Culture was the central point of my reason to start this blog. I thought that there was so much to explore in Asian culture to try and understand the future.
Initially my interest was focused very much on Japan and Hong Kong. It’s ironic that before the Japanese government’s ‘Cool Japan’ initiative there was much more content out there about what was happening in Japan. Great and really missed publications like the Japan Trends blog and Ping magazine.
Hong Kong’s film industry had past its peak in the mid 1990s, but was still doing interesting stuff and the city was a great place to synthesise both eastern and western ideas to make them its own. Hong Kong because its so densely populated has served as a laboratory of sorts for the mobile industry.
Way before there was Uber Eats or Food Panda, Hong Kongers would send their order over WhatsApp before going over to pay for and pick up their food. Even my local McDonalds used to have a WhatsApp number that they gave out to regular customers. All of this worked because Hong Kong was a higher trust society than the UK or China. In many respects in terms of trust, its more like Japan.
Korea quickly became a country of interest as I caught the ‘Korean wave’ or hallyu on its way up. I also have discussed Chinese culture and how it has synthesised other cultures.
More recently, aspect of Chinese culture that I have covered has taken a darker turn due to a number of factors.
By the time Media Virus came out, Douglas Rushkoff was a public intellectual with the same kind of cultural impact of Simon Sinek back in the 1990s and early 2000s. I went back to read Media Virus for the first time in decades. The book design feels very dot com, with neon colour details a la early Wired magazine and discordant font use that owed a bit to Neville Brody. There was even the obligatory exclamation mark that said early web like Yahoo!.
Media Virus looked at how stories and ideas became mobile across media and reaching people. Despite its cyberpunk and counterculture styling it touched online very lightly with one chapter looking at how things spread on the Usenet as a glorified bulletin board. About the time Rushkoff was writing the Mosaic web browser had been released and Netscape Navigator was about get published. Rushkoff didn’t address the more prevalent ‘big three’ information providers at the time: CompuServe, Prodigy and America Online.
The book focused much more television and the revolution that video camcorders provided to media production. Power that would now sit in the average smartphone. Rushkoff also covered ‘zines’ self published print publications, ad jamming – defacing out of home billboards to make a statement and even protests. The protests felt very much of the now, particularly with the Stop Oil and Extinction Rebellion happenings which gain little support from the general public affected.
With hindsight what comes through Media Virus was that is was less about the future of media and mass media past. Media Virus documented the last hurrah of 1960s counter-culture that probably wasn’t even a youth-led movement but driven by middle-aged intelligentsia that kept doing what it had been doing for decades. It borrowed ‘trade dress’ from cyberpunk, rave culture and gay activism.
The media viri of the book title were largely about transgression, or rejection of norms, which was the negative space of youth culture at that time and can be seen in advertising until the financial crisis of 2008.
Reading about gay community activism by ACT UP around the treatment of AIDS was as much about demanding patient-centricity from healthcare providers and pharmaceutical companies, as it was about the disease. Decades later and the pharmaceutical industry is still on a journey to patient-centricity. There is still price gouging for different medications by pharmaceutical companies and commercial entities between the manufacturer and the health system.
Because of the extraordinary measures that the activists had taken, every network news show carried pictures of the event and then took the time to explain the views of these AIDS “terrorists.”
Meanwhile the opportunity to feed back through the media radically changed the “personas with AIDS” self-image. Refusing to be called AIDS “victims” or “sufferers,” PWAs experienced the discovery of their own iterative potential as a turning point in their lives.
Rushkoff like media thinkers up to the late 2000s believed that the media was a threat to authoritarian regimes rather than open to being co-opted by them:
This is why the Ayatollah chose to react to Salman Rushdie’s Satanic Verses with an assassination edict. A state based in fundamentalist order cannot survive in the data ocean. Ironically, if New York’s Seven Days magazine is correct, Rushdie’s whole saga turns out to be the result of an extremely successful (so to speak) media virus. Rushdie’s agent, the magazine suggests , concerned about initially poor sales, himself sent the Ayatollah a copy of the book, hoping to stir something up. Needless to say, the virus worked.
Media Virus is an artefact of our past, convinced that it is a blueprint for our future. The present reality is much more banal and dystopian than Rushkoff could have realised back in 1994 when Media Virus was published.
This post on the end of culture as inspired by a presentation. Pip Bingemann of Springboards.ai presented at Cannes in Cairns – a marketing festival for Australians who wouldn’t be able to go to the Cannes Festival of Advertising. Pip’s presentation touched with things I had seen about the end of culture and had some interesting points within it. I didn’t agree with a lot of Pip said, some of it was down to nuance, but appreciated the journey that it took.
I have built the main headers around Pip’s slides, strap in for the end of culture.
What’s wrong with advertising?
Bingemann’s presentation as in praise of the disruption that (generative) AI was bringing. The thesis he put forward was that ‘machines’ had already messed up the advertising and media industries.
Advertising became self-service in nature.
There had been a move in online media to relevance over distinctiveness
We became slaves to numbers
Let’s look at those elements first.
Advertising became self-service in nature
Like the technological disruption of banking in the past with:
Postal banking
Automatic teller machines
Telephone banking
Online banking
Meta and Google’s advertising platform democratised media buying. Years ago a guy I have lost touch with used to be a manager at a McDonald’s branch in the west end of London.
Before cellphones became commonplace he had a side hustle. He used the restaurant telephone to phone up the newspapers, to book small ads. The newspapers had advertising sales teams, that he would speak to. He did it once for a friend and then word got around. Eventually, he was calling for businesses across Soho. Premium line suppliers, porn publishers and adult mail order catalogue companies. Eventually they needed the ads to be designed. This work was done alongside creating porn DVD covers and other marketing material.
