TSYFRA NA K0R0BKE
Introduction.
Communication theory plays a fundamental role in contemporary brand building and design development. A brand is not only a visual or commercial entity, but also a complex communicative system that produces meanings, shapes identities, and builds relationships with its audiences. Every design decision, narrative choice, and communication channel functions as a message that influences how a brand is perceived, interpreted, and experienced. Therefore, applying communication theory is essential for creating brands that are coherent, persuasive, and socially meaningful.
Theories of communication provide structured frameworks for understanding how people process information, construct meaning, form attitudes, and identify with groups. For example, Social Identity Theory explains how individuals derive a sense of self from group membership, which is particularly important in branding contexts that address issues of inclusion, belonging, and stigma. Closely related, Optimal Distinctiveness Theory highlights the tension between the need to belong and the need to be unique. This is the balance that strong brands should strive for.
Persuasion theories are equally important in brand communication. Classical rhetoric, including Aristotle’s five canons, offers tools for structuring messages and adapting them to specific audiences. More contemporary models, such as the Elaboration Likelihood Model, explain how different audiences process messages either through careful cognitive evaluation or through emotional and symbolic cues. This distinction is especially relevant when designing communication for diverse audiences with varying levels of involvement and expertise.
Narrative-based approaches further expand the understanding of branding as a meaning-making process. The Narrative Paradigm and Symbolic Convergence Theory emphasize the power of storytelling and shared narratives in building emotional connection, trust, and community around a brand. In the digital environment, these principles are extended through digital rhetoric, where interface design, visuals, and interactivity become persuasive tools alongside language.
This project applies communication theories as analytical and practical instruments for brand development and design. By grounding branding decisions in established communication models, the project demonstrates how theory can be translated into concrete strategies that shape identity, guide perception, and foster long-term relationships between a brand and its audiences.
Presentation for a general audience.
Problem: personal story.
The story «TSYFRA NA K0R0BKE» was born from the personal pain of its founder. She wears a size 43 shoe and cannot find beautiful, feminine footwear in her size.
«My personal hell is searching for feminine shoes in current styles. All my attempts end with unisex sneakers or men’s boots. This pain shaped the idea for my future brand. I want to create a space where girls like me can finally stop feeling ’non-standard.’»
The established sizing system, where size 42 conventionally marks the boundary between «women’s» and «men’s» shoes, does not reflect the reality of women’s anthropometric data.
This creates a situation where a woman with a shoe size of 41+ finds herself labeled as «non-standard» and deprived of the right to express femininity through her shoes. Shoe size becomes a false marker of gender, which is the core problem the brand aims to solve.
Brand philosophy and values.
The philosophy is simple: shoe size should not dictate lifestyle. Every woman, regardless of her parameters, deserves to feel feminine and look the way she wants.
Functional Dimension The solution to the problem is that large-size shoes exist, they are beautiful, and you can wear them all day without discomfort. A clear size chart, detailed reviews, and consultations. Freedom from the years-long stress of searching.
Social Dimension You are not alone. You are part of a community of strong and stylish women.
Mental Dimension Your size is not «non-standard» it’s your feature. You are the new norm. You should not limit yourself because of a number on a box. It is your right to wear what you like.
Spiritual Dimension The mission is to remove the stigma around «non-standard» body parameters not only in fashion but also in society’s consciousness.
Target Audience.
Woman of the brand wants to look fresh and stylish, experiment with her look, and not to be limited in her choice of footwear due to height and long feet.
She is looking for comfortable shoes with an anatomically correct shape that meets orthopedic requirements to prevent back pain and leg fatigue.
Prototype.
In the development of the first shoe model, principles for selecting footwear for long feet, developed by podiatrists, were used:
- The shoe must be well secured to avoid overstraining the foot muscles. - The sole must be flexible. - The shoe has a heel that securely holds the foot in place. - The heel height is a maximum of 2–5 cm. - The last follows the anatomy of the foot.
