I must have been around five or six when I at least subconsciously realised that my dad worked for 'a brand'.
Taxiing through Schipol yesterday I saw the iconic KLM logo everywhere and it was for the Dutch airline, with its consistently modern, clean, emblematic branding, that my dad worked.
As children my sister and I saw plenty of that logo. On company Christmas cards and letterheads that lay around our home. On the multilayered paper tickets (always standby, always a nervy adventure) that took us away to places I now realised were exotic destinations in the 70s. And everywhere in the office at Heathrow, where we sometimes spent the day with Dad at work, in the dog days of the summer holidays.
And so yesterday it struck me that my taste in design might hark back to those days, to that logo. The simple morse-like arrangement of cross, over four dots over long dash. The discreetly powerful, squatly confident KLM in Noa Light font. An imprinting of intelligent, stylised, corporate identity leading to a fondness for deliberately bland urbanity. An interest in unplaces. The appreciation of the aesthetics of the shipping container and transport logistics hubs. Digitally rendered fictional suburbia. Street view art.
And taxiing through Schipol I thought about this. And this small thought, the memories, speak to the power of good design and branding and how a logo, assuredly deployed, can imprint itself on a person and shape them, years later, like a paternal hand from the past.