HEALTH The next big thing in wholesome drinks
Vita Coco The brand’s best selling flavour in the US and UK.
First there was improved water: V Water, Sip and Firefly. Then came water with added life-giving, energy-boosting, youth-enhancing zeal. But then, a catch, there’s all that added sugar. Whilst sales for some enhanced water brands in the US are on the decrease, the next big thing in wholesomer-than-thou drinks is coconut water. With only one ingredient, Vita Coco, is a potassium-rich moisturising drink containing nutrients for detoxifying, improving circulation, boosting the immune system and keeping in shape. Boasting a loyal following amongst health-savvy celebrities, SJP, Madonna and Gwyneth Paltrow are all fans. At the number one spot in beverage sales at Whole Foods Market (Fresh & Wild), the young green coconut drink is one of the more successful products in the food futures market, where enhanced food and drink such as skin-boosting yoghurt, antiwrinkle marshmallows, antiageing coffee and sex-enhancing chocolate are all ready and available for sale. Arthur Gallego, brand communications director at Gallego&Co., says: “The rise in popularity of ‘natural functional’ beverages is really the next wave in mass consumer drinks. Moving away from traditional carbonated beverages in favour of enhanced waters, there is now a return to seasonal and organic foods that are less manipulated and less processed. Natural functional beverages are a part of this as consumers seek simpler foods and beverages that offer tangible benefits, naturally. Plus, it’s less dramatic than a total change in diet, too.”
NEW HORIZONS PZ Cussons takes flight with a new head office based at Manchester Airport
PZ Cussons, one of the UK’s leading personal wash companies and one of Manchester’s most historic businesses, has taken flight from its Bird Hall Lane site to a new head office adjacent to Manchester Airport. The washing and bathing manufacturer, which last year celebrated its 125th anniversary, makes the move following 15 years at the Cheadle base. The relocation is the latest in a string of developments for the FTSE 250 business which, in the past 10 years has seen the launch of its £26m innovation centre in Agecroft and the acquisition of the Charles Worthington, Sanctuary and Original Source brands, and heralds what looks to be a bright future. On first appearance, the modern glass exterior of the new three-storey, L-shaped building perhaps looks a little different to any other development of the past 10 years. Take a step inside the 40,000 sq ft building, however, and you’re transfixed by the creative design.
The ground floor of the new property features a multipurpose meeting/presentation area, incorporating a diverse mix of informal rooms and breakout areas named ‘The Wave’ due to its interior design and layout; individual spaces including the Art Gallery, Home from Home room and Explorer room, all of which are designed to inspire and evoke creativity.
“Our new head office reflects our business. It is based on being innovative, entrepreneurial and taking a risk.” The space promotes flexible working strategies, including a focus area which is divided with fabric sails to act as individual informal meeting spaces or product display areas, or as one large presentation space. PZ Cussons’ philosophy of ‘Live Well, Work Well’, comes to life on
this floor with a generous sized gym, relaxation area and games room, in addition to a dining space to rival that of any Manchester eatery. The first and second floors, whilst more traditional in their use of space, continue the bloodline of diversity, and feature central hubs for open working complemented by individual rooms which draw on each brand’s personality. Peter Fearon-Brown of CBRE Architects, the renowned property agency responsible for the acquisition and fit-out of the space, said: “We have been fortunate indeed to work with such a forward-thinking client, and believe that our interior design approach truly reflects PZ Cussons’ goals. This approach consisted of four key principles: to encapsulate the diversity of the PZ Cussons operation, embrace the innovative approach of the business, communicate the brand’s spirited personality and deliver a sense of wellness – the space had to
be young, playful, inspiring, with an entrepreneurial edge.” Working with these innovative architects on the interior branding and design was TBWA\Manchester, PZ Cussons’ lead creative agency. “This was a dream brief,” said Danny Bickerton, Head of Design at TBWA\Manchester. “The PZ Cussons brand ethos – to make the ordinary, extraordinary – combined with the strong brand portfolio of the business, provided a fantastic platform from which to scope the interior branding. “Following interior projects completed for ghd headquarters, Nissan’s Maple Cross offices and now the interior brand design for PZ Cussons, we’ve again illustrated an ability to deliver on a very unusual brand brief. One that is outside the remit of most advertising agencies, yet which offers us a host of fantastic opportunities to creatively influence the dynamics of our client’s working environments into the future.”
The relocation has been welcomed by the 200 strong PZ Cussons headquarters team, which officially moved into the new surroundings on April 19. Speaking on the relocation, Alex Kanellis, Chief Executive of PZ Cussons, said: “Our UK business has been expanding rapidly and the significant investment in the Manchester Airport Head Office will provide the foundations for further long term growth, and cements our presence in the North West of England. We’re committed to developing leading brands and product ranges and aim to be a continued centre of excellence for the PZ Cussons global personal wash network.” “Our new head office reflects our business. It is based on being innovative, entrepreneurial and taking a risk – like Google.” PZ Cussons UK brand portfolio includes Imperial Leather, Carex, Original Source, Charles Worthington, The Sanctuary and Morning Fresh.
LESS IS MORE The latest trends in haute horology: bling is out and thin is in Report by Claire Bingham Editor, TBWA\PAPER A showcase for the latest offerings from the world’s most important watch manufacturers, at this year’s Geneva-based Salon International de la Haute Horlogerie (SIHH), the new trends in wristwatches went like this: an increased use of rose gold, a return to simple dials, but most defining of all, the elegant, ultra-thin cases. It seems, biggest no longer means best. Moving away from larger
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and larger man-size time pieces, instead we’re seeing a more subtle, slim style for both ladies and men. Reflecting the taste of more sober times, bling is out and thin is in. Slicker and slimmer than ever before, Vacheron Constantin went back to their archives to serve as inspiration for their newest version of their classic 1920s Patrimony watch. With a case measuring just 4.10mm thick, the Historique Ultra-Fine 1955 is the world’s thinnest mechanical handwound watch.
For newcomers to the Richemont group, the Slim Classique from Ralph Lauren took a more slender silhouette from last year’s inaugural design, with a smaller 38mm diameter and a diamond-set bezel. Known for their ultra-thin timepieces, to celebrate the 50th anniversary of Piaget’s Calibre 12P, Piaget debuted the Calibre 1200P, marking a new record for the thinnest self-winding movement at an astonishing 2.35mm.
Drawn by the mechanics (he), or driven by design (she), the style of a watch speaks volumes about the wearer and how he (or she) spends their time, rather than how they count it. As the need for a watch has virtually disappeared, the desire for a rare, stylish wristwatch is greater than ever with increasing numbers splashing out on these aspirational buys. In the face of the recession, the new designs may be slender, but the market is comparably strong.
THE WIZARD OF
OZ SYNDROME Report by Lorna Hawtin. Disruption Director, TBWA\Manchester
I recall feeling incredibly cheated as a child watching The Wizard of Oz, when the real identity of the wizard was revealed and he stepped out from behind his grand facade. As with the wizard, brands have traditionally been the wall behind which organisations and brand marketers have hidden. Until recently the only genuine contact that happened between the two happened in research groups, when respondent’s attention was drawn to the shadowy two-way mirror, behind which sat the eager and anonymous brand team. Communication was exposed en masse, messages were rigorously shaped, information
was released only in a limited and controlled way, and audiences didn’t have the tools to swap notes, ideas or reactions. The result was an audience that consumed the brand message with little recall to the reality of the company or the team of people that controlled it day to day. Twitter, Facebook and other digital platforms have since fostered the expectation of a real-time dialogue between brands and their audiences. Audiences now have the ability to interrupt a campaign, ask a question, post a complaint, share an insight, not just with us, but with thousands and even millions of others. These are conversations that the brand team never had to plan for or execute in the past.
More fundamentally, Twitter has taught the engaged audience to expect direct access to the true and genuine voices of those they admire (or indeed, detest). They expect a real-time relationship with their icons, and a right to understand the principles and beliefs that drive them. This is leading to a hunger amongst consumers, to get closer to the people that create the brands they love (or indeed, love to hate). This curiosity may have always been the case for the ‘founder’ brands such as Virgin or Dyson, but is now something we’re seeing emerging amongst the more traditionally marketed product brands we work with. We have found that the thoughts, reactions, videos and tweets
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from the people behind the brand are what some audiences have come to value the most. Ultimately, we expect that consumers will eventually want to know who we are as people, what we do with our lives, what we believe in and our aspirations for the future of the brands they love. So it’s about time that we came to terms with the fact that consumers know we marketers exist. They understand that marketers and communications agencies are what drive the conversation and behaviour of the brands in their lives, so why shouldn’t we be visible? After all, perhaps this is the route to a more genuine and authentic relationship between consumer and brand than we have ever been able to create before.
World-renowned developer of digital experiences around current events, Impact Games co-founder and chief product officer, Asi Burak, talks to us about how gaming is set to become everyday. Interview by Claire Bingham Editor, TBWA\PAPER
STEAMPUNK Do you know about Steampunk? No, nor did we. The leading light of the steampunk movement is a certain Jake von Slatt, proprietor of The Steampunk Workshop in California. And here is his deconstruction of a standard IBM keyboard into something a bit more… well, interesting.
In the age of advances in rapid prototyping and desktop fabrication, where we will be able to ‘print’ our own furniture on demand, Steampunk preserves the notion that by understanding the origins of technology we can shape the future ourselves, i.e. moving beyond the assembly of flat-pack kits from
IKEA, to self-manufacturing the things ourselves. An IT professional by day, Slatt is a modern-day tinkerer, simply creating for creating’s sake. His philosophy being, that by understanding how things work, we learn to think critically about technology in the wider world, too. Slatt comes from a DIY technology perspective,
taking the Steampunk ideology (think Victorian goth meets the Maker movement - and a bit of Isambard Kingdom Brunel thrown in) to our homes. Here, taking some vintage typewriter keys he purchased from eBay to create the hacked neo-Victorian computer keyboard. Now, let’s be honest, don’t we all want one? www.steampunkworkshop.com
KITSUNÉ TOKYO How to mix up products and locations for a surprising response - and excellent sales
When it comes to innovating in retail, the only place to look is Japan, really. The record label and fashion brand, Kitsuné, being the current case in point. Touring a boutique version of their Paris flagship store to various cities worldwide, their latest reincarnation has set up stall at the Montoak cafe on the Omotesando Dori avenue - the Champs-Elysees of Tokyo. The key idea behind the travelling boutique is to introduce Kitsuné’s universe, which is not only made of their music but also, for their fashion collections, graphics and special productions. As a business model, the venture
allows for a controlled experience over a short sixto-eight week term, whilst exposing the brand to a number of different buyers and consumers all over the world. But the best thing of all, according to Kitsuné co-founder, Masaya Kuroki, is being on the street, instigating surprise, observing the reactions and being able to react accordingly. Neat. Founded in 2002, Kitsuné gained recognition for their ‘new classic’ clothing for men and women, alongside their collaborations with APC, colette, Pierre Hardy, Petit Bateau, J.M. Weston; with brand presence in the designer clothing market
in some of the most renowned boutiques worldwide: Bergdorf Goodman, colette, Barney’s New York, Dover Street Market, 10 Corso Como, Lane Crawford… With the aim of identifying the most interesting and avant-garde places, before collaborating on the creation of a temporary shop (and a series of events around it), Boutique Kitsuné had its initiation at Bonjour Records in Tokyo, then poppedup at Go Gallery in Milan, The Shop At Bluebird in London and colette in Paris. Their next stop: a yet to be determined hotel in New York. www.kitsune.fr
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One of the UK’s leading suppliers of garden health products, Westland Horticulture, has landed a TV sponsorship deal for its new slug and snail killer, Eraza. The brand is sponsoring the ‘Growing Gardens’ strand of programmes on Home, which is available to Sky and Virgin viewers and includes Ground Force, Garden SOS, Small Town Gardens, Garden Invaders and The City Gardener. TBWA\Manchester is responsible for the sponsorship campaign, which runs until the end of July. The creative is
themed around slugs and snails being killed off and going to ‘a better place’. The TBWA\ Manchester team worked on creative with Prime Focus - one of the companies that worked on the CGI for box office hit Avatar - to produce the idents that show slugs and snails going to heaven as the result of a run in with Eraza. CEO at TBWA\Manchester, Fergus McCallum, said: “The long-term sponsorship campaign with Home allows us to have maximum impact on Eraza’s core audience, launching the new product with a bang. We wanted to ensure
the creative had real stand out and that it was a fun reflection on the brand, which is why we chose to work with animation and the team at Prime Focus.” Naomi Jenkins, Product Manager for Eraza added: “ T B WA \ M a n c h e s t e r ’ s response to the brief was spot on. We’re delighted with the creative approach and looking forward to seeing the results of such a big push for the Eraza brand.” The launch of Eraza is also being supported by a press campaign in titles such as The Telegraph, Gardener’s World and The Garden.
Creator of the award-winning PeaceMaker and PlayTheNews platforms, the Israeli-born computer developer, Asi Burak, invites us to role-play in different people’s shoes, and in doing so, gain a perspective on what an action might lead to. In this case, we are projected into the news through a video game, where players make the decisions for the best course of action in a major current news event - and gain insight into a number of given outcomes. In a nutshell, it is an online seminar to see how we could do things better. Because only if we actively participate, will we ever learn to be able to take real responsibility for the consequences. In Asi’s world, games will become a key part of the future of information dissemination. Here, future computer games won’t just entertain. They will help change the world for the better. With PeaceMaker and PlayTheNews, what has shaped your approach? One of the misconceptions we’re trying to break is the idea that games are something only a certain kind of person does. This is the perception. Our long term vision is that games are something that everyone is going to use. Just like Nintendo and Wii. Games in our everyday life will get to a place on a par with watching TV. What is the key idea? When we created PeaceMaker, there was such a huge reaction to it around the world. People were asking for more, wanting something that related to their culture and could be updated in real time. There was an immediate opportunity to make something community based and much more of an experience to be shared with friends. PlayTheNews is not a game per se. It is a platform of collective experiences. Whereas PeaceMaker is static, PlayTheNews is more of a social experience, updated according to the news. What was the intention? For it to live with current affairs and to be a place to play the news rather than to simply read it. A story may be prominent, but we have so little understanding on what is truly involved. Calling them games might not be the right term, but we created 120 games to launch with, that unlike PeaceMaker, take only 10 minutes to play. On what basis do you select the topics? We work like a newsroom, selecting the key events that are interesting and can be
placed into a role-playing format, i.e. something with a beginning and an end. We tried to be diverse. Our games cover sporting events, celebrity news such as Madonna’s divorce, but we couldn’t ignore hardcore serious topics that were happening in the world. What we discovered is that people love to play niche items: stories that would be on page seven and might not otherwise be read. Take the Mohammed cartoon controversy in Denmark. It was a relatively small story, but going deeper into it was hugely interesting. One of our criteria was that there always needs to be an underlying issue. A story may be small, but it can be part of a much larger puzzle. Those games were something we love to take advantage of. What impact does it have? We read stories and listen to the news, but the notion that you actively have a stake in what’s happening calls for new thinking. We started to see people becoming connected and engaged as players, beginning to understand the issues in a much deeper way. It is like an amplified experience: that instead of receiving the news in two-dimensions, it’s in 3-D instead. Who is it aimed at? Initially, newsreaders in the main, but whoever is politically and socially aware. There has been a huge interest from teachers who use the game as a tool to engage the new generation. What are the plans for monetizing the idea? The immediate direction is always advertising. This is what we’re used to and think about for print and online. One thing that we benefit from is that we can introduce video web before and during the game, however, I think with time there will be other models: subscription models or models where you pay a small percentage to use certain features. Micro transactions like the iPhone are still very green, but it’s a process. CNN pushed this with their iPhone app, where instead of giving it away for free, they tried something else. They charged it at $2 and it was a massive success. How do you see its evolution of moving out of news and into areas like entertainment? We have talked to all the big media organisations in New York who have trained all their life to provide coverage of serious news, but at the end of the day the money is made on celebrity. So the push comes from them. Yes, they say, we’re very interested, but can you make this around
Angelina Jolie? Coming from PeaceMaker our mission has always been to make people better global citizens, but even in these stories we can provide a deeper look. In the case of Britney Spears, it was the custody of her children. What are the other benefits of user interaction? Gathering data. At PlayTheNews we engage our audience in a much more interactive way than regular publishing or broadcasting. The new generation invests more time playing games than they would reading an article in a paper and they come back because we alert them to the results of their game. They initially come for the novelty, but in the long term, the audience builds. Over time, this means you can gauge what people think. It becomes more than a poll; it’s a small intelligence unit. How do you think brands could benefit from this approach? Continuous engagement is the real benefit. Brands need to find new ways of engaging their audience less passively than current TV ads or banners on the web. By moving into more utility-based approaches such as iPhone apps and platforms that are more like products, it allows clients to be part of something more meaningful. We’re talking about a shift to places where people can get a real benefit and with an experience that lasts. As Nike have done. By enabling their customers to design their own shoes, they feel involved and rewarded. Foursquare in New York are doing exactly this. They have created a gaming experience related to everyday life and human behaviour, where users are rewarded by their activity, which in turn makes it more like a real life competition. As long as you’re not addicted it’s great! Future predictions are that life is going to turn into a game. As Jesse Shell demonstrated in his recent presentation ‘Design Outside the Box’ at DICE 2010: “You brush your teeth...4 points!” “You walk to the shops...12 points!” Everything can be turned into a fun competition, making you more engaged in your everyday life. How would you define luxury (in terms of how we live)? For me, it’s about waking up every morning and being excited about the stuff you do. Working on projects that you enjoy, which are going to leave a mark and make a difference to someone’s life. And being rewarded for that, too.
ARACHNIS PICTA From the Catalina Mountains north of Tucson, Arizona, the Painted Tiger moth. By Joseph Scheer.
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On a sabbatical to spend “quite a bit of time in Mexico”, Scheer’s project for 2010 is to document the life cycles of moths in Sonora, Mexico. New York-based artist and Professor of Print Media at the Institute of Electronic Arts, Alfred University, Scheer, is - it is fair to say - mad about moths. So much so, his curiosity for Lepidoptery has gone beyond photographing the species to the study of their individual characteristics, life cycles, feeding habits and how we assign values placed on certain things over others, i. e. they are not the most loved insect despite their butterfly likeness. Much preferring the moth to their daytime counterparts (a butterfly is only a type of moth after all), Scheer re-examines nature through his high resolution, super size digital images on handmade papers to capture the splendour and diversity of these incredible and little known insects. www.floriagallery.com
3 TO SEE EXHIBITIONS
EXPOSED: VOYEURISM, SURVEILLANCE AND THE CAMERA Bringing together landmark photographs from early day paparazzi to Henri CartierBresson, this exhibition plays homage to famous and provocative shots taken by the original peeping toms. From 28 May to 3 Oct, 2010. www.tate.org.uk
GALLERY How our modern secular society is appreciating art - or at least heading merrily to museums on Sundays - in the aim to up life’s content and satisfy a spiritual, rather than a shopping need
Writing for the Monocle, philosopher and broadcaster, Alain de Botton, brought up the need for a new secular faith. A place between atheism and religion, rather than having to choose between the two. Making the link between the experience of entering the vast proportions of the Turbine Hall at the Tate Modern or staring up at the domed ceiling of St Paul’s: escapist, enriching, revitalising either way, the content of our lives is improved. As crowds flock to the galleries all over the world on Sundays to stare at the altar of art, we continue the question: “Is the museum the new cathedral and how can we use our imagination for a better, nobler life?” JULES WRIGHT Founder and creative director, The Wapping Project “Our history is recounted, held and defined by art. We are described by it from the Elgin marbles, the pots dug from the deserts of Africa to the stuffed cows of our own generation. Its scope is before and beyond the steeples, domes and altars of modern times and recent memories. Imagination is its material and change is its consequence.” KENNY SCHACHTER Art dealer “It’s easy to quest for a new secular faith when you were left with hundreds of millions inheritance but Alain de Botton misses the point. The secular faith is economics not art; there is no art, as we know it, without the accompanying financial quotient. The numbers
have become the new standin for some form of qualitative analysis. How to improve life is another story. If one can dissociate oneself from the monetarization of art, the enjoyment and enhancement of life is there for the taking! One must embrace the experience. The artist offers something but it takes two or more to tango. We must consummate the relationship but we must not lose sight of the fact money today equals value. Enjoyment and enhancement are other questions altogether. There is no need to assign nomenclature like religion or not, just enjoy, grab, ingest. It is all there for the taking!” NATHALIE HAMBRO Art advisor “Art is the latest fad to strike flocks of followers. Art is the new altar of a new cultural religion, replacing shopping therapy. Art’s practice is, in most cases, literally a blind faith as most look, but do not see the true offerings.” NIGEL COATES Architect and designer “There’s a relation between the church and the art museum, but for many people the real place of veneration is the shopping centre. Perhaps it is because museums have become more like shopping centres in recent years, they are now more captivating. The other side is that cathedrals and churches have always had art in them and use art as an idea to sell religion. In fact, the Renaissance was built on a kind of struggle between the spiritual side and aesthetics. The Renaissance Man was more interested in Greek Gods than he ever was in God... And so the story continues!”
PAUL SIMMONS Designer/Owner, Timorous Beasties “I’ve often thought of art as being a kind of faith: not in the sense of it being a solution, a way of answering anything, or to give a feeling of security through a collective belief in some kind of afterlife - but a way of celebrating an open minded, anarchistic, challenging, liberal and radical way of thinking about the world and society that we live in, past and present. The trip to a gallery or museum is a small pilgrimage, but is not one of worship or a leap of faith. It is a day out to broaden the mind, stretch the legs and buy an expensive coffee, but without the rules or dogma!”
Greta Garbo, in the Club St. Germain, Paris, c 1950s, by Georges Dudognon. (c) Estate of Georges Dudognon
MATTEO THUN Architect “Beauty, art, music as well as religion - shared with other people in dimensions that enable us to breathe and to feel protected gives us the sense of freedom. It’s the mental freedom that we are looking for. And yes, we can bring this into our daily life.”
Magalogs, magtailing, brandzines... call them what you like. The branded magazine has never worked so hard at delivering the goods
DAVID CLARKE Editor, Vogue Living “For me, the place between atheism and religion is nature. It’s in nature that all of our needs for an awe-inspired, ego-less state can exist. Given that it is human being’s nature to create, discover and question, the artefacts and ideas that we create from those processes (be it sublime architecture, ‘Eureka’ science, or transformative art) can, at their best, inspire a kind of faith in ourselves and our worthiness.”