He built a small successful agency off the back of it based in Soho. The agency remained in Soho until it was priced out by the fund management firms who moved in. Lots of other small businesses did the same for their plumbing business or hair salon. Their adverts would run in local newspapers across the country.
For more sophisticated ads like large print ads, television or cinema advertising; help was needed. This help got the ad ready, made sure that the publication received the artwork on time and in a format that they could use. They made sure that the artwork was presented in the manner agreed. With the likes of television, the advert might have to go through regulatory approval prior to publication.
If you were a larger brand with a national or international campaign, further help was needed in pre-testing and orchestration. Expertise might be needed to access more regulated markets while remaining on the right side of the law.
Technology allowed newspaper type adverts to be easily accessed by both agencies and brands.
TLDR: Advertising has been self-serving for decades, but I will grant that online allowed more sophisticated formats such as videos, colour photos and carousels. AND regulation has been slower to police advertising online, for instance YouTube ads don’t get the scrutiny that TV ads get.
Relevance over distinctiveness and slaves to numbers
The move to relevance over distinctiveness in online media was down to where online media was in the customer journey. It was (and for the most part still is at the bottom of the funnel).
Relevance made sense, particularly in search advertising. The first online adverts such as Craigslist classified and display ads were conceptually similar to their equivalents in the back pages of newspaper advertising. Newspaper ads were served in sections: cars for sale, homes for sale, local businesses, cinema listings, vets or pharmacies with a late closing time.
Search and many banner ad campaigns for that matter are about the last step (hopefully) before purchase. In the old pre-internet world, they would be direct mail or the direct response adverts that used to appear in magazines or the special offers beloved of shopper marketing.
Distinctiveness appeared further up in the funnel building long term memory models through brand building. It was TV advertising, radio jingles, magazine print advertising and billboards that evoked emotion and still evoke nostalgia decades later.
Saatchi & Saatchi for Gallaher
I would argue that the issue is less about relevance at the expense of distinctiveness, instead it’s about short-termist mindsets facilitated by numbers. The media industry is about to double down on this error, with initiatives like the European Programmatic TV initiative. And so I can empathise with Pip’s last point about becoming slaves to numbers. It’s ironic that the PowerPoint-friendly charts used by Google search advertising to explaining its value for marketers took off and drove marketing thinking.
Technology marketing itself came from broken origins and still is basically sales strategies by another name. A good deal of what data is created is based on what technology companies can see; rather than what marketers need to measure to get the balance between long term and short term marketing needs.
This MIGHT BE about to change if marketing expert Mark Ritson is to be believed. He posits that marketing technology start-up Evidenza.AI will provide business-to-business marketers with the kind of insight previously driven by market research, but much faster. From then on he sees it doing a better job at communications and media strategy. I am trying to keep an open mind on this at the moment.
TLDR: Advertising hasn’t become about relevance at the expense of distinctiveness, but instead about short-term at the expense of long-term marketing effects; partly down to technologists having a poor understanding of marketing.
Technology outputs data which marketers paid an inordinate amount of attention to; reinforcing the short term bias. Machine learning techniques now becoming available might turn this around by providing better marketing insight.
Machine learning tends towards the mean
Pip’s presentation went on asserting that machine learning tends towards the mean. Generative AI synthesises content based on what has already been done, which why Pip assumes that everything tends towards the mean. But that depends on how one uses these tools that we’ve been given.
As a strategist, I have used generative AI to knock out too obvious propositions, so I give the creative teams something interesting to work with in the creation of distinctive assets.
Apparently creative teams have been taking a similar approach in terms of ideation.
One thing I’ve heard more than once recently is how creative teams are using LLMs for brainstorms. But not quite how you’d expect… Because these algorithms answer back with the most likely predicted outcomes based on available data, you get the mean. The average. In creative terms that means the well worn “cliches”. So when starting a brainstorm or ideation session, quizzing the LLMs leads to a list of suggestions of what creative teams are generally most likely to suggest. At which point the team knows what NOT to do. The already well trodden ground. The list of the obvious. That also somehow gives a wonderfully smug angle on the use of AI in the pursuit of original work.
TLDR: generative AI will tend towards the mean, BUT that can be used creatively.
Agencies and clients screwed advertising
Pip’s slides don’t necessarily dig into the reasons why this happened. But I can put together some hypotheses and provide evidence that may indicate their validity or lack of it.
Clientside factors
Shareholder value ethos – Shareholder value the way we understand it now can be traced back to the 1960s. While Milton Friedman popularised it in an essay A Friedman Doctrine: The Social Responsibility of Business Is to Increase Its Profits, the idea had surfaced years earlier in an opinion editorial published in Fortune magazine. The so-called Friedman doctrine became a lode star for investors and boards including the likes of ‘Neutron’ Jack Welch at General Electric. While this thinking still dominates the tyranny of the quarterly numbers that CEOs of publicly traded companies operate under; it is not the only perspective in the c-suite.
The financialisation of businesses – related to the Friedman doctrine, businesses became increasingly financialised thinking about short term financial decisions. A classic example of this is how post-regulation, legacyairlines in the US have been managed. Another example is Brazil’s private equity firm 3G Capital who managed to destroy billions of dollars in shareholder value with marketing cuts. Financialisation has definitely had an impact, but it varies from company to company. We also see it showing up on the agency side, with the move to using more freelance staff and burning out those staff that they do have. They have a fig leaf of mental health care in their talent acquisition literature, but it’s largely BS.
What gets measured gets done – Google advertising’s success was as much down to it being easy to tell a story about the marketing spend conducted on the platform as it was about effectiveness. The dashboards lended themselves to being easily reproduced in PowerPoint and spoke in the universal c-suite language of line graphs and pie charts. This was really important for Google to survive and thrive in the post dot com bust and the 2008 recession.
