value a2 an intangible asset of a comp Giffecentiator in the marketplace (Getzema & Le today’s ideas-deiven economy, the measure of a firm about ite hacd assets and more Focused around its ia intellectual eapabilities, sich as beands (Ibid). Follow tends, we can see that 62% of the value of would: lies in intangible aetets (Accenmaes, 2014), According Lebar (20018), the total wroeth of 250 most valuable ¢ §2.197 ecillion (exceeding the GDP of France). As on leading brands (nterbrand, 2014), Coca Cola’s bra §778 billions, representing 45% of the company’s (Coca-Cola- HBC, Annual Financial Report, 2013) 122 of beands as busin theis pesition in the business development. Instead - step of the process, we see more brand oriented b built around the beand, inspising both ideation and. (Abbing S van Gessel, 2008),(On the other hand, consimets desize for brands has diminished widely in the last years. One of the main reasons is the brand oversaturation of the matket and lack of diffesentiation. According to Banet & Young, nowadays 80% of brand failures ave caused by the lack of differentiation (Exnst & Young cited in Tait, 2004) According to Schwasts's Penidax of ci (2005), conversely to what could be expected, too many options produce paralysis, instead of liberation, The excess capacity in media and possibilities to petsonalize content lias cesulted in less differentiation among the brands on the market (Gerzema & Lebar, 2008), “Brands bave barred Jnto a wa of sanentse” (Coid, p. 21), vesulting in unestistied consumers whe are overwhelmed with excessive but undiffecentiated choice. Another reason for the decteace in desirability for beande can be ientified in the lacle of exeativity. In a chitteced anaclet, beands that cannot differentiate themselves by being bettet, need to be more cceeative in otder to peneteate the above-mentioned macket. By not being cseative enough, brands will observe a decline in bean awareness and differentiation (Gerzema & Lebar, 2008). In addition, new tsends suggest conmimes! sefteal to be commaditised, Thesefore, beand steategists need to find new ways to evolve theic brands, adapting to conaumees aceds (Gersema & Lebar, 2008). Brands that want to be successful need to petmanenty lead, adapt, surpsise, innovate, enslve, and seepond (Geesema & Leb, 2008). Beandling has thesefore become the tool ta keep beads alive and adaptive Brbaklic 8 Kent, 2014). ‘Technology, and secial media in patioulas, has greatly infiuence brand’s relationship with consumers as well: in our society, people's commune acound social media is now seen as the ‘ney normal) (Stemuss, 201d). Past genesstions were socializing around things they believed in (ie. institutions, corporatic nations), However, in the age of overwhelming and ceconcmy, we are experiencing a shift: people gathe media, questioning everything and having nothin, and emotionally engage with. Accouding to Stiauss ccan take on this opportunity and assume an impor the void by ctesting comething that consumers can equity with, In order to do 0, companies need t ‘empathize with consumers and engage in conversa instead of focusing only on incteasing the sales, By and cteating a belief ecorystem for the consumers, b a lasting and peofitale relationship with theic custos Fusthesmoue, according to the seteatch published b University (Hyper Island, 2015) a new esa in busin following this trend. Through social media and di users and consumers ate learning to engage in cor give feedback ae they have nevee done before. The beans to express clea sets of values and mote likely to buy when they fel that brand or busin | purpose that cesonates with them (Tbid). Compan to undecstand that a strong sense of puacpose will b advantage a2 conmimess ase ac longer buying do, but why they do it. In the near future, compani purpose-driven instead of being only geowth-driven. 12 PROBLEN According to Gerzema & Lebar (2008), we live in by an existential anxiety and through the conti foe meaning, cseativity has also become an conorchanging and deiving the work industry, Since design is understood a5 a cteative work itself, it ditectly implies a change within its field aswell: design should no longer be seen asa matter of a refesional _prictbood! Brown, 2008) and creativity and cteative works are ao longer only under the clomain of exeative people (Kelley & Kelley, 2013). Designers should no longer disappeat into their studios to do the ctestive work and then present it to the cliente ar the outcome of a secict process (Armstrong & Fesracina, 2013). Thus, the Gesign process needs