Function and form

Great interview with Henry Rollins with BBC Hard Talk from January 2016. The interesting bit after 6:00 is how Rollins talks about his stage image that evolved from the rudimentary circumstances of being on the road.

The gym shorts and torso look was to cut down on the washing he needed to do in restaurant sinks post-concert.

I noticed that Whiskas had upped its packaging game. They added a bit of personality to the container design with ears. It cut through the tins, oval plastic trays and aluminium trays usual in cat food packaging. It acts as great brand signage.

Whiskas packaging

Christina Xu on Chinese user experience and consumer behaviour

I’ve been a big fan of Christina’s work for a while and this presentation is a great example of his work. Bookmark it; watch it during your lunch break its well worthwhile.

Great examples of online to offline (O2O) interaction in processes and services that are continually expanding.  Interesting points about the lack of social norms or boundaries on the usage of online / mobile service in the real world. I’ve seen people live their online life in the cinema there are NO boundaries as Christina says.

Five for Friday | 五日(星期五)

Things that made my day this week:

It’s quite rare for someone who has had as as long a career as Mick Jagger to still do relevant material. His double A side single featuring England’s Lost is an exceptionally political track featuring Skepta. The last track from similar artist would likely be Pink Floyd’s The Wall. It wouldn’t sound out of step with The Stone Roses or The Charlatans and the video with Luke Evans performance is amazing.

Omega seem to have spent most of the summer dwelling on the NASA Apollo programme heritage of the Omega Speedmaster with launches happening around the world including PR people in faux spacesuits for photo shoots and socialite cocktail parties.  The excuse is the 60th anniversary of the Omega Speedmaster’s launch in 1957. They’ve supported it with a scripted film using brand spokesperson George Clooney talking with Buzz Aldrin. Aldrin as ever is awesome.

60 years of production makes the Speedmaster a design classic. At the time of the Speedmaster’s launch Omega would have been a more bankable name than Rolex. That seems surprising now given Omega’s move more towards the fashion end of the market. There is a great interview at The Peak Magazine; with Peter Chow the recently retired veteran salesman at The Hour Glass in Singapore. The Hour Glass is a famous watch retailer that has attracted the world’s richest customers.

“You could buy a manual mechanical watch with a fine Swiss movement for S$20 plus,” Mr Chong says. The well-known brands then were Titoni, Titus, Movado and Cyma. “Omega was the best, not Rolex.” Mr Chong quit his job in 1959 and with S$6000 from savings and loans, opened a shop in Bukit Panjang. But within three years, poor sales drove him out of business.

It was something I heard from my parents, though I had partly put this down to both of them having had Omegas – which they bought for each other when they got married.

Northampton’s most famous son, author Alan Moore Interviewed by Greg Wilson and Kermit – real name Paul Leveridge from the Ruthless Rap Assassins and Black Grape. Interesting dissection of modern counterculture and the general sense of ennui.

I am addicted to videos about mesmerising manufacturing processes and vinyl records. This video combines both of them. The hipster movement has done more than drive up the cost of avocados and gentrification. We’ve seen vinyl manufacturing plants revived and thrive. Over time the machinery has needed to be modernised, this has meant modern manufacturing techniques (like SCADA controllers) have been melted to post-war industrial technology. Anyway enough of my blathering check it out.

My week was soundtracked by this epic mix of Herbie Hancock tracks.

A few design things

Whilst looking for the BBC’s new ‘Reith’ font – which they’ve done in-house to update Gills Sans and not pay licence fees, I came across this interesting specification on global web page design by the BBC.

Mark Ovenden talks about the new font as part of a wider appreciation of Gill Sans and Johnston (the London Underground font) in a BBC 4 documentary. It was interesting to hear how Neville Brody used it in City Limits magazine and the challenges these fonts faced in the move to digital – first of all for graphic design and then for online consumption.

Finally, from a font perspective, I found this video from Apple WWDC 2015 that Apple used to introduce its San Francisco family of typefaces as its system font (they also use it as their corporate font now). This was the first font designed in-house at Apple in 20 years. Apple keeps it tightly controlled and restricts access to it.

