In the design and creativity sphere, it seems like the name Kickstarter is on everyone’s lips these days. Sure, the popular crowdfunding platform has grabbed headlines while giving us a varied cornucopia of things like cardboard furniture, iPod watches, and movies based on cancelled TV shows, but there’s more to it than that. Whether you’ve backed a project, launched one, or just observed the furious sprint-to-funding that can ensue, there’s no denying that this Kickstarter style of funding has irrevocably changed product creation, financial models, and maybe even “e-commerce” itself.

And even beyond those achievements, the platform has also affected brands. Kickstarter has altered the exchange between people and the companies or products they support — which has important implications for brands looking to connect with their audiences. The unique type of relationship created by crowdfunding is powerful, and it’s important to know that effective, emotional audience engagement has grown beyond our old transactional models.

All of that to say that we can learn a lot about what it means to capture audience attention, support, and passion from the ways that Kickstarter projects draw people in. Brands would do well to incorporate some of these subtle lessons into their communications, design, branding, and marketing. Better yet, baking these fresh thoughts into your brand’s very DNA is an even better idea. To that end, we’ve mined 10 lessons your brand can learn from the sticky engagement of Kickstarter:

1. Make your audience part of your process.
When people see early stage sketches, grand plans, or the possibility of “what might be,” and have an opportunity to give feedback, they’re more invested in the process. And this doesn’t have to be crowdsourcing, per se — it’s more about having a bias towards sharing and including, especially for your most loyal and valuable audiences. “Behind the scenes” is exciting for people! Whether you’re designing, crafting, strategizing, or shakin’ what your Momma gave you, your audiences will view you as more approachable and relatable when they feel involved in your day-to-day dealings in some fundamental way.

2. Personality goes a long way.
Jules from Pulp Fiction had it right. What you’re offering to an audience is only one piece of the puzzle, whether it’s on Kickstarter, or in your marketplace. How you do so is also important. The best projects aren’t just the ones with slick videos and high production values –they have real personality.

In our quest to project that flawless image of perfection — seeming like we know exactly what we’re doing — it can be easy to sacrifice a brand’s humanity, its unique voice, warts and all. Great Kickstarter projects allow those bits of personality to seep out — untucked shirts, quirky turns of phrase, wild passions — giving people the chance to embrace these bits and the real people underneath. Regardless of how oddball it is, passion and transparency together can be contagious. There is something appealing about the unvarnished and honest, no matter how unusual it is. Sara O’Mara summed all of this up well: “Always be human. Be professional when necessary.”

3. Your mission can be as important as your products.
Kickstarter has done something interesting in that people don’t have to “make a purchase” to support a project. They can just give a dollar or two in the name of showing support of a person, a cause, or an idea. At its root, does your brand have an ideal that people love, in addition to what you will do for them? If your brand revolves around a powerful, imagination-capturing mission, it gives your audiences an intriguing way to get on the same page as your organization, to your benefit. Your products or services will seem that much more impressive and powerful with that missional backdrop in place.

4. Everyone likes an underdog.
There’s something satisfying about backing the longshot, and seeing it pay off. The old “I knew them before they were famous” line isn’t just a cliché, it’s a way of deeply connecting with people and brands who we believe are more like us — those who might not be the VC-backed favorites or the deep-pocketed prom queens and kings. Almost by definition, Kickstarter projects are stories of underdogs (why else would they be there?), and that is something that resonates with the audiences of many brands.

5. Success breeds more success.
This seems to fly in the face of the previous lesson, but it’s still true. Research has shown that a majority of projects that reach 70% support eventually succeed in their funding, because prospective backers believe that they are going to succeed, so the pile-on begins. The perception of “destined to make it” can sometimes lead to actually making it. When your brand wears the clothes of success (awards, testimonials, experts endorsing), it brings a credibility to what you’re doing. Nothing attracts a crowd like a crowd. This might also be another vote in the “fake it til you make it” camp, so brands should wear success like it came right from their closet.

