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Q – You started your career as an engineer and, now, you’re involved in all aspects of product development. When did you begin making the move into design and what do you consider yourself now – engineer, designer?
Lincoln – I'm a strategist. For more than 15 years, I was a packaging engineer. But more and more I discovered design because design is the visible expression of our products. I discovered that design sells the product. At Nestle, for example, we changed the packaging of the same product and the sales went up more than 200 percent. I was very astonished about this example. So I decided to study marketing and design and, around 1975, I introduced in Brazil color psychology. In 1977 I wrote an article, The Scientific Design of Packaging. Designers were very angry with me, saying, ‘How is it possible for an engineer to discuss design and creativity?’ To me, packaging is not an artistic expression. Packaging is a salesman. And more than this, you can reflect quality and sell the product in five seconds normally and leave the competitor on the shelves. It’s a terrific commitment to achieve this.
Q – There has always been conflict between engineering and design. What's the key to bridging the gap that has separated the two worlds?
Lincoln – We developed what we call a circular methodology. You have to dream the impossible. So creativity – the dream – comes first. Everybody works together to reach that dream. Engineering is trained to say no – ‘It’s not possible.’ And it isn't possible if you develop a project linearly – one portion after another. You have to 'mastermind' a project – bring engineers and designers together and establish a synergy where creativity is tops. Certainly, it is based on confidence and relationships. This spirit of cooperation is Brazil's biggest force. Brazilians are very friendly. They like to work together.
Q – Your comment on Brazil begs this question: How does packaging design in Brazil compare with designs coming out of other parts of the world?
Lincoln – Historically, in Brazil, like Argentina and other underdeveloped countries, there has been the culture of copy. It was a big problem. My career is based totally on innovation – you don't copy. The book, A Glimpse of Brasilian Design, has some terrific examples of innovation. Brazilians now are discovering their originality in fashion, cosmetics, furniture and packaging. But it’s a recent phenomenon. In graphic design, Brazil is among the best in the world. Brazilian graphic design is more spontaneous. There is the freedom to express. Product design in Brazil is still in its infancy.
Q – Do you believe self-expression is the key to Brazil's success in graphic design?
Lincoln – Yes, plus two more important factors. The competition in the supermarkets of Brazil is very developed. All the multinationals are here. And the pressure to export is forcing Brazilian companies to invest in professional design and to develop more originality. Ten years ago Brazil was closed to imported products. It was easy to copy. Now, to protect your brand here and to export, you need originality.
Q – Based on what has happened in Brazil, do you think China will be able to change its approach, which up to now has been based on copying others?
Lincoln – For me, China is piracy, not copy. There's a big difference as copying does require some ingenuity. China is both a great challenge and a great menace. For example, Brazil has about 100 design schools developed over the last 50 years. I read that in the next three years, 500 design schools will be introduced in China. As Tom Peters says, we can't compete with the Chinese on cost and Wal-Mart prices.
Q – Brazil is well known for its colorful culture and innovative style, which is best exemplified by Brazilian soccer. How do you try to capture the uniqueness and character of Brazil in your designs?
Lincoln – I’ve always said the factors are the integration of the team, friendship and to express without pain. Brazil is fun. To us, the world is fun. It’s not hard to work. How can you explain that Brazil makes a very good airplane (Empresa Brasileira de Aeronáutica, best known as Embraer, is one of the world's largest aircraft manufacturers) and the best gasoline worldwide (gasoline sold in Brazil contains about 25 percent alcohol, which is derived from sugar cane)? It's incredible. When Brazilians dedicate themselves to discipline and creativity, they are invincible. This is our secret.
Q – To what extent do you try to reflect the uniqueness of Brazil's people and culture in your designs?
Lincoln – The single biggest aspect is colors. And, then, the ‘freeness’ of the lines…the spontaneity and the shapes. Brazil is No. 1 in jewelry creation worldwide. Some of the Havianas -- the flip-flop sandals -- sell for more than $100. Why? It’s the Brazilian spirit --the sensation that when you put Havianas on, you are free.
Q – Are Havianas a good metaphor for Brazilian design?
Lincoln – It’s colors and symbolism. The spirit of Brazil is intangible. It’s an attitude. It’s the freedom of creation. It’s a fantasy.
Q – Is the typical consumer in Brazil much different than consumers elsewhere?
Lincoln – The Brazilian consumer likes to experiment with the new. They are not so traditional. Brazil has no tradition in terms of products as it does not invest in pure research. So it’s not possible to create emotional relationships because they are not Brazilian products. Nowadays, the Internet is used to create those relationships, friendships and to exchange experiences. For example, Orkut is the biggest web community in the world. Brazilian users account for about 70 percent of the Orkut community. |