Technology is way ahead of interface designs

This post has taken a while to write. When I started we were on the cusp of Apple’s Worldwide Developer Conference. If you’re interested in technology, but aren’t an Apple fan it still matters as it sets the agenda. Apple’s moves affect wearables, smartphones, tablets and OTT (over the top) TV services.
 
The New York Times published an interesting article Apple Piles On the Apps, and Users Say, ‘Enough!’.
 
Ignore the title of the article itself, which is a function of clickbait rather than content. Instead, it provides an good critique of interface design across platforms. It highlights:
  • The difficulty in finding and installing other apps inside Messages. Many users aren’t aware of the functionality. This is different to the ‘interface as oldster barrier’ that SnapChat had. DoorDash – a Deliveroo analogue dropped a support after a few months due to a lack of users. Apple took a second run at this with iOS 11 trying to improve discoverability
  • Apple 3D touch isn’t used to drive contextual features by app developers
  • The Apple Watch’s mix of crown, button and small touch screen made ‘lean in’ interactive apps hard. The Apple Watch interface isn’t learned by ‘playing’ in the same way that you can with a Mac or an iPhone. Apple’s forthcoming watchOS update looks to have Siri ‘guess’ what you want. It wants to provide contextual information to users (and reduce interactions)
If you ignore 3D touch for a moment, these problems are cross platform in nature. (Some vendors like Huawei have attempted a similar 3D touch feature in their own apps. They did not try to get developer adoption.)
 
Thinking about Messenger app developers struggle to integrate disparate features into the interface. The exceptions are:
  • LINE
  • WeChat – the take up of mini-apps in WeChat have been disappointing performers. Is this indicating a possible ceiling for functionality?
Wearables as a category looks thin, with Apple being one of the largest players. Pebble got acquired by Fitbit. Jawbone seems to be a dead company walking. Their blog was last updated in October 2016, Twitter in February. It’s ironic: their original BlueTooth headset business would now be a great opportunity.
 
I’ve tried Casio’s BlueTooth enabled G-Shock, four Nike Fuelbands and a Polar wearable. I am on my second Apple Watch and I still don’t know what the real compelling use case is for these devices.
 
So how does this stuff come about? I think its down to the process of creation, which affects analysis and critical analysis of the product. Creation in this case is essentially throwing stuff up against the wall until it sticks and then the process becomes reductive. As a case in point, look how smartphones have evolved to the slab form factor. 
 
Throwing stuff against the wall
 
I’ve worked enough times on digital products to understand the functionality is king. It’s the single most important thing. I’ve worked on products that wonderful functions but:
  • Consumers didn’t know they had a need, its hard to get consumers to build new habits. Forming habits can be hard
  • They were a bitch to sign up with. Yahoo!’s sign-up process killed products. It’s a fact. We’d get consumers hyped up, we’d deliver them to the relevant page and they wouldn’t convert. I didn’t blame them, if I wasn’t an employee or digital marketer I’d have done the same
That’s how products are now built. The focus is on speed of execution of the idea. It isn’t about thinking through the complete experience. Agile methodologies with their short sprints puts emphasis on function. Away from data to feed into big picture optimisation. A function focus means that you end up with ‘lean in’ interaction designs as default.
 
There aren’t many organisations that get it right. I’d argue that the early Flickr team and Slack ‘got it’. Though there are common factors:
  • Both Flickr and Slack had common key team members
  • Both products fell out of failure. Flickr came out of tools for Game Neverending. Slack began as a tool in the development of Glitch
Where are the ergonomists and futurists?
 
There are people who can provide the rigorous critique.
Back in the day organisations with large R&D functions like NASA and BT employed writers to envisage the future. Staring into the future became a career. People like Syd Mead provided a visual map of the future. Mead and others did a lot of work thinking about the context of technology to users. At the present time lots of criticism levelled at VR glasses is it being anti-social. This comes as no surprise to anyone who has read William Gibson’s Neuromancer. Social interaction is more likely to come glasses wearer to glasses wearer. It will happen in a virtual third space. Neal Stephenson explored this third space in Snow Crash. The Black Sun was a virtual night club.
 

Bill Moggridge, designer of the GRiD Compass computer – the world’s first laptop thought a lot about ergonomics. The laptop had a 11 degree slope from pop-out leg to the keypad. This is something that your MacBook Pro or Surface doesn’t have. There is a lack of depth in technology design compared to what Moggridge had. He brought in psychologists and studied human computer interaction. He eventually co-founded IDEO.

Whilst the elements that Moggridge looked at were well known the thinking doesn’t seep into product categories. We are very good at asking can a product be made. We are poor at asking what does the product really mean. Apple’s viewpoint on the tablet segment is a case in point.

The vast majority of tablets are used for lean back media consumption from watching films and reading books to reviewing emails. It can work as a productivity device in specific circumstances with custom built apps – say field sales or replacing a pilot’s flight paperwork. The keyboard and power of modern Macs (and PCs) provide a better tool for content creators; whether its analysing a spreadsheet or writing this blog post. 

Yet, since its launch by Steve Jobs, Apple has viewed the iPad as a new PC. The iPad Pro has been designed to try and catch up in features with the Mac. It is ironic that Microsoft has moved a slim ‘MacBook clamshell design’ analogue into its latest Surface range.  It is very different to the pragmatic design ethos of China’s ‘shanzhai’ gadget markers who came up with both laughable and smart solutions. Everything from the dual SIM phone to the phone / electric razor hybrid. Successes bloomed and oddities slipped into the night.

