A LIFELONG LOVE AFFAIR

It’s second nature for me to intellectualize brands. I’ve worked with them all my life: deconstructing meaning, reconstructing a nuanced visual language that answers a series of strategic values aimed at convincing consumers of their worth. You know, all the stuff those of us in design deal with every day. Except, we also know that authentic brands, the ones that connect with us on a visceral, emotional level, cannot be constructed strategically or intellectually. Just like us, they take decades to mature and blossom, until they have tales to tell and experiences to share. Among these authentic brands there are a few that stop you in your tracks with a punch to the belly that leaves you wanting more. Ducati is one of these.

My lifelong love affair with this brand began in the late eighties when I set my eyes upon the thing I would treasure only marginally less than my own two, adorable children. Scratch beneath the obvious chromium plated, boyish lust for speed and there’s so much to fall for.

There’s no push button starter here. Instead, you must reach into the heart of the beast and take time coaxing him, priming him lovingly before you kick-start him into life. Once fired up, a glorious cacophony of guttural growls, whines and gasps unleash his story in an instant. Use your X-ray imagination to slice into his heaving chest and witness an unfathomable carnival of whirring cogs and spiraling spindles, each crafted for one task: to launch you at silly, silly speeds. Fear and vulnerability are fundamentals to Ducati. Not just the rider’s vulnerability, but the machine itself, for each integral element of this metallic monster was sculpted by a modern day, grease-monkey Michelangelo. German, American or Japanese machines are robustly engineered for practicality, longevity, endurance and cost. Italians don’t think like that. They are artists willing to shave every last micrometer off their work to ensure it is as light and as perfectly formed as possible. Fragility is fundamental here too.

Many years ago, one Ducatisti proudly showed me a large dent in his bike’s frame. This, he explained, was where they had to make a little extra room to squeeze the engine in. It’s these man-made imperfections, you see, that give art its value.

The divine yet dangerous dance that marries technology, engineering and art has propelled Ducati to the front of the starting grid and, more importantly, to the top of the list of the world’s most desirable brands. All that heritage, heartache and glory has been condensed into six little letters. Cast your eye across the curves of the silver back that bears its name, then tell me you’ve not fallen.

This article is taken from the recently published book: Brand Stories from Brand Champions devised & curated by david.roth@wpp.com Read more about it here

Join me on Twitter @SaundersHoward and read more of my blogs here:  22and5.com/blog/

  Howard Saunders   May 02, 2018   Uncategorized   0 Comment   Read More

EUROPEAN GRAFFITI!

To scrub or not to scrub, that is the question. If you’re a polite, tax paying shopkeeper from Barcelona, Berlin, Milan or Madrid, you’ll have faced this dilemma one sunny morning when you opened your shutters to reveal freshly painted scrawlings up your pilasters and all around your corbels.

In some parts of Europe our major city centres have become little more than concrete sketchbooks for a kind of push-me pull-you politics, where the alt right, the loony left, the disgruntled and the dispossessed each contribute to a multi-layered cacophony of tangled anger.

I grew up at a time when graffiti belonged to very different artistic genre. In my day, walls were decorated with cartoon genitalia, delightfully captured in mid climax. The masterpieces that illustrated my boyhood were the desperate, pubescent cries of unrequited potency. Toilet cubicles became the private venting booths of the permanently pent up, where intense frescoes of either triangular or cylindrical simplicity were created, presumably as some sort of silent warning to the sex they were yet to encounter. Perhaps these explicit diagrams were a contemporary homage to the Da Vinci cartoons, none of which were that funny anyway, as Peter Cook famously observed.

Sadly, since the advent of free online pornography we’ve witnessed the demise of the cartoonist-gynecologist. Today’s vitriolic hieroglyphs have more of a political bent, and whether leftist or rightist they unite in their distrust of authority and so find harmony working together on the smooth render around an innocent shop-front.

In 2018, the shopkeeper’s dilemma is a tricky one. Should he reach for the bleach and expose himself as a defender of ‘the man’ and the likely retribution that may ensue? Or does he leave the solitary scribble alone and risk it spawning a crawling nest of irate expressionism, each vying for the attention of the passing shoppers?

