As a health warning, most of this post was written sitting in a Euston station café after I found out that my train ticket to Birmingham New Street was for off peak travel only. That left me with nearly three hours (!) to spare, so I have probably gone overboard here.

I was in London because I had a meeting with Michael Wolff. I have blogged about him before (here, here and here) after his visit to Birmingham as part of the Plus International Design Festival. The interview I did with him also provoked quite a big reaction from the city’s great and good.

The meeting was more of a chat over lunch than anything formal (I am on holiday after all!). We talked about the process of branding businesses and about how the process might apply to a city.

He had some interesting points to make. One was about the importance of understanding what you want your city to be about, before you start reflecting that through design.

If Birmingham was a person, or a family, what would it be like? If it was a verb, what would happen if you Birmingham-ed?

It’s an interesting exercise and I didn’t have an immediate answer. However, I think it that says a lot in itself.

Some people might say you can’t simplify a city down to just a few key features but, in fact, we do it all the time. Manchester isn’t just about its football and its music, but there is no denying that it has benefited from those associations and, I bet, most Manchester residents are pretty proud of that.

So, being stranded in Euston station for two-and-a-half hours gave me ample opportunity to mull it over! If Birmingham was a person, what would they be about?

I got rather carried away and it ended up quite detailed covering home life, leisure, family, work, education and more!

I imagine a lot of people will disagree with what I’ve written. I hope they do. I’m more than aware this image says as much about me as it does about Birmingham. I only hope it is not as soaked in middle class stereotypes as I fear it may be.

However, the point still stands: the more people that undertake the exercise there is more of a likelihood that common themes will emerge.

This could then be used to develop perhaps five key areas that could be developed to help define the city, Michael suggests.

Maybe it is committing to developing the best care homes in the UK, or perhaps there is something else that Birmingham is good at that can be built upon, boosted and made part of the city’s image.

I’m not sure. But below is my “Mr Birmingham”. See what you think:

Birmingham is a warm, welcoming and outgoing person.

He has lived his life in the city of his birth and has a strong identity with its traditions and heritage. He is proud of what it has achieved and likes to be associated with the great innovators of the past.

But, along with this sense of place, he has a strong cultural connection to one or more other countries/cultures. His parents/grandparents/ great grandparents arrived in this city and made their home here. He likes to share this cultural background with his friends and to hear about their cultures and traditions. As a result, his musical, artistic and culinary tastes are eclectic and diverse.

His home is a popular destination for parties and events, as he has the knack of making everyone feel at home, no matter who they are and where they come from.

He has a great sense of humour and can laugh at himself. That doesn’t mean, however, that he isn’t proud of who he is.

His house is not showy, pretentious or egocentric. It is comfortable, clean, welcoming but also well designed and stylish. Its innovative and environmental features often impress guests.

But, despite this, he is, generally, modest and is not a man that indulges in crude status symbols. He is no yuppy. Making people feel comfortable is more important than showing them how successful he is.

That is not to say, however, that he is unsuccessful. His creativity and education combine to make him refreshing and inspiring in his work. He is very good at what he does and embraces new developments in his industry as opportunities, not threats. He is often at the forefront of these developments.

When it comes to clothes and fashion, he is confident and innovative enough to have developed his own sense of style. But he remains constantly open to, surprised and delighted by new ideas.

His car looks good, but it is more likely to have been chosen because of its clever use of design. This is a trait that he is very proud of. After all, doesn’t he deserve something that is more than just adequate?

He loves playing and watching sport and is a great supporter of his local teams, especially football and cricket.

Family is important to him. He recognises the sacrifices made by generations before him and wants to provide them the best possible care for them as they get older.

For his children, he wants them to have an education that opens doors and provides opportunities. Although he’d love them to stay in the city to develop their careers, he is happy that if they have to move on, they will be proud to say where they have come from.

He is also passionate about instilling an attitude of creativity and invention – it’s ok to fail if it is part of how you improve and develop.

So, following my own advice, I was excited to come across a series of posts by D’Log about an event at the University of Birmingham yesterday.