I’ve been a bit quiet

I’ve been a bit quiet due to work and life intervening.  Alongside my work in looking at strategy through a data-centric lens I have also taken on a content strategy role on a project.  This isn’t about:

  • Coming up with a few social ideas
  • Editorial direction

But a much wider approach that takes a systems approach to content. What it is, where should it be and how it should be refreshed. With this in in mind I can thoroughly recommend The Content Strategy Toolkit: Methods, Guidelines, and Templates for Getting Content Right by Meghan Casey.

Meghan also provides a set of downloadable template to make your life even easier. I found the book relatively easy to digest but still have it about as a reference book on my current project.

I can also recommend the current British Museum exhibition: The American Dream – pop to the present. I really liked the works from the NASA art programme by Robert Rauschenberg that celebrated the Apollo programme.

The crowdfunded product problem with PopSlate as an unfortunate case study

I’ve go in involved in a few crowdfunded products and some of them have worked out but the majority haven’t. The latest example was the high profile e-ink phone cover PopSlate. PopSlate got over $1 million dollars of funding and was widely covered by the media.

“popSLATE 2 is E-Ink for your iPhone done right.” – Slashgear

“It’s an evolution, not merely refinement.” – Wired

Generally I’ve found that they tend to fail for three (non-criminal) reasons:

  • They underestimated the cost or complexity for batch manufacture of items. They have problems with getting tooling moulds to work and have to go through iterations that burn up cash
  • They get gazzumped; their product is sufficiently easy to make that Chinese manufacturers who go through Indiegogo and Kickstarter for ideas get the product into market faster
  • The engineering is just too hard. This seems to have been the problem for PopSlate who couldn’t innovate and get their product into market as fast as new phones came out

On the face of it its a great idea, bringing the kind of dual screen technology to the iPhone that had been in the Yota phone for a number of years. Huawei had a similar snap-on e-ink back available for the the P9 handset in limited quantities.

popSLATE – The smart second screen on the back of your phone

PopSlate had already launched a mark I version of their product.  With the mark II version of their product PopSlate tried to do too much: they tried to make it a battery case but still ridiculously thin.  The following email was sent out on Saturday morning UK time:

Critical Company Update

This update provides serious and unwelcome news.

Based upon your support, we have spent the last year continuing to develop our vision for “always-on” mobile solutions. Our goal was to solve three fundamental issues with today’s smartphones: we wanted to simplify access to information, increase battery performance, and improve readability. Unfortunately, the significant development hurdles that we have encountered have completely depleted our finances, and we have been unable to raise additional funds in the current market. As a result, popSLATE does not have a viable business path forward.

This marks the end of a 5-year journey for our team, which started with a seed of an idea in 2012 and led to our quitting our jobs to start the company. Although we are very disappointed by the ultimate outcome and its implications for you as our backers, we are proud of our team, who worked tirelessly over the years to commercialize the first plastic ePaper display, globally ship thousands of popSLATE 1 devices as a first-in-category product, and re-imagine & further extend the platform with the second generation product. Despite a strong vision, high hopes, and very hard work, we find ourselves at the end of the journey.

We are out of money at this juncture for two key reasons. First, we have spent heavily into extensive development and preparation for manufacturing;  as you are aware, we hit some critical issues that multiplied the required spend, as described in previous updates.

Most recently, we learned that the fix for the Apple OTA issues would involve more significant redesign. While we initially suspected that the Lightning circuit was the culprit, it turned out that it was a much more fundamental issue.  Namely, our housing material is not compatible with Apple OTA requirements. You may think, “Wait, isn’t it just plastic?  Why would that be a problem?” While the housing is indeed largely plastic, we used a very special custom blend of materials that included glass fibers. The glass fibers were used to solve two issues, both of which were related to making the device super-thin: a) they enabled uniform, non-distortional cooling of the housing mold around our metal stiffener plate (the key component that makes popSLATE 2 thin but very strong) and b) they added tensile strength to the very compact form factor. Unfortunately, we have concluded that these added fibers are attenuating the RF signal and that we would have to spend additional cycles to tune a new blend with required modifications to the tooling. This is an expensive and timely process.

Second, we have been unsuccessful at raising additional financing, despite having vigorously pursued all available avenues since the close of our March Indiegogo campaign (including angels, VCs, Shark Tank and equity crowdfunding, both in the US and abroad). Many in our network of fellow hardware innovators have encountered this difficult new reality. You may have also seen the very public financial struggles of big-name consumer hardware companies—GoPro, Fitbit, Pebble, Nest and others—as highlighted in this recent New York Times article [link]. The most dramatic example of this phenomenon is the recent and sudden shutting down of Pebble, paragon of past crowdfunding success.

There is no way to sugarcoat what this all means:

  • popSLATE has entered into the legal process for dissolution of the company
  • Your popSLATE 2 will not be fulfilled
  • There is no money available for refunds
  • This will be our final update

While this is a very tough moment professionally and emotionally for us, it is obviously extremely disappointing for all of you who had believed in the popSLATE vision. Many of you have been with us since the March campaign, and a smaller set helped found the popSLATE community back in 2012. To you—our family, friends, and other unwavering backers—we are incredibly grateful for your enthusiasm, ideas, and support throughout the years. Just as importantly,  we deeply regret letting you down and not being able to deliver on our promise to you. We truly wish there were a viable path forward for product fulfillment and the broader popSLATE vision, but sadly we have exhausted all available options.

Sincerely yours,
Yashar & Greg
Co-founders, popSLATE

The problem as a consumer you have for much of these gadget is this:

If a product can be easily made in Shenzhen, it will be so you should be able to get it cheaper on lightinthebox or similar sites

If it can’t be turned out in a reasonable time, it has a low likelihood of succeeding

There have been successes of more hobby based products; I have a replica of Roland’s TB-303 synthesiser. It’s the kind of product that can be assembled whilst not relying a China-based supply chain. It also is based on well understood technology and there weren’t issues of with designing for very tight places or Apple’s requirements (in the case of iPhone’s accessories).