6. Responsive communication is golden.
The most successful Kickstarter projects have dozens of updates from project creators, letting backers have consistent, moment-by-moment status updates on their effort. These take the form of encouragements, new ideas, and answers to questions. What would it do to your brand if your team devoted themselves to meaningful communication with your audiences at that level? Could you build time and energy into making every brand touchpoint a place for real communication with your audiences? The fruits would undoubtedly be audience surprise, delight, and a much deeper investment in whatever you’re doing.

7. Engaging stories win the day.
Kickstarter projects tend to live or die by the quality of their pitch videos — not the production values, sound, or lighting — but by how well creators are able to get out of their own way and tell a compelling story. This is almost a cliché at this point, but it’s worth taking a good look in the mirror of your brand to honestly see if what you’re saying to intended audiences has the power to excite, arouse, and lead to the changes you want to see.

8. Create brand insiders.
Do your best customers, clients, or supporters know they are VIPs? Do they feel special? Kickstarter projects often give preferences to early adopters or first responders, who then have a chance to bypass the velvet rope. Do your top targets get special privileges, insider info, or just better access to the things that matter to them? This probably isn’t a fake, systemic “rewards program.” It could be as simple as making sure your top 10 customers always get their calls answered the first time, by a real person. Everyone likes to feel like an insider.

9. Bake in some urgency.
If you launch a Kickstarter project, it has a discrete end date. The whole thing is timed, and builds to what is hopefully an exciting climax. This keeps the pace up, but is different than the car salesman’s “What would it take for you to drive out of here today?” This isn’t artificial urgency, it’s telling your brand story in a way that moves people to act now. Is it a timely connection to world events? A right-place-right time sort of scenario? Sounding the urgent horn isn’t something to do all the time, but for brands looking to make a splash, ringing the alarm bells judiciously can have great results.

10. Wacky ideas are worth breeding and supporting.
Finally, Kickstarter is generally a denizen for products, ideas, and dreams that are a little bit outside the norm. They’re unusual, and not as mainstream. If they were for “everyone,” they’d be on Wal-Mart shelves instead. But crowdfunding shows that there’s money, passion, and interest in the unusual and bizarre. Maybe there are “riches in the niches,” but even if they’re not, your brand will do better by promoting and championing the goofballs and weirdos, because deep down, we all understand and love them.

The glowing age of celebrity endorsements is fading. Sure, large corporations still hand out millions to basketball players and pop stars to attach themselves to some level of current “cool,” but no savvy audience truly believes this is anything less than a financial transaction — a paid endorsement, dollars for smiles. Insert cash, and a celebrity will say whatever you like. But is this good or bad for your brand?

Other smart people are correctly predicting that we’re nearing the end of the era where advertising is a driving brand force of large organizations. And that has advertisers concerned — a concern that leads to desperation. In a move designed to repackage the tired old “paid celebrity endorsement” for today’s cynical audiences, the latest spin is to hand out creative titles to celebrities, in order to show how they’re influencing a brand’s offerings.

Alicia Keys is BlackBerry’s Global Creative Director (who also uses an iPhone). Lady Gaga is “fairly involved” as a Creative Director at Polaroid, actually attending meetings, brainstorming, and providing feedback on products! Newly-minted Bud Light Platinum Creative Director Justin Timberlake apparently produces and stars in his own commercial work for the beer giant. Now that’s called “creative direction?” Color me skeptical.

While I have plenty of respect for what each of these musicians does behind the mic, this leads one to wonder how much talent crossover there is between pop stardom and branding and marketing. Should designers, creative directors, and product engineers be worried about our jobs? I doubt it.

The people who should be concerned are the stewards of these brands. What are these celebrities doing to their most valuable asset, the brand image? The potential negative impact is more far-reaching and brand-critical than it might seem on the surface.

Your brand is a constellation of products, thoughts, emotions, and ideas — some generated by the actions, offerings, and communication of your brand, and others created in the minds of your audience. The classic thinking behind celebrity endorsement is this: Brand X wants to raise its stature or reach a new demographic, and so, hitches its wagon to a star. Ideally, Celebrity X has a cultural orbit somewhat closely matching Brand X, and now that the two are aligned, new light from that star shines afresh on the product or brand.

