Forgot your username or password?
Thomas O'Grady is Vice President and Creative Director for NBA
Entertainment. In his 12 year career with the National Basketball
Association, his creative services group has influenced a
generation of basketball fans as the NBA has expanded its global
reach and mastered the diversity of media channels.
Why is sports branding important?
The NBA is a 56-year-old brand. NBA commissioner David Stern calls
it a “living brand.” It's a brand that, a lot like a cereal or a TV
show, has seasons, with initiation points and finish points. We
crescendo; there are highs and lows; there are periods of intense
excitement, and periods that go slow and drag on. But sports are
woven into the fabric of everyday life. That's what I love about
basketball and sports in general—that it's a social currency.
If sports are so powerful in the global culture, why do we need
design? If sports are valuable global currency alone, why do we
need design today?
The game itself, when you break it down, is very tribal. My team is
against your team and, after two hours, there is a winner, an end
result. Design helps create that tribal experience. So your team is
wearing red and my team is wearing blue; we each wear colors of our
tribe or brand. It's very primitive. You see people paint their
faces with the colors of the LA Lakers and it becomes an
emotionally entangled thing. As sports brand architects, we have to
keep that in mind. When we're developing a new identity for a team
or creating a court for a team, we have to really become a part of
Has the attitude always been that way? You mentioned that in the
'70s the NBA didn't have creative services and it was up to the
teams to develop their own identity. At what point, and why, did
the NBA step in to manage?
I think it was two-fold. First, we needed consistency standards. As
the game grew on television it became more important than ever
before to identify who those players were, so good design came into
play to make sure number sizes and names were big enough, that
there was enough color contrast during a broadcast. In the '70s,
with the drug movement and pop culture movement, aesthetics kind of
went wild. Some of the game broadcasts got a little tough to see
with all of the wild colors; it was difficult to follow the ball
with so many things happening. We know best what a jersey will look
like, that some of these new materials don't shine when they're
being lit in a certain angle, and what way the broadcast will look
the finest. We have people in place here making sure of that.
Were you responsible for some of the uniform
Yes. The long pants came from Michael Jordan, which is a great
story. Jordan would get tired because he played so many minutes
when he was with the Bulls in the mid-'80s, so by the third quarter
he would be exhausted. He would be doing a lot of this leaning over
and catching his breath. Eventually he was starting to grab his
pants, to hold onto them because he was exhausted. As time when on,
you could see that by the end of the game his pants were long
because he had just stretched them. He finally asked Champion, the
uniform manufacturer, for more length in his shorts, so that he
could hang onto his shorts. The next thing you know, the kids see
the longer shorts and everybody's wearing longer shorts. He created
a fashion without even knowing it. It went out like wildfire,
because number 23 was doing it. Kids today wear those wristbands
because Michael Jordan wore wristbands. There's a lot to be said
for imitation as the sincerest form of flattery. So that's how the
long shorts started.
When did the design of basketball began to influence the street
fashion scene? Was that the beginning or did it happen
There was a trend in general in the late '80s, early '90s of the
wider, looser jeans and Timberland boots. Our NBA sports brand got
hot in the early '90s because of MTV. The rap community embraced a
lot of the wider pants and shorts and a lot of these jerseys.
Remember Kris Kross? They wore all that stuff, all backwards. So
that got very hot and the urban market gravitated towards that.
They were already wearing basketball stuff just because they liked
to play basketball, but it wasn't part of the fashion category yet.
Once the rappers really accepted that, they pushed from the sports
arena into the fashion, and we saw business really increase in the
early '90s to this place that we never thought it would end up—as
part of the street culture. Our retail business really shot up. The
basketball fans were really coming on. We had 10 years of
Celtics/Lakers rivalries, Michael coming into the league in '84;
there are some cataclysmic things that happened in '84 that made a
major difference in our sport. David Stern took over the reins of
the commissionership in 1984 for Larry O'Brien, so there's the
first mechanism that took place. Michael gets drafted, and then
around '85, Nike signs a deal with him. They began to do the Spike
Lee Air Jordan, starting a series of things that would happen to
push our sport into this pop-culture phenomenon. And the key
reasons are Jordan, Nike and David Stern—those three alone had a
lot of impact.
How long do you think it took to get your group to a point where
you could really feel the impacts of your efforts?