What about the poster child of Pebble? Pebble managed to go for longer with a sophisticated product but couldn’t withstand the gravity of declining sales in the wearables sector.

Oprah Time: The World as Design: Writings of Design by Otl Aicher

Aicher was a German designer most famous of his graphic design and typography. His most famous font is Rotis  His impact was far wider. Aicher was a co-founder of the short-lived Ulm School of Design. Over its 15 years it developed a legacy that continues to echo through design education.

He worked with prominent German brands including Braun, Lufthansa and ERCO the lighting firm.

Aicher’s design language for the Munich Olympics was ground breaking. He designed the first Olympic mascot: Waldi a dachshund with multicoloured bands on his body. The posters for the Munich Olympics were hyper coloured designs that still had a system wrapped around them and now trade for hundreds of pounds.

You can blame him for single handedly kicking off the use of stickmen pictograms on public signage in buildings like airports.

Aicher and his colleagues at Ulm were about more than making things look pretty on their medium of choice, they thought about systems. Aicher’s holistic approach to systems influenced modern brand design.  Mark Holt, a co-founder of 8vo; who worked on everything from Factory Records to billing systems for mobile carrier Orange cited Aicher as a major influence.

otl aicher

Aicher’s book The World of Design collects a series of his essays across a wide spectrum of topics. Culture and political essays sit alongside examinations on the process of design and typography. Design and art do not exist in isolation but as part of the wider world. Something that you become keenly aware of as being central to his thinking – alongside his advocacy of reinvigorating modernism.

Probably most striking is Aicher’s delivery and style of writing. He writes with absolute confidence as each item has been thought about, despite feeling like a stream of consciousness in the way those mulled over thoughts are put down. He also completely dispenses with capital letters, sentences flow into each other from a visual perspective. This gives his work a sense of urgency and authenticity – but doesn’t make it any easier to read.

Theses essays felt as if they were born on the internet not written sometime before Aicher died in 1991, which says a lot about how fresh and contemporary his work still is.

 

Have we reached peak streetwear?

At the end of January I wrote a blog post about the landmark collection by Louis Vuitton and Supreme.

I delved into the history of streetwear and the deep connection it shared with luxury brands. This linkage came from counterfeit products, brand and design language appropriation.

This all came from a place of individuality and self expression of the wearer.

obey

I reposted it from my blog on to LinkedIn. I got a comment from a friend of mine which percolated some of the ideas I’d been thinking about. The comment crystalised some of my fears as a long-time streetwear aficionado.

This is from Andy Jephson who works as a director for consumer brand agency Exposure:

The roots of street and lux that you point to seem to be all about individuality and self expression and for me this is what many modern collabs are missing. To me they seem to be about ostentatious showmanship. I love a collaboration that sees partners sharing their expertise and craft to create something original. The current obsession with creating hype however is creating a badging culture that produces products that could have been made in one of the knock-off factories that you mention. Some collabs that just produce new colourways and hybrid styles can be amazing, reflecting the interests of their audience. But far too many seem gratuitous and are completely unobtainable for the brand fans on one side of the collaborative partnership.

The streetwear business is mad money

From Stüssy in 1980, streetwear has grown into a multi-billion dollar global industry. Streetwear sales are worth more than 75 billion dollars per year.

By comparison the UK government spent about 44.1 billion on defence in 2016. Streetwear sales are more than three times the estimated market value of Snap Inc. Snap Inc., is the owner of Snapchat.

Rise of Streetwear

It is still about one third the size of the luxury industry. Streetwear accounts for the majority of menswear stocked in luxury department stores. Harvey Nichols claimed that 63% of the their contemporary menswear was streetwear. Many luxury brands off-the-peg men’s items blur the boundary between luxe and streetwear.

The industry has spawned some technology start-ups acting as niche secondary markets including:

  • Kixify
  • K’LEKT
  • THRONE
  • StockX
  • SneakerDon
  • GOAT

Large parts of the streetwear industry has become lazy and mercenary. You can see this in:

  • The attention to detail and quality of product isn’t what it used to be. I have vintage Stüssy pieces that are very well-made. I can’t say the same of many newer streetwear brands
  • Colour-ways just for the sake of it. I think Nike’s Jordan brand is a key offender. Because it has continually expands numbers of derivative designs and combinations. New Balance* have lost much of their mojo. Especially when you look at the product their Super Team 33 in Maine came up with over the years. The fish, fanzine or the element packs were both strong creative offerings. By comparison recent collections felt weak
  • The trivial nature of some of the collaborations. This week Supreme sold branded Metro Cards for the New York subway
  • Streetwear brands that sold out to fast moving consumer products. This diluted their own brand values. While working in Hong Kong, I did a Neighborhood Coke Zero collaboration. The idea which had some tie-in to local cycling culture and nightscape. Aape – the second-brand of BAPE did a deal wrapping Pepsi cans in the iconic camouflage

Hong Kong brand Chocoolate did three questionable collaborations over the past 18 months:

  • Vitaminwater
  • Nissin (instant noodles)
  • Dreyer’s (ice cream)

By comparison, Stüssy has a reputation in the industry for careful business management. The idea was to never become too big, too fast. The Sinatra family kept up quality and selective distribution seeing off Mossimo, FUBU and Triple Five Soul. Yes, they’ve done collaborations, but they were canny compared to newer brands:

“The business has grown in a crazy way the past couple of years,” says Sinatra. “We reluctantly did over $50 million last year.”

Reluctant because, according to Sinatra, the company is currently trying to cut back and stay small. “It was probably one of our biggest years ever — and it was an accident.”

