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"Dream of Clarity : Corporate Identities, Design Agencies and Modernism in the Netherlands : 1960-1975 In the 1960s, companies such as Royal Dutch Airlines (KLM), energy group SHV, supermarket chain Albert Heijn, the Dutch National... more

"Dream of Clarity : Corporate Identities, Design Agencies and Modernism in the Netherlands : 1960-1975

In the 1960s, companies such as Royal Dutch Airlines (KLM), energy group SHV, supermarket chain Albert Heijn, the Dutch National Railways (NS) and chemical giant DSM were the first to introduce visual identities in the Netherlands. These identities were the visual manifestation of the modern and industrial nation that the Netherlands had become after World War II. As such, they had a major influence on the appearance of society. Surprisingly, the development and proliferation of visual identities has not been studied before.

The development of visual identity in the Netherlands was researched by analyzing a number of case studies of the period between 1960 and 1975. The focus was on the argumentation used by design agencies and companies in the development and presentation of corporate identities. Because of the general lack of literature on this subject, mainly primary sources were used such as archive material and interviews.

The best-known identities were designed by Dutch design agencies like Tel Design (1962) and Total Design (1963). These agencies had a positive attitude towards the industry, which they believed responsible for the great technological progress and prosperity after the war. Using a modernistic design approach, designers hoped to achieve an efficient visual communication that could benefit society as a whole. They believed that corporate identity could express the existing order in society and enhance efficiency.

At the same time, the management of Dutch firms gradually became aware that a good ‘corporate image’ was necessary for a favourable position on the market. A major influence on this realization was the rise and acceptance of new American management and marketing methods. In parallel with this development, lower-level employees were confronted with practical problems regarding a uniform use of company logos. Together with design agencies, they convinced company directors that a modern-looking visual identity could solve their problem and, more importantly, that it would have a positive effect on the ‚‘corporate image’.

Dutch agencies, however, were hostile towards the view that a corporate identity was essentially a marketing tool. It seemed to collide with their idea of what constituted ‘good design’. Despite this, the agencies found common ground with their clients by also presenting visual identities as a form of (visual) efficiency. The agencies thus complied with the long-existing interest in ‘standardization’ many companies had.

Remarkably, the industrial firms, which seemed the most interested in ‘standardization’, were also the first to come under the influence of marketing. These companies, like Shell, Akzo and Philips, chose the more marketing-driven English agencies, notably Allied International Designers (1959) led by James Pilditch. At the end of the sixties–when the development of corporate identities was in full motion–this agency became a major competitor for Tel Design and Total Design.

In the beginning of the seventies, however, a change set in. An economic recession resulted in a decline of visual identity assignments. At the same time, Dutch society was stirred by large social changes. Youngsters rebelled against the authoritative way the government behaved, and public opinion developed a hostile attitude towards companies. Within the design profession, an increasing criticism towards modernism arose, as it seemed to corroborate the existing social order.

Total Design, led by graphic designer Wim Crouwel, in particular came under attack. By then, Tel Design–under the artistic guidance of the designer Gert Dumbar–had already switched towards a more post-modern view of graphic design. At the end of the 1970s, Dutch design agencies increasingly turned their attention to the government and public sector, which were more open to their idea of what constituted design for the public good. Visual identity had become a normal phenomenon in society."""