Marketing literacy – since before I have gone to college the c-suite was largely marketing illiterate. It doesn’t matter if they are a self-starting boy or girl made good, or minted from an Ivy League business school with an MBA. I have worked with both and they had a similar marketing knowledge level, the only thing that varied was the level of self confidence despite this gap. Neither do the management consultants that they may employ. Which is the reason why the team at 3G Capital were surprised when they cut marketing costs and destroyed brand and shareholder value.
Procurement – practices to systemise purchasing and avoid issues like nepotism and corruption have introduced a muscular procurement function who know the price of everything and the value of nothing. Margins across disciplines have been squeezed to breaking point. This has led to a decline in entertainment and side benefits, my LinkedIn feed had advertising folk explaining that the cost of attending the Cannes Festival of Advertising was likely paid through budget cuts in: training, subscriptions for tools and publications and even head count. We might not have had an end of culture, but this is no longer the industry portrayed in Mad Men.
Agencyside factors
Splitting creative and media – prior to the mid-1970s creative and media buying were two departments in the one advertising agency. That allowed the free flow of research between the departments and the creative use of context as well as content. It also meant that margins had to support two management teams. Secondly, the options to best defend margins was in the media-buying side of the house, depending on how integrated into the media technology stack the the media buying agency became.
Change in north star from FMCG to technology companies – the rise of the internet completely changed the nature of marketing. Prior to the internet becoming mainstream, having FMCG experience as a marketer helped your career. In the early 2000s, Google, Yahoo! and later Facebook became the brands marketers wanted on your CV. The difference was that FMCG brands had subscriptions to the likes of the Ehrensberg-Bass Institute for Marketing Science. Yet American and British academia saw that most thinking from even the most prestigious schools can be boiled down to being the considered common sense opinion of tenured professors like David A. Aaker and Philip Kotler. Kotler was reportedly not interested in engaging with marketing science as consumer behaviour was too complex and difficult to model.
Relative recent awareness of marketing science. For reasons that I don’t fully understand marketing science is both old and a new phenomenon. The late Andrew Ehrensberg originally founded his Centre for Research in Marketing in the early 1990s and had been turning out marketing science academic papers for decades before that. Ehrensberg eventually moved to His work on the myth of ‘heavy consumers‘ and polygamous brand buying (smaller brands suffering a double jeopardy of fewer people purchasing them, and those that did purchase them, did so less often) was done back in the 1950s for Attwood Consumer Panel (would eventually become part of TNS). Some agency strategists knew about Ehrenberg, such as Stephen King of JWT. Some of this thinking was likely hidden by the decline of market research projects in agencies and the split between media buying and creative. In addition, Andrew Ehrenberg theorised why marketing science had a low adoption outside his center’s FMCG clients, which also encapsulated the gatekeeper role American academics played in overall mainstream academic adoption:
I also realised slowly that our kind of theorising – which at base describes and explains already-established and generalised empirical discoveries and which thus post-dicts them – was anathema to many American academic marketing colleagues. They espoused much more ambitious and complex-looking econometric procedures which never worked in practice, with the recent citation for a Nobel typically not referring to any established empirical patterns
Channels – I don’t know who thought that a video view could be just a couple of seconds, but digital platforms benefited from it. Some of the wisdom from this years Cannes Festival of Creativity was that short adverts don’t work that well as they fail to build memory structures. Somehow agencies, platforms and brands suspended belief to develop marketing campaigns that only made sense in 1980s cyberpunk fiction like Max Headroom. Even at Cannes, platforms like Tiktok believed that they operate like, and a have similar impact to a TV advert…
Research – like most strategists I have found that I am often operating with less qualitative research than I would like. One of the biggest programmes I managed to work on the research for was the global launch of a now famous weight management product. Even then we didn’t do enough interviews around the world to understand cultural nuances in play. I remember reading about strategists in the 1970s spending a good deal of time listening to focus groups hosted around the country. There was a mid-week ritual of taking a drive or a train to a city or town outside London for this research. Social listening has been touted as a possible research for product tracking and can be a useful source of consumer soundbites sometimes.
Testing – hand-in-hand with a decline in research has been a decline in types of testing. Content still gets tested, but brands and agencies didn’t test channels to the same degree. Which is why we’ve had short form ad formats for years, yet the knowledge that they’re not as good at building memory structures doesn’t seem to be embedding into clients and agency teams.
OK, but that’s advertising, what about the end of culture?
Pip claims that advertising is just one part of our world that has been under attack (from technology). Alex Murrell’s essay The Age of Average was cited as the source of this insight. Murrell makes his case on the common looks in car designs driven by developments in aerodynammic design over time, architecture and cityscapes, coffee shop styles, logos, book covers, video game franchises, packaging design and product design.
Part of the reason for the architecture was Le Corbusier and his his function over form theory of design and architecture (modernism) captured in Towards a New Architecture.
Murrell harked back to a time of distinctive cities like Victorian London. However what Murrell’s explanation overlooked was that even back in Victorian times London was becoming ‘standardised’. Chimney pots, bricks, cast-iron beams, windows and even church stained glass windows came out of catalogues. The same designs repeat over-and-over-again. The church stained glass windows went around what was then the British empire. It is a similar situation today. Buildings are made of standardised materials and design tools as we understand more about engineering.
Technology over time allowed buildings to get taller and let in more light thanks to improvements in construction, lifts (elevators) and environmental control. Where things get interesting is when governments and societies make decisions on what they want to keep or rebuild. Shanghai has preserved only a little of the Bund and few of its hutongs. Hong Kong has so far managed to keep some examples of its composite buildings. However once you get to street level you see a distinct evolving local culture despite their apparently similar skylines.