Sinatra characterises Stüssy’s third act as having a “brand-first, revenue second” philosophy, in order to avoid becoming “this big monstrosity that doesn’t stand for anything.”

The Evolution of Streetwear. The newfound reality of Streetwear and its luxury-like management academic study uncovered careful brand custodianship.

It’s not clothing; it’s an asset class

Part of the bubble feel within the streetwear industry is due to customer behaviour. For many people, street wear is no longer a wardrobe staple. Instead it becomes an alternative investment instrument. Supreme items and tier zero Nike releases are resold for profit like a day trader on the stock market.

Many of the start-ups supported by the community play to this ‘day trader’ archetype. It is only a matter of time for the likes of Bonham’s and Sotherby’s get in on the act.

A key problem with the market is that trainers aren’t like a Swiss watch or a classic car. They become unusable in less than a decade as the soles degrade and adhesive breaks down.

There is the apocryphal story of a Wall Street stock broker getting out before the great stock market crash. The indicator to pull his money out was a taxi driver or a shoe shine boy giving stock tips.

Streetwear is at a similar stage with school-age teenagers dealing must-have items as a business. What would a reset look like in the streetwear industry? What would be the knock-on effect for the luxury sector?

More information
USA Streetwear Market Research Report 2015 | WeConnectFashion
Louis Vuitton, Supreme and the tangled relationship between streetwear and luxury brands | renaissance chambara
New Balance Super Team 33 – Elements Collection | High Snobriety
New Balance ST33 – The Fanzine Collection | High Snobriety
1400 Super Team 33 (ST33) trio | New Balance blog – the infamous fish pack
How Stüssy Became a $50 Million Global Streetwear Brand Without Selling Out | BoF (Business of Fashion)
The Evolution of Streetwear. The newfound reality of Streetwear and its luxury-like management by de Macedo & Machado, Universidade Católica Portuguesa (2015) – PDF

* in the interest of full disclosure, New Balance is a former client.

Louis Vuitton, Supreme and the tangled relationship between streetwear and luxury brands

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.

buffalo

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.

Coke Zero x Neighborhood limited edition cans

(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.

Bapex

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…

The last time I shared this story the page was just at 2k followers. With the collaboration officially announced today- and the page having 40k more followers since then- I figure it’s time to re-share. The year was 2000, and a 6 year old Supreme took their hands at referencing a high fashion brand as they did early on (Burberry, Gucci,) this time with Louis Vuitton. Box Logo tees (and stickers), beanies, 5 panels, bucket hats, and skateboard decks all featured the Supreme Monogram logo (pictured right). Within two weeks, Vuitton sends in a cease and desist and apparently, ordered Supreme to burn the remaining available stock. Clearly, many of the products from 2000 are still in the resell market, circulating today. Now we arrive at today’s FW Louis Vuitton fashion show. As most everyone is aware by now, Supreme is in fact collaborating with the luxury brand for a July- into fall collection. I’ve seen quite a few pieces from the collaboration (20+, check @supreme__hustle @supreme_access and @supreme_leaks_news for more pics) and it’s panning out to be Supremes largest collaboration to date. It’s interesting to see the references of both brands within the collaboration- from old Dapper Dan bootleg Louis pieces, to authentic ones, to Supremes monogram box logo and skateboard desks (pictured left). 17 years later and @mrkimjones proves that time can mend all wounds (amongst other things). Excited to see what all will release alongside this legendary collaboration. #supremeforsale #supreme4sale

A photo posted by Supreme (@supreme_copies) on

The new customers

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.

More information
Ray Petri
How Buffalo shaped the landscape of 80s fashion – Dazed
Dave Dorrell interview part one | Test Pressing
Dapper Dan
Barbara Kruger Responds to Supreme’s Lawsuit: ‘A Ridiculous Clusterf**k of Totally Uncool Jokers’ | Complex
Volume and wealth make Chinese millennials a lucrative target market: GfK | Luxury Daily
Just why are Louis Vuitton and other high-end retailers abandoning China? | South China Morning Post – although Chinese shoppers consumed 46 per cent of luxury goods around the world, their purchases in their home market accounted for only 10 per cent of global sales, falling from 11 per cent in 2012 and 13 per cent in 2013
How a Jimmy Choo Shoe Became a Global Best Seller – WSJ

Living with the Casio GWF -D1000 Frogman watch

When you typically look at reviews of products, there are usually reviewed over a short time when they are new-and-shiny. Often a products features and character come out over time – a symbiotic process between product and user.

I picked up a GWF-D1000 soon after it went on sale for considerably less than the £800 that it is the current street price. Up until I bought the GWF-D1000 (which I will call the D1000 through the rest of the copy for brevity), I had owned its predecessor the GWF-1000 (which I will call the 1000 from here on in).

So what is the GWF-D1000 anyway?

The D1000 is the latest in an a series of G-Shock watches aimed at scuba divers. The first Frogman came out in 1993. The overall design has largely been the same with an asymmetric case and a large display to make operation easier. The positioning of the watches and price points changed over time – some of the previous models had titanium cases and came under the Mr-G sub-brand. The last few models have a stainless steel core case with a DLC (diamond like coating) to protect the surface.

Over time it has picked up features as the technology improved. It became illuminated by a small green bulb, then electro-luminescent material. It moved from relying purely on battery power to having solar cells and a rechargeable battery. The watch became more accurate by picking up time signals via radio from six locations around the world that are calibrated with an atomic clock (precursors to the NTP services around the world that keep your computer and smartphone bang on time.)

