Writer: Jason Shin
Editor: Andre Zaretskiy
“I presume, without my telling you, you know that Homer, being the wisest of mankind, has touched upon nearly every human topic in his poems. Whosoever among you, therefore, would fain be skilled in economy, or oratory, or strategy; whose ambition it is to be like Achilles, or Ajax, Nestor, or Odysseus—one and all pay court to me, for I have all this knowledge at my fingers’ ends.”
– Niceratus, Xenophon’s Symposium 4.5
From Ancient Greece to Nike: An Introduction
A glance at UC Berkeley’s Wheeler Hall reveals what appears to be a tribute to Ancient Greek architecture. Tall Ionic columns surround the building, while next to the sculpture of Benjamin Ide Wheeler, a large stone epitaph inscribed in ancient Greek text describes his accomplishments and legacies. Similarly, visible from the front entrance of UC Berkeley’s Doe Library or Dwinelle Hall are sculptures of Homer and Hermes, friezes from the Parthenon, and more aspects of ancient Greek culture.
It doesn’t take much to notice a tendency to romanticize the ancients.
In fact, out of modern media’s many historical inspirations, ancient Greece and Rome often sit at the forefront of our minds when we think of discipline, elegance, or themes regarding fundamentalism. This isn’t limited to social media, either. Top corporations such as Starbucks, Versace, Pandora, Nike, Hermes, and Maserati owe their entire design to Greek and Roman themes, while Burberry, Coca-Cola, and Geico have incorporated these influences in their marketing.
However, there is nothing fundamentally wrong with romanticizing the ancients. After all, the Greeks were the basis for most of Western civilization, if not all of Western intellectual thought. Our understanding of philosophy, math, and education could not be where it is today without ancient Greek thinkers. Our founding fathers drafted the Constitution and the Declaration of Independence with direct inspiration from ancient Athens and the Roman Republic.
It is understandable then that such views, when conveyed in advertisements and marketing, tend to transmit similar ideas of credibility, strength, and aesthetics. Even this article begins with a quote from one of the few surviving dialogues with Socrates, where a man named Niceratus claims that Homer has touched upon nearly every human topic possible and proudly asserts that he always relies on his works for guidance on anything from economics and virtue to even how one should drink wine. Clearly, the ancient Greeks were also romanticized by the ancient Greeks.
But to what extent is our romanticization of the ancient Greeks and Romans as the “perfect ideal” legitimate? How much of our marketing and perception of the ancients, as reflections of our culture, actually determines the choices we make as consumers? Would Niceratus be more inclined to pay for tablets and lessons on Homer, just as the Romans in Pompeii spent fortunes decorating their houses with mosaics of Greek myths, and much like how we, as products of our history, are prone to subscribe to motivational content online because of its austere “Roman” background? More broadly, how is antiquity generally represented in our society, and what does it do to us as consumers?
Classical Reception in Modern Branding
Classical reception in modern branding often relies on the assumption of a few psychological truths; most notably, the powers of archetypes, iconography, and nostalgia marketing. Archetypes in this article are referred to as general themes stemming from the stories of mythology. These can be innately fundamental, such as love (stories of Aphrodite or Cupid, for instance), or strength (think Zeus or Hercules), but they can also be hyper-specific, such as themes of pleasure (Dionysus, etc). Understanding that such themes are broadly recognized by the general public, marketers often utilize such themes in advertisements to align their general message.
Iconography refers to our tendency to worship cultural “icons,” while nostalgia marketing is a technique used to evoke admiration from the consumer through the appeal of the past. These themes often overlap, but can sometimes be distinct in their particular message.
I. Versace as a Case Study: The Gaze of Medusa
Versace is a prime example of archetypal use. A direct inspiration from the myth of Medusa, Versace’s logo actually reveals a lot about the changing perceptions of the famed Gorgon in both archaeology and mythology. Originally, Medusa was a hideous creature who turned people to stone upon sight. Our earliest portrayals draw her as terrifying and almost beast-like. As time passed, however, she became a figure of dangerous enticement, a creature whose beauty fatally tempts the eyes of any passerby. Founder Gianni Versace claims to have built his fashion empire upon that particular sentiment: a familiar sense of dangerous enticement for his products.
This trend is reflected in all of Versace’s products. Its brand designs are consistently bold and glamorous, while drawings of the “Greek Key” (the famous meander pattern in many ancient Greek artworks) are used as a decorative motif that keeps the brand philosophy alive. In this case, classical themes are utilized to aid brand image. Economically speaking, brands such as Versace have proven to be successful not only because of Medusa’s existing popular appeal, but also because of its clear narrative execution: everybody knows about the myth of Medusa.
II. Nike as a Case Study: Victory Embodied
Nike can be seen both as an example of archetypes and iconography. Its “Greek” presence remains minor, except for in name, which was inspired by Nike, the Greek goddess of victory. Here, though the archetypal narrative may convey a concept of victory and competition, its historical iconography stands out more. In Greek mythology, Nike is the goddess of victory, specifically victory in athletic competition. She represents speed and strength, being a divine charioteer and a companion to the other Gods. The brand’s “swoosh” logo is an ingenious abstraction of the goddess’s famous wings, which in turn, can represent a simple design that conveys motion and speed.
A prime example of strategic storytelling in marketing, Nike distinguishes itself from Versace in that it elaborates upon a pre-existing myth to create its brand, whereas Versace is built upon a myth as a foundation rather than using it as a tool for creative interpretation.
Graphic By: Meredith Whitcher
Conclusion
In summary, Greek and Roman mythology are most notably seen in marketing two ways: a foundation for an entire market and brand identity, or a source of creative abstractions. Both directions, as seen from Versace and Nike, have extremely different outcomes. Nike focuses more on integration than Versace, and therefore may benefit from adding their own creative interpretations to their products. Whereas Versace, as a luxury brand, prioritizes maintaining an ideal of opulence and “myth,” rather than finding ways to break into more colloquial markets.
Featured Image by Hans Reniers from Unsplash