This paragraph particularly caught my eye:

The city is considering appointing a “Creative Director” for Birmingham. A “Creative Village” area might be designated and signed by 2010; that may be either Moseley or the Jewellery Quarter, or possibly Digbeth. Creatives are providing free input into the proposed 20-year Birmingham City Centre Masterplan (the “Parkinson Report”), especially in relation to the relocation of BIAD to Curzon Street and the branding of the wider Digbeth area.

A creative director for Birmingham?! A creative village?! How positive and exciting!

As some may know, there was a shower of comment in The Birmingham Post after Micheal Wolff called for Birmingham to appoint a creative director, similar to Manchester’s Peter Saville.

He said that the council needed someone to oversee the cultural and creative image of the city. He spoke very passionately about it and had some very interesting points to make.

Personally if someone can help show the world just how innovative, passionate and creative Birmingham is, then I am all for it.

However, I’m a bit confused by D’Log’s linking as that takes you to Creative Republic’s website. My understanding is that is a very different thing, more an industry lobby group. Am I right?

I’ve been really chuffed with the responses The Post has been getting about the Michael Wolff interview and “brand Birmingham”.

Tomorrow (Monday) the paper is going to have quite a bit of reaction in it – both in the Agenda section and the Media & Marketing page. Much of it looks at whether our public bodies are up to the job of promoting the city’s cultural and creative offering.

I’m pleased because it’s a conversation I hope will continue to be high profile – especially considering some of the things taking place in the city at the moment.

It would be nice to think there are enough people agitating for change that we may be able to find a way to reflect Birmingham’s creativity in its image.

Finally, we’ve used the Michael Wolff interview in The Post today.

I liked Michael. We disappeared off to the pub together for half an hour before he did his Q&A session at the Plus International Design Festival.

He was very likeable, easy-going, perceptive and well-versed in giving a journalist something to chew on – hence the story hitting the front page!

I got the feeling that his criticism of Birmingham’s council was something he had been storing up. [Edit 17/11/07: I now have it on good authority - i.e. from Michael - that he had done no so thing. His comments were spontaneous and inspired by what he had seen at PLUS. I stand corrected!]

In reponse the questions posed here:

In answer to prem1um:

All my clients have been challenging. Do you know why? Because it is very hard to explain to the money man at the top of a big business that design is important. Most of them just do not get it, their brains work in a different way. It’s very rare you find a chief executive or director who can also think creatively.

In answer to Nick Sims:

I defend the 2012 logo because I think it is a very brave and very good piece of work. Do I think it’s the best example of design ever? Probably not. But, it does do what it was supposed to do. And it has come from an agency that doesn’t really make mistakes.

The logo moves away from the static emblemic style of past Olympic logos and adds movement and a flexibility to it. Unlike most people I’ve had the opportunity to see what it looks like in motion and, I have to say, I rather like it.

The negative reaction has come from the fact it is so different. When you are faced with something you haven’t seen before, most people struggle to find something to say. If they don’t know if they like it, then they say they don’t like it. Or, they look around at what other people are saying and if they hear someone else saying they don’t like it, they’ll adopt that opinion.

I don’t think Wolff Olins designed it to cause controversy – that would just be a nonsense. Brands are not supposed to be connected with negative ideas – they are supposed to inspire and evoke the positive aspects of the thing they represent.

I hope that’s answered your questions!

[Answers are here]

Date: Friday, October 19.

Michael Wolff, co-founder of design and brand agency Wolff Olins will be speaking at the PLUS International Design Festival at the Wild Building in Birmingham.

The event is free, but if you can’t make it and have a burning question, let me know!

Mr Wolff is considered one of the creators of brand identity and has worked with a number of high-profile companies to help shape their public image.

Although he left Wolff Olins in 1983, he has also shown strong public support for the infamous Olympic 2012 logo, which the company reportedly created at a cost of £400,000.

At the moment I’m planning to ask him about the process of creating trust through a brand identity. He was responsible for the so-called “greening” of BP and the aligning of its brand with renewable energy production. Also, how easy is it to rebuild trust in a brand after a crisis (such as Northern Rock, perhaps)?

Of course, they’ll be the inevitable question about the 2012 logo too, I’m sure.