Why Is Semiotics Still On the Side-lines Of Research?
When semiotics is understood in a commercial rather than academic context, its value for brands seems non-negotiable. Yet, it remains at the edge of the insight playing field, still struggling to shake off its academic typecast and a reputation for being awkward. At Research 2011, semiotics was singled out as a highly undervalued tool – so is this the year for semiotics?
The Right Perspective
Contrary to traditional research practices, semiotics champions an outside-in approach – consumers don’t necessary have all the answers – shock horror! By taking an approach that acknowledges not all commercial insight is born from interacting with the consumer, you can start to see how semiotics comes into its own.
Traditional research goes straight to the consumer – what do people think and want? Whereas semiotics goes straight to culture – what is creating these thoughts and desires in the first place?
It’s often this different line of attack that I believe can be an initial hurdle for the traditional researcher, who is understandably accustomed to going straight to the consumer front line.
So What’s It All About?
It’s all about culture. The complex, intangible bubble of language, art, belief and attitude. I particularly like this quote to describe the essence of culture, “Culture is a little like dropping an Alka-Seltzer into a glass – you don’t see it, but somehow it does something” Hans Magnus Enzensberger.
Commercial semiotics in my mind is about making sense of the fluid, implicit and unspoken nature of culture and systematically structuring it to create a valuable resource for new insights and future trends.
What Does It Actually Involve?
Semiotics word for word is the ‘study of signals’. Signals can be anything that creates or communicates meaning. Commercial semiotics looks for signals in two main areas:
The Brand In Question and Its Overall Category Mapping category signs and symbols
We look at: Products, packaging, colours, graphics, language, tone, advertising, jingles, communications, stories, archetypes, physical brand spaces
We ask: Is the brand coherent across all manifestations? Is the brand distinctive within its category?
Popular Culture Identifying dominant and emergent cultural codes
We look at: TV, magazines, newspapers, film, books, music, blogs, social media, comedy, art & design, people, public spaces, fashion
We ask: Is the brand relevant within this?
After delving into these two areas, the relevant themes are identified and brought together by looking at the key signifiers, attitudes, concepts and narratives that bring these themes to life. We look at how brands, the category and popular culture all interact and relate to each other within these themes. From here, the insight drawn from the themes can be turned into specific ways forward for a brand or concept.
Semiotics can start with a brand and work outwards to wider culture, or start with a concept such as ‘health’ or ‘femininity’ in popular culture and filter down to relevant brands.
So Where Does Semiotics Fit In?
Why is all this fluffy, cultural stuff important you say? Can’t we just do a focus group and ask people what they want? Yes you could, but supplementing the close-up psychological view gleaned from qual with a wider cultural view, can only make a strategy stronger.
In a globalised and digital world where cultural considerations are paramount – it is becoming increasingly valuable to look at the cultural codes which underpin how consumers behave. This is particularly important where global or cross-cultural harmonisation of brands and communications is an issue.
Semiotics allows us to identify pertinent and emergent themes that can be harnessed or progressed by a brand and which directions their competitors are taking. It provides a good starting point to build new perspectives and positions that are relevant or better still, ahead of the curve.
Culture is often one step ahead of consumers so tapping into it means brands have an opportunity to be the leaders, not the followers, and drive consumer imagination rather than lead it.