I looked back on Apple’s website from 10 years ago following the launch of the iPhone I realised how fad driven web design could be.

Apple's website circa 2007

In particular notice the reflection was very now at the time. Javascript had taken off with web 2.0 and someone came up with a block of code that did reflections on images a la the image effect you can get in PowerPoint. This then drove a wider trend to do this in code or in InDesign. You can blame the font gradient on a similar ‘cool Javascript hack’ to design trend meme as well.

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Five for Friday | 五日(星期五)

Things that made my day this week:

Dubliner Rosemary Smith is a 79 year old woman who owned her own driving school. But from the 1960s through the 1970s she was one of the world’s foremost rally drivers. With the right support, she could have done so much more. Renault decided to put her behind the wheel of a single seater racing car. Rallying and racing are different disciplines, but Smith still had some of the magic as you could see in this video

Westbam featured in a short film talking about how he started off and the intersection of music and culture in Berlin during 1989

American Petroleum Institute has put together a video reminding the public of all (ok just a small amount of) the stuff that oil actually goes into. When Teslas rule the roads, we’ll still need oil

The sound track of my week has been various mixes from DJ Nature

Campfield Futon – Snow Peak – I love the design and quality of Japanese outdoor brand Snow Peak. The Campfield Futon is an amazingly flexible piece of furniture that would be great outdoors or in an apartment

Living with the Apple Watch

I got the first iteration of the Apple Watch and managed to put up with it for about 48 hours before giving up on it. I have managed to persevere with the the Apple Watch 2.

Apple managed to speed up the performance of glanceable content, but it still doesn’t have the use case nailed. Watch 2 tries to go hard into fitness, which is a mixed bag in terms of data and accuracy. I am not convinced that it is any better than Fitbit and similar devices.

They did improve the product in two design areas. The Nike straps make the watch less sweaty to wear on your wrist. It is now comparable to wearing a G-Shock. They also managed to life-proof the Watch. You can now wear it swimming (but I wouldn’t advise snorkelling or scuba diving) and in the shower.  The battery life is still meh.

I upgraded the OS to watchOS 4 public beta but haven’t managed to use the Siri powered contextual face yet. As a concept it promises to be a step in the right direction to provide the kind of transformation wearables needed.

watchOS 4 made me realise something that had been nagging me for a while.

The Apple Watch doesn’t have any personality, or at least traits of a personality that I’d care about. It’s a detail that disappoints me. Mostly it’s invisible as a device, with the occasional glances. It gives me the occasional messages that sound like a vaguely resistant teen or like bursts of micro-aggression.

1

It wouldn’t take that much effort to have a bit more manners or personality in the copywriting. How about some icons?

Susan Kare was the icon designer for original Apple Mac, back in 1984. She came up with icons that were useful and gave the machine a personality. You got a sense of the personality behind the developers who created the machine. This was the kind of detail that Apple was known to obsess over.

dogcow

Some of the icons like the dogcow, the bomb and the sad mac became iconic shorthand amongst Mac users. The dogcow was used in printer utility to show page orientation.

Like the early Mac, the Apple Watch doesn’t have a clear killer app and defined use case. It would benefit from manners, humour or even a bit of Siri wit. What’s more using well designed icons would reduce the effort in terms of product localisation.

You could argue that limited device resources don’t allow it. But I don’t buy that theory, an Apple Watch has more memory and computing power than the original Mac. I think its about that legendary attention to detail that Steve Jobs had (and drove everyone else made with. Apple has tried to codify this in their process, but you can’t bake in quirky obsession.

I guess I am old school Apple. I use an iPhone because it works well with my Mac, rather than the other way around. I still come across things where I see ‘Ahh, Apple’s thought about…’ in my Mac. My iPhone is a portable extension of my data, and doubles as a mobile modem for the Mac as needed; it gets in as the Mac’s plus 1.

By comparison the Apple Watch has less of a connection to the Mac and leeches off the iPhone. For a product that has little use case, it needs to work harder at building loyalty through my relationship with it as a device.

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My decade of the iPhone

Last week has seen people looking back at the launch of the iPhone. At the time, I was working an agency that looked after the Microsoft business. I used a Mac, a Nokia smartphone and a Samsung dual SIM feature phone.  At the time I had an Apple hosted email address for six years by then, so I was secure within the Apple eco-system. I accessed my email via IMAP on both my first generation MacBook Pro and the Nokia smartphone.

Nokia had supported IMAP email for a few years by then. There were instant messaging clients available to download. Nokia did have cryptographic signatures on app downloads, but you found them on the web rather than within an app store.

At the time BlackBerry was mostly a business device, though BlackBerry messaging seemed to take off in tandem with the rise of the iPhone.  The Palm Treo didn’t support IMAP in its native email application, instead it was reliant on a New Zealand based software developer and their paid for app SnapperMail.

Microsoft had managed to make inroads with some business users, both Motorola and Samsung made reasonable looking devices based on Windows.

The iPhone launch went off with the characteristic flair you would expect from Steve Jobs. It was a nice looking handset. It reminded me of Palm Vx that I used to have, but with built in wireless. Whilst the Vx had a stylus, I had used my fingers to press icons and write Graffiti to input text. It looked good, but it wasn’t the bolt from the blue in the way that others had experienced it.

But in order to do work on the Palm, I had a foldable keyboard that sat in my pocket.

By the time that the iPhone launched, I was using a developer version of the Nokia E90 which had an 800 pixel wide screen and a full keyboard in a compact package.

Nokia e90 and 6085

I had Wi-Fi, 3 and 3.5G cellular wireless. I could exchange files quickly with others over Bluetooth – at the time cellular data was expensive so being able to exchange things over Bluetooth was valuable. QuickOffice software allowed me to review work documents, a calendar that worked with my Mac and a contacts app.  There was GPS and Nokia Maps. I had a couple of days usage on a battery.

By comparison when the iPhone launched it had:

  • GSM and GPRS only – which meant that wireless connectivity was slower
  • Wi-Fi
  • Bluetooth (but only for headphone support)
  • No battery hatch – which was unheard of in phones (but was common place in PDAs
  • No room for a SD, miniSD or microSD card – a step away from the norm. I knew people who migrated photos, message history and contacts from one phone to another via an SD card of some type

I wasn’t Apple’s core target market at the time, Steve Jobs used to have a RAZR handset.

As the software was demoed some things became apparent:

  • One of the key features at the time was visual voicemail. This allowed you to access your voicemails in a non-linear order. This required deep integration with the carrier. In the end this feature hasn’t been adopted by all carriers that support the iPhone. I still don’t enjoy that feature. I was atypical at the time as I had a SIM only contact with T-Mobile (now EE), but it was seemed obvious that Apple would pick carrier partners carefully
  • There was no software developer kit, instead Apple encouraged developers to build web services for the iPhone’s diminutive screen. Even on today’s networks that approach is hit-and-miss
  • The iPhone didn’t support Flash or Flash Lite. It is hard to explain how much web functionality and content was made in Adobe Flash format at the time. By comparison Nokia did support Flash, so you could enjoy a fuller web experience
  • The virtual keyboard was a poor substitute for Palm’s Graffiti or a hardware keyboard – which was the primary reason that BlackBerry users held out for such a long time
  • The device was expensive. I was used to paying for my device but wasn’t used to paying for one AND being tied into an expensive two year contract
  • Once iPhones hit the street, I was shocked at the battery life of the device. It wouldn’t last a work day, which was far inferior to Nokia

I eventually moved to the Apple iPhone with the 3GS. Nokia’s achilles’ heel had been its address book which would brick when you synched over a 1,000 contacts into it.

By comparison Apple’s contacts application just as well as Palm’s had before it. Despite the app store, many apps that I relied upon like CityTime, MetrO and the Opera browser took their time to get on the iPhone platform. Palm already was obviously in trouble, BlackBerry had never impressed me and Windows phone still wasn’t a serious option. Android would have required me to move my contacts, email and calendar over to Google – which wasn’t going to happen.

 

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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.