The key technology gains over the 1000 include:

  • A dive computer rather than a dive timer (neither matter to me), it has the same basic functionality that dive computers used to have 20 years ago (minus PC connectivity). No big shakes until you remember that it is doing this all from a solar-powered rechargeable watch battery
  • Digital compass which is surprisingly handy, it is very forgiving of the way you hold it, expect this in other Casio watches soon.
  • Temperature reading (again more for the diver) or when you are running a bath
  • The display has been rearranged and a bit easier to read
  • Much better display light and crisper to read at night

The real benefits for me were in the build quality:

  • You get a sapphire crystal rather than the usual hardened mineral glass. This isn’t the first time that Casio has used a sapphire crystal on a watch, but they are harder to manufacture and more expensive than the usual mineral glass face
  • The manner in which the strap is secured to the case has been completely revised. There is are new Allen key screws and a carbon fibre rod to secure the strap to the case
  • The strap is made of polyurethane resin reinforced with carbon fibre. The loop that holds the excess strap length is now a section of stainless steel which has been bent around the strap

How do I use it?

It makes sense to tell a little bit around why I wear a Frogman. I want an accurate watch (who doesn’t?). I want a reliable watch (again, probably a hygiene factor for most people; but one that hints at why the G-Shock has replaced Rolex as the default watch I have seen on Hong Kongers over the past 10 years or so. G-Shock offers robustness that 20 years ago would have come from fine Swiss engineering – at a much lower price point.

I love my Swiss dive watches but there is a time and place for everything.  The knockabout case and its water resistance means that you can forget about the watch. You don’t have to coddle it or worry that it will pick up undue attention. You don’t have to worry if you get a bang on an elevator (lift) door, dropped on the bathroom floor or going for a swim.

The G-Shock is an everyman watch – unless its got a lurid colour scheme it isn’t likely to attract the attention of your average petty criminal. I’ve often taken it off in the office so that I can type in greater comfort and left it there by accident when going home. I’ve never had a G-Shock go missing.

It is relatively easy to use, despite the modal nature of its interface design. To change settings, use functions or see recorded information you have to cycle through a series of text menus – it has more in common with a 1980s vintage video cassette recorder or a DEC VAX. Quite how this goes down with consumers more used to iPads and SnapChat is interesting. Casio seems to do alright by attracting them with bright plastic cases reminiscent of Lego -based colour schemes.

I haven’t dived seriously in a long time, I took up scuba diving while working in the oil industry and have never got back into it since moving to London.  PADI diving at resorts is tame compared to British diving club scene I had been used to.

My work environment is creative which means that t-shirts, flannel shirts,  jeans and suede hiking boots make the G-Shock an ideal accessory. I work in the London office of an American digital marketing agency, owned by a French multinational and my clients are scattered in the different offices around the world of pharmaceutical companies. The functions I tend to use most are the world time, date/time and the night light. My iPhone is now my alarm clock.

The reality is that most of these watches will end up on the wrists of people like me rather than people who dive for a living.

What’s it like to live to live with the D1000

The D1000 is only incrementally heavier than the 1000, it felt a bit strange to wear for about 30 minutes after swapping over to the newer model. But in some ways the D1000 doesn’t yet feel like its my watch.

The 1000 strap became shiny in places over time and more pliable, it felt like it became adjusted to me. Give the D1000 a rub over and it still looks box fresh. The downside is that the strap feels stiff and I still feel its edges on occasion – this isn’t about discomfort, but about the watch not feeling like part of you. There are no shiny parts of wear – it feels less like a ‘personal item”. It lacks what a designer friend calls authenticity; unlike distressed jeans, customised flight jackets or combat Zippos.

Zippo Lighters

This sounds great for the resale value, but I feel that it provides a worse experience for the wearer of the watch.

The reinforced strap does have one bonus, it holds securely to the case. Look at these pictures of my two year old 1000

Casio GWF 1000 Frogman

You can see how the retaining screw that held the strap to the case came undone and disappeared over time. You don’t have these kind of problems with the D1000.

The screen on the D1000 uses its real estate in a different way to the 1000.

Here is the 1000

Casio GWF 1000 Frogman

Here is the D1000

Casio GWF D1000 Frogman

At first the differences aren’t obvious. If you look at the top right side of the screen, the tide and moon segments are replaced by a multi-use screen on the D1000. The small icons for alarms and hourly alerts are moved to the bottom and left of the screen on the D1000, the moon icon now moves to the left of the main screen down from the top right. This probably marginally increases the screen real estate and helps make legibility a bit clearer at night.

GWF 1000

The biggest 1000 feature that I miss is the ability to toggle with one press of the top left button from showing the date on the screen to showing a second time zone; it was extremely handy for work. And having come from the 1000 to the D1000 it was a real ‘what the fuck’ moment.

By comparison I have to press six times to get to the world time screen. Instead, it now toggles between a tide table and the day. Even giving it a two press option would be a better fix than what the D1000 currently has. It’s a small gripe, but it annoyed the heck out of me.

My work around has been to keep the watch in world time mode and if I need to know the day or date, I find myself reaching for my iPhone.

If you are really that worried about tide tables, you will be likely using a specialist service as they vary a good deal over relatively short distances.

If the D1000 still sounds like the kind of watch you want, you can get it here.

Jargon watch: lights out production lines

If you are of a certain age, ‘hand made by robots’ brings to mind the Fiat Strada / Ritmo a thirtysomething year old hatchback design that was built in a factory with a high degree of automation for the time.

Fiat subsidiary Comau created Robogate, a highly automated system that speeds up body assembly. Robogate was eventually replaced in 2000. The reality is that ‘hand made by robots’ had a liberal amount of creative licence. Also it didn’t enable Fiat to shake off its rust bucket image. Beneath the skin, the car was essentially a Fiat 127. Car factories still aren’t fully automated.