to respond by moving from consumption to ppatticipation (Brown, 2009), involving people in the process to solve problems with them instead of for them Sandets & Stappers, 2014). ‘According to Brown (2008), another impoctant shift las cesuered! design has shifted fiom being one ofthe last steps in the development process focusing primatily on aesthetic to a valuable competitive asset for companies. This could be seen in the new trend of hiring ions (Le. GE, designers in a mote strategic positions by big corp: PRG) (Dong & Merrilees, 2008) Inthis new mindset, design tales on asteategic ale. Byundecstanding the users’ needs and wants, design is able to creste new forms of value, both for the company and the users. This new value is often scented together with the users, through the peactice of eo-cseation and pacticipation Gandess & Stappers, 2014), Furthetmote, nowadays, the economies of every country are greatly hit by the forces of globalisation and regulation (Blank, 2013). ‘There is a clear disruption in the jab market, even in the established industries where many positions ate diminishing, Thus, the geowth of employment in the 21st cenniey will have to come feo new ventures, Therefbee, itis crucial 9 contribute to exeation of an environment that fostees theit success and growth, leading to a positive impact on employment and GDP: “The creation of an ‘inaosation tonongy tha i driven by the rapid expansion of startups as never bron more imperative” (Blank, 2013, pA. Fortunately, the advances in technology and ea information cxeates a favorable conditions for evelopment, In pasticulac, easier access to web se technology that is easier to deploy, availability of nes for new business modele @Zwilling, 2013). The tis ‘ventuce capital invested in startups also highlights th as a new type off company for the future (Le. New Y in investment in last 10 years; PWC, 2013) What startups need, however, ace new tacle and pens theic cultuze of learning and discovery (Dotf & Bla is further eupported by the fact that the MBA progr the globe ase changing theie eucticulim a2 well in 2 responsive to the needs and issues of new venture ‘Thus, 2 new form of management approaches desig needs of startups is cequized, ‘The ‘Lean Startep' (Ries, 2011) is euevently the most approach for startups, suggesting iterative and incre development, Due rots success amongst new venture a new strategy for the 2ist centucy organisation adopted by companies such as GE ot Intuit to tg ils the Lean Staryp! approach tends to be seen 3 sreategy, it puts veey little focus on branding, and # ‘management literature on entrepreneurship neglects crporaie grat extent” (Geissler & Will, cited in Beesciani 8 357) In addition, other existing branding literatuse cove highly selevant foe stasnaps, “such ar bnend arbiteraeciations, detention, globalization’ (Bresciani & Eppler, 2010, p35?) However, startups have specific branding needs caused by their lack of resources and internal structuces a: well asthe fundamental need to build a reputation and find clients (Ibid). In addition, "fsertape or new ventures are nab abl to etablie thei corporate brand in the markat within @ rulatioey chort tne frame, they disappear from the earket® (Timmons, cite in Beeeciani & Eppler 2010, p.357). ‘Thus, thete is an opportunity in the branding practice for a new brand building approach designed for the specific character of startups as an organisation of its own (Bresciani & Eppler, 2010), ‘not just a smaller yeesion of Intge organisations. Suppocted by the shifting sole of design as a strategic tool for business, it uncovers 1a possible opportunity for Business & Design to contribute to the pinctice of beanding for startups Supposted by the shifting cole of denign as a stetegic tool for business ituncovers a possi OPPORTUNITY ‘Thece i an OPPORTUNITY, STARTUP isthe new type of company forthe futuce, Pw, 2013, » in the branding practice fora for Business fe Design to ewrbrand balding spproacs designed forthe specie chatoeter of start sean contubute to the practice of branding fr status, otganisstion ofits own, Figuce 1.0: Thesie13 PURPOSE ‘As Business Designers, we have the ability to bring design practice into business in otder to cteate innovative and novelty approaches to solve complex problems, ORen, this is achieved by using design's ability to empathise with humans in ordet to involve people in the Gesign process; to move fe ‘conaimption to patticipation. Thus, the aim of this thesis is to find cut how could the pasticipatoty: approach in design be connected and turned