This mix of standardised components bought from a supply chain, improved engineering and regulation has also driven similarities in other products, such as motor cars which Murrell cited as an example. But again those similarities are more about operating at a macro-viewpoint. On closer examination, diversity in car culture and driving experiences start to build clear lines of distinctiveness.
And the car industry for decades has indulged in badge engineering where one vehicle truly does look like another.
Wolesley Hornet
Austin Cooper Mini
Innocenti Mini
Riley Elf
The examples I used above were all based on the Austin Mini. Wolesley was a luxury brand owned by BMC at the time. Italian care manufacturer Innocenti licensed the Mini from Austin until the agreement was cancelled by British Leyland. Lastly, the Riley Elf was a slightly more expensive alternative to Wolesley, both were owned by BMC.
General Motors were the masters of badge engineering using ‘common platforms’ as far back at 1909.
As for the complaints about logo design, books and later the web allowed influential design motifs like Neville Brody’s work at The Face, Arena and The Guardian went around the world, collected in three volumes by Thames & Hudson. His cover designs were in Tower Records stores from New York to Tokyo. Design is an industry sensitive to global influences that you see spread around the world. A second reason for the simplification and flattening of logos is the world that we now live in. Before the web logos only existed in the physical world. Digital brings common requirements:
Works in a website template that can be used globally.
Works in email headers and footers.
Works in a favicon and in a mobile app button.
One interesting point came out when Murrell (and Bingemann) looked at media where there was a coalescence of homage images and content based around a success. But these in turn created their own genres like the sweary covers on self-help books. How is this marking a low point in culture was beyond me.
I thought of genres like the European ‘gallo’ films or the European takes on the western films of which spaghetti westerns are the most well known. A lot of the films were dreadful. In the case of European westerns many of them borrowed a characters name from more successful films. So you saw ‘apparent’ franchises around ‘Ringo’, ‘Django’ and ‘Sartana’.
(Film director Alex Cox published one of the best works on the Italian western film genre 10,000 ways to die. It’s based on his university thesis and a fascinating read, if you choose to jump down that rabbit hole.)
You had a similar experience in the Asian martial arts film industry with countless variations on the the star name Bruce Lee, as the industry coped with the loss of most famous star.
This doesn’t mark the end of culture, but the manufacture of culture. What’s good or great is then strained through the filter of time and changing social attitudes.
As for the cinematic superhero cul-de-sac, there are clear parallels with the end of the western and the New Hollywood movement. This time its distribution in the driving seat rather than a new generation of directors. Like the New Hollywood movement there will be both successes and car crashes along the way and I am largely excited by it.
Bingemann also cites Adam Mastroianni’s essay Pop Culture Has Become an Oligopoly. Mastroianni hits on what is called a long tail. In scale-free networks with preferential attachments, power law distributions are created, because some nodes are more connected than others – so Taylor Swift will sell more because of the size of fan base she has grown over time. They have been studied since at least 1946 and Benoit Mandelbrot who is better known for his work on fractals was one of the main researchers. Wired magazine touched on it in 1998 when it published The Encyclopaedia of the New Economy written by John Browning and Spencer Reiss and the influence showed up in Wired contributor Kevin Kelly’s work New Rules for the New Economy. So one can guess that the ideas were being thrown around then.
Wired editor Chris Anderson wrote about it in a magazine article for Wired in October 2004, and turned it into a book. Algorithms in online services create bubbles and rabbit holes in different areas and surface media winners like MrBeast. But again culture has thrived despite of popular culture out of sight of the general public for decades will continue to do so. Examples include Northern Soul, punk, the Chicago house music scene, UK garage, grime, drill and donk, the long tail does not mark an end of culture.
TL:DR: Could the current culture eco-system be better? Yes, absolutely. But it isn’t broken in the way and extent that Bingemann believes. We definitely aren’t at the end of culture and it doesn’t need to be ‘saved’ by generative AI.
So what can AI do?
Bingemann believed that generative AI offers society a way out of the end of culture. So presumably it offers a way to enhance and create culture. He believes that it creates, I would finesse this a bit to say that it emulates, synthesises and combines elements to meet consumer instructions – since it is the sum of its training data.
Ironically, Bingemann bases his thesis on how surreal and abstract art represented the ‘death of traditional art’ and reinvented the meaning of art and unleashed a large amount of creativity. Traditional art didn’t die per se, there are still several artists selling realistic pieces including painting and sculptures alongside the ‘new art’ movements.
Generative AI puts tools in the hands of creatives that previously would have meant a lot of work. In the same way that desktop publishing and Photoshop reduced the cut-and-past compositing on layers of glass panels which were then photographed and image retouching done by hand in the past.
In advertising Bingemann sees five opportunities enabled by generative AI:
Move to value-based pricing (presumably based on substantially reduced cost of production). It’s what Huge tried to do with their pivot and what thinkers like Michael Farmer have been recommended. We’ll see what happens when this aspiration meets client procurement teams. I hope Bingemann is right.
Design AI around people. So far the progress has been mixed around this. We have been some companies like Klarna using ‘good enough’ generative AI to automate jobs out of existence. Adobe have taken more of a creative enablement approach. Based on my experience working on ads in the past with collaged backdrops and photoshoots for global campaigns, this could save tens of hours or more in art working.
Embrace the newcomers. Just like social and digital before it, when we had new agencies like Crayon, AKQA and Poke; Bingemann thinks that generative AI is likely to bring new businesses to the advertising eco-system.
Spend 10x more effort developing the next generation. Given that the advertising industry manages to continually churn experienced people out of the industry and no one was found to have retired last year from the industry according to the IPA – this is going to be a tall order. It would make more sense if AI was used to make advertising more representative.
Unite. Clients, agencies and technology. It’s a nice aspiration, but when clients are looking for good enough and efficient content, agencies looking for a margin and trying to put effectiveness in there as well and technology companies trying hold back their natural instinct to suck all the value to themselves, it will be a hard feat to achieve.
