This podcast series celebrates Bloom Consulting’s 20th anniversary, hosted by Clare Dewhirst, director of City Nation Place. In each episode, Clare delves into Bloom Consulting’s 14-step guidebook for effective Place Branding. Today, in the sixth step, the discussion focuses on defining a Central Idea—an essential component of a powerful Nation Brand. Joining Clare are Bloom Consulting CEO José Torres and Eindhoven 365 CEO Peter Kentie, who will share insights on creating a cohesive identity that resonates globally.
Clare: José, shall we start with you? What do you mean by defining your Central Idea?
José: Thank you, Clare. So basically, this is one of the most important and crucial steps in any nation or city brand project. It’s about understanding how we want to be perceived. What are we trying to build as a Nation or as a City? The Central Idea is the backbone of the strategy, the building block of everything. If a city or a country wants to work on its perception, it needs to focus on understanding not just what it wants to say, but how it wants to be perceived. The central idea should not be communicated like a slogan. In fact, if you name it, you break it. So, the Central Idea is about the emotions and ideas that come to mind when people think of a country or city.
Clare: That makes sense, and I think we’ve got the right person here to talk about that. Peter, from what I know of Eindhoven, there’s a strong Central Idea driving the City Branding project. Could you share a bit about how you developed this Central Idea at the beginning of the process in Eindhoven?
Peter: Well, everything has a story. I’m trained as a marketer and graphic designer, and I worked in advertising for years before being asked to do the city marketing of Eindhoven. At first, I really struggled with defining our Central Idea because we tend to focus on values—what brands usually do. But I found that focusing on values didn’t work for the city. All cities want to be sustainable, open, modern, sympathetic, etc. So, we needed to find what truly set us apart.
We started looking at our heritage, our mentality, and what defines us—technology and design. We engaged our citizens, and they chose design, technology, and knowledge as our three core brand pillars. Simon Sinek’s idea of asking “why” also played a role. We discovered that being unconventional is at the heart of Eindhoven, in both design and engineering. That’s how we defined our central idea, and we’ve stuck to it for over 12 years.
Clare: That’s bold. I can see why some places might feel hesitant to have a strong Central Idea, fearing it may limit them. Many prefer broader values that don’t constrain them to one domain. Why should places have the courage to be more original with their Central Idea?
Peter: I think the situation in Eindhoven emerged when we started this strategy. At that time, the city was struggling economically due to the after-effects of the credit crisis, particularly the collapse of Lehman Brothers. As an industrial city, Eindhoven suffered more than those with service-oriented economies. This backdrop created a receptive environment for bold decisions. We thought, if we’re going to do it, we’ll do it well and do it differently.
There’s also the important factor of community involvement; having the support of our citizens is the highest form of respect we can achieve. The real beauty lies in how we translate this vision into projects and events. For instance, we host a marathon in Eindhoven—many cities have marathons. We challenged the marathon organisers by asking how they would incorporate technology and design into the event. Initially, they were focused on achieving a world record to garner media attention. We insisted, however, that this wasn’t our objective. Ultimately, the strategy had to serve a purpose.
For Eindhoven, the goal was to become attractive to high-end engineers, designers, investors, and students for the academy and university. If you had typed “Eindhoven” into Google in 2010 and 2011, you might have closed your computer after seeing the results. We needed to change this image through bold, brave actions that set us apart from other cities.
Returning to the marathon, we engaged a social designer to enhance various aspects of the event, such as the medal design, the finish line, and the overall visitor and runner experience. We allowed the runners to decorate the city with their own texts and slogans displayed on large banners throughout Eindhoven. After one, two, or three episodes, the whole marathon was completely transformed. Participants were no longer focused solely on fast times; instead, they began to run for vitality and community, often alongside their families and children. While some runners still aimed for impressive times, the overall purpose evolved to making it the world’s most innovative marathon.
When executed effectively, this approach permeates all areas, transforming the strategy into one supported by citizens and stakeholders rather than being imposed upon them. Sometimes, you have to do things differently.
Clare: I think it was really interesting, José, what you were saying about how to name it is to lose it?. I think it’s noticeable in Eindhoven that you have expressed the brand through events and projects rather than through advertising. I wonder if, and that’s something we’re always discussing with places—not because advertising is redundant, obviously, but it can all look jolly similar if you’re not careful, and it’s not enough. It’s about living the brand as well. Do you think it’s easier to live the brand if you have a strong core Central Idea, José?
José: I don’t believe at all that a Central Idea has something to aspire to, it is a limiting thing. On the contrary, I think it provides focus, and you have so much to do within that theme. What’s limiting for cities is when you spread too thin across many things. The practical example Peter shared is exactly what he explained: “How can this marathon activate or transmit or make the perception of our core Central Idea?”