Foxconn is looking to automate its own production lines and create products that truly are ‘hand-built by robots’. Like Fiat it has its own robots firm which is manufacturing 10,000 robots per year.

Foxconn has so far focused on production lines for larger product final assembly (like televisions) and workflow on automated machine lines: many consumer products use CNC (computer numeric control) machines. That’s how Apple iPhone and Macs chassis’ are made. These totally automated lines are called ‘lights out production lines’ by Foxconn.

Foxconn is looking to automate production because China is undergoing a labour shortfall as the population getting older. Foxconn uses a lot of manual workers for final assembly of devices Apple’s iPhone because the components are tightly packed together. It will be a while before Foxconn manages to automate this as robotic motor control isn’t fine enough to achieve this yet.

More information
Foxconn boosting automated production in China | DigiTimes – (paywall)

Just one more thing: Apple’s unpleasant surprise of a MacBook Pro

My initial reaction to Apple’s MacBook Pro wasn’t overwhelmingly positive. Now that I’ve tried one very briefly, I was even more unimpressed than I was at the launch.

Thin

I didn’t feel that much of a weight different between my current machine and the new model MacBook Pro. Who gives a flying fuck about the laptop being even thinner than the current MacBook Pro? You have to wonder if Apple really believes customers are gagging for a thin incompatible clamshell of mediocrity? I’d be more interested in power density of the battery – more charge and better performance from the laptop. Some connectors that I actually use would be great as well.

Display

If you already have a retina display laptop this is exactly the same.  The touchpad display is interesting, but it seems to take no account of finger span in the way the controls work on a couple of the default apps that I tried from the perspective of a touch typer.  I suspect that the 11″ MacBook Air was killed because Apple is desperately hoping sales will go to the iPad Pro.

Tactile experience

Apple made a big deal of the keyboard, but the truth of it is that it was wasted. The real effort was not about user experience and more about making things thinner. It isn’t the improvement on the previous MacBook Pro keyboard experience despite the clever engineering involved.

Real world performance

I’m a bit spoiled from a tech point of view. I am working on an early 2015 model MacBook Pro (Retina) 3.1GHz Intel Core i7 with 16GB of RAM and 1TB of solid state storage. I have an attached SuperDrive by USB and two Apple Thunderbolt displays.  The graphics performance is adequate with an Intel Iris Graphics 6100.
about this mac
Having had a quick play with the new MacBook Pro there didn’t seem to be a real world performance difference. You probably would need a machine that is five years old or more to get a speed bump.

China is making a product that Apple should have done

Trawling eBay gives access to a cottage industry of predominantly China-based suppliers. They take iPod Classics and remanufacture them. They get new cases and new batteries.

Real trick is in the new component put in the device. Out goes the Toshiba micro-hard drive of 120GB or 160GB and in goes a 256GB SSD. Apple had abandoned production of the iPod Classic because it couldn’t get the right parts any more. Technology had moved on and flash memory had replaced micro hard drive’s as storage technology of choice for portable consumer devices.
iPod ClassicSwapping out the hard drive for an SSD provides an iPod with a number of advantages:

  • Its a third lighter than Apple’s version of the iPod Classic. This changes dynamics in usage. It no longer has the same heft, you feel less conscious of it in a pocket or jacket
  • The battery lasts longer. I now get about 30 hours of listening from the iPod. By comparison I get 18 hours out of my smartphone. If I used the smartphone as a music player as well, that battery time would drop further. If I used a streaming service, that would sound worse, hammer the battery life and mobile phone bill even further
  • It holds more music. At 256GB up from 160GB in the last model of iPod Classic it makes the difference between being able to hold all of my music library with me or not. You don’t have Spotify when you have 15,000+ tracks to choose from
  • The same great iPod experience. iTunes still syncs with the device. It has a good quality DAC (digital-to-analogue convertor) chip. With the right headphones and a sufficiently high sample rate it is indistinguishable from CDs. Under normal circumstances it sounds better your typical smartphone – which is trying to do lots of job well
  • It is quieter than the original iPod Classic. There is no longer the noise of a hard drive spinning up and reading the music data from the disk
  • Vigorous movement is not a problem. Apple had done a good job with the original iPod Classic songs were cached in RAM to iron out temporary stoppages due to movement affecting the hard disk. An SSD had no moving parts so it isn’t an issue any more

What becomes apparent is that Apple wouldn’t have had to make that much effort to make the product itself, but for no known reason it didn’t want to.

I suspect that part of this is down to:

  • The law of big numbers. The iPod Classic revamped in this way would be a decent business for most companies, but just isn’t as big as Apple is used to
  • A modified iPod probably too simple a design solution. Apple likes to take a big step forward (even when it doesn’t) – there are no plaudits or design awards in an iPod Classic with a solid state drive

The reimagined iPod is a development in sharp contrast to Apple’s new product developments:

  • Loved products bought by key Apple advocates have not been updated or ignored: the Mac Pro and the Apple Display (which Apple has abandoned)
  • Moving out of entry level products. With the MacBook Pro and MacBook line-ups, the entry device is now a secondhand laptop rather than the 11″ MacBook Air or the non-Retina MacBook Pro
  • Big bets that aren’t resonating with the marketplace: the Apple Watch has been a best selling smart watch; but is in a category which lacks a compelling reason to purchase. The iPad is a passive content consumption device for most consumers. It has a replacement cycle that would be more familiar to television manufacturers than a computer company

 

Thoughts on the new Apple MacBook Pro

Having slept a few naps contemplating Apple’s new MacBook Pro. I have been a Mac user since it was the mark of eccentricity. I am writing this post on a 13″ MacBook Pro and have a house of other Macs and peripherals.