into an opportunity For branding for startups 1.4 RESEARCH QUESTIONS Ultimately, we aia to answer the cesearch questions defined as follows 1. Can me use the competences of Business & Design in order to create a nen branding approach for startups? If so, han? 2. What nauld be the rote of Business Designer inthis contesa?2. Methodology WG2.0 METHODOLOGY & METHODS ‘The Business & Design mindsct led the whole teseatch process of this thesis. Therefore, the following chapter explains the design process that shaped the structure of this thesis as well as the research process and methods undertaken, 24 APPROACH As stated by Cross 2006) in the book Designer aye af knowing: “The enderng acon of lr devin) dspline stat there are frm of named _pooliar tthe amsaronse ad ability ofa deigoor, independant ofthe dfireat “profisional domaine of dvgn peice” (p00). With paticalas foous on the Business &eDesiga discipline, we can conchide that cut vale lies in cue ability to apply design peocess, cue peculiar knowledge, into iffecent (isiness) contexts, The design process affects the way we think: and work: the context changes, however, the piscese semaine the same, Therefore, as a Master Thesis in Business & Design, out serearch process and approach flowed the design process and the sway how designers wock. By doing 20, one can see this thesis asthe final ‘design’ and the reseatch process as the ‘process of designing’ As niggented by Cross 2026), designers have theic own apecitic ‘ways of knowing and doing research, defined as the " derigerh mye of knoning, thinking and acting” (0.22). Following the design process, Gesigness possess a ptcblem fame and explere the problem's implications while investigating possible solutions ‘This allows for ‘earning by doing’ and meaning making experiences and hands-on learning (Klb, 1984). Th by doing, designecs engage in a "rete comercation (Gchén, cited in Cross 2006, p19) allowing for a cont of lentning whese designers ate able to reframe ar theic worl throughout the whole process (Schén, 196 ‘This cincular approach reflects the itecative chasacte process and distinguishes it fiom the linear p approach where the secearcher stater and define Gchdn, 1991). Instead of specifically studying « scientists do, designers investigate the given probler Siffecent solutions (Laweon, cited in Crose 2006, “iefine, ndefine and change the problem-ac.gven sn the light 0 enorge from their minds and bande" (Cross, 2096, p. 7 again the iterative character of the design process ‘o-molition of the peablem and sohution as defined by ‘The design process is characterised by three 3% coming foom the eld of design thinking: it takes 2 to the problem: it refuses to accept narrow probler designers to fenme the peablem in a somehow perso 2011). In this iterative and pactially personal pro follow a stmuctused process plan. However, often, ¢ the process plan is shaped lay the possible sahition th the process and caught their atention (Coss, 2011). to nimbly tey cut sevecal solutions to identigy the one given problem the best (Sch&n, 1991) as “what ix nee ‘he graben will only become lear bem designers ty taco i cited in Cross 2096, p32).As implied fiom the discussion above, there is no universal pre~ defined version of the design process as it is always somehow petsonalised depending on the designets and the context they are working in. However, t always porses the clacactesistice discussed above of being iteative and open-ended, ‘The design approach followed in thie thesis can be desctibed ae an itesative design process, chazacterised by uncertainty, where we engage ina ‘nfetie comercation vith the citation’ (SchSn, 1983). Often, ‘we followed "parale! proses" (Lawson, cited in Cross 2011, p.35) of appichension to solve the exme design problem at the same time in ccrdet to ebtain a bonader appeoach and avoid being cestricted by the problem criteria (Cross, 201), Ey coving for knowledge in diffecent felds, our seseacch ean be defined “es an ecplration, ratber than a zarsh" (Cross, 2006, p44), Due to the designesly natute of cur work, the disection of out process sas shaped by the eeseasch ebjectives ae well ae the expeciences an insights that we have discaveced along the vray. Oue disections weee changed several times; thus, based on Cross (2006), we followed an ad-hoc eather than aystematic appeoach. Based on the natuse of cur stidy and cur way of wosking, we conducted qualitative xeseasch. Qualitative ceseatch is defined as any kind of seseasch that do at produces findings thoaygh statistical procedures cr means of