From ‘This is it’ to ‘Here I am’

SoftCopy

THANK YOU EVERYBODY FOR SHARING SO MANY INSIGHTS. NOW IT‘S MY TURN. [email protected]

Johannes SchubertOctober 2009MA Advertising

Bucks New UniversityTutor: Dr. Ray BatchelorWycombe College

Faculