Reporter:Is it true that you once spoke to a group of Wall Street analysts on the importance of design?
记者：您与华尔街的分析家们讨论过设计的重要性，是真的吗？
Lafley:Yes. I believe that design is as important as the materials that go into a new product and is critical to innovation and building brand equity. It is part of the communication of a brand name and brand promise. Design is an area where we have to have core c apahilit v We want to (Icvate it, invest in it and make it a core competence.
雷富礼：是的。我认为设计就像制造产品的材料一样重要，对于创新以及创建新的品牌效应是有决定性作用的。它把品牌名称和品牌承诺联系起来。设计是一个我们必须有核心能力的领域，我们 想要提升它、投资它，并且使之成为一 项核心的技能。
Reporter: P&G*s 166-year success record is convincing. Products like Tide, Crest, Pampers, Charmin and Ivory are more than brands; they are consumer icons. Is there a secret to gaining such strong brand recognition?
记者：宝洁166年的成功记录是有说服力的。像汰渍、佳洁士、帮宝适、查明和象牙这些产品已经不仅仅是一个商标，它们 更是消费者购物时的向导。对于获得如此高的品牌认知度，你们有什么秘密吗？
Lafley:I wish there were. We have 13 brands that do over one billion dollars a year in sales. That's when you consider that most of our brands sell for $2—$5 per unit in the store. We are very attentive to brand creation and innovation. We also, generally, have enough sense not to change a brand identity when we think we’ve got it right. If you look at a Tide package from 1946, it was orange with a bull’s eye graphic and the Tide name in block letters. While we have continuously improved and refreshed the package design, the primary elements are the same. When the consumer is responding in a very positive way, we try to identify the design elements that have equity and keep them.
雷富礼：我希望我们有。我们有13个 品牌一年的销售额可以达到10亿美元以上，如果你想到我们的单件产品在商店里只卖2〜5美元，那你就会觉得这个销售额是非同一般的。我们很注意品牌创建和创新。总体 来说，如果我们觉得自己走的方 向是对的，我们就不会轻易去改 变某一个品牌的特性。如果你去看一下1946年汰渍的包装袋，你会发现那是一个橘色的袋子，上面有一个生动的牛眼睛，汰渍的名字采用的是粗体字。尽管我们不断地提升、改变我们的包装设计，但其主要因素并没有变，如果顾客对此反应良好，那我们就试图确定那些设计合理的因素并把它们保留下来。
Reporter: P&G was the first to introduce brand management in the 1930s. Is this how you continue to work?
记者：20世纪30年代，宝洁公司是第一个提出品牌管理理念的。这仍是你们不断努力的方向吗？
Lafley:Yes, we are in the business of creating and building brands, so we have kept the brand management system intact. Basically, P&G is a collection of brands. In the US we are known more by our brands than we are as a company. A major change over the years is that our brand teams are way more cross-disciplinary. We still have strong functional disciplines, but they are highly integrated into brand teams-and, yes, design does have an important place at the table. Another significant change is that we are now a worldwide business. Half of our sales come from outside the US, so we have global business units that have brand groups within them.
雷富礼：是的，我们在不断地设计和创建新的品牌，因此我们仍然完整地保留 着商标管理的传统。基本上，宝洁就是品牌的集合。在美国，人们更多地知道的是我们的品牌，而不是我们的公司。这些年来一个主要的改变是，我们 的品牌团队开始走跨领域的道路，我们仍然有强大的基础服务领域，但是它们 与品牌团队很好的融合在了一起，这其 中设计确实起了重要作用。另一个重大 的改变是，我们现在是一个跨国企业，公司一半的销售额都来自于美国以外的 国家，因此我们拥有全球范围的营业单位，在那里也有我们很多品牌的产品。
Reporter: Does P&G market products differently overseas?
记者：宝洁公司在海外市场营销产品的方式会有所不同吗？
Lafley:The retailing environment is different. The media we use can be different, but fundamentally our global brands like Pantene look the same pretty much everywhere. We try to have the brand design equity be the same worldwide. We adapt the execution to the marketplace. Keep in mind that only 12 to 15 of our brands are truly global; most of our brands are only sold domestically.
雷富礼：零售的环境不同了，我们运用的媒介也不同了。但是基本上，比如潘婷这些全球知名的品牌，在世界各地看起来都是一样的。我们希望我们的品牌设计权益在全球都是一样的。在市场方面我们采用一定的技巧，要记住，我们 品牌中只有12到15个是全球公认的，大多数还都只是在国内进行销售。
Reporter: Most P&G products are sold in supermarkets and drugstores where the shelves are packed. How do you get shoppers to notice and buy your brand?