Theatre
Apple launched a new range of Apple MacBook Pro’s on October 27, 2016. This was a day after Microsoft’s reinvigoration of its Surface franchise.  Apple ignores timing and tries to plough its own furrow. But comparisons by journalists and market analysts are inevitable.

Microsoft has done a very good job at presenting a device that owes its build quality to the schooling that Apple has given to the Shenzhen eco-system over the past two decades.

The focus on touch computing feels like a step on a roadmap to Minority Report style computing interfaces.  Microsoft has finally mastered the showmanship of Apple at its best.

Apple’s presentation trod a well-worn formula. Tim Cook acts as the ringmaster and provides a business update. Angela Ahrendts sits at a prominent place in the audience and appears on a few cut-in shots. Craig Federighi presented the first product setting a light self-depreciating humour with in-jokes that pull the Apple watchers through the fourth wall and draws them inside ‘Apple’. Eddy Cue plays a similar role for more content related products. In that respect they are interchangeable like pieces of Lego.

Phil Schiller came in to do the heavy lifting on the product. While the design had some points of interest including TouchID and the touchpad the ports on the machine are a major issue.

Given the Pro nature of the computer, Apple couldn’t completely hide behind ‘design’ like it has done with the MacBook. So Phil Schiller was given the job of doing the heavy lifting on the product introduction.

There was the usual Jonny Ive voiceover video on how the product was made with identikit superlatives from previous launches. It could almost be done by a bot with the voice of Jonny Ive, rather than disturbing his creative process.

It all felt like it was dialled in, there wasn’t the sense of occasion that Apple has managed in the past.

User experience
Many people have pointed out that Microsoft’s products looked more innovative and seemed to be actively courting the creatives that have been the core of Apple’s support. In reality much of it was smoke and mirrors. Yes Apple has lost some of the video market because its machines just aren’t powerful, in comparison to other workstations out there.

The touch interface is more of a red herring. Ever since the HP-150 – touch hasn’t played that well with desktop computers because content creators don’t like to take their hands too far from the keyboard when work. It ruins the flow if you can touch type; or have muscle memory for your PhotoShop shortcuts.

Apple didn’t invent the Surface Dial because it already had an equivalent made by Griffin Technology – the PowerMate. In fact the PowerMate had originally been available for Windows Vista and Linux as well, but for some reason the device software didn’t work well with Windows 7 & 8.

I can see why Apple has gravitated towards the touchpad instead. But it needed to do a better job telling the story.

Heat
Regardless of the wrong headedness of Microsoft’s announcements, the company has managed to get much of the heat that Apple used to bring to announcements. By comparison Apple ploughed exactly the same furrow as it has done for the past few years – the products themselves where interchangeable.

The design provided little enthusiasm amongst the creatives that I know, beyond agitation at the pointless port changes and inconvenience that conveyed.

While these people aren’t going to move to Microsoft, the Surface announcements provided them with a compare and contrast experience which agitated the situation further.  To quote one friend

Apple doesn’t know who it is. It doesn’t know its customers and it no longer understands professionals.

Design
Apple’s design of the MacBook Pro shows a good deal of myopia. Yes, Apple saved weight in the laptops; but that doesn’t mean that the consumer saves weight. The move to USB C only has had a huge impact. A raft of new dongles, SD card readers and adaptors required. If like me you present to external parties, you will have a Thunderbolt to VGA dongle.

With the new laptop, you will need a new VGA dongle, and a new HDMI dongle. I have £2,000 of Thunderbolt displays that will need some way of connecting to Apple’s new USB C port. I replace my displays less often than my laptop. We have even earlier displays in the office.

Every so often I transfer files on to a disk for clients with locked down IT systems. Their IT department don’t like file transfer services like WeTransfer or FTP. They don’t like shared drives from Google or Box. I will need a USB C to USB adaptor to make this happen. Even the encrypted USB thumb drive on my ‘real life’ key chain will require an adaptor!

I will be swimming in a sea of extra cables and parts that will weigh more than the 1/2 pound that Apple managed to save. Thank you for nothing, Apple.  Where interfaces have changed before there was a strong industry argument. Apple hit the curve at the right time for standards such as USB and dispensing with optical drives.

The move to USB C seems to be more about having a long thing slot instead of a slightly taller one. Getting rid of the MagSafe power connector has actually made the laptop less safe. MagSafe is a connector that is still superior to anything else on the market.  Apple has moved from an obsession with ‘form and function’ to ‘form over function’.

The problem is one of Apple’s own making: it has obsessed about size zero design since Steve Jobs used to have a Motorola RAZR.

Price versus Value
So despite coming with a half pound less mass and a lot of inconvenience, the devices come in at $200 more expensive than their predecessors. It will be harder for Apple customers to upgrade to this device unless their current machine is at least five years old. I don’t think that this laptop will provide the injection in shipments that Apple believes it will.

A quick word on displays
Apple’s move away from external displays was an interesting one. There can’t be that much engineering difference between building the iMac and the Apple Display? Yet Apple seems to have abandoned the market. It gives some professionals a natural break point to review whether they should stay with Apple. Apple displays aren’t only a product line but a visible ambassador of Apple’s brand where you can see the sea of displays in agencies and know that they are an Apple shop. It is the classic ‘Carol Bartz’ school of technology product management.