quantification Gtestss & Corbin, 1990) but ‘through an interpretative approach of the world (Denzin &¢ Lincoln, 2005). Fustisermoce, it ie conducted in the phenomena’ = namical setting (Ibid) and can be seen as ‘naturalistic, ‘cbnoprapbic, and ‘partcpatery’ kind of research (Kitk & Millet, 1986). The tesearcher Focuses on discovering the experiences and perspectives of the pacticipants, using means of inteeviews and obsecvations techniques and then conducting an interpretative analysis Gtr 1990) 2.2 RESEARC ‘The teseatch process of this thesis followed the of the design process discussed above, The desig in this thesic Gee Figure 2.0) was based on the me _problenr solving’ by Willas (1926) consisting of faut stag incubation, illuunination and verification, As areaulk psocess, these phases were then modified tor Jp Heats, Conexptualice anc Tact, whete both, Ideate and coueepond to the illumination step of Willae,Fgure 2.0; Rastach PresIMMERSE ‘We began our keseasch by fully immersing ousselves into the topic through secondaty desk research. ‘This included analysic of alteady existing data which had been previously collected by another sesentcher for diffezent purposes (Devine, 2003). The data analysed came from a vatiety of sousces fiom academics and practitioners in the field studied ae well ae telated teende and hot topice in the industry. We aimed to explose different viewpoints in order to obtain a full pictase ofthe topic that we wete dealing with. Findings from this stage were then used as a source for our Problematisation as well as to further shape our research, DISCOVER Interviews were chosen as, according to King 2004), they ace generally perceived as the most cammon method of qualitative data gathering. In qualitative resea:ch, the puspore of an intecview is to "gather desrintions of te ifemarld of th intervene ith respect interpretation of the meaning of the described phevamena” (Kale, 1983, p.174). In this phase, we interviewed 2 variety of experts and practitioners. As suggested by Hing (2004), this allowed ue to eee the ceseatch topic From theic perspective and to undecstand haw and why they come to have this particulac perspective, ‘We conducted 15 interviews in total: 9 face-to-face intecviews and 6 Skype intecviews, Since branding is the main field of investigation, majosity ofthe interviewees came from this field ot fiomintersection (of beanding and design. "The character of the convessation followed the typical chassctevitics ‘of a qualitative research interview defined by Kale (1983): a low degsce of steuctuse imposed by the interviewer: a preponderance of open questions; a focus on specific situations and action sequences in the world of the interviewee sather than abstractis ‘opinions (For guiding questions see Appendix 1.2). Accotsing to King 2004) no interview ie elation cour intecviewees were seen as active pasticipante o actively shaping the course of the interview (Ibid) Sampling venience sampling was used as the main metho: patticipante for the qualitative interviews, It is def F nenpeobability sampling in which people ace 23 they ae convenient sousce of data (Laveakas, 2008) available and eary to contact Higginbottom, 2004) Gengeaphieal prowimity wae eiucial due to the bu that did not permit for teavel, Whete this was nc interview was conducted via Skype (internet vic seevies. Sane profile ‘The research part of our thesia was focusing onthece startups and Business & Design. Therefore, our 15 pactiipante, a mis of seseacchecs, academics, pe experts representing each of the felds studied. The pasfiles of each interviewees can be Found in Chapte IDEATE Findings fiom the Immone and Dasuer phase ‘wes together and used as a basis for ideation and brains the Tdeation phase. This phase is described as the * gearing, deslping ad commmouminting mew ideas, where ancas a basic element of thought that can be either visual, conre, or abstract” (Jonson, 2008, p.613). During this phase, we conducted a synthesis of all our notes and Findings fiom the eecondaty desk tesesuch and expett intecviews ‘These were then used as a basis and inspisation for our ideation session, Through discussion and brainstorming, we generated a ‘number of ideas for possible concepts linking together out Findings about branding, stactups and theiz selevance for Business & Design. ‘Asa enult, the preliminary concept of Participatory Branding was born. CONCEPTUALISE “Ldentfing and refining important concepts ic a hay part of the derative prowse of qualitative msarcé” Gobutt, 2011, 7.328). Tus, in this pphase, the Patticipatory