With global politics in such a state of flux, it’s unlikely our rebellious artists will grow tired and head home for a gin and tonic anytime soon. Like ever increasing business rates, it seems graffiti is another tax our retailers will have to pay for access to play on our tough urban streets.

Join me on Twitter for daily retail rants @retailfuturist and read more of my blogs here:  22and5.com/blog/

  Howard Saunders   Apr 26, 2018   Future, shopping, Uncategorized   0 Comment   Read More

THE HUMANOIDS ARE COMING!

In March 2016, at the South by Southwest festival in Austin Texas, the world was introduced to the slightly awkward Sophia, a humanoid developed by Hong Kong based Hanson Robotics. Just like any new starlet she was forced to do the rounds and subjected to a thousand inane interviews asking if she was happy, in love, hungry, looking for a partner and even who her parents are. Sophia coped pretty well considering…considering she’s not a human and was barely three months old at the time.

Most industry interrogators seemed reasonably impressed with her performance, clearly willing to put her often slow or repetitive responses down to first night nerves. In fact, she was such a hit that the following year she became a legal citizen of Saudi Arabia, a place where perhaps her shortcomings in humanity would be largely unnoticed. I’m happy to report, her career has gone from strength to strength and in November 2017 she was named the United Nations Innovation Champion, the first humanoid ever to be honoured by the UN. A glimpse of the future, perhaps?

But while Sophia was busy charming the press, the geeks back at the lab were already working on her successor. And on a recent trip to San Francisco I was privileged enough to be given a sneak preview of HMN25, (nickname: Harriet) due for release in 2025. After a long briefing and lengthy NDA signing, I was ushered into Harriet’s private room: a refrigerated, dimly lit, fishbowl. I was terrified. It was like meeting some sort of resurrected and rewired Marylyn Monroe or Audrey Hepburn. The room fizzed and bleeped as men in white coats (yes, they really do all wear them) examined complex graphs on a drum kit of screens and laptops.

I leaned in for a more intimate look, transfixed by her flawless complexion. Her perfect pores even have a hint of downy hair on the curve of those cinematic cheek bones. She is incredible.

All of a sudden, her head swivelled. A spookily mellow voice echoed out ‘How can I help you?’ My heart literally stopped. I lurched backwards in shock as the white coats cackled like schoolchildren. Harriet is beyond impressive and, like most powerful women, utterly terrifying.

Developed by CAAN Enterprises in association with Alphabet Inc it’s obvious that Harriet is a huge investment. If they get it right I really do believe we’ll be bumping into her right across the planet. They’re quietly predicting a hundred thousand Harriets in stores, restaurants and banks within the first two years in the US alone.

Whereas Sophia has 62 expressions, facial recognition capabilities and machine learning tools to allow her to hold a stilted conversation about the weather, Harriet is equipped with a whole suite of the latest EI (emotional intelligence) software. Analyzing eye micro-movements, for example, enables her ‘mood awareness’ letting her know how engaged we want to be, and how she should react. Sophia was pre-programmed with a decent menu of responses that are selected by relevance. Harriet, by contrast, is able to improvise in a non-linear way to build engaging conversation…with the appropriate reactions too. I am assured she can look flattered, embarrassed, pensive, mischievous, interested and intrigued, together with some eyebrow raising irony convincing enough to out-Roger Moore, Roger Moore. I understand they also plan to program her to be gently sarcastic too. For the English market, I presume.

The bad news is when Harriet is released she will devastate the retail and hospitality industries overnight. The good news is that we already have an army of Harriets, that are programmed to do everything she does, and much more besides. They’re called humans and they are smart, funny, charming, knowledgeable and, on the whole, pretty damn cheap too.

Yes, I’m afraid everything I wrote from paragraph two onwards was a lie. There is no CAAN Enterprises and no Harriet either. It’s not a complete lie, you understand, as I do know of several companies that are working on exactly the sort of emotionally intelligent software I described.

I’m simply making the point that to be successful in retail and hospitality takes so much more than product knowledge sprinkled with politeness…even though we’d often be happy with just that! No, to be a true salesperson or brand ambassador requires charm, empathy, authenticity, enthusiasm and maybe a bit of sarcasm too. In short, humanity. And it’s these nuanced, innately human traits that are so very hard to emulate digitally.