But does that work? Many times the whole thing backfires, and companies find themselves distancing their brand from cheating golfers or cocaine snorting supermodels. Sure, celebrities shine brightly for a time, and when they are allied with your brand, they can bring a new set of orbiting loves, attributes, and audiences into your universe. But I’d make the case that drafting off another “star body” is harmful in the long term, because it muddies the overall brand message, draws attention away from more immutable brand attributes, and dampens the passion and communications that spring forth from a healthy brand. Here are three major reasons why enlisting a celebrity “creative director” is a mistake for many brands and organizations:

1: Creating Is Your Job, Not Theirs

Marketing, product creation and development — these must be done by the people who are intimately familiar with the brand, those who care about it, inside the organization. Those who are part of a brand or tasked with its communication have a stronger vested interest in success than a (famous) hired hand who has no long-term attachment to the parent brand. (And this is not a slight against outside agencies or firms — after all, we are one of them. In typical situations, consultants are hired for their skill and track record in partnering with brands, whereas celebrities are hired chiefly for their fame. It’s hardly the same thing.)

Bringing celebrities in to get their feedback and input also sends counterproductive messages to your brand’s workaday teams — that their contributions are not as valuable, and can be overlooked or overruled in the name of fashion and fame. This isn’t good for your internal and contracted teams, or the long-term health of your creative folks, who are a major engine that fires your brand.

2: Your Message Is Not Their Message

In 2013, celebrities are their own brands, and they stand for their own set of personal values — beliefs, ways of creating, political or cultural leanings, etc. Each tweet or press release is calculated to provide maximum exposure and appropriate alliances, for that person. For a celebrity who trades on their name and likeness, this is the endgame. It makes sense. And while there might be some temporary overlap with your brand, if these famous faces are savvy, their eyes are still fixed on the long term, and their own overall branding. This requires them to remain loyal only to themselves, and guarantees that they will continue transmitting their own brand messages. Whatever paid endorsement you’ve agreed upon (your brand message) is just subtext to the celebrity’s larger, personal brand messaging. Your own communications get muted and muddled, because they will never be the primary message. A transmission containing many voices is invariably less powerful and evocative, and your brand’s ethos is more valuable than that.

3: Great Brands Must Power Themselves

Finally, at the heart of the celebrity endorsement premise is a fundamental flaw, because brands cannot effectively draft off the power of another body. Like a swimmer, a drafting brand requires power from somewhere else, and the “coolness” of a celebrity will only help sustain brand movement for a limited time. Celebrity attachment can’t create movement, just pass it along. It’s this unique, powerful, and singular inertia that brands need to define their personalities and carve a unique place in the universe and in the minds of audiences. Like forces of nature, great brands are powered by the will and imagination of those inside the company, to provide vision, clarity, creativity and something worthwhile to the world. This isn’t a responsibility that you can cede to a momentarily-cool celebrity.

In general, I believe that bringing out the benjamins for a celebrity is an inherently insecure brand position. It makes it seem like the brand itself isn’t special or unique enough to chart its own course, and develop its singular position. The (considerable) money needed for a celebrity endorsement or “creative partnership” is better spent developing new products, messaging, and concepts that build upon the ethos of the brand, rather than seeking a transfusion of energy or coolness from some famous person.

Halloween is a hoot — let’s just get that out of the way. But for a seemingly-superficial holiday (dress up and get candy/get drunk), there’s quite a bit going on behind the scenes culturally. And for those of us in the branding world, that’s even more intriguing than the sweets (though less delicious).

This Halloween, we’ve noted the increasing trend for Trick-or-Treaters and Halloween partygoers to forego the traditional fun and/or scary character costumes, and don brand-specific consumer product attire for their once-a-year holiday getups. More and more Xbox consoles, Hershey Bars, Facebook pages, iPhones, and Schlitz beer bottles are sprouting arms and legs each year.

Picking a costume is a fun and personal decision, and with no lack of choices, what does it say about our society when someone shimmies into a specific representation of a branded product? What’s behind this shift away from mummy and princesses towards McDonald’s fries and walking iPads?