Bingemann argues that this is necessary for advertising, but also for creativity and considers advertising’s role to break culture rather than just reflect it. Culture and creativity will exist without advertising. Even during the Soviet Union, there was still creativity, art and culture – both mainstream and underground.
A Final Thought To Leave You On
GZero Media quoting Douglas Rushkoff (of Media Virus fame) on what generative AI means for culture moving forward.
While its not the end of culture as we know it, Springboard.ai are putting out some interesting tools that I could see competing with the likes of Julian Cole, Mark Pollard and others who are filling the ‘how to strategy’ gap for brand planners.
The IT director is seeing a return to power and its thanks to the power of hackers and AI. The smartphone, the resurgence of Apple and SaaS saw IT decisions become more organic thanks to increased access to online services that provided better features than traditional enterprise software companies and the rise of knowledge working. IT teams found management of mobile devices onerous and faced hostile users.
Michiko Fukahori of the Japanese National Institute of Information and Communications Technology at ITU TSB – 8th Chief Technology Officers (CTO) Meeting
This meant that the IT director became less important in software marketing. A decade ago marketing had pivoted to a bottom up approach of ‘land and expand’. This drove the sales of Slack, Monday.com and MongoDB.
Two things impacted this bottom up approach to enterprise innovation:
Cybercrime: ransomware and supply chain attacks. Both are not new, ransomware can be traced back to 1989, with malware known as the AIDS trojan (this had much cultural resonance back then as a name). Supply chain attacks started happening in the 2010s with the Target data breach and by 2011, US politicians were considering it a security issue. Over COVID with the rise of remote working, the attacks increased. The risk put the IT director back in the firing line.
AI governance: generative AI systems learn from their training models and from user inputs, this led to a wide range of concerns from company intellectual property leaving via the AI system, or AI outputs based on intellectual property theft.
The most immediate impact of this is that the IT director is becoming a prized target on more technology marketers agendas again. This takes IT director focused marketing from back in the 1980s and the early 2000s with a top-down c-suite focus including the IT director. This implies that established brands like Microsoft and IBM will do better than buzzier startups. It also means I am less likely to see adverts for Monday.com in my YouTube feed over time.
This doesn’t mean that the IT director won’t be disrupted in other parts of his role as machine learning facilitates process automation in ways that are continuing to evolve.
Brands plan for a quiet Pride Month | News | Campaign Asia – The hesitation around Pride may also be related to executives’ increasing reluctance to speak out on social issues more broadly. Wolff pointed to Edelman’s Trust Barometer, which found that 87% of executives think taking a public stance on a social issue is riskier than staying silent. “Essentially, nine out of every 10 executives believe that the return on investment for their careers is not worth the support during this turbulent time,” said (Kate) Wolff. “This is clearly problematic for both the community and the progress we have made in recent years.”
Chinese Firms Are Investing Heavily in Whisky Market | Yicai Global – Although international liquor giants have developed the local whisky consumption market for many years, the market penetration rate of overseas spirits in China, including whisky, is only about 3 percent. This means domestic whisky producers will need to develop new consumption scenarios, Yang said. Whisky consumption in China centers mainly around nightclubs, gift-giving and tasting events held by affluent consumers, Yang noted, but in these scenarios, imported whisky brands with a long history tend to be more popularly accepted,, so it will be difficult for domestic rivals to compete. According to the latest report from alcohol market analysts IWSR, China’s whisky market was worth CNY5.5 billion (USD758 million) last year, having grown more than fourfold over the past 10 years. It is expected to reach CNY50 billion (USD6.9 billion) in the next five to 10 years.
Yoox Net-a-Porter exits China to focus on more profitable markets – Multi-brand luxury clothing sales platform Yoox Net-a-Porter is closing its China operations, this against a backdrop of other brands also pulling out of Chinese e-commerce including Marc Jacobs fragrances. The corporate line from Richemont was “in the context of a global Yoox Net-a-Porter plan aimed at focusing investments and resources on its core and more profitable geographies”.
Ignite the Scent: The Effectiveness of Implied Explosion in Perfume Ads | the Journal of Advertising Research – Scent is an important product attribute and an integral component of the consumption experience as consumers often want to perceive a product’s smell to make a well-informed purchase decision. It is difficult, however, to communicate the properties of a scent without the physical presence of odorants. Through five experiments conducted in a perfume-advertising context, our research shows that implied explosion, whether visually (e.g., a spritz blast) or semantically created, can increase perceived scent intensity, subsequently enhancing perceived scent persistence. It also found a positive effect of perceived scent persistence on purchase intention. In conclusion, the research suggests that implied explosion can be a powerful tool for advertisers to enhance scent perception, consequently boosting purchase intention.
Mat Baxter’s Huge turnaround job | Contagious – interesting perspective on his time at Huge. What I can’t square it all with is what we know about marketing science and declining effectiveness across digital media
On my LinkedIn, I couldn’t escape from the Cannes festival of advertising. Partly because one of the projects I had been involved in was a shortlisted entry. One of the most prominent films was Dramamine’s ‘The Last Barf Bag: A Tribute to a Cultural Icon’. It was notable because of its humour, which was part of this years theme across categories.
震災復興から生まれた刺し子プロジェクトをブランドに！ 15人のお母さんの挑戦！ – CAMPFIRE (キャンプファイヤー) – ancient Japanese craft – KUON and Sashiko Gals are part of a new generation of designers keeping the traditional Japanese technique of sashiko alive. And together, they are bringing the decorative style of stitching to our favorite sneakers (including techy Salomons!). Sashiko is a type of simple running stitch used in Japan for over a thousand years to reinforce fabrics. It’s typically done with a thick white thread on indigo fabric and made into intricate patterns.