In the case of Eindhoven, when we talk about different types of Central Ideas, we can have perception-based ideas, which is a bit like what Eindhoven did, or even, for that matter, Estonia with “Digital Nation.” You may have identity-based concepts, as Stockholm does with “open-minded,” or emotion-based ones, for instance, Australia with “optimism.” So, there are different approaches for different countries and cities; there’s not only one way of doing things. You even have value-based ideas, something you can really own and achieve, as in the case of Costa Rica. However, if everyone tries to copy that, it becomes too indifferent.
When we look into this notion of a Central Idea, Eindhoven serves as proof of what they’ve accomplished through, in this case, events but also actions, activities, and policies. When talking about cities, even urban policies are essential. I’m sure Eindhoven also, and it’s a question for you, Peter, aside from the event itself, what other things eventually do you try to activate with that Central Idea that you have?
It’s because in the end, it’s beyond communication; it’s about doing things and being true. The actions you take should align with that Central Idea. I’m very curious to hear about other activities or actions, urban policies, or initiatives that Eindhoven has undertaken that are closely aligned with that Central Idea.
Peter: A word that really fits this context is “integration”. I strived, along with the team, to create an integrated strategy. This involves not just strategy but also tactics and operations to gain control over all aspects of the process. We are a foundation separate from the municipality, so the position is a bit different.
But the municipality recognizes that a design or technology focus can impact urban planning significantly. For instance, when considering parking meters, should we opt for a normal model or one with an exceptional user interface created by designers? This discussion took time, but gradually, it became clear that we needed to consider all levels of decision-making. This focus extends to various facilities, like choosing between a regular swimming pool or one equipped with technology to measure water conditions.
Interestingly, this approach has even influenced local sports. For example, PSV Eindhoven, our football club, uses high-tech positioning equipment on their training grounds. The stories that emerge from these integrations are fascinating.
In terms of advertising, we’ve shifted towards earning media rather than relying solely on paid media. Our goal is to generate organic coverage. If a respected magazine or online platform writes about Eindhoven’s unique projects, that’s incredibly valuable. One notable project was a collaboration between the university and a company to build a 3D-printed house. What makes this house special is that a couple actually lives in it; it has a postal code and is a real home, while also serving as an experimental project.
When The Guardian sent a journalist to cover this innovative house, it garnered significant attention. With a readership of around 200 million, this earned media proved beneficial. We realized that people remember stories more than numbers, so investing in compelling storytelling is crucial. Combining a strong narrative with wide reach enhances our message.
Initially, we looked at larger cities, which often have iconic buildings and major events like the Olympics. In contrast, Eindhoven doesn’t have these luxuries. So, we found that creating intense, short-term events can make a big impact. For instance, our Dutch Design Week lasts only one week, but it generates international stir. The finite nature of this event creates urgency—people feel they need to experience it, knowing they’ll have to wait a whole year for the next edition.
This approach allows us to play with the city in ways that other places may not. Eindhoven’s lack of typical romantic mediaeval architecture, combined with the unfortunate renovations during World War II, has created an open environment for change and experimentation. This flexibility has been a key asset in our Place Branding strategy.
Clare: You’ve outlined numerous advantages of having a strong core Central Idea. My lingering question is, how do you arrive to that idea? Peter, you touched on this before, and I’m eager to understand the initial process. I don’t think you anticipated this core idea would emerge. I remember you mentioning that your mayor was quite surprised by it. What was the process of engaging residents and researching to arrive at this Central Idea?
Peter: Initially, we bypassed the value aspect, believing it wasn’t the right approach. Instead, we explored the fundamental characteristics that define a city. Do we want to be recognized as a liveable city, a sports city, a regional hub, or a cultural destination? As José mentioned, spreading ourselves too thin across all these categories wouldn’t serve our purpose.
We utilized the Eindhoven Digital Panel, consisting of 6,000 residents, who were regularly questioned about city policies. We asked this panel to rate three aspects of our brand pillars on a scale of zero to ten. Specifically, we wanted their personal opinions, their perception of how others view Eindhoven (like its identity as the “Light City”), and their aspirations for what the city could become.
Interestingly, we discovered that while most categories received scores of around seven, design, technology, and knowledge stood out with ratings of nine out of ten for ambition. This was significant because it indicated what citizens truly valued, not what already existed in 2010. Along with ‘reachable city,’ these were our outliers. We recognised that while we couldn’t brand ourselves solely as the most reachable city, citizens clearly wanted improvements in transport connections, especially as Eindhoven continues to grow.
When I presented these findings to the mayor, who was overseeing the Place Branding project, and to the city council, they were shocked by the boldness of the citizens’ choices. It reflected the economic challenges at the time—people were concerned about jobs and education for their children. This focus on what Eindhoven excels at became our guiding principle.