More information
Initial thoughts on Windows 8 | renaissance chambara
Size Zero Design | renaissance chambara
Why I am sunsetting Yahoo! | renaissance chambara
Apple just told the world it has no idea who the Mac is for – Charged Tech – Medium
Apple (AAPL) removed MagSafe, its safest, smartest invention ever, from the new MacBook Pros — Quartz
How Apple’s New MacBook Pros Compare To Microsoft’s New Surface Studio | Fast Company | Business + Innovation – a subtly cutting article on the new MacBook Pro
New MacBook Pro touches at why computers still matter for Apple | CNet
Apple’s new MacBook Pro kills off most of the ports you probably need | TechCrunch

Throwback gadget: Danger Hiptop

Years ago I read an article which talked about the collective memory of London’s financial district being about eight years or so. Financiers with beautifully crafted models in Excel would be doomed to make the same mistake as their predecessors.
Hiptop
Marketers make the same mistakes, not being able to draw on the lines of universal human behaviour when it meets technology. Today’s obsession with the ‘dark social’ of OTT messaging platforms is very reminiscent of the culture that grew up around the Danger Hiptop. The  Hiptop drove a use of instant messaging platforms (Yahoo!, Aol and MSN) in a similar way to today’s use of Kik, Facebook Messenger and WhatsApp by young people.

Heritage

Danger was started back in 1999, by veterans from Apple, Philips and WebTV.

Back then mobile data was very primitive, email was slow and the only people I knew who used mobile phones on a regular basis were press photographers, sending images back from early digital SLRs using a laptop connected up to their phone. At this time it was still sometimes easier to bike images over. 3G wireless was on the horizon, but there wasn’t a clear use case.

Apple was not the force it is now, but recovering from a near death experience. The iMac, blue and white G3 tower units and ‘Wall Street’ laptops reignited belief in core customers. Mac OSX Server 1.0 was released in March that year and pointed to the potential that future Macs would have.

WebTV at the time was a company that felt like it was at the apex of things. Before the internet took off, companies like Oracle and BT had tried providing interactive TV services including CD ROM type experiences and e-commerce in a walled garden environment. This was based on having a thin client connected to a TV as monitor. WebTV took that idea and built upon the internet of the mid-1990s. It wasn’t appreciated how commoditised the PC market would become over time. They were acquired by Microsoft in 1997,  later that year they would also buy Hotmail.

At the time, Philips was a force to be reckoned with in consumer electronics and product design. The company had a diverse portfolio of products and a reputation for unrewarded innovation including the compact cassette, interactive CD media and audio compact discs. Philips was the company that the Japanese wanted to beat and Samsung still made third-rate televisions.

Some of them were veterans of a failed start-up called General Magic that had spun out of Apple. A technology super-team of engineers and developers came up with a wireless communicator device that failed in the market place.  It’s name became a byword for a failed start-up years later.  Talent was no predictor of success. General Magic was the silicon valley equivalent of Manchester United getting relegated and going bankrupt in a single season. So it is understandable that they may have been leery of making yet another wireless device.

The device

The Hiptop was unapologetically a data first device. It was a thick device with a sliding screen which revealed a full keyboard and four-way directional button to move the cursor. On later devices this became a trackball. The screen was a then giant 240 x 160 pixels in size. It became available in colour during the device’s second iteration, later devices had a screen that was 854 pixels wide.

I was large enough provide a half decent browsing experience, read and write messages and email. It was held in landscape arrangement and the chunky frame worked well in a two handed hold not that different from a games console controller, with thumb based typing which worked better than the BlackBerry keyboard for me.  Early devices allowed you to move around the screen with four-way rocker switch. Later devices had a trackball. This keyboard rather than touchscreen orientation made sense for two reasons:

  • Touchscreen were much less responsive than they are now
  • It enabled quick fire communication in comparison to today’s virtual smartphone keyboard

Once the device went colour it also started to have LEDs that lit up for ringing and notifications, providing the kind of visual cues enjoyed by Palm and BlackBerry owners.

The Hiptop had a small (even by Symbian standards) amount of apps, but these were held in an app store. At the time, Symbian had signed apps as a precaution against malware, but you would usually download the apps from the maker’s website or the likes of download.com or TUCOWS and then side load on to the device from a Mac or PC.

The Hiptop didn’t need the mediation of a computer, in this respect it mirrored the smartphones of today.

Product life

When Danger was launched in 2002, carriers had much more sway over consumers. The user experience of devices was largely governed by carriers who usually made a mess of it. They decided what the default applications on a device and even the colour scheme of the default appearance theme.

Danger’s slow rise to popularity was because it had a limited amount of channels per market. In the UK it was only available via T-Mobile (now EE).

In the US, the Hiptop became a cult item primarily because IM had grown in the US in a similar way to SMS usage in Europe.

Many carriers viewed Hiptop as a competitor to BlackBerry and refused to carry it in case it would cannibalise sales.

Danger was acquired in 2008 and that is pretty much when the death of the Hiptop set in as Microsoft acquired the team to build something different. An incident with the Danger data centres losing consumers data and taking two months to restore full service from a month-old back-up didn’t help things. It was a forewarning of how dependent on cloud services that users would become.

Danger held much user data and functionality in the cloud, at the time it made sense as it kept the hardware cheaper. Danger devices came with a maximum of 2GB internal memory.

Even if Microsoft hadn’t acquired Danger it would have been challenged by the rise of both Android and iOS. Social platforms like Facebook would have offered both an opportunity and a challenge to existing messenger relationships. Finally the commoditisation of hardware would have made it harder for the Hiptop to differentiate on value for its millennial target market.

 

 

 

The confusing Labour brand

Ok lets ignore for a moment the divisive nature of the current leadership battle. Or a membership that is fractured between a self-destructive underclass, a squeezed public sector and a despised metropolitan elite.
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The thing that struck me about the hustings were not the words but the visual design. This wasn’t the socialist red that we saw from Kinnock onwards, but a dirty pink.
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There was a union jack at the back that would have made more sense at a Conservative party conference. The politics of Labour are confused, but not half as confused as current visual presentation.

The QRcode post

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.
QRcode 101
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…