My good friend Matt who writes the web curios newsletter introduced me to Yaeji who raps and makes sublime ‘ Fingers Inc. – Washing Machine-esque’ deep house. It’s been my soundtrack for the week. More on her Soundcloud.
Tile’s first corporate marketing campaign is a wonderful piece of storytelling.
The Faroe Islands have put together a great content driven campaign to attract tourists.
As a Mac user, I have only doubted the platform once. The Amiga’s operating system didn’t have anything over the Mac, but its handling of graphic intensive tasks looked like the future. That was until Commodore fumbled the future even worse than Apple under John Sculley, Michael Spindler and Gil Amelio. Here is the former UK managing director’s perspective on it.
In 1973, I invented a ‘girly drink’ called Baileys – I looked down at the paper and there was an article about a golf tournament. The Open was being played at Royal Lytham. The headline mentioned R&A, golf’s governing body, and I instantly blurted “How about two initials? How do you like the sound of R&A Bailey? Think golf and the R&A.” “Great” he said, “I love it.” And that was that and I went back to reading the paper.
This month has been a vintage month for cinema in London. The Villainess is a Korean film built around actress Kim Ok-bin. It is a vengeance film and there will be comparisons to the likes of Oldboy. There are also hints of Nikita and Kill Bill (which in turn raided Asian cinema mercilessly).
It is the most ‘kinetic’ film that I have seen in a long time with visceral action scenes, fast editing and amazing steadicam work. The plot has a number of twists and turns in it.
Get out, watch it (it has been running at the Prince Charles cinema).
KFC China launched a virgin mojito drink with a 1960s feel to the ad. Its a bit of an odd product for KFC, even in China particularly with its positioning against drinking. Quite how the product development process and consumer insight worked to produce it is beyond me. Beautifully produced advert
Great documentary on Sterns Music (of Sterns Edits fame)
High Snobriety have done their first documentary. It looks like the kind of thing I would expect from Vice. Given High Snobriety’s streetwear literate audience I was surprised at how ‘basic’ it approaches the topic. Korean’s historic fashion industry, its association with replicas since the days of Daper Dan and the retail infrastructure stifled by chaebols are issues. But streetwear couldn’t have existed if it wasn’t for the Korean textile industry – Daper Dan connection. The market in Korea reminded me very much of the ‘snide’ garments that were popular in the UK scene through the 1980s and 1990s.
On a secondary note the size of the YouTube video embed was restricted to 560 pixels wide. Not sure why
The recent collaboration between New York’s Supreme and Louis Vuitton seems like a natural fit. The reality is that luxury and streetwear have been dancing around each other for a good while.
Snide started it all
Snide was slang in the 1980s for fake or counterfeit. Hip Hop and the Caribbean-influenced Buffalo movement in the UK each used counterfeit and real luxury in their own way.
Daniel Day, better known as Dapper Dan was a was a Harlem-based craftsman and business man who dressed a lot of New York based artists from the golden age of hip hop. Dan’s first hip hop client was LL Cool J back in 1985. Dan’s style was luxe, the finest silks and furs were standard issue – think Puff Daddy before Puff Daddy. They went for customised outfits with their branding on which Dan provided. As the scene took off Dan incorporated suit lining material (which replicated the likes of the Fendi, Bally or MCM brands) and Gucci or Louis Vuitton branded vinyl to make one-off products.
He customised trainers, clothing and even car interiors. Dan’s own Jeep Wrangler had an interior retrimmed in MCM branded vinyl.
Much of the luxury branding Dan used was coming in from Korean factories which at that time supplied the fake trade. Now similar products would have come out of China. I took a trip to the South China City complex in 2010 where fabric suppliers would offer Louis Vuitton labels and Supreme tags side-by-side. I can only imagine that the Korean suppliers of the 1980s had similar markets in textile industry centres like Deagu. Outside of hip hop, Dan was the go-to tailor for all the hustlers in Harlem – so you can see how he could have got the hook-up into the counterfeit suppliers.
At the time hip hop culture was not in a relationship with brands who where concerned about how it might affect them. LL Cool J was the first artist to get a deal with Le Coq Sportif. Run DMC got a long term deal with Adidas after their single ‘My Adidas’ became successful. But these were the exceptions to the rule. So with Dan’s help they co-opted the brands to try and demonstrate success.