Don’t look so worried. The future of service is absolutely safe, as long as we understand we are there to be human.

Join me on Twitter @retailfuturist and please read more of my blogs and rants here:  22and5.com/blog/

  Howard Saunders   Apr 03, 2018   face recognition, Future, Retail, sales, technology, Uncategorized   0 Comment   Read More

MEET THE WALL DOGS (How advertising became street art)

At first everything seems to be exactly as you’d expect. New York is plastered with commercial images at every turn: on the sides of buses, in the subway, on cab doors and high up on the sides of buildings. But one advertising hoarding catches your eye. At first glance nothing looks unusual, but as you wait to cross the street you ponder it for a few seconds. Something about it has grabbed your attention and you’re not quite sure why. Perhaps it’s the gentle sheen or the way in which the image fits around the window frames? And then it dawns on you: it’s hand painted.

Sky High Murals has turned the everyday advertising hoarding into an art form. Not just by showcasing their tremendous skills as artists, but also as performers: sky high abseiling artists. Sky High HQs in Williamsburg, a couple of doors down from the Brooklyn Brewery, is where our band of artist-abseilers plan their attack before jumping astride their motorcycles. They are the special forces of the advertising world, an urban gang of artistic Navy Seals in paint spattered hoodies. They call themselves ‘wall dogs’ as they spend their working lives chained to a wall. This is not a job for artists of faint heart or delicate disposition. Walldogs endure long hours, high above the city streets in sub zero New York winters and crazy hot summers. But they love it. It’s clear by their swagger, as they head out to another big project, that they feel like an elite squadron of highly sought after soldiers. On the website their list of things ‘you’ll need to become a walldog’ includes ‘strength, positive attitude’ and a ‘good alarm clock’.

In an age where large scale digital printing has never been easier or cheaper it’s clear that picking up the phone to Sky High Murals must offer a brand some serious added value. The obvious answer is that it brings an extra artistic depth to an otherwise everyday image. A global Nike campaign, for example, will see its images reproduced in thousands of cities across the planet, translated into hundreds of languages, in different formats and across all types of media. And yet, Nike will happily invest in the skills of a small band of abseiling street artists because of the extra dimension it brings to the campaign. Hand painted images add artistic value, of course, and street cred, definitely, but there is a more powerful message that sings out behind every individual brushstroke. Namely, time.

I believe the real message is that our advertising images took extra time, dedication and phenomenal skill to come to your street, so please take time to appreciate them. Our message is not the background noise to your city or yet another thin layer of visual clutter spewed from an uncaring and cynical global corporation. Our images, as well as being art, clearly produced by artists, are integral to the city itself.

Yet again Brooklyn has soaked up contemporary culture and regurgitated it in its own likeness. Just like Brooklyn’s take on fast food it has slowed down the things we take for granted and made them more locally relevant, more considered. Like its take on everyday objects it has transformed the ordinary into the artisan. Like its take on all things retail it attempts to integrate it into the community and the fabric of the city, as opposed to simply landing on it from the great corporate heights of commercialism. Even advertising can be Brooklynized.

This article is an extract from the recently published Brooklynization. Click here for a preview.

Join me on Twitter for daily retail rants @retailfuturist and read more of my blogs here:  22and5.com/blog/

  Howard Saunders   Mar 02, 2018   Brand, city, Retail, Uncategorized   0 Comment   Read More

THE NEW PURITANS

The skies are thick with tweet-shaped arrows, raining onto the heads of our once untouchable heroes. Hollywood, Washington, Westminster, nowhere is safe. Politicians, producers, actors, comedians, academics, business leaders, no one can shelter from the Twitter storm. And beware if you find any glee from these sorry tales. Schadenfreude is a fleeting thrill that probably means you’re next. We’re in charge now. We are the New Puritans.

Those toppled are not just the famous, or figures of authority. Hollywood’s finest are our storytellers. Men and women who stage astronomically expensive tales of how we should live. They are the soothsayers that predict how our world will change and, in turn, our politicians and captains of industry attempt to keep us on course. And comedians are not merely clowns. They are our philosophers, who teach us how to think and how to react to life’s vagaries.