Report by Claire Bingham Editor, TBWA\PAPER
UNVEILS NEW CREATIVE TEAM
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1995? Report by Faye Resina www.heworeplaid.blogspot.com
Marc Jacobs, A/W 2010
of Fuel Amsterdam. Earlier in his career, he was creative director at TBWA\Chiat\Day New York. He has worked on major global brands including Volvo, Mazda, Nokia and Absolut Vodka and has won awards at the One Show, D&AD, Andys and Cannes. Danny began his career with his own fashion and music business creating design work for artists such as Badly Drawn Boy, Doves and the Charlatans. He has also worked on leading fashion brands including ex Smith’s guitarist Johnny Marr’s clothing line ‘Elk.’ He joined the agency 10 years ago as art director and has progressed steadily through the ranks to his current position as head of design. Fergus McCallum, CEO of TBWA\Manchester said: “We’re delighted to welcome Richard to the team. He brings with him a fantastic wealth of global brand experience and creative talent, and will play a key role in the agency’s ongoing creative development. “Along with Pete and Danny, we have a formidable creative team that can only enhance the already impressive quality of our output”.
Michael Kors, A/W 2010
TBWA\Manchester has recently strengthened its creative team with the appointment of Richard Dean, a former creative director of New York agency The Joneses, as head of creative development. Richard will work closely with executive creative director, Pete Lewtas, and recently promoted Danny Bickerton, head of design. The trio will work to enhance the creative output of the agency as well as nurturing new talent. Richard joins the agency after a spell freelancing at Wieden and Kennedy in Amsterdam. At The Joneses, he produced the Virgin-sponsored campaign to get a small part of New York renamed as Little Britain. Before he moved to the US he worked at Lowe Sydney and served as creative director of Lowe Lintas Melbourne. He has worked on brands including Virgin Atlantic, Penfolds Wine and HBO. His work has seen him scoop golds at Cannes and Creative Circle and he has been a D&AD judge twice. Pete joined TBWA\Manchester last year from IPG Team Nokia following a stint as creative director
You don’t need to dig that far back in your closet this season to look the part. We’re thinking 10 or 15 years... That’s right. The 90s are back! New York Fashion Week saw many designers bring their latter-year creations back to life, whilst newcomers designed with the 90s in mind. Alexander Wang resurrected pinstripes with the staple midriff, velvet knee highs and girlish fabric rucksacks on
show. Hemlines were noticeably longer at Marc Jacobs, with crumpled socks tucked into patent Mary-Janes ticking off the look. However the ‘unforgettable decade’ trend belonged to Michael Kors with his resurrected take on the baby doll. Simple tailoring and relaxed glamour: you heard it here first. The Kors dress is the dress to possess come Christmas 2010. In need of some 90s inspiration? Think Alicia Silverstone in Clueless and Jennifer Aniston in Friends. Soundtrack? We’re playing Nirvana on cue.
Once upon a time, the in-house magazine was little more than a glorified advertorial. Fact. These days, the frumpy marketing stance has switched into something more futurefacing and confident, where selling via a magazine format is now allowed a journalistic eye. Led by the publishing houses as their sumo-sized fashion bibles have receded in direct relation to the advertising within, the branded magazine is now blossoming - and there isn’t an advertorial in sight. A poor man’s version of a consumer mag, well, it really wasn’t taking anyone in. Increasingly, luxury brands are introducing innovative editorial-style brochures and ‘look books’ for their clients. Karl Lagerfeld teamed with Purple Fashion Magazine editor Olivier Zahm to create 31 Rue Cambon, a luscious
magazine-style catalogue available to all new customers throughout Chanel stores globally. Denim brand Acne’s bi-annual magazine, launched in 2005, includes work by Mario Testino, David Bailey and Tilda Swinton. Yves Saint Laurent continues to publish its ‘manifesto’– large format ‘look books’ distributed in major cities – and both Cartier and Hermès produce luxurious titles. Retailers and hoteliers, too, such as Soho House, Liberty and the high end furniture maker, SCP, are upping the ante with their respective magazines featuring products alongside editorial features and background on the brand. Whereas yesterday, the content of a company magazine was either uninteresting or dishonest, now, the branding is much more subtle and there is a genuine effort to tap top editorial talents and introduce original material. Sheridan
Coakley, the owner of SCP, says: “The aim was to bridge the gap for the customer seeing something in a magazine and actually buying it. We called it Number One because we didn’t know what else to call it. We didn’t want to call it a magazine, yet it was more than a brochure. We wanted to produce something for people to keep. The thing to do was to try and make it relevant to our customer and I don’t know if cultural is the right word, but we wanted to give some background to what we are about. We thought that maybe there were things that our customer would find interesting to know.” Giving depth to a brand whilst pushing product without the obvious sell, according to the UK research body Mintel, this type of ‘customer publishing’ is booming. It estimates that the industry in the UK alone is likely to be worth £1bn by