Nationalism in Online Games During War by Eren Bilen, Nino Doghonadze, Robizon Khubulashvili, David Smerdon :: SSRN – We investigate how international conflicts impact the behavior of hostile nationals in online games. Utilizing data from the largest online chess platform, where players can see their opponents’ country flags, we observed behavioral responses based on the opponents’ nationality. Specifically, there is a notable decrease in the share of games played against hostile nationals, indicating a reluctance to engage. Additionally, players show different strategic adjustments: they opt for safer opening moves and exhibit higher persistence in games, evidenced by longer game durations and fewer resignations. This study provides unique insights into the impact of geopolitical conflicts on strategic interactions in an online setting, offering contributions to further understanding human behavior during international conflicts.
The West Coast’s Fanciest Stolen Bikes Are Getting Trafficked by One Mastermind in Jalisco, Mexico | WIRED – “Not so long ago, bike theft was a crime of opportunity—a snatch-and-grab, or someone applying a screwdriver to a flimsy lock. Those quaint days are over. Thieves now are more talented and brazen and prolific. They wield portable angle grinders and high-powered cordless screwdrivers. They scope neighborhoods in trucks equipped with ladders, to pluck fine bikes from second-story balconies. They’ll use your Strava feed to shadow you and your nice bike back to your home.” – not terribly surprising, you’ve seen the professionalisation and industrialisation in theft across sectors from shoplifting, car theft and watch thefts so this is continuing the trend.
OpenAI Just Gave Away the Entire Game – The Atlantic – The Scarlett Johansson debacle is a microcosm of AI’s raw deal: It’s happening, and you can’t stop it. This is important not from a technology point of view, but from the mindset of systemic sociopathy that now pervades Silicon Valley.
Apple Intelligence is Right On Time – Stratechery by Ben Thompson – Apple’s orientation towards prioritizing users over developers aligns nicely with its brand promise of privacy and security: Apple would prefer to deliver new features in an integrated fashion as a matter of course; making AI not just compelling but societally acceptable may require exactly that, which means that Apple is arriving on the AI scene just in time.
‘Rare, vintage, Y2K’: Online thrifters are flipping fast fashion. How long can it last? | Vogue Business – as secondhand shopping becomes increasingly commonplace, this latest outburst brings to light the subjectivity of resale. What determines an item’s worth, especially in an age of viral micro-trends and heavy nostalgia? Is it ethically moral to set an item that’s the product of fast fashion — long criticised for not paying workers fairly — at such a steep upcharge, and making profit from it? If someone is willing to pay, does any of it matter?
Shutting down is a conscious choice. You might see it described as digital detox or a digital break. I, like a number of people that I know have a ‘dumb’ phone to complement my smartphone. This is different from the pre-broadband era of the internet where going online was an active decision punctuated by the sound of the modem.
At that time, keeping in touch was an active decision rather than the tyranny of the pings from messaging applications. We cocooned ourselves from each other with a personal audio soundtrack via an iPod or a Discman. This cocooning effect was viewed to have a positive effect on personal autonomy was called the Walkman effect by sociologists.
Once you used a device be it the modem-connected PC, TV or music player you went through the act of shutting down devices. My parents still go room-to-room at night shutting down devices.
My Nokia N95
Over the past two decades we have stopped shutting down. A number of things happened:
Phone as Swiss Army knife. Cellphones quickly became our alarm clock. Working on the Nokia N93 launch with Flickr (then part of Yahoo!) felt like a watershed moment allowing photos to be taken and shared instantly online. During the July 7th London bombing, I got home by navigating with the ring bound A-Z atlas of London, which lived in the bottom of my backpack. Now I have four apps that would use depending what I wanted to do.
Device as social currency, your smartphone says as much about your economic health as your car. It’s a hygiene level of status, just like branded training shoes (sneakers) were when I was at school.
Synchronous social media. The now long-forgotten iNQ SkypePhone, BlackBerry and Danger Sidekick heralded no-shutting down engagement.
Dark patterns / design techniques used to encourage app or service use as a compulsion. It is no coincidence that a number of senior design and engineering teams at Tinder and Instagram sat in BJ Fogg’s persuasive computing design (captology) modules, yet the products used techniques that Fogg described as unethical.
Parent and policy voices.
The key points that activists and concerned parents talk about revolve around the following talking points:
Screens now dominate our lives, and their presence is only getting stronger and more powerful. For instance, I can no longer phone up my local surgery to get a repeat prescription or book an appointment, it’s all mediated by the surgery website and the NHS app.
(Some) adults can control to a certain extent how often and when they use screens. Shutting down is proving hard for many adult consumers to do. But there is a commonplace screen addiction. Empirical evidence suggests that it would be damaging for children. I could make countervailing points, here is a better place to see them outlined.
Smartphone addiction and drug addiction share some similarities including a neglected personal life, a pre-occupation with the subject of the addiction, social media as a mood modifier or for escapism. The implication is that smartphones are an unwilling appendage which add capabilities (some of which are of a questionable value) and can’t be put down. All of which reminded me of my childhood (and adult relationship with music).
The push seems to be on regulating the services that run on top of smartphone platforms.
There doesn’t seem to be a corresponding focus on encouraging shutting down as a desirable behaviour; presumably because the efficiencies promised by digital government services are too alluring.
Under-supply.
While there might be a desire for dumb phone, there are remarkably few options as second generation mobile networks have been turned off around the world.
HMD (what was Nokia’s terminal business) is the leading player in this sector. They are starting to do clever things that tap into the idea of shutting down and being present in the meatspace at key moments.
Heineken collaborated with HMD and streetwear atelier Bodega to collaborate on a ‘dumb’ phone in a transparent case, similar to electronic devices issued in prisons.