记者：很多宝洁的产品都是在超市或者 药店的货架上进行销售，而那些货架往往产品种类繁多。那你们是怎样让消费者注意到并购买你们的产品呢？
Lafley:Ifs a huge challenge because the proliferation of brands, products and SKUs makes it difficult for the retailers to execute. These stores also have a predominantly temporary workforce and high turnover That puts a lot more pressure on package design to project an instantly recognizable brand with a clear brand promise. Consumers must clearly see who we are and what we can do for them. To do that, we try to create a category language and architecture so the shopping experience is ordered, patterned and intuitive. We spend a lot of time on that and work with our retail partners to make sure that our understanding and research are consistent with theirs. We've seen that by changing the way a product category is laid out, some retailers are realizing pretty sizable lifts in their total category business because shoppers are finding the experience easier and more intuitive.
雷富礼：那是一个很大的挑战，因为越 来越多的品牌、产品和库存单位使得零售商们很难对产品进行销售，而且，这些商店里都是临时劳动力，他们有很大的流动性。这就在包装设计方面给我们带来很大的压力，我们需要规划出一个认知度高、有良好品牌承诺的品牌。消费者必须要清楚地看到我们是谁，我们能为他们做些什么。为了实现那样的目标，我们试着对产品进行分类，使人们的整个购物过程都很有秩序、很规范、 很直观。
在那方面我们花费了很多时间， 并且与零售商进行合作，以确保我们在这方面的认识与所做的研究调查和他们是一致的。我们发现，通过改变产品分 类的摆放方式，很多零售商在其整体的 销售额上有很大提高，这是因为消费者 发现那样的购物方式更轻松、更自在。
Reporter:How can design make a difference to a brand and innovation company like P&G?
记者：设计对于像宝洁这样的品牌和创新公司，其重要性是什么呢？
Lafley:Design is critical to the creation of brand equity. There are instances where we had great technology, great chemistry, but we did not get the product design or package design or the design of the delivery system right, and the consumer couldn't appreciate what the product had to offer. We have other examples where we got the design right and case with our new Swiffer duster product. It is an example of simple, but basic, good, intuitive design, and it is flying off the shelf.
雷富礼：设计对于创造品牌资产是至关 重要的。有那样的例子，当我们掌握有高科技、高化学技术，但是并没有将产品设计、包装设计或送递设计做得很好，结果使得消费者不知道我们的产品会给他们带来什么。也有实例证明，我们将设计做得很成功，结果消费者就很认同我们的产品。那就是我们的速易洁除尘 产品向我们证明的，产品设计简单但是很基础、很好的、很 直观，结果产品卖得很好。
Reporter:What kind of consumer research methods do you use?
记者：关于消费者调研,你们用的什么方法呢？
Lafley:Whatever works. We are relatively light users of focus groups. We prefer understanding real-world experiences. We would rather do shop - along or shopper simulations to get close to the real shopping experience. We like to get in the homes and get involved in the usage experience.
雷富礼：无论什么方法,起作用的就行。相对来说，销售讨论组的方式采用的比较少，我们更倾向于去了解真实生 活中人们买东西的经历，我们宁愿去做一些模拟，从中体会消费者购物的真实 经历，我们喜欢走进人们的生活，去了 解他们使用某个产品的感受。
Reporter:P&G has been masterful at keeping brands contemporary while extending the line. An example is Crest.
记者：宝洁公司很擅长在扩大生产线的 同时，保持商标与时倶进，佳洁士就是 一个很好的例子。
Lafley:Crest is an interesting example because it was introduced in 1955 as a therapeutic dentifrice. It took off when we offered ;avity pn vention in the 460s and continued to grow when we added tartar control. Our more recent effort to improve the consumer experience led us to redefine Crest as “home oral care” and that opened us up to new kinds of dentifrice-flavors, forms and whitening. We had been selling manual toothbrushes and thought it would be great to offer an electric toothbrush_like experience. We got into the SpinBrush for a $3—$7 price point. Obviously we want it all to look like one Crest brand on the shelf and in the home. We work hard on the architecture because these products all have different shapes and are shelved in different places in the store.
雷富礼：佳洁士是一个很有趣的例子，因为在1955年，它是作为一种治疗性的牙膏而进入市场的。上世纪60年代 增加防蛀功效后这一品牌开始腾飞，而后增添的防止牙洁石的功效使其持续增长。我们最近的调杳研究引导我们将佳洁士重新定义为“家庭□腔护理”，而这将我们带进了一个新的领域，即要注重香味、外观以及美白。我们以前一直在卖手动牙刷，后来觉得引进电动牙刷会是一件了不起的事情，因而我们发明了佳洁士电动牙刷，定价为3〜7美元。我们想把所有这些产品都归于佳洁士这个品牌之下，所以我们不断地努力调整它们的外形，因为外形不同，它们都被摆在货架上不同的位置。
Reporter:Since you joined P&G in 1977, how has the marketplace changed?
