In age of digital marketing, are colours important for a brand?

It is time for Holi, making it the perfect occasion to discuss the significance of colors. Throughout history, brand guardians have placed great importance on the purity of colors, but its impact on consumer behavior is still a subject of debate.

It is widely acknowledged that colors play a crucial role in establishing familiarity and authenticity, which are key factors in decision-making. For example, when we see the color red among various beverages, we instantly recognize it as Coca Cola, and it becomes a shorthand for the brand. The same can be said for Pepsi. However, the range of colors available is limited, so the interpretation of red varies greatly depending on the context. It can be associated with Airtel, a political party, Eveready, whisky, or tea. Interestingly, this interpretation is completely unrelated to our primary understanding of red as a symbol of danger, as seen in traffic lights, warning signals, and everyday language.

Therefore, colors cannot be considered an essential element of a brand’s identity because they cannot be exclusively owned on a rational, emotional, or even categorical basis. In the era of print and outdoor advertising, colors became valuable tools for marketers to enhance visibility and recall. They acted as prominent ambassadors for desired properties, particularly for audiences with lower levels of literacy or young consumers searching for pizza. Colors had a high impact on these audiences, often without any enduring significance.

In today’s digital age of branding, colors can no longer be deemed as high-value brand assets. This shift has been led by brands themselves, with Google pioneering the use of flamboyant and flexible templates. Apple, apart from the Issey Miyake black, has not heavily invested in the subject of colors, a trend that can be observed among most technology brands. Swiggy and Zomato strive to establish ownership within their respective industries, but their colors only aid identification and have a limited role in shaping perception, similar to Urban Company and other similar companies. While the aesthetic application of design elements contributes to the overall impression, this is where the significance of colors ends.

The situation becomes even more complex in the rapidly expanding FMCG and food sector, despite its seemingly contradictory nature. There are not enough colors for brands to successfully claim and effectively amplify their presence, especially when hindered by color codes and other semiotic variables. For example, Maggi benefits from its historical visibility with the color yellow, while ITC Master Chef breaks category conventions by applying black to its RTE Master Chef packaging. For most players, whether big or small, the real challenge lies in standing out, where fonts, photography, and physical design play a more significant role. There is an opportunity to create unique colors through advanced technology, but the costs associated with this can be substantial, as can be seen sporadically in premium liquor packaging.

To further support this hypothesis, it is crucial to evaluate the role of colors in our daily lives and establish a connection with brands. With more liberal work cultures, traditional conventions have been demolished, and light-hearted shades are now welcomed in the boardroom. Allen Solly’s concept of “Friday Dressing” has become a daily norm, and the previously strict correlation between the colors of attire and perceived worthiness is diminishing. Even in the world of high fashion and its imitations, colors are temporary stars, constantly being replaced by new trends. Colors are now taken less seriously, and brands must acknowledge and respect this shift.

In conclusion, brands in this era should view colors as companions, engaging in conversation rather than imposing binding or blinding authority. Brands like Coke or Maggi, which have a historical advantage, may continue to benefit from their color associations. However, for the majority of brands, colors are no longer unique intellectual property. Instead, let colors