Heineken seem to doing this for a number of reasons:
People are less likely to be themselves when there is a broadcast studio in your pocket full of distractions to pull you away from the now.
Shutting down allows you to be more present for your friends.
Losing a £1,000+ device down the pub full of work information and access to your bank account isn’t a particularly attractive option. So providing a cheaper option is a bit like the ‘festival phone’ tough but basic Nokia that I bring to gigs and festivals.
Punkt.
A less well known competitor is Punkt. Punkt is a boutique Swiss consumer electronics company who have made a number of cellphones, home phones and a Braun-like alarm clock. Punkt want to promote the idea of intentional technology use, rather than as a wrapper around our everyday lives. Their MP02 phone acts as a wi-fi hotspot and a dumb cellphone, as they view a two device strategy of laptop and phone leans in better to their intentional technology use vision. Punkt make shutting down easier, by adding friction to switching on.
I was privileged to freelance at Ogilvy on Dove a number of years ago and got to understand the brand a little better during that time. My work on Dove was focused on product advertising for Dove soap in Brazil, the US, Vietnam and the Philippines rather than adding to the master brand canon around beauty standards.
When the 20th anniversary of the master brand campaign rolled around my LinkedIn was filled with posts about 20 years of the Real Beauty (or changing beauty as its currently articulated) positioning for the Dove brand. I took more of a slow read/write approach to my take on Dove.
Dove origin.
The origins of Dove lie in the injuries experienced by American servicemen during world war two. There was a need for a milder soap to address the needs of burn victims, and the concept of having moisturising cream (or cleansing cream as it was called in the earlier ads) was included in the soap to rehydrate skin rather than leaving it excessively dry after stripping off the skins natural oils.
Dove was introduced as a consumer product in 1957. The original advertising focused on the functional benefits of the product.
Decades later and the Dove advertising continued to focus on the products functional benefits.
For instance this 1990s advert positions Dove against everyday beauty brands and premium brand Neutrogena.
Dove still does functional benefit advertising, but it’s the master brand level advertisements that tend to get the most attention.
2004.
It is worthwhile considering the context that Dove was entering into with its reinvention. While we were post-9/11 the culture still has the optimism of the early 2000s. Celebrity gossip and paparazzi photos and videos were still a thing. Facebook had been launched for Harvard University students. Myspace had launched a year earlier with a focus on music and blogging was gaining a head of steam as a social channel. Real Media had launched a streaming music service but Spotify was a couple of years away from launch.
iTunes music downloads, CD ripping and iPods were reinventing music. Television shows were used to find the next popstars, while Dido and Eminem were dominating radio play.
DVD series box sets were a thing. Season three of TV show 24 was the must see TV with Jack Bauer trying to stop a biological terrorist attack and deal with his own heroin addiction.
I was using a Nokia smartphone and a Palm Tungsten T personal digital assistant at the time.
Beauty soap category at the time.
Beauty soap was not a new category. Unilever had arguably marketed the first beauty soap called Pears. By the time real beauty happened Pears was no longer distributed or marketed by Unilever in the UK. As well as Dove, Unilever owned Lux which was seen to be a ‘milder for your skin’ soap. By this time, Lux was a heritage brand that my Grandmother had liked and its main market focus was Latin America, Africa and South / South East Asia. Lux has pivoted to a girl power like position against societal sexism in its brand purpose led advertising.
Procter and Gamble had their own Lux analogue called Camay that traded on the glamour of famous actresses and socialites. At this time Camay was not seen as contemporary in the UK, but was selling well in Eastern Europe. By a strange twist of fate P&G sold Camay to Unilever in 2015, it was available in Latin America.
Simple soap was a British market competitor that had been part of Smith and Nephew’s spin-off of their consumer products division to focus on their medical businesses including advanced wound management. Simple’s positioning was that it contained no unnecessary ingredients and that it was ideal for sensitive skin.
Nivea had cleaning products like shower gels rather than soap per se but was in the personal care space.
At the time, Dove like Palmolive and Simple might be bought by a housewife and used by all the family. My Mum and Dad still use Dove or Simple soap bars, based on which they find first on their supermarket run.
Real beauty.
Dove’s global brand team wanted to reposition Dove more firmly in the beauty category. The story that is promoted revolves around how the brand team presented the Unilever board at the time with interview footage from their wives and daughters about their opinions on beauty.
There were a few iconic images that came out of the campaign.
The tickbox images that appeared in a lot of out of home executions at the time.
The Dove evolution video which captured what lots of people knew in the media industry, but tapped into wider public discussions about the use of photo manipulation that were appearing around that time.
How real beauty memed.
Dove’s outdoor execution in the London Underground had wags using pens and markers to suggest the negative answers. I remember on the escalator in Holborn station seeing every advert with the box ticked. It even memed with online celebrity news site Holymoly launching the campaign for real gossip.
Dove Men+Care range.
Dove brand extension Dove Men+Care was launched in 2010 and now has a comprehensive range of everyday products. Unilever described this as a ‘white space’. But Nivea for Men had been in this space since 1986 and Nivea had sold shaving products to men as far back as the 1920s.
Dove Men+Care’s purpose wasn’t that clear when I worked on Dove as the master brand is so focused on empowering women and girls.
We believe that care makes a man stronger, and in order to best care for those that matter to you most, you need to start with care for yourself first.
This take from the Unilever website about what the Dove Man+Care brand stands for is still very generic and it could cover anything from Gillette or a Jordan Peterson sound bite to Andrew Tate’s various manosphere-oriented, fitness-focused enterprises.
The risk of a male counterpart.
It would be a major undertaking to build this into something a bit more pointed, yet fit for purpose. I could understand why it would be low on the priority list, particularly when Gillette’s effort was received so badly at the time.
