Name: 企業為何要「去品牌化」？ (Why Companies Are 'Debranding')
Uploaded: 2026-03-01T10:40:33.000Z
Duration: 3 min 4 s

In recent years, some of the world's biggest companies have discarded depth and detail to de brand.

近年來，世界上一些大公司為了de brand，捨棄了深度和細節。

Rolling Stone 找到更簡潔的風格。

VW shared its depth and shadow, as did Kia, Pfizer, Nissan, Durex, Intel, Toyota and a host of other major brands.

VW 分享了它的深度和陰影，Kia、Pfizer、Nissan、Durex、Intel、Toyota 和其他許多大品牌也是如此。

Even the munchable hero Julius Pringle had a flattening make under with shaved head, dyed moustache, dilated eyes and new pre sprung eyebrows.

就連零食英雄 Julius Pringle 也經歷了一次扁平化的改造，剃了頭、染了鬍子、放大眼睛，還有新的、預先彈好的眉毛。

But what prompted this landslide of logo de branding?

但是什麼促成了這次 logo de branding 的大轉變呢？

Several interlocking forces are at work, the most immediate of which is the pressure of mobile first design.

有幾個相互關聯的因素在起作用，其中最直接的就是 mobile first design 的壓力。

Clients used to ask, can you make the logo bigger?

客戶以前會問，你能把 logo 做大一點嗎？

Now the trick is to shrink an entire identity into a tiny digital box.

現在的挑戰是把整個 identity 縮小到一個小小的 digital box 裡。

Such pixel pressure usually means returning to the 2D look of old.

這種 pixel pressure 通常意味著要回到以前的 2D look。

Of course, this 2D look was more or less the norm until computers took over and design inflation spiraled out of control.

當然，在電腦出現、設計膨脹失控之前，這種 2D look 或多或少都是常態。

Anyone who has overfiltered an Instagram sunset knows the seductive lure of visual excess.

任何曾經在 Instagram 上過度濾鏡處理夕陽的人，都知道視覺過度的誘惑有多大。

And it's a seduction to which the pros are not immune.

這種誘惑，連專業人士也無法倖免。

The ability to round corners, drop shadows, customize gradients and create complex lighting effects can easily overpower the creative brief, and

圓角、陰影、自訂 gradients 和製作複雜 lighting effects 的能力，很容易壓倒創意簡報，

So many recent dbrands represent a return to sobriety after a spasm of software abetted intoxication.

是以，許多近期的 de brand 標誌，都是在軟體助長的沉醉感爆發後，回歸樸實的表現。

Many of our biggest brands were born than a spirit of playful innocence that burst forth from their early branding.

我們許多最知名的品牌，誕生於早期品牌形象中迸發出的玩味天真精神。

Take Foursquare, Airbnb, Godaddy, Google.

以 Foursquare、Airbnb、Godaddy、Google 為例。

As these companies grew and the stakes rose, so their logos were obliged to mature from cartoonish to corporate flamboyant to flat wacky to bland, illustrating the power of de branding to professionalize.

隨著這些公司成長、風險升高，牠們的 logo 也被迫從卡通風格、企業浮誇風、扁平的古怪風，一路演變成平淡無奇，展現了 de branding 專業化的力量。

Company graphics are as susceptible to trends as any other design.

公司圖形跟其他設計一樣，都會受到趨勢影響。

And as we see in the stampede of fashion's little black dress logos heralded by Yves Saint Laurent in 2012 and followed by Diane von Furstenberg, Calvin Klein, Bell, Luti, Burberry and Balmain.

我們在 Yves Saint Laurent 於 2012 年開創的時尚小黑裙 logo 趨勢中看到，接著有 Diane von Furstenberg、Calvin Klein、Bell、Luti、Burberry 和 Balmain 等品牌跟進。

Yet the most intriguing element of the D branded logo is its potential to become a portal.

然而，de brand 標誌最引人入勝的元素，是它成為一個入口的潛力。

Didn't just strip back its theatrical golden guilt.

不僅僅是簡化了它戲劇性的金色光環。

It unlocked a world of possibility that's increasingly vital to brands that span genres, showcase variety, or offer 31 flavors.

它解鎖了一個充滿無限可能的領域，這對於跨越類型、展現多樣性或提供 31 種口味的品牌來說，變得越來越重要。

For all these reasons, it seems likely that de branding will be with us for a while.

出於所有這些原因，de branding 看起來會持續一段時間。

But who knows when the pendulum will swing and the trend revert to detail, complexity and personality.

但誰知道鐘擺何時會擺盪，趨勢又會反轉回注重細節、複雜性和個性的時代。

After all, once a critical mass is zagged against a prevailing zig, the margin becomes mainstream, the template flips, and

畢竟，一旦出現了關鍵的轉折點，與主流的趨勢背道而馳，原本的邊緣就成了主流，範本也隨之翻轉，

I'M Ben Schott, the branding and advertising columnist for Bloomberg Opinion.

我是 Ben Schott，Bloomberg Opinion 的品牌與廣告專欄作家。