Here are a few reasons we think are worth highlighting:

Consumer Products Are A Shared Cultural Currency
As entertainment markets have fragmented into dozens of sub-genres, film and TV references are naturally more obscure than they used to be. So, if a Halloween party-goer is looking for recognition, attending a party in a DIY Aquafresh tube outfit will probably be received better than a meticulously-created-yet-little-known Star Trek character costume.

Better and More Thoughtful Branding
Over the past decade, consumer products have been branded in more distinctive and clever ways, and we’ve wholeheartedly accepted these items into our daily lives with gusto, building ever more robust emotional (and subconscious) attachments to such products as electronics, cleaning supplies, sports clothing, food and beverages, and countless others.

People Are Seeking Comfort and Familiarity
Culturally speaking, it’s often been suggested that uncertain economic times draw the public away from film dramas, and towards escapist comedies and fantasies. With the global markets still tenuous, to an anxious public, horror costumes like witches and Wolf Men may seem less desirable than a walking Coca-Cola can.

Halloween Now Aims At Adults
Marketers have succeeded in pushing Halloween as an adult holiday, and the results have been predictable. After all, it’s adults who buy all the candy and decorations, and it’s adults who purchase the costumes, and it’s adults who use most consumer products. The more grown-ups involved in Halloween, the more their fingerprints will appear on its various aspects.

So that’s the landscape, but how does a brand get in on this action?

Producing a licensed costume seems like an obvious choice. Though branded Halloween digs are becoming increasingly common, an organization rushing to market with a branded getup may be missing the point. It’s not the availability of a costume that’s going to entice people to wear it — it’s their feelings towards the brand in the first place. The stronger and more personal connection we foster towards individual products, the more likely we are to see those products as extensions of ourselves. And with a strong enough bond, we’ll create the costume ourselves, as the thousands of homemade iPod costumes from a few years ago demonstrate.

Branded Halloween costumes aren’t a tool in which to build your brand, they’re an end result of strong brand fundamentals in the first place. The connections people make with their brands and those products happen in the dark recesses of the brain, but they’re not random — they’re based on a few, essential practices that any great brand manager holds in the back of her mind:

Make a Great Product
Whatever opinions you hold about Apple as an organization, the design of their products is second-to-none. Consumers often pay a premium for the design, but the resulting bond that ensues is a powerful force that even today many other manufacturers have failed to realize. It’s not just the devices, though — Apple customer service routinely ranks high in surveys, which further imprints the company’s value and and friendliness amongst their customers.

Have a Consistent Visual Identity
Facebook page costumes have flourished over the past few years, in a way that we never quite saw with MySpace, even at the height of its popularity. Facebook’s consistent color scheme and standard visual look allow it to be recognizable from a distance, with the quickest of glances (A blue and white page with a sidebar, and bam — you’re a Facebook page). A MySpace costume, on the other hand, would not be nearly as identifiable, as they all looked so different. You want your costume to be recognizable.

Be Strong in Your Brand Message
Twenty years ago, bottled water barely existed. Today, it’s a multi-billion dollar industry and people are dressing their kids up in as Fuji water bottles for Halloween. This is a direct result of two decades of singular messaging: Bottled water is the freshest, cleanest, safest water you can buy. Despite this being demonstrably false, the powerful and consistent message has cemented itself in the public psyche, and the results speak for themselves.

Halloween only comes around once a year (as of this writing, anyway), and there’s no lack of costume choices. Those consumer brands that have made the leap from shelf to costume have accomplished something incredible. But it’s not so much the result of fickle consumer choices, as it is the byproduct of strong and consistent brand platforms, visuals, and messaging. With those in place, there’s no telling what people will be wearing come Halloween.

And that’s half the fun.

It used to be that in the old media landscape, the only way to ascend to the top of the pyramid was to be a creator. Inventor. Writer. Painter. Photographer. You had to create something to add value. But with the tools of creation and production becoming cheaper, simpler and more accessible, we’re flooded with the fruits of easy creation: Etsy stores, 3D printing, GarageBand songs, YouTube films, print-on-demand novels, and an ocean of blogs via online publishing software. Tens of thousands of people are now creators, and they’re churning out all kinds of stuff.