We know from behavioural science that positive reinforcement works better than taking a negative stance. I have heard a couple of hypotheses put around at the time that:
Men may use Gillette razors; but women in households buy them.
Women represent the largest growth market for disposable razor systems due Gillette’s male market dominance, male consumers inertia to change brand once chosen and facial hair growth – meant that the Gillette brand team didn’t feel that they were taking a risk.
In both cases, men feature in the advert, but may not have been the ads target audience.
However I think that the media buying suggests these hypotheses were wrong. The ad was run during a prime TV spot on the Super Bowl. Critics point to Procter & Gamble taking a $8 billion non-cash writedown for the shaving giant.
P&G reported a net loss of about $5.24 billion, or $2.12 per share, for the quarter ended June 30, due to an $8 billion non-cash writedown of Gillette. For the same period last year, P&G’s net income was $1.89 billion, or 72 cents per share.
…The charge was also driven by more competition over the past three years and a shrinking market for blades and razors as consumers in developed markets shave less frequently. Net sales in the grooming business, which includes Gillette, have declined in 11 out of the last 12 quarters.
From a societal perspective in general masculinity related topics is a cultural land mine; particularly when #allmenaretrash and similarhashtags are now commonplace, so it is harder to use in an effective manner the kind of nuance Gillette attempted.
Egard – a watch brand made this response video to Gillette.
Impact
Dove grew as a brand and became a form of social currency. It made the agencies involved (Ogilvy and Edelman) famous for years to come. What Edelman actually contributed to the creative concept is open for debate.
In terms of the Dove real beauty brand purpose, the results seem to be more mixed.
The current Dove master brand ad ‘The Code’ seems to be very similar to the original ‘Evolution’ ad, the only changes have been that Photoshop was being used by an expert and AI has now put it in the hand of teenage girls.
While the public discourse has changed behaviours haven’t and the wellbeing of girls and women seems to be in a similar or worse position today than it was 20 years ago.
Part of this is likely to be societal, we live in more anxious times and the status quo may have been even worse, had Dove not sparked the kind of public discourse it had.
Brand purpose?
At the time when Dove’s campaign came out, I can’t remember purpose really being a ‘thing’. The closest thing I could remember in the marketing zeitgeist is that people would occasionally talk about technology in terms of the pitch a young Steve Jobs made to PepsiCo executive John Sculley: do you want to sell sugared water all your life, or do you want to change the world?
There was talk about changing attitudes and creating a movement – but it was seen in terms of creativity, rather than a higher purpose.
At the time Unilever’s fragrance brand Lynx / AXE were running creative like this.
AXE / Lynx is still the world’s number one men’s fragrance brand, but its positioning has changed a bit.
When you smell good, good things happen. You’re a little more confident and life opens up a world of possibilities. We believe that attraction is for everyone and between anyone. It doesn’t matter your race, your sexuality, or your pronouns. If you’re into it and they’re into it, we’re into it. That’s The New AXE Effect.
Lynx and AXE content wasn’t that far out. Advertising in the late 1990s and early 2000s wasn’t so serene. You has several ad campaigns that were subversive or transgressive in nature.
A good deal of this was cultural zeitgeist. If you were a creative director in your mid-30s at the time, your terms of reference were very different. You would have likely enjoyed sub-cultures like the rave scene and independent music that drew from 1960s psychedelia and counterculture icons. You probably watched the Jim Rose Circus Sideshow film, one of their TV appearances or attended one of their live shows. Russell Brand was considered funny.
Brands getting attention and critical acclaim like Sony’s Playstation gaming console, Levi’s and Skittles were taking brand risks with campaigns that were far edgier than we’d be likely to see now. One direct mail shot from Sony Playstation designed to promote the Tekken 3 fighting game was sent out in a plain manilla envelope stamped ‘private and confidential’. Inside was a convincing medical card advising that the recipient receive immediate medical treatment for a potentially serious condition. Some of those mailed were waiting for hospital test results and complained to the authorities.
Meanwhile in the US, Mountain Dew was promoting pager plans as part of a co-marketing deal. But this was happening in the middle of a moral panic on pagers being a portal to drug dealer hook-ups and teen prostitutes receiving bookings from johns. Kids were being arrested and charged for possessing pagers in schools and colleges.
Failed online business Pets.com had a distinctive shouty voice that we probably hadn’t seen since Poundland’s ‘teabagged’ social posts.
Two examples give a good temperature check of what was happening in agency teams at this time up to just before 2010.
The Volkswagen ‘terrorist’ film that was used as a door opener by creative team Lee Ford and Dan Brooks. It leaked online, much to the bemusement of Volkswagen. Creatives thought it would be well received by a brand marketing team with a sense of humour. While VW didn’t like it, it did get them work with a large production house in the US and London agency Quiet Storm.
The second one was Lean Green Fighting Machine’s Facebook campaign for Dr Pepper in 2010, that referenced an online Brazilian porn clip known as ‘2 girls, one cup’. The client had signed it off, without knowing the context. Controversy ensued on Mumsnet and the agency was fired from the account.
Amidst all this cynicism, boundary pushing and counterculture; Dove’s real beauty would have been distinctive and differentiated. Even if it did run a risk of being perceived as cynical self-serving corporate schmaltz.
Brand purpose as an idea seems to have gained popular currency after Dove’s campaign for real beauty.
You can see in this chart based on Google Books data how the English language mentions of ‘brand purpose’ took off.
Data from Google Books Ngram viewer
Brand purpose critic Nick Asbury places the rise of brand purpose to the 2008 financial crisis and related events such as the Occupy movement, which supports the post-2014 surge in interest. 20 years later, Dove is now seen as being emblematic of brand purpose. Dove took on brand purpose as a concept over time, with the increasing prominence of the Dove Self-Esteem Project being a case in point.