Over in the UK, the Buffalo collective of stylists, artists and photographers including Ray Petri, Jamie Morgan, Barry Kamen (who modelled for Petri), Mark Lebon and Cameron McVey. Buffalo was known as an attitude, which threw contrasting styles together and filtered into fashion shoots and influenced the collections of major designers including Yohji Yamamoto, Jean Paul Gaultier and Comme des Garçons. Even if you didn’t know what Buffalo was, you would have recognised the aesthetic from the likes of i-D, Blitz, New Musical Express and Arena.
Buffalo mixed Armani jackets with Doctor Martens work boots, or a Puma bobble hat. Petri used music to sound track his process and this was pretty similar to the kind of stuff that influenced street wear pioneer Shawn Stussy over in California. Motown and hip-hop to dub reggae was the sound which explains the Feeling Irie t-shirts created by the white surfboard maker.
If you thought Bros looked cool in their MA-1 bomber jackets and stone washed Levi’s 501 jeans – there was a direct stylistic line back to Buffalo – rehabilitating the items from their link to skinhead culture.
Buffalo permeated into the street style of the decade; influencing the likes of Soul II Soul. Meanwhile over in Bristol The Wild Bunch were yet to morph into Massive Attack. Two members headed to London; producer Nelle Hooper and Miles Johnson (aka DJ Milo who went on to work in New York and Japan). A shoot was organised by i-D magazine and they turned up wearing their street clothes alongside DJ Dave Dorrell and model / stylist Barnsley. At the time, it was considered to be ‘very Buffalo’ in feel, but Dave Dorrell admitted in an interview that they had just came as they were. Dorrell wore his t-shirt as ‘advertising’ for it.
The Hermes t-shirt and belt were snide, the Chanel Number 5 t-shirt sported by Dave Dorrell were being knocked out by a group of friends. Young people in London co-opted brands just like the hip-hop artists heading to Dapper Dan’s in Harlem.
Homage
From 1980, surfer Shawn Stussy had been growing an clothing empire of what we would now recognise as streetwear. Stussy had originally came up with the t-shirts as an adjunct and advertisement of his main business – selling surfboards. But the clothing hit emerging culture: skating, punk, hip-hop and took on a life of its own. It went global through Stussy’s ‘tribe’ of friends that he made along the way.
Stussy is known for his eclectic influences and mixing media: old photographs alongside his own typography. In a way that was unheard of in brand circles at the time, Stussy manifested his brands in lots of different ways. The back to back SS logo inside a circle was a straight rip from Chanel; the repeating logo motif that appeared in other designs was a nod to MCM and Louis Vuitton.
All of this went into the cultural melting pot of world cities like Tokyo, New York, London and Los Angeles. Stussy went on to do collaborations from a specially designed party t-shirt for i-D magazine’s birthday party to the cover art of Malcolm Maclaren records. Collaboration with mundane and high-end brands is backed into streetwear’s DNA.
(Neighborhood x Coke Zero was something I was involved with during my time in Hong Kong.)
Japan with its engrained sense of quality and wabisabi took the Buffalo mix-and-match approach to the next level. Japan’s own streetwear labels like Visivim, Neighborhood, W-Taps, The Real McCoy and A Bathing Ape (BAPE) took streetwear product quality, exclusivity and price points into luxury brand territory. That didn’t stop BAPE from making a snide versions of various Rolex models under the ‘Bapex’ brand.
Some two decades later Supreme came up in New York. The brand takes design appropriation and homage to a new level. Every piece Supreme seems to do is a reference to something else. The famous box logo rips from Barbara Kruger’s piece ‘I shop therefore I am’. From taking a snide swipe at consumerism to ending up in the belly of the beast took Supreme a relatively short time. This heritage of appropriation didn’t stop Supreme from using legal means against people it felt had appropriated its ‘look’.
In an ironic twist of fate, Supreme was sued by Louis Vuitton in 2000 and yet the 2017 collaboration looks exceptionally similar to the offending items…
North East Asia’s fast growing economies had been borne out of learning from developed market expertise, state directed focus on exports and ruthless weeding out of weaker businesses. Intellectual property was cast aside at various points. Korea, Hong Kong, Japan and China went from making knock-off products to displacing Europe and the US as the leading luxury markets.