2013. Between 2008 and 2009 it grew 16 per cent, and by 2013 it is projected to increase by a further 22 per cent – no mean feat when the rest of the glossy magazine world is in the doldrums. ASOS’ title, for instance, is now the second largest women’s fashion title in the UK with an annual circulation of 471, 522. Terri Westlake, head of media at ASOS.com, says:
“Customers are savvy; they understand that it’s a brand title (and not independent), but they still appreciate a very good free magazine.” In many cases, cheaper than advertising, what attracts companies is the direct
impact on consumers. “Our research has shown that these magazines create an eight per cent uptick in sales,” says Julia Hutchison, chief operating officer of the Association of Publishing Agencies, the representative for the customer publishing industry in the UK. “On average, every customer spends 25 minutes reading these titles. That’s 25 minutes spent with the brand. Lots of companies are redirecting their ad and marketing spends to this avenue.” A sentiment with which Coakley agrees: “We’re small, so advertising has always been harder to justify, certainly in the places where we would choose to be. Instead, we invested early in a website. As soon as you start to build the content of a website, you realise the potential of what you’re able to say. Whilst we’re very much reliant on the web for sales, it has encouraged us to go back to print.”
BRIT INSURANCE DESIGNS OF THE YEAR 2010 Featuring the most forward thinking designs from around the world - the unofficial Barack Obama poster by Shepard Fairey won last year - this year’s winners include a model for social housing in Mexico and an electric aircraft which produces zero emissions. Until 31 Oct, 2010. www.designmuseum.org
Brit Insurance Designs of the Year, Interactive Award 2010: The EyeWriter. By members of Free Art and Technology, openFrameworks, Graffiti Research La, The Ebeling Group and Tony Quan. USA
WALLS ARE TALKING The University of Manchester’s Whitworth Art Gallery is showing the first major exhibition of artists’ wallpapers. Including designs by David Shrigley and Allen Jones, this show is not just about patterns - expect subversive, political and cultural messages to all be part of the mix. Runs through the summer. www.whitworth.manchester.ac.uk
Walls Are Talking: Wallpaper, Art and Culture 2009 Image: Creative Concern and Peter Saville Photography: Graeme Cooper Copyright: The Whitworth Art Gallery/Creative Concern
TASTE THE PASSION
THE CO-OPERATIVE KICKS OFF A SUMMER OF FOOTBALL FEVER As all eyes turn to South Africa, The Co-operative Food is tapping into the nation’s passion for football with a new campaign that will appear on TV, national press, radio, direct mail, online and in and around store. The Co-operative’s ‘Taste the Passion’ campaign kicked off in March, raising awareness of a football-related ‘Away’ promotion, developed by Blue Chip Marketing, where customers had the chance to
win the ‘Ultimate Football World Tour’ taking in luxury visits to Los Angeles, Tokyo, Madrid and Sydney. The launch revealed the theme’s use of rich, vibrant and summery graphics to customers in thousands of stores across The Co-operative and Somerfield estate. Created by TBWA\ Manchester, appointed as The Co-operative Group’s lead agency earlier this year, the ‘Taste the Passion’ campaign
has been designed to build momentum as the summer progresses - with multiple promotions and themed events such as The Co-operative’s Wine Festival and St. George’s Day celebrations all linked tonally and visually to the central theme. “Football fever will be gripping the nation this year,” said Hazel Owens, Senior Marketing Manager at The Cooperative Food. “Our vibrant ‘Taste the Passion’ campaign
is a colourful celebration of football and food that will be seen in all our stores across Britain through the summer. We share the same passions as the communities we serve so we’re looking forward to helping people enjoy a summer full of fun and big saves on great food. Together with TBWA\Manchester, we’ve developed this campaign so that you’ll feel excited and inspired whether or not you love football or your team has
made it to South Africa.” Fergus McCallum, CEO at TBWA\Manchester, added: “The challenge was to create a campaign to keep The Cooperative Food brand front of mind during the spring and summer months. This year’s football fever provided an excellent opportunity to target an audience with a slightly more male bias. We’re looking forward to rolling this out nationwide over the next few months.”
The Co-operative is the country’s fifth largest supermarket retailer with around 4,000 stores nationwide, following The Co-operative Group’s acquisition of Somerfield in 2009. As the UK’s most ethical food retailer, The Co-operative was the first supermarket to champion Fairtrade and continues to lead the way through product innovation, campaigning and promotional activity.