Sure, some of it is exceptional, and a few amazing talents have crawled out of these New Creation communities, but the vast majority of these works will probably never rise above the level of Internet meme or flash in the pan. However, this sea change has had an unusual side effect: this gigantic swell of content has given rise to a new, necessary role: The Content Curator. Because we are inundated with so much content and information at this present moment, we need help sifting through everything our culture has to offer. The biggest challenge of our era seems to be navigating this flood of info and creation to find the valuable bits amidst the constant waves. Why, of course, have technologies like DVR and MP3 downloads inserted themselves so quickly into our daily lives? Their popularity is most likely a side-effect of our crucial need to filter, to curate – whether it’s screening out commercials or avoiding album-filler tracks. Modern life almost requires us to winnow all that we process, in order to make sense of the bombardment of data, and carve out our own niches.

And this brings us to the soon-to-be indispensable service role of the 21st century: the content curator. No longer just the province of museum collections or advanced knowledge topics, the role of curation is quickly becoming nearly as important as the content itself. In order to assist in our cultural navigation, many are now seeking out like-minded others to help sort and process this unending flow. It might be a celebrity Twitter stream, a friend’s book reading list or an industry-specific blog. The job descriptions are potentially as varied as the subject matters. And as this content flow increases, so does the popularity of the curators. Oprah has built a media empire on the strength of her role as a gatekeeper, giving out recommendations to an audience hungry for the O-perspective. There are many others.

But can these curators be successful in the long term, without ever creating anything themselves? What kind of value (perceived or otherwise) do they bring? Will this fire hose of content, ripe for the cultivating, dry up some day? Or will content curation become a distributed role, the task for every woman, man and child? Here are a handful of reasons why content curators will continue to thrive, helping us sort and digest far into the future:

Curators help cultivate a shared sensibility.
Connections are made person-to-person, and these bonds come on the heels of some shared interests or insights. Whether it’s a writer whose recommendations you value because you love her writing, or a friend with parallel movie taste, we are all looking for this sort of personal overlap. A sense of common bond, of understanding (real or imagined) drives us to connect ourselves to the thoughts and ideas of others. There’s community in like-mindedness, and when you find someone whose playlists overlap yours, or whose reading list is similar, a bond is formed. These bonds might seem weak, but in an increasingly-fragmented culture, these are important ways we connect and build community.

Curation helps us tell our own exclusion narratives.
It’s much easier to define ourselves by what we are not. “I’m not into that” or “That’s not my type of crowd”. Once we’ve found those we consider to be in our tribe (whether it’s Mad Men viewers or classic gaming aficionados), it’s much easier to appreciate, enjoy and respect their thoughts, patterns and beliefs. They’ve been pre-selected in our head for deeper consideration, which helps us tell our own stories to the world. We see ourselves in the choices of other people, which in turn, colors our perception of the universe around us.

Quantity.
As mentioned above, there is a vast sea of things to choose from – video games, artwork, bands to listen to, articles to read. Our collective rate of creation is far outstripping our ability to consume, so the people and tools that help filter and curate only the things we deem worthy will continue to be popular, important, influential. Simply, our brains either need to be rewired to better filter all that we take in, or we need tools to do the work for us. The tide of info shows no signs of slowing.

Only “the best” will do.
Whether it’s true or not, this is for those of us who Barry Schwartz calls “maximizers”. Many of us want to have the absolute best, the most specific, or the “perfect for me”, whether it’s in Google News, RSS feeds, specific blog selections, Amazon recommendations, or otherwise. There is an underlying unwillingness, in a sea of plenty, to settle for less than the optimum. In a world where we have more and more choices, the desire for the best becomes greater, and the cost for settling grows higher.

We gain at least as much inspiration and encouragement from the work of our students as they receive from our instruction, so we’d like to pass it along by showcasing some of their impressive student projects. Periodically, we’ll highlight great work coming out of our classrooms on this blog.

Last quarter in Tim’s Brand Standards Manuals class at Chicago Portfolio School, Allison Chod chose to redesign the identity for the Tic Tac brand. In addition to building an identity system around her new mark, she also created packaging concepts and a brand book to guide usage of the new rollout.

Allison’s work was selected as one of four winners in the Best Of Quarter competition. Congratulations, Allison.