记者：自从您1977年加入宝洁以来，市场都发生了怎样的变化呢？
Lafley: First, the power has shifted from the manufacturer and the retailer to the consumer. Consumers are now the boss. The marketplace is pretty transparent. It is a great time to be a consumer. Second, the choice of retail experiences is greater. When I was growing up, there was a Wool worth's, a Grand Union and maybe a comer drugstore. Now consider all the choices we have in retail format and experience. In our industry, it is very Darwinian. The successful retailers are winning big and the weak retailers are going bankrupt. There is a concentration of retailing power. Third, innovation, including design, is increasingly important because technologies can be copied so easily. When I joined P&G, if we had a new technology, we could ride it for a decade and be pretty sure that our competitors would not be able to imitate it or come close to it. In today’s global marketplace, your competitor can get hold of or copy the technology quickly. What really differentiates you in the end is the design and the brand So while we have improved Tide 50 or so times in 50 years, with new chemistry and technologies, what has built the promise and trust is the Tide brand and design equity.
雷富礼：首先，权力由制造商和零售商手里转移到了消费者手里，消费者现在是上司。市场变得很透明，所以现在做一名消费者是一件很好的事。第二，现在人们有更多的选择机会了。我小的时候，只有个伍尔瓦斯公司，有个大联邦，还有一个转角药店。现在再来想一想我们在零售形式和体验上居然有了这么多的选择。在我们的产业中，达尔文主义很明显，即成功的零售商做得越来越大，而失败的零售商却只能面临破产的困境，这就是零售力量集中的体现。第三，因为技术是很容易被 拷贝的，所以创新，包括设计的创新，变得越来越重要。在我刚加入宝洁的时候，如 果我们发明了一项新技术， 那我们可以驾驭它10年，并且确信我们的竞争者不会模仿或赶上我们，因为他们没有这种能力。在现今全球化 的市场环境中，你的竞争者 完全有能力很快地掌握或者拷贝你的新技术。而最终区 别你们的就是设计和品牌。所以在过去50年里，利用新的化学作用和新技术对汰渍进行了大约50次的改善之后，汰渍品牌及其设计权益已经建立起了品牌承诺和对此品牌的信任。
Reporter:Does P&G have any sort of environmental philosophy?
记者：宝洁公司有什么环境宗旨吗？
Lafley:We have a sustainability strategy which is posted on our website. We are leaders in that area and we definitely pay. a lot of attention to the recyclability of our packaging, for example.
雷富礼：我们制定了策略来维持环境的可持续发展，并把这张贴在我们的网站上。在那个领域中我们是领头人，因此 我们肯定要很关注增加包装的可回收性。 记者：您公司内部的设计团队有多大？ 雷富礼：在内部我们有大约80位设计师，他们中的1/3到1/2都来自于设计代理处或者是一些大的设计项目中。我们现在也与很多设计代理商合作，比以前的还多，他们大多是世界上最好的设计代理商。
Reporter:How large is your in-house design staff?
记者：为什么您既用公司内部的设计师，也用来自外部设计代理商的设计师呢？
Lalley: We have about 80 inside designers, about a third to a half of them we hired from outside design agencies and great design programs. We are also using more outside design agencies than we ever have before, most of the best ones in the world.
雷富礼：这正如我们的广告和公关部。 尽管我们是世界上最大的品牌公司之一， 但公司的广告并不是我们自己做的。代 理商会吸引很多世界级的人才帮他们做 事，而这对于我们来说就更有难度了， 因为那些世界级的人才往往都想跨产业、 跨公司、跨品牌地工作。在设计界也是 一样。伟大的设计师也希望跨越不同的 产业和品牌进行设计。所以设计公司中 会吸引很多世界上最优秀的设计师。
Reporter:Why are you using a mix of inside and outside designers?
记者：那公司内部设计员工的主要任务 是什么呢？
Lafley:Well, it is just like our advertising and public relations agencies. Although we are one of the world's largest branding companies, we will never do our own advertising. An agency is going to attract world-class creatives. It is harder for us to do that because world- class creatives want to work across industries, across companies and across brands. The same is true in the design world. Great designers like to design across different industries and across different brands, so design firms will attract the best designers in the world. Reporter: What is the role of the in-house design staff? Lafley: In-house, we are recruiting people who have design experience and skills and who can be good design facilitators for us to connect the right outside design firm with the right brand and get the right strategy in place.
雷富礼.我们招募的内部设计员工都有 设计经验和技巧，他们很好的协助我 们，使我们能够将品牌与合适的外部设 计公司进行合作，从而采用最适合的战略。
Reporter:We heard that you have also established an outside design board at P&G.
记者：我听说您还在宝洁成立了一个外 部的设计委员会。
Lafley:Yes, we meet with the board three times a year. They help to evaluate and critique where we are going with design in our established businesses and with upstream innovation.
雷富礼：是的，我们每年与这个委员接 触3次，他们帮助我们来评估和评价， 我们在已创建的品牌中的设计和创新。