I do wonder if, twelve years later, the same research would yield different results. As Eindhoven has thrived economically, citizens might prioritize other areas beyond these abstract concepts.
Ultimately, we chose to concentrate on acquiring new citizens: designers, engineers, startups, and students. I presented this strategy to the city council, emphasizing the distinction between our primary audience—newcomers—and our secondary audience—existing citizens. While this perspective initially shocked some politicians, we explained that marketing is about attracting new audiences. The focus shifted to celebrating the brightness of our city to inspire pride among residents.
Our strategy paid off; we now have over 12,000 residents from India, all drawn here for top engineering jobs. Many of them could have chosen cities like Austin or Silicon Valley, but they came to Eindhoven instead. When we asked how they found out about us, they referenced media coverage from *The Economist*, *Financial Times*, or *The Guardian*. This demonstrates the effectiveness of our earned media strategy paired with compelling stories.
José: The challenge lies in determining that Central Idea while excluding everything else. Many cities struggle to focus because they encompass various aspects. Achieving consensus among diverse stakeholders is crucial, and understanding the exercise of engaging citizens helps identify the core idea. Our goal isn’t to invent something new but to discover what already exists.
We filter potential Central Ideas to ensure they resonate with both domestic and international audiences. Our process starts with assessing whether an idea is accepted by the community. The first question we ask is whether it’s unique compared to other cities. This requires critical thinking, as determining uniqueness can be tricky.
Next, we ask if the idea is true—whether it genuinely reflects the community or if it’s wishful thinking. Lastly, we evaluate its relevance to various audiences. Ultimately, the most important question is whether the citizens accept it. Engaging the population in this dialogue ensures they recognize that we’re not just creating a slogan; it’s about living up to those principles. It’s essential to walk the talk.
Clare: It feels like this is the core aspect that makes Place Branding successful or otherwise, and it presents a fundamental challenge that makes Place Branding an interesting job. It demands a unique, creative way of listening to people and interpreting their insights. This process is very different from simply saying, “I have this new bar of chocolate, and I’m going to think of something catchy to say about it.” It’s something that everyone grapples with, but it’s also what makes the job special. Do you have any last words of advice for our Place Branding audience on how to arrive at a Central Idea that will serve them well?
Peter: As José mentioned, acceptance is crucial, especially when making a bold choice like ours, which focuses on technology and design. To win everyone over, it’s sometimes necessary to translate this concept in a logical way. For instance, we explained the distinction between “on-brand” and “off-brand” to the city council. They were concerned about whether the carnival should also be focused on technology and design or if our neighbourhood events should be too. Our answer was clear: we concentrate on technology and design because that truly impacts our strategy and attracts people to Eindhoven in a positive light.
We came up with the idea of comparing what’s in the shopping window to what’s in the store. The items in the shopping window likely represent your brand, while everything in the store showcases the offerings and services available to everyone. The things displayed in the shopping window are designed to catch the attention of potential new citizens, the media, and other relevant stakeholders.
This simple comparison significantly aided political acceptance. People began to understand that our Place Branding organisation was making a strong and bold move without neglecting ordinary citizens. In fact, more budget goes to the carnival event than to the Dutch Design Week, yet Dutch Design Week draws interest from people all over the world who specifically come to Eindhoven for that week. The carnival, on the other hand, contributes to the liveability that encourages people to stay in our city.
After about ten years of this work, I would say we made a major pivot. We stopped solely focusing on technology and design and instead incorporated the deliverability aspect. Now, the emphasis on retention is much more vital in our strategy than the acquisition part. Businesses are thriving; we have a company here that’s the most valuable in all of Europe. When I began working there, the company was in serious trouble, but now it’s the most valuable company in Europe: ASML. We no longer focus just on acquisition; now we concentrate on retention. We use technology and design as tools to help people feel good in the city for longer periods.
Clare: That makes sense. What final piece of advice do you have, José?
José: When selecting a Central Idea, it’s important to choose something that you can genuinely “walk the talk.” At the same time, it should be somewhat aspirational, keeping you motivated and pushing you slightly out of your comfort zone. Otherwise, you might find yourself wondering, “So why are we doing this in the end?” It should be a concept that drives the City or the Country to evolve.
It’s crucial to take this process seriously. As Peter mentioned, step seven out of the fourteen steps to Nation Branding—and Place Branding—is to be on brand. Ultimately, the question is: how do we activate this Central Idea in everything we do or in the selected initiatives we genuinely want to pursue? That’s what the on-brand and off-brand filters are for, leading us to the next step.
Clare: That’s a great point to end on. I think we could chat all day, but thank you very much, Peter, for joining us for this session and sharing your insights from your time in Eindhoven; it was really fascinating. And thank you, José, for providing that broader perspective as well. This concludes our episode, but we look forward to the next one, which will focus on being on brand. Join us for that!
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Published on 21.11.2024.
