My creative work has spanned multiple industries over two decades: surf, travel, development, natural history, climate security, and more recently, sailing. Throughout this time, branding has been an ever-present force, influencing ideation, financing and shaping narratives and creative outcomes in ways both subtle and profound.
In an era dominated by visual culture with strong multimedia and social media influence, brands transcend their origins to become cultural signifiers. They embody stories, shape identities, dilute history, influence ideology, and mirror societal values as they aquire mythological status.
PBS Idea Channel, 2015
Throughout my recent journey in developing our family’s science and art initiative – self-building a wooden catamaran sailboat to create a Floating Stories Lab – I’ve discovered how the ‘brand as myth’ (PBS Idea Channel, 2015) theory presents itself strongly within the boatbuilding industry and its evolution.
The historical roots of boat design is a fascinating rabbit hole. Before the era of celebrated designers emerging as the flagbearers of sailing innovation, boat design was deeply rooted in the cultural fabric of maritime societies. Polynesians (Wharram & Boon, 2020), Hawaiians, Vikings, Australian Aboriginals (Briggs, 2023), and other seafaring cultures used materials readily available to create ocean-going vessels for wandering the seas that were the embodiment of their community’s collective wisdom and environmental attunement. These boats were a physical manifestation of traditional ecological knowledge and cultural stories, encapsulating the communal identity, seafaring mythology, and navigational knowledge passed down through generations.
The design of a Polynesian outrigger canoe or a Viking longship, for instance, was steeped in the ethos of the people it belonged to, with every curve and sail reflecting the intimate relationship between the sailors, their ancestors, communities they interacted and traded with, and the vast ocean. The symbiotic bond between culture and craft in these early maritime societies laid the keel for what would become a rich history of boat design, long before individual names and brands became influential in driving sailing brand mythology.
As modern history evolved, along with it industrialized capitalism, the craft and persona of individual sailboat designers moved to the forefront of brand identity, their names synonymous with innovation, craftsmanship, the intrepid spirt of ocean voyaging, and in some cases, even political or social ideologies. Iconic designers bestowed upon their creations a distinct signature, a hallmark of quality and design prowess that spoke directly to the designers’ ethos and sensibilities.
However, in today's recreational sailing industry, there has been a notable shift towards celebrating corporate brands over individual designers. Brands like Beneteau, Meta Yachts, and Hallberg-Rassy have become symbols of comfort, adventure, and elegance, respectively, often overshadowing the legacy of historical maritime culture and the unique visions of individual designers.
The branding evolution within sailing mirrors a broader postmodern consumer shift, where brands convey collective stories and experiences that resonate across diverse audiences. Barthes (1957) recognized objects laden with cultural significance as modern myths, and today’s popular sailing brands, through their narrative power, evoke meanings that go beyond their functional purpose.
The modern sailing brand’s narrative goal is predominately mass appeal. However, as production expands to drive profitable growth, there is a consequential dilution of cultural and ecological knowledge, as well as the unique visions and ideals of once-celebrated designers. This dilution gives rise to a more homogenized yet widely relatable brand mythology that transcends individual legacy and cultural history, reaching the vast waters of global marketability. Flipping through the pages of Yachting World (“Best Yachts of 2023,” 2023), glossy narratives of brand myths dominate, overshadowing the human stories that lie beneath in a compelling yet captivating manner. McLuhan's (McLuhan, 1964) adage, “the medium is the message,” fits within this phenomen, where branded sailboats signify both literal and metaphorical voyages but may also serve as conduits for the propagation of commercial narratives that overshadow the genuine human experiences behind them.
It is interesting to tie in postmodern discourse here. Deleuze and Guattari's (1987) rhizome concept stands out as shining a light on the decentralized, non-linear experience of sailing, a stark contrast to hierarchical structures. It parallels sailors' open-ended navigation across the unpredictable sea, suggesting a fluid, interconnected exploration (Deleuze & Guattari, 1987). Sailing brands, then, are able to encapsulate diverse narratives, from romanticized escapism and mass produced luxury, to values of community and sustainability, depending on their overarching goals and ownership structures.
Wharram & Boon, 2020
The arduous search for a low-impact, affordable, easy-to-maintain sailboat led me to James Wharram Designs, a family business rooted in the ethos of simplicity, accessibility, and sustainability (James Wharram Designs | Unique Sailing Catamarans, Inspired by the Double Canoes of the Polynesians, n.d.). Inspired by the upcoming documentary Women & the Wind (Kiana Weltzien, 2023), of which I am currently producing, and recent studies on the environmental impact of fiberglass (Ciocan et al., 2020), my family and I were drawn to Wharram's legacy of challenging industry norms, advocating for community and ecological harmony, and gender equity (Wharram & Boon, 2020). Our recent decision to build a wooden double canoe/catamaran sailboat reflects our commitment to preserving traditional craftsmanship, cultural knowledge, and embracing regenerative practices in sailing, our creative practice, and our lives. (For once, too, the affordable option is also the more sustainable one.)
Kiana Weltzien, 2023
As a creative practioner, I am acutely aware that the stories I create and facilitate, along with the brands I choose to relate with through my practice, become integral parts of our journey, reflecting my values, aspirations, and ever-evolving mythos. I move forward along this journey carefully aligning my creative practice and decision-making process with values of social and environmental regeneration.
References:
Best Yachts of 2023. (2023). Yachting World, March 2023.
Briggs, V. (2023). Seafaring: Canoeing Ancient Songlines. Magabala Books.
Ciocan, C., Kristova, P., Annels, C., Derjean, M., & Hopkinson, L. (2020). Glass reinforced plastic (GRP) a new emerging contaminant—First evidence of GRP impact on aquatic organisms. Marine Pollution Bulletin, 160, 111559. https://doi.org/10.1016/j.marpolbul.2020.111559
Deleuze, G., & Guattari, F. (1987). A THOUSAND PLATEAUS: Capitalism and Schizophrenia. University Of Minnesota Press.
James Wharram Designs | Unique sailing catamarans, inspired by the double canoes of the Polynesians. (n.d.). Retrieved April 1, 2024, from https://www.wharram.com/
Kiana Weltzien (Director). (2023, February 28). Women & the Wind: THE DOCUMENTARY - TEASER TRAILER. https://www.youtube.com/watch?v=jOydodbdXWw
McLuhan, M. (1964). Understanding Media: The Extensions of Man.
PBS Idea Channel (Director). (2015, October 14). Have #BrandsTM Become Mythological? | Idea Channel | PBS Digital Studios. https://www.youtube.com/watch?v=U4v-hgF9k-o
Wharram, J., & Boon, H. (2020). People of the Sea. Lodestar Books.