Asian luxury consumers, particularly those second generation rich in China were younger than the typical customer luxury brands cater too. These consumers bought product as they travelled taking in style influences as they went. First from nearby markets like Japan, Hong Kong and Singapore and then Korea. This drew from a melange of hip hop, streetwear, Buffalo styling and contemporary western designers like Vivienne Westwood – as well as the more matronly styles of the traditional European luxury houses.
The luxury brands had to adapt. They brought in new designers who themselves were drawing from similar influences. These designers also collaborated with sportswear brands like Alexander McQueen and Puma or Jeremy Scott and Raf Simons for Adidas.
Luxury brands got seriously into new product categories making luxe versions of training shoes that could be charitably called a homage to the like of Nike’s Air Force 1.
Bringing things full circle
As the supreme_copies Instagram account notes the collaboration with Supreme and Louis Vuitton brings things full circle with the pieces having a nod to Dapper Dan’s custom work as well as Supreme’s own ‘homage’. Luxury brand MCM (Michael Cromer München), which Dan borrowed from extensively in the 1980s was restructured in 1997 with shops and brand being sold separately. The brand was eventually acquired eight years later by the Korean Sungjoo Group. Korea now has its own fast developing luxury fashion and cosmetics brand industry. Textile city Deagu which was the likely source of Dapper Dan’s fabric is now a fashion and luxury business hub in its own right. The Korean entertainment industry is a trend setter throughout Asia. For instance, Hallyu drama My Love From A Star drove breakout sales for the Jimmy Choo ‘Abel’ shoe.
The only question I still have is why did a move like Louis Vuitton’s collaboration with Supreme take so long? The luxury brands spend a lot on customer insight, they were using social listening far longer than they had been on social media. They know that a customer wearing their jacket could have a Visivim backpack slung over the shoulder and a pair of Adidas Stan Smiths on their feet. Customers mix-and-match Buffalo style for all but the most formal occasions. For streetwear brands, collaboration is in their DNA and they get an additional leg-up in the quality stakes.
A few years ago, I was involved in a project that used QRcodes on OOH (out of home) activity for a retail launch. QRcode scanners varied in performance. In addition you had to think about:
Contrast – did the QRcode stand out?
Relative aspect – would it be too big or too small for the audience to scan?
In the UK, QRcodes are seen by marketers as old hat (but then they didn’t ‘get’ them in the same way that Asia did). Other people don’t really understand how to use them.
Above is the picture of the local cafe around the corner from my office. The QRcode is too disjointed and blurred to read. I asked a member of staff about it and he told me that he thought it was some type of logo…
Here is a copy of the slides that I pull together (when I have the time) each month of publicly available data that would be of use.
This month I have some new data around search which came from disclosures at Google I/O in terms of search volumes. We talk about social as if search has gone out of style but its growth is still staggering, driven by mobile device penetration.
Looking at global search revenue over time, Google’s monopoly position becomes immediately apparent.
More details about me here.
Full presentation available for download as a PDF on Slideshare
The Korean Cultural Centre has a fortnightly screening of films. The latest one that I went to was Granny’s Got Talent or 헬머니 (pronounced Helmeoni – a literal translation would be Hell Granny).
The premise is built around an old woman who is released from jail. She lost contact with her eldest son and tries to build that connection whilst living with her youngest son. The eldest son is a salary man with an over-bearing set of rich in-laws. The youngest son an inveterate gambler. To bail the youngest son out of trouble she participates in a Korean reality TV show based around cursing and chaos ensues. Veteran Korean actress carries off the role of Hell Granny with aplomb. I laughed so hard at some points I ended up crying.
The raucous bawdy humour works despite subtitles and has some amazing comedic set-pieces. But this rudeness is only the top layer in the story, where the viewer gets a glimpse at the hard life a strong woman had to live in a fast-developing South Korea.
The film works on a number of levels touching a number of distinctly Korean themes including the obsession with hierarchy, its turbulent political past, the corrupt aspects of chaebols and the love of family (no matter how dysfunctional).