FOREVER Matthew McCarthy, the owner of the film/art gallery in Los Angeles, began collecting film posters as a boy. Turning his private collection into a webbased gallery, he now stocks an astonishing collection of vintage movie posters - not the standard issue Hollywood kind but rather, rare and foreign designs.
One of the world’s most renowned tattoo artists, LOUIS MOLLOY opened his Middleton tattoo studio when he was just 18. In the intervening 26 years Beckham’s ‘Guardian Angel’, London Ink and many other high profile stars later Molloy now has a three-year waiting list (but he does do friends on Sundays). Putting together the first in a series of books relating to his work, here he gives the needle on his favourite things. HOME FAVOURITE ART? I have some photorealism canvases that I really like. I really like Art Nouveau glass too. WHERE DO YOU LIVE? Helmshore in the Rossendale valley, Lancashire.
FAVOURITE NEIGHBOURHOOD? Difficult one to answer but I like Sunday afternoons in the city centre of Manchester. STATIONERY? The mechanical pencil. GADGET? My Apple Mac system. RESTAURANT? Currently either Nino’s in Rawtenstall or The Clog and Billycock in Blackburn. WHAT DO YOU MISS WHEN YOU’RE AWAY? My bed (and the cute female that is in it with me).
CLOTHES STYLE? I try to do smart casual. My work uniform is a black shirt, black jeans, smart shoes. I don’t want to look like the stereotypical image of a tattoo artist, namely Goth/Biker as people tend to make judgements
on the way you look. TRAINERS OR SHOES? Jeff West are my favourite shoes. I am working up to some footwear from John Lobb. WATCH? I wear an early 1980’s Rolex Sea Dweller that has been bashed, battered and mauled but I absolutely love it. AFTERSHAVE? I have several from the Farmacia di Santa Maria Novella in Florence: Ginestra, Aqua de Cuba and Pot Pourri are my favourites.
INSPIRATIONS FAVOURITE DISCOVERY? Italy, for its culture. WHO’S IMPRESSING NOW? Gill Burns for the fact that she accepts who I am and puts up with me, demons and all. WHERE DO YOU HEAD FOR INSPIRATION? Book shops. I can’t get enough
of them. I have spent mental amounts of money on reference books which are invaluable to my work. WHAT IS THE KEY TO SURVIVING THE PACE? Easy. Just dictate your own. CURRENTLY COLLECTING? Books on artwork from the Meiji period in Japan. NECESSARY EXTRAVAGANCE? Good food and good wine to drink with it. RETAIL DESTINATION? Any good bookshop. FAVOURITE COLOUR? All of them! LIFE PHILOSOPHY? Do unto others as you would have them do unto you. SECRET OBSESSION? To keep pushing myself to improve my work but I think that secret is already out of the bag.
The 1967 Czech edition of Cool Hand Luke
“I started collecting film posters as a child in Missouri, picking them up at flea markets and swap meets”
says McCarthy. “When I was 15, I got a job at a movie theatre and would dig around the basement to find old posters. After school at NYU, I lived in New York, Paris and Milan adding pieces along the way, before ending up in Los Angeles and starting the site.” With an emphasis on extraordinary films and exceptional design, whether you’re a film history buff or a follower of photography, advertising or design, the bottom line is, they are simply great to look at. Bob one on your wall. www.filmartgallery.com
WORD By Fergus McCallum, CEO, TBWA\Manchester
Apparently it was Spring Cleaning Week in the USA recently. I know because someone kindly emailed urging me to get involved. I was supplied with lots of little tips on how to turn my house upside down and get set for summer; and of course there were links to all the cleaning brands that would help me do it. To be honest, Spring Cleaning Week felt like it needed a bit of spring cleaning itself – it was really just a tired and obvious way to sell cleaning products and lacked the sense of rebirth and new life that spring signifies. That said, it did remind me of the principles of spring cleaning your brand (not your
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personal brand – although if you Google this you’ll get lots of wonderful advice) which David. A. Aaker amongst others has written about. Although there isn’t a calendar event that signifies the time for a bit of a brand tidy up, every brand should undertake a good spring clean from time to time. Call it reinvention, rejuvenation or a simple makeover – the relentless and evolving management of a brand and everything that surrounds it should be part of the natural rhythm of its life. So, based on nothing other than a personal view, and in no specific order, here are my top 10 brands that I’d like
to see given a dose of spring clean dusting.
1. The Independent 2. Gordon’s Gin 3. The Tote 4. Oddbins 5. The FA Premier League 6. Gillette 7. WH Smith 8. Channel 4 9. BT 10. Walkers Crisps