Branding concept fiom the previous phase was discussed with flow Business Designers and expects from the industey thesugh a series of beainstoeming sessions. Thecugh itesative loops of Feedback and sefinement, the peeliminaty concept of Patticipatocy Branding was developed and famed. TEST ‘Testing isan inevitable past of the design process, allowing designers tovalidate the idea and cefine i by seducing the idea teelFto an exact foo (Whallas, 1926), As we simed to lesep ou thesis as industey selevant as possible, we decided to test ous concept of Patticipatory Branding with its ucece (in ous este, the starnaps). This was done by an itecative cycle of prototyping, testing and fefinement, a2 migeested for this puspose by Brown 2008). For cue testing, we probed for the auilti-ease study approach and collabotated with 6 startups in Gothenburg. Base Q013), this allowed us to treat these 6 stactups as case studies representing the startup comanity. be defined ae an oiganisation, ot groupe and indivi within or azound an organisation (Hastley, 2004). Tt a secearch method, case study was perceived as a re (Hatley, 2004) in onder to “andbratand the context and frame incghte” Cevedale, 2013, p59). ‘Testing was done through both, individual and gx mainly dve to organisation and practical isaved) in © and obtain in-depth feedback about the concept. stactup chaacter of the case studies, we wete able with the CEO's and usually the rest ofthe company other investocs and stalseholdecs weve invited toa, All the workshops weie done face-to-face and toc meeting rooms in HDK or in the workshop space acena G-Lab 21 in Gothenburg Sanepling method) Snowball sampling was used 25 the main method fr: companies foe testing, This technique gathecs sesea identificsticn af an initial subject who then provides actors (Lewis-Beck et al, 2004), In our case, the init managing pastner in Gethenbucg's startup aceaa Gl tus in touch with 6 of the stasmaps who wees intesest in our project, Sanepling ofl ‘The sample consisted of6 startup companies located ‘Sweden, They tepresented a diverse sample of B2B/T providing beth, product and service. The sample wat‘male, coming from varicus backgrounds 4 companies were Swedish, 2 had mote international character, Mote detailed profiles of each stastup company can be found in Chapter 7. 23 ANALYSIS ‘The analysis of our findings was an ongoing, itesstive process that followed the designesly way of thinking As suggested by Schutt (@01) analytic insights were constantly tested against new findings, initial probleme and concepts were refined, mote data wae collected, swe intesacted with the data again, and 20 the process continued in a loop. Space played an important tole in thie process whee we displayed, sroced and constantly ce-analyze all the emerging finding. We set lp cur ‘These off cpac’ in HDK with 4 empty walls. As the time progtessed, these walls quickly became filled with out findings and Insights, Each new finding, idea or insight was famed and ceganised ton the walls according to our ceaeasch topics and used fe regulae iterative ideation session, 281 RESEARCH PHASE ANALYSIS From cur dese research, intecesting findings, teends and thecey ‘wee mapped out and organised using the Sean Cards’ (eveloped by bespoke, see Appendisr L.t). These wece then clustered together by tape, yielding che fest insights and shaping the dicection of exe further ceseatch, With eegacds to the interviews, all of them wese cecasded and analysed using the analysis framework we developed (ee Appeadist 1.3). We used the ‘ te f)" approach (proposed by Schutt, 2011) where data wese scanned through and analysed based on theit mpoctance for ous retearch puspore. 282 TESTIN At the end of each workshop of our Testing ph feedback session with the patticipants whete we Feedback about the process and facilitation of the w ‘weve then critically discussed, compased with the in Guting the workshop and analysed between us to = do better next time. As a tezult, we modified the we next case company and repeated the feedback proces satisfied with the results (having little or none nes from the participants) 24 Fiest and fosemoet, a2 ceseatchecs we wese both filly research process and accotding to Maxfield 1930), always biased, being subjective only to a cectain deg keep ous objectivity by seeking for gedback foam | to the snicly but famuliac with the fields of Business branding, During our analysis process, we have Badings both with oue supecviear and mentocs, This tus to nitdecstand what data was teuly celevant to cue could have been