That little black slab of glass in our palms, our Great Overlord of Data (GOD) has given us a voice, and oh boy, are we putting it to work. Our vaguest thoughts and randomly vitriolic reactions are instantly published, and carry equal weight and as much momentum as mainstream media’s more traditional commentary. Reactionary homemade Youtube rants, for example, will garner the approval of many millions, whilst The Press struggles to fathom how to pay for content. The battle is won.

One thing is for sure: this is no blip. Social media is relentless. It doesn’t sleep at night and it will interrogate its victims with extraordinary fervor, scratching deep into their digital footprints, reaching back decades if necessary, until it finds something. Stay clean people. Yes, the age that brought us all free porn on tap has turned us into prudes. Until we’re alone, that is.

Once the bolus of lard, that is Weinstein, was flushed into the sewer the torrent of accusation it unleashed has been shocking. The drip, drip, drip of offense taking quickly turned into a downpour so strong that most of us now walk around with our jaws permanently open in outrage. You may tut loudly at the irrelevance of the sacrifice of say, the cartoon-sexy darts and F1 grid girls, but you wait. This is a cultural shift and its effects will become apparent very soon indeed:

Advertising will swiftly tone down the sexist imagery, that’s plain enough. But once this barrier is broken the flood of offence will surely follow. Expect every classic stereotype along with what and why we consume anything to be vigorously challenged at every turn: why are the old often portrayed as frail? And why are they so often white? Why are athletes so often depicted as black? Why are babies shown only with their mothers? Why are those ridiculed as bewildered and hopeless always men? Why should we be told what to aspire to? Surely it can’t be right to advertise provocative images of luxury products that will offend those that can barely afford to eat? And fast food advertising is clearly an affront to our investment in the NHS. When does a foreign holiday become cultural appropriation? And why on earth is advertising allowed for gas guzzling cars? Or high sugar drinks?

Oh yes, sugar taxes are a-coming. For very sound reasons, fizzy drinks will feel the heat first, but wait until you find out what foodstuffs governments are chomping at the bit to tax in the name of our health: yoghurt, all cooking sauces, ketchup, cereals, iced tea, soups, canned fruit, baked beans, and inevitably, wine. Needless to say, this will be on top of VAT and alcohol duty. Salt taxes will swiftly bring up the rear to create the perfect pincer movement. And why wouldn’t they, when the consensus is chanting that something must be done?

Taxes will become bespoke soon too. Just as parking fees spike to punish diesel owners, we can expect more of our choices to be taxed in line with how ‘bad’ they are considered. After all, your phone knows an awful lot more about you than just what car you drive. Oh how we’ll reminisce over the anonymity of cash.

In fashion, expect to see hemlines lowering by the day, and anything revealing or asymmetric to be ousted by long lines of buttons and tailoring of religious symmetry. Colours will shift towards the more subdued and sombre with bright, acrylic colours banished for a decade.

For some strange reason we have a few hypocritical loopholes in our culture that surely must be plugged soon. Rap and pop will have to mind its language in our new era of respect, so we can certainly look forward to the demise of the N and B words over the next couple of years.

And now that we have been fully educated as to the disastrous effects of plastic in the oceans, supermarkets can surely no longer brazenly charge for a bag they’ve just packed with plastic shaped prawn platters and thick plastic avocado holders. Expect to see much more loose product when we go shopping.

In design and architecture, whilst we’re unlikely to see the return of piano leg covers we are perfectly positioned for an aesthetic age of modesty. The trend for ‘conspicuous consumption’ in the form of exposed pipes and conduits, which has become so popular as an expression of function, will probably be seen as somewhat brash and we’ll return to shrouded, concealed and hidden services and mechanics. And as our attitude to car ownership becomes more hardline, cars themselves, electric included, will become demure to the point of embarrassment.

Finally, and perhaps most alarmingly, we should prepare ourselves for the insidious march of legislation and censorship across social media, Facebook and Youtube specifically. Free speech is a lovely idea but it’s simply not practical when the public just can’t be trusted.

Remember when tolerance and free speech were the foundations of our society? Yes, so do I.

Join me on Twitter for daily retail rants @retailfuturist and read more of my blogs here:  22and5.com/blog/

  Howard Saunders   Feb 05, 2018   advertising, city, Future, Uncategorized   0 Comment   Read More
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