Luis Silva Dias

Luis Silva Dias is FCB's European chief creative officer (FCB's European CCO). Prior to his current position as president of Draftfcb Portugal, Luis Silva Dias was head of design at Edson Communicaçao from 2000, which then became Edson FCB (and subsequently Foote, Cone & Belding in 2002). In 2005 he was appointed CEO of FCB Lisbon. Before Edson, he worked at media group Lusomondo and ran his own design shop "Proteína". He was also professor of typography and visual design. Kate Howe, president of FCB Europe, said: “Luis is a highly awarded and respected creative leader who has made significant contributions to our creative output, one who also has the business acumen to fill a dual role as the president of our Lisbon agency,” said Howe. “I am thrilled that he is joining the regional team and I’m confident that his leadership and passion will inspire new ideas and best-in-class creative throughout the region.” Silva Dias has received several Gold, Silver and Bronze Cannes Lions, as well as numerous Grand Prix, Gold, Silver and Bronze at D&AD, One Show, El Ojo, Cresta, Eurobest, ADC’E, NY Festival and Epica. Silva Dias, who will remain based in Lisbon, added: “As chair of FCB’s European Creative Council for the last two years, I’ve had the chance to work closely with our talented creative leads in the region. I’m looking forward to continuing to do so and working closely with the regional team to help grow our business and raise the bar of our creative product.” Designer Luis Silva Dias, president and CEO of FCB Portugal and chief creative officer of FCB International, was the architect of FCB’s rebrand in March of 2014. Luis was in Belgrade from 24-26. June and we spoke to him for portal 

Interview with Luis Silva Dias: Slobodan Jovanović Coba


The change of the visual identity often marks the change in doing business. You have dropped Draft from the name. Why? What has triggered this shift?

We are simplifying the global name for our agency and restoring our deep brand heritage by focusing on FCB, which stands for Foote, Cone & Belding, three names that have stood together for over 100 years. Our company is – and always has been – uniquely local, with a deep knowledge of and passion for the local culture and the power it has to drive our clients’ businesses. It’s evident in who we are, how we work and the creative product we deliver. In recognition of that strength, we are increasing the emphasis on the “local” in our new branding. And, to do this we are simplifying the global name and have refreshed the visual brand identity, accordingly.

What are the objectives of new identity?

First, it is meant to represent a new cycle in the life of our 141 years old company. Second, it’s the visual concretization of a new brand positioning where we clearly recognize our local presence as one of our main strengths: The new logo clearly illustrates that the network is fully complete when a local component complements that global brand. FCB is stronger when the local strength is celebrated as with FCB Afirma.

The statement from ADWEEK was that FCB is becoming an Integrated Shop. What part were missing or were unavailable until now?

I haven’t read the Adeek statement but more then expressing our rather extensive list of capabilities, I like to think that at this moment we are opening ourselves to the market more, through a diverse and passionate group of thinkers, creators, technologists and storytellers devoted to creating buzzworthy ideas that change consumer behavior. As a global, fully integrated marketing communications agency that celebrates local culture, flavor and expertise, market-by-market.

Does this show that even the focus that was predominantly advertising is chaining into something new? What is The New?

Although ‘new’ is a fantastically engaging ambition in our line of work, it can also be a self indulging, obsessively centered argument. ‘New’ doesn’t come from brands and agencies exclusively anymore. It’s people, society in general and not necessarily consumers (as marketers like to call their targets) that are also producing a lot of what we’re calling ‘new’ nowadays. Our job is to start and engage our brands in conversations, make them relevant parts of peoples’ lives. And what we are loosing in control, we can gain in advocacy.

It’s true that the word ‘advertising’ has become too inclusive and too exclusive at the same time. The scope of our work has grown in width and sophistication and yet our reason to exist remains one and the same: to give life to ideas that can set potential free. I like to think that we are an industry indeed and that our product, our only product is creativity. And so it is creativity in itself that ensures the element of newness not as an objective, but rather as a consequence.

How clients accepted this identity change.? How can this help them with their own businesses?

The identity is just the visible side of it. And although our clients have been kindly celebrating this special moment with us, it’s the renewed sense of focus and purpose behind the identity change - and this new cycle - that definitely is improving our clients businesses and consequently our own.

Was this an in-house project or you have worked with some specialist agency on this project?

It was a 100% in-house project, done by FCB Lisbon one of our best Branding teams.



Could you tell us about the idea of new mark and the whole system?

Well I wanted to go beyond designing a great looking logo with a hip typeface and cool graphics. I wanted to give everybody in FCB a pretext to tell a great story – ours.
There are 4 structural elements to the identity:
A) The cut. An expression of our belief that, as a global brand, we are incomplete. We need the local strength, the local presence, the local know how and the local talent for the logo to be whole.
B) The diagonal. By definition, the line you draw when you want to connect two non-adjacent points in a polygon. Also the line you use to build perspective, and from perspective, depth and convergence. It addresses our present moment as we have dynamically reorganized ourselves to strengthen our connections and approximate all the different stakeholders in our processes.
C) The Code Pro Typeface. The same typeface that exists in all bar codes around the world. A constant reminder that in the end, as much as we should let our minds fly, we are mainly accountable for the building of brands and the selling of products.
D) The color palette. A vibrant representation of our span of over 150 operations around the world, inspired by the colors of the flags of all the countries where you can visit an FCB office.

What are your favorite five identities now? (Why are they so good?)

The first one has to be "NIVEA". Because it was our project and so I have a personal connection to it. I specially admire the iconic quality of the brand, fully expressed in the new logo. The second is "Comedy Central". Through the upmost contention it transmits the many dimensions of humor and it is a joke on it’s own. Beautiful.
The third would be the "TV channel 4Seven" identity. Beautiful crossing between structure and effect, between type and symbol. And I love the neo constructivism feel.
The forth, would be the "Casa da Música" identity for, from a geometrically structured representation having achieved such plasticity and such an organic feel.
And the last one would be "Batman’s". Because you just can’t beat Batman.











Morate se ulogovati da biste poslali poruku
Uloguj se | Registruj se

Facebook komentari

Tip of the day

"Simplicity is the ultimate sophistication"

Leonardo da Vinciviše
Mouse Eye Tracking by PicNet Software Development Services