neglected. Fuctheemose, price to concept through case studies, we have presented it from the branding incustey 22 well as tested swith from the Business & Design peogeamme. All these n Us to etitically xeflect upon ous work and tefine it. Secondly, Sutther limitations could have heen emszed the fall study was conducted ducing a limited petiod the case companies were all based in Gothenburg, all the case studies wece conducted in Englishs sinppatticipants or seseaschets wete English native speakers this might hhave hindesed our communication ta a certain degree 25 ETHICS By conducting empirical reveaech involving patticipants the ethical code of conduct was on a high ptictity of our ceseasch, This was censured by following ‘The Research Ethics Guidebook 2015) psinciples: + We ensured quality and integrity of cur teseatcl by being honest and teanepatent about our proceee and the data gathered, + We secked informed consent feo all the pasticipants by signing an agreement and code of conduct. + We ueepected the confidentiality and anonymity of our research respondents if asked to de so by nct disclosing theit name and business idea. + We made suse that cur patticipants patticipated in our study vvohntasily, without being faved ly thisd pasties + Que seseasch was independent and impastial by staying tee t cour aime and not getting influenced by intevests of thitd patties Source: Ezonemie and Social Reseasch Council (2015) ‘The Resear Bthier Guidrbool. 2.6 STRUCTURE OF 1 ‘As explained at the beginning of this chapter, the fc followe the design process, Oveval, this thesis ie ete main phases where the Phase 1 is seen as mote < investigation whereas Phase 2 is focused mote on testing, Phase 1 inchides the secondary & primaty cesentc answer the first research question: Can we ace th comp & Decign inorder fo create ne branding aperoach for star "The aim of the Phase 2 is to test and prototype the to Gully flame it and validate it with the final sets sees to answer the second cesearch question: Wet» 12 Business Designer ia thi eontect (Branding for Startups?PHASE 1: PHASE 2: RESEARCH TESTING *. Testing with felon sents Tnterwiese with Branding Practitions Feedback from - Banding Practtioness Darncipatory Bending Concept Tnterviewe with Startp Eapeste : . G startups Interven with Business Designers Figure 2.4: Strctre of the TD3. Immer secondary desk resec3.0 IMMERSE: SECONDARY DESK RESEARCH ‘This thesis is based on thiee main topics of buanding, stastups and Business & Design, Thus, in order to answer the research questions, secondary desk research combining 2 variety of sources vwas conducted to obtain an ovesall understanding and definition of these felds. Rather than building a theocetical framewoek, the aim of this phase was reste a supportive academic background for ‘our concept, Findings fiom this phase selevant to the context of thie thesis are summarised below, organised by the three main topics of this thesis, 31 BRANDING ‘Thece is no single, unified definition of what a beand is. The viewpoints vary ftom seeing brand a2 a specific peomise of wale (Delals, 2004); a concept shased by society to identify a specific clase of things (Neumeier, 2006); a more opportunistic way to sce out ‘world that ceinfoaces auc identity and celmrocth (Gerzema & Lebar, 2008), The most general and simple description can sumaacize brand as a set of associations that a person has with a company, product, secvice, indivridial o¢ organisation (Design Council, 2013), According to Aaker (1996), these assceiations ean be intentionally ccafted by a company (brand identity ~ how the beand managers want the brand te be perceived) or be outside company’s contea (Gand image ~ how the brand is actually perceived b If a brand vesults from a set of associations and people's minds, then branding can be desctibed a Lbornec, generate, nfleence and control theceastoiatons 19 peoform buter® (Design Council, 2013, pl). In other iprowce by which a company, a froduct mac or an ivage bs vith a at of values, aspirations, or tatee” (Waid, 2003, pl perceived as the tool that makes the organisational (Cline, 2008); itis considesed a masketing vesoutee,a¢ ‘a communication tesource and a behavioral zecource Even though the practices and aspects of brandi Gepending on the industry sector, the basic principl about what you stand for always applies (Design | ‘This, defining and building a distinctive beand ide the key focus point in branding (Aaker, 1996). Aaker brand identity as a unique set of brand associations strategist agpices to exeate o¢ maintain, ‘These associ what the brand stands for and imply a peor the organisation's members (Ibid). Brand identity consist ofa care andl an extended ident 2008), The cote identity is the main essence of the b lof asst of associations that ace consideced timeles constant a2 the beand moves accoas new auackets anc cote identity includes elements that make the bran and valiable and it is centeal to the meaning an band (Aakes, 1996). The core identity is build upon following questions (Ibid)+ Whatis the soul of the brand? + Whar ace the fundamental belief and values that deive the brand? + What does the ouganiestion behind the brand stand for? "The extended identity is build upon the cove and it inchides “Brand entity elements orgaicad into cobvcie and svaningfal groupings that provide tecture and complrtenes” (Saker, 1996, p.88)s thus, it adds details that help to portray what the brand stands for (Ibid). Fiaming brand's core valies, mission and vision liet in the heatt of brand identity development (De Chesnatonny & Dall'Olme Riley, 1998). Values describe brand's culture and what it stands for (Kenny, 2014), they ate the chased values thtough which a customet creates an ematicnal bond with the brand (Urde, 2003). In addition, they ase the undetlying principles that should determine the appessance of tangible brand symbolism visible to customers (Kapfeter, 1997). [Beanels vision porteaits what the organisation ultimately strives for = it dsives beand positioning, personality and subsequent celationship= (De Chernatony, 1999). Beand’s mission describes organisation's core business activity, both now and projecting into the funace (Kenny, 2014), Having a cleac and defined beand identity is crucial for success of a band if aids to maintain echerence in brand communication and Jimpeowes brand performance (Hicvanen S& Laukleanen, 2013). It connects the firm to its customers by offering them a base on which ‘hey ean start building a relationship with the brand (Asker, 1998). In addition, it guides employees behaviour and creates focus for the organisation ([bid). A strong brand offets several advantages such as entey baxtiers to competitors, oppoctunity for brand extensions, ples peemisnme, greater mavket shace, sales and peofiss (Hirvonen & Lauklsanen, 2013). Additionally, a well defined a mind of a customer siggests an inctease of a firm (Aakes, 1996), Ultimately, beands ate consideced as c important eources of competitive advantage a fism c & Joachimsthaler, 2000). 32 "The tevin “artup! has become a widely used buzswor for newly established companies that ste inthe phase and seseacch foe potential markets (Blank, 2013). St as a foum of company, a partnership or a tempora seatching for a repeatable and scalable busines mo acon a2 “a human incituttondecined to orate a new pred conditions of extreme uncertainty” (Ries, 2011, p54). Uncertainty ie a dominant chacscteristc of the sta open up a business that isan exact clone of anather this visk and thus, this organisation cannot be see segasdless of the size o business model (Ries, 201), Startups tend to have a sucvival mentality of « limited resources in terms of capital (Abimbola, 20 (Rode and Vallaster cited in Bsesciani & Epples, 2 (Wlong and Meccilees, 2008). ‘This hae a dicect imps perception of branding: the fight for survival pushes immediate sales over investment in branding. The how and adequate information causes that stactups € ‘that beanding gceatly influences both business survi putting branding far away from a high priority issu Laukleanen, 2913).Fusthesmose, this is offen caused by the fact that stattups believe ‘hat branding is only fr big businesses, not small ones Hirvonen Se Laukkkanen, 2013), However, in cate of startups, the branding Function stacte even befote the company is established since the coupotate biand valies ate similar to enticpeencus’s own valves (funtunen et al, 2010). They tend to emerge on their own rather than being coneciovely planned and then developed (Laukkanen, 2011). The chauacter of entiepreneus is crucial in building and acquiring tecognition for startup's brand in fact, the entreprensut is often the brand himself/herself (Keake, 2005). 