Mobile World Congress (or in industry parlance MWC 2016) is where the telecoms industry goes to set out its stand. It has gradually changed from being a conference where the big issues of the day are hashed out, to more of a trade show a la CES or CeBIT.
From a brand point of view, it was of interest to me for two reasons:
It offers largely culture neutral brand discussions, many of which occur online
I have an interest, having worked on a few mobile brands during my agency career (Palm, Ericsson, Verizon Wireless, Samsung, Qualcomm, Telenor Myanmar and Huawei)
I pulled this slide ware together for a talk I am giving at an internal event at an agency.
The first data that I have put together is looking at the amount of mentions that occurred regardless of the channel. It is a relatively easy data point to pull out of monitoring systems very quickly.
Obviously the value of mentions will depend on how many people view them, what is the context that the mention appears in. What was the content around it? Who said it, are they expert or trustworthy? So looking purely at the number of mentions would be crude, offering little value apart from nice PowerPoint slides.
Breaking the mentions down by platform gives an idea of relative marketing communications competencies of brands. So looking at Huawei and Xiaomi shows contrasting approach to building talkability and conversations. Huawei focuses on traditional media channels where as Xiaomi focuses on social.
By comparison LG and Samsung seem to have a more holistic approach.
I then moved on beyond the mention data to try and look at relative authority of whoever mentioned the brand and looking at the relative distribution by brand and channel.
I had done some initial analysis on the event in general here. These numbers showed how well brands had built high authority communities and the discussions around them.
What was quite surprising was the polarised authority of mainstream media sources. Newswire syndication had destroyed authority of many online traditional media channels. A second cross brand observation was the relatively low authority of the blogosphere.
These slides only start to delve into understanding talkability and are time consuming to create in comparison to looking at raw mention numbers, but offer superior strategic insight for both earned and paid media approaches for future launches.
I did some broad profiling of online conversations around MWC here.
Where do I start with a book title this inflammatory? I went to the trouble of reading the book twice before starting this review. In the end, the only conclusion I can come to is ‘Policy Faultlines in East Asia’ doesn’t have the same ring to it. Holsag marshals a huge range of facts and opinions within the book. If you want to have a basic understanding of modern Chinese state, the book is a good primer.
He provides insight into the Chinese Communist’s Party’s policy cornerstone of territory maximisation. They were happy to put off their agenda for tactical advantage, but never gave up on their goals. China’s neighbours have similar inflexible policy goals. There is is no win-win solution.
Time has brought increased pressures. A fight for resources to fuel further growth and water rights conflicts. Relative declines in economic growth also fuels nationalistic politics. In China, nationalistic sentiments in citizens grew with prosperity. It has become convenient for politicians to tap into nationalistic sentiments.
Holsag doesn’t attempt to provide a solution for de-escalation of these edges. His book only provides a macro-level understanding of the countries involved. For the reader who wants to understand Asia, Holsag’s book is an excellent primer. More on China’s Coming War With Asia by Jonathan Holsag.
This year Edelman talks about the Grand Illusion, that everyday people will follow the global elites. Income inequality and a growing realisation that the future won’t get better has gradually changed perceptions. It is yet another data point that signals the death of the American Dream and according to Citi the end of Pax Americana.
It is also worthwhile looking at BAV Consulting research on ‘the best countries in the world’ to see how country brand equity are now perceived.
One of the best kept secrets in London is the free sessions put on by the Korean Cultural Centre just off Trafalgar Square. I caught the last film of the year to be shown at the centre. No blood No tears is a Korean heist story. Gyung-Sun is a former safe-cracker who has reformed and become a taxi driver.
Her husband is in the wind and left behind a lot of gambling debts that local loan sharks try to collect on. She doesn’t know where her child is and to cap it all Gyung-Sun has a difficult relationship with the police and her short temper.
A chance car accident brings her into contact with a petty gangsters moll and a plot ensues to rob the dog fighting arena where illegal gambling takes place. What ensues is a film that is part comedy, part Thelma & Louise and a healthy dose of ultra-violence that would be familiar to Hong Kong cinema and Tarantino fans.
Over the next few weeks I will be getting my fix of Korean cinema at the London Korean Film Festival. I can recommend from personal experience:
