Droom van helderheid. Huisstijlen, ontwerpbureaus en modernisme in Nederland, 1960-1975

In the 1960s, companies such as KLM, energy group SHV, supermarket chain Albert Heijn, the Dutch National Railways (NS) and chemical giant DSM were the first to introduce corporate 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 look of society. Surprisingly, the development and proliferation of corporate identities has not been studied before. I have researched the development of corporate identity in the Netherlands by analyzing a number of case studies of the period between 1960 and 1975. My 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, I have used mainly primary sources 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 thought 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 bring out 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 favorable position on the market. A major influence on this view was the rise and acceptation 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 corporate identity could solve their problem, and, more importantly, that it would could 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 presenting corporate identities also 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 corporate 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 corporations. 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, especially came under attack. By then, Tel Design – under artistic guidance of designer Gert Dumbar – had already switched towards a more postmodern 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 design for the public good. Corporate identity had become a normal phenomenon in society.