The law of supply and demand has put many art, craft, and graphic designers at a disadvantage. Manufacturers and publishers know there is a sea of hungry young designers willing to work cheap, so why pay more? While, as an industry, we need to continue to develop new talent, the industry’s attitude towards “dispensable designers” disregards the marketing value an experienced designer provides, and the investment a company has already made (endorsement fees, expenses, etc.) in an established designer’s career.
From a marketing perspective, many companies may do better to co-brand with designers with established names to increase the ROI on their marketing dollars.
Rob Frankel of Frankel & Anderson Marketing says, “Branding is about getting your prospects to see you as the only solution to their problem.” That is where a relationship with a designer (or designers) to build brand loyalty is a viable marketing model.
Milton Kotler of Kotler Marketing says there are two types of celebrity branding, “Star” and “Homemade.” The craft industry has created many “homemade celebrities” and a few companies have been smart enough to develop co-brand relationships with them. This co-branding is especially important in a market dominated by women because they trust relationships. They “know” Carol Duval, Priscilla Hauser, Donna Dewberry, and Sue Scheewe. That is why products mentioned or recommended by these artists usually sell and sell well!
When a book comes out from a new author, the publisher must sell both the book and the author’s credibility. An established artist already has that credibility, so the publisher’s marketing dollar goes farther.
Established artists bring other benefits: They have relationships with magazine editors and TV producers, can write instructions and develop “publishable” projects, and understand the importance of keeping their names, and therefore your products, in the public eye. With a co-brand relationship, each time they are published, your company benefits.
Unfortunately, because of the lack of manufacturer relationships (and often respect), experienced designers are leaving crafts for more profitable industries, such as home dec licensing. When an experienced designer leaves, there is a hidden cost involved to develop name recognition for a new designer. The new designer must be published many times (while being paid endorsement fees). That means less ROI for the manufacturer until the name carries the same sort of credibility as the designer who had left.
Manufacturer endorsement programs that pay the same amount — without consideration to designer experience or publication circulation — are a good example of the underlying problem: many manufacturers and publishers do not understand the value of an established designer’s loyalty to their company’s bottom line. It isn’t enough to pay an endorsement fee or royalty. Manufacturers and publishers must recognize the value of the established artist and develop relationships to ensure their continued loyalty and presence in the industry.
After all, you never know who will be the next star.