The warm «buttercream» color has become the new universal staple, while the wide toe box provides anatomical freedom, creating a fashionable architectural silhouette. The sculpted heel adds an artistic touch, transforming the shoe into a design object and completing the look of feminine strength, where elegance goes hand in hand with practicality.
Presentation for a professional audience.
Analytics.
The Russian footwear market demonstrates stable growth and high investment potential. At the end of 2024, the total revenue of the footwear and leather goods market reached 234.7 billion rubles, showing a 12,7% increase compared to the previous year. Investments in the industry grew at an accelerated pace (by more than 80%) indicating high confidence among market participants in the segment’s further development.
However, a pronounced structural imbalance persists within the market between mass supply and the actual needs of consumers. One of the most underserved niches remains large-size footwear for women. Demographic and anthropometric changes are creating long-term demand: over the past 40 years, the average foot size of women has increased by approximately two sizes, and average height has increased by almost 12 cm over a century. These changes are irreversible and are already directly impacting demand structure.
The size of the global market for large-size footwear.
According to various estimates, about 20% of female buyers face the need to purchase non-standard sizes (smaller than 35 or larger than 41). However, the current offline and online retail offerings are not adapted to this demand. In most chains, large sizes are offered sporadically, are often out of stock, and are rarely updated in terms of design.
Thus, large-size footwear is not a narrow niche but a substantial market segment with a systemic supply deficit. For a specialized brand, this represents an opportunity to establish a stable position, build a loyal audience, and operate in an area of reduced competitive density.
The percentage distribution of purchases for different shoe sizes.
Results of Quantitative Research.
The conclusions of the market analysis are confirmed by data from a quantitative survey conducted by our company among the target audience. The survey collected responses from 30 women with larger feet. 76% of them are from Moscow, with the rest from Nizhny Novgorod, Tula, Saratov, and Ulyanovsk. The average age is 18-24 years. The research demonstrates that the problem is not occasional but widespread. 86,7% of those surveyed directly pointed to the lack of large sizes as the key problem when buying shoes.
Pain and issues when buying shoes.
In-depth interviews were also conducted. Beyond the physical shortage of sizes, respondents highlighted systemic qualitative shortcomings in the market offering: large-size footwear is perceived as unfashionable, visually heavy, often more expensive than equivalent standard-size models, and available in an extremely limited range. Even when the required size is theoretically available, it is frequently out of stock or sells out quickly.
Thus, this is not merely an inconvenience but a chronic, unmet demand that creates emotional tension and persistent frustration among consumers. This situation presents favorable conditions for a brand capable of offering a systemic, rather than a compromise-based, solution.
Naming and Design.
In the large-size footwear segment, visual communication and naming play a critically important role. Analysis of the competitive field shows that most existing brands use heavy, bold fonts and straightforward names that further emphasize the «specialness» of the size. This is often accompanied by an ironic or semi-jocular tone (for example, through the use of words like Big, Large, etc.), which in practice reinforces stigmatization and alienates part of the audience.
Competitor Brand Logos
The brand «TSYFRA NA K0R0BKE» consciously chooses a different strategy. Our naming and design are based on the principle that size is merely a numerical parameter that does not define a person’s worth, style, or identity. A number in itself is neutral; only the meaning we assign to it matters.
The brand’s visual language is built on lightness, simplicity, and restraint. It does not emphasize size, exploit stereotypes, or support established market clichés. This approach allows us to speak with the audience as equals, creating a sense of normality and aesthetic dignity, rather than compensation or a «special solution.» As a result, the «TSYFRA NA K0R0BKE» brand is positioned not as a niche project «for a problem» but as a modern footwear brand organically integrated into the broader trend of inclusivity, conscious consumption, and respect for diversity in body parameters.
Digital Rhetoric.