The first time I knew we had done something special was in 1992
when we played the game in Orlando. The tickets were looking good
and I knew the feel was right. It had this Disneyland look to it.
The first time we realized the impact of what we were doing was
when the game started and they had an angle from the scoreboard,
which looks down on the logo, and all of the sudden there were ten
of the greatest players in basketball standing on that logo. The
fact that sports are viewed by so many millions of people makes our
responsibility a huge one—it means that our work is going to be
seen every day, in every way and in every medium by millions of
people as well.
How do you see the next decade? Do see some new ruptures or
opportunities coming up?
As the technology evolves, as garment attributes change, as the
rules of the game evolve, designers will react to the
changes—anywhere from what the main garment looks like to what the
geometry of the court is. We've talked about changing our lane into
a trapezoid shape to be able to force players even further away
from the basket, to open up those lanes like we talked about, which
is actually an International Court. But you have to understand that
guys are getting taller, faster and quicker. Will that 95 by 50
foot court be able to contain these athletes in 10 years? Will the
size of the players get so large and so athletic that the
constraints of that size detract from the game? We can't predict.
Genetics and natural evolution will tell us what happens there and
we'll react accordingly. If the scores start going to 150 and these
guys just drop the ball into the basket, then they'll have to raise
the basket or make the rim smaller; these guys are too good now.
Do you separate the live experience in the stadium and the
televised experience, or do you try to think about them
holistically? How do you approach it?
Television broadcasts to millions, so you shoot for the live
broadcast. That is your red button. That's the register, those
eyeballs—six million eyeballs—watching the game. So the first point
you have to get right, even if nothing else is done right, is the
broadcast. You have to nail that broadcast.
Do you know Shaq?
I have met him. He's as gregarious and friendly as you'd ever want
to meet. He's a nice guy and as big as a doorway. He is huge. I
tried to shake his hand and you can't physically shake his hand.
You have to shake, like, three fingers. You put your hand out there
and it just gets engulfed. He is such an unusual athlete; he's the
size of a horse.
What was your involvement with the Women's Basketball
The WNBA is a dream for a lot of us that have worked at the NBA. To
be able to influence women's sports and prove to nonbelievers that
a women's professional sports league could survive, we're feeling
pretty good about ourselves right now. This is our sixth year and
we've hit our expectations. It's a basketball league that just
happens to feature women—that's the way we approach it. The same
kind of care, attention to detail and branding go into the WNBA, if
not more sometimes, because it's still a little bit in the
development phase. We're not preaching only basketball, but women's
basketball: that it's legitimate, that it's exciting, with
sensational teamwork, potentially better than the NBA. If someone
were to ask me my highlight for working for the NBA, it would be
launching the WNBA. I still feel best about that.
What lessons do you think the business world could learn from what
the NBA has done in the last 10 years?
Brand to people. People are human beings. They are motivated by
emotion and by spontaneity. They like surprises and yet they love
...First published in Gain 2.0:
AIGA Journal of Design for the Network Economy.
Who is behind so many of the iconic logos in sports today? Heller catches up with one of the winningest in the field, designer and historian Todd Radom.
Section: Inspiration -
interview, Voice, branding, graphic design
What is it about some brands that makes people want to be their walking billboards? Caplan reflects on the lure of logos and labels.
Section: Inspiration -
Voice, branding, identity design
AIGA has partnered with The Creative Group (TCG) to create “INitiative,” a national program to help in-house designers make a greater impact at their companies, evolve
professionally and connect with a broader network of peers.
Section: Tools and Resources -
INitiative, in-house design
In this interview, popular author and design management
consultant Mark McGuinness discusses the role of the design team leader and the skills team leaders
need to succeed. For current and prospective in-house team managers, Mark
offers suggestions on how to lead design teams by example.
Section: Inspiration -
interview, INitiative, in-house design, professional development, advice
Sr. Graphic DesignerTruveris, Inc
New York, New YorkJune 30 2015
‘Resonance’ porcelain building art
May 18, 2015
nathanshedroff (Nathan Shedroff)
RT @AIGAdesign: .@nathanshedroff's also a collector of #Concorde in-flight food service items ?? http://t.co/PVxnEClHte
30 minutes ago
Eye Candy: Lottie Hughes, artist
Posted by Jill Singer
12 days ago from
KNOCK identity - Self Awareness
B. Martin Pedersen