8.3 BUSINESS & DESIGN ‘Yo begin with, since Business & Design is a newly born field, a) literature has been written to thisdate that would explain whatexactly Business & Design is. In this thesis, the perception of Business & Design is desivec! fom the concept of Design Thinking, defined by Brown (2008) a2 "e methodalgy that imbues the fall pectruon of snnovation actvitiae with a human-centered design ethos” (p86). "Thus, focus on direct chtervation of what usecs need and want, like and dislike is centeal to Design Thinking, In Business & Design, the same methadelogy is applied: design methods ase used both to understand users" needs and perspectives as well as to actively involve users in the process of meaning malting. "This is fusthes supported by the argument that design is the eseation and re-creation of meaning (Jahnke, Keippendostf & Verganti, ited in Skéldhecg and Waedilla, 2013). Often, the act of meaning seention i pecfocmed by inviting people that ‘we are thromeh devin ‘e partirpate with uc in fhe actual devignng" (anders, 2008, 9.4). Users, the ‘nomderignrs” anders 8 Stappers, 2014, pl), ate seen as co- (scentors and participants in the design peocess as they passes “sigue and relevant extertia” Ganders, 2005, p4). By active stalholders in the design peocess, design becomes pptnctice, where designe:s design together with the us the users, Gandets & Stappetz, 2014), Participatory design encompasses a broad range of cx conducted with the end ueets. ‘The otiginal aim o! ‘was to cnsute that the final outcome meets the final its usable (Muller, 2007). The role of designer in th design process is then to act a a facilitator tusexe’ idese (Kolko, 2012), ‘As suggested by Muller 2007), in cider to bring us and peuzpective into the process, one har to do mor ‘usere and sti” (p23). According to Sanders & Stappe need to be used in otder to help the non-designers tacit and latent levels of theic knowledge. ‘These level ae defined by Polanyi (1958) a8 the kind of ksnore ccapnised by language and can only be seen in action vvisual and semantic tools ate used for this purpose: moving end-users its unfamiliar and bane rietoe experien use projective! ar artiste metbod t report a their espoions sence, these methods produce anethor hind of language of exp 2007, p38). Furtheemoce, these arethods help pacticipants to b knowledge into the design process - “not jut their f conpetonsivs, but thaw practical and diver till that arf naling of thige as ajects on artifacts” (BjBevinssen, 2013.4 SUMMARY ‘To summarise, with an inckessing importance of brand as a strategic and financial asset for a company, there is a need for anew approach that would address the specific branding needs of startups instead (of just treating them as smaller versione of large organisation. By cobrerving the Pasticipatory Design approach in the design practice, there is an opportunity arising for intervention of Business & Design into the branding for startups problematic.4. Discov. mmterview find4.0 DISCOVER: INTERVIEW FINDINGS Following the Imme:sion phase, ptimsy empitical research was undestaken in order to obtain a vauiety of viewpoints fom professionals in the topics studied (branding, startups, Business & ign) as well as enhance the life application of this thesis, ‘hie war done though 1S qualitative interviews with foous on branding and theie experience with starmps a3 the main field of investigation. ‘The following chapter introduces all the pects by a summuty of the findings, organised by the topics smidied (branding, startups, Business & Design). These intecviewed, folk findings were then combined with the findings from the previcus phase Immerse and fotmed the basis forthe next Ideation phase, 41 INTERVIEWEE PROFILES BRANDING ‘ Ss Darryl de Necker Online Communication Steategist at Zooma, , Gothenburg & Partner at Beecbliow Mth Febeuaey 2015, Face to fice interview Referted to as tad Michael Eichelberger Brand Steategist at Dili 15th February 2015, Skype intetview Reletsed to as “I. 2, Dili Daniel Exixson Brand Steategist, Brandelut 17th Pebeuary 2015 Face to face inter Jonas Gromark Project Leader for Brand C Label, Gothenburg 10th Febtuary 2015, Face to face Referred to as “I. 4, Label”Eric Sanderoth & Rosita Johnson Pastner & Project Manager, Mockup at Gothenbusg 23rd Februaty 2015 Face to face interview Re 5, Mockup” & “1.6, Mockaup” Dizector at red to a Mia Hesselgren, Brand Stategist at BVD, Stockholm 3rd Masel 2015 Skype interview Re sced to 98 7,BVD” a & Harald ‘Thomas von Krnsenstj Hellichius (CEO & Ceeative Ditectos at Patadigm ron AB, Gothenburg 12th Maceh 2015 Face-to-face interview Refected to 20 “8, Paradigm” & “1.9, Pacadignn” Jenny Wikman & Gothenburg 18th March 21 Face to face Referred to a sct Leader at BUSINESS & DESIGN Brian Jones * Creative Ditector at Supers Francisco 26th Febusey 2015 Face to face intecview f Referred to as “I. 11, Super Heléne Koole Junior Brand Steategist at Skype interview Referred to as “I. 12, Desi