The brand’s official website is the central communication hub, where the first and most lasting impression of the company is formed. Unlike social media, here the brand has complete control over the environment and builds its argumentation sequentially and in depth. Every element of the site (from its structure to the product description text) acts as a tool of persuasion and influences the buyer’s decision.
Like any digital communication, the website relies on the principles of rhetoric, adapted for the online format. Its task is not only to inform but also to guide the user: to explain the product’s value, address doubts, and build trust. The classical goal of rhetoric (influencing the audience) is realized in the digital environment through interface, visual language, and navigation logic.
Example of a website homepage.
Social media have long evolved beyond mere communication platforms into full-fledged channels for influencing audiences. For a large-size footwear brand, this is particularly important: it’s where trust is built, support is fostered, and the feeling that the brand truly understands its customers is cultivated. Every piece of content carries an element of persuasion and builds a dialogue with the audience.
In essence, digital communication on social media is a modern extension of classical rhetorical principles, adapted to the online environment. The goal remains unchanged: to convey the value of the product and influence brand perception. Only the forms and tools have changed instead of spoken words, visuals, short texts, videos, and interactive elements are now used.
A page and an example of an Instagram post. * «Meta Platforms Inc. is recognized as an extremist organization in the territory of the Russian Federation.»
Tone of voice.
«TSYFRA NA K0R0BKE» is a brand with a social mission, but without social pathos. Its philosophy is built on the belief that real change begins not with manifestos, but with a subtle shift in perspective. Therefore, its communication speaks the language of gentle, intelligent irony. Instead of focusing on «non-standard» sizing, the tone lightly and with a smile demonstrates that this very «non-standard» is a beautiful norm. The narrative isn’t built around the problem of a large size, but around the freedom, style, and confidence that become accessible when the number on the box ceases to be a tragedy. The brand remembers the pain of the search but chooses to speak about the joy of the find. This irony is a tool for relieving tension and a way to state: it’s worth approaching oneself and one’s peculiarities with lightness and kind humor. Because a large size is not a problem. It’s simply your size.
Application of Communication Theory in the Brand Presentations.
The two brand presentations of «TSYFRA NA K0R0BKE», created for a general and a professional audience, were developed using communication and persuasion theories studied during the course. These theories influenced the structure, tone, and persuasive strategies of each presentation, allowing the brand to adapt its message to different levels of audience involvement.
Social Identity Theory played a key role in addressing the stigma surrounding large shoe sizes. In the presentation for the general audience, women with larger feet are reframed as a legitimate and empowered group rather than a «non-standard» one. Through social creativity, the brand transforms a potentially negative characteristic into a source of identity and strength. This approach is supported by Optimal Distinctiveness Theory, as the audience is positioned as both unique and fully belonging within the wider group of women.
The Narrative Paradigm strongly shaped the presentation for the general audience. Instead of relying on factual arguments, the brand begins with the founder’s personal story, which creates emotional engagement and narrative fidelity. This storytelling strategy also reflects principles of Symbolic Convergence Theory, as shared experiences of frustration and empowerment help build a collective sense of identity between the brand and its audience.
The Elaboration Likelihood Model explains the different persuasive routes used in the two presentations. The general audience presentation primarily relies on the peripheral route, using emotional appeal, values, and aesthetics. In contrast, the professional presentation activates the central route by providing market analytics, statistics, and research data, appealing to a more motivated and cognitively engaged audience.
Classical rhetoric also informed the structure of both presentations. The selection and organization of arguments, as well as stylistic choices, were adapted to audience expectations. In the digital context, principles of digital rhetoric were applied through website structure, visual language, and social media communication. These channels support dialogic interaction, trust-building, and long-term relationship management rather than one-way persuasion.
Conclusion.
In conclusion, the brand presentations demonstrate a practical application of communication theory. By aligning narrative, identity, and persuasive strategies with audience characteristics, «TSYFRA NA K0R0BKE» effectively communicates its values while positioning itself as both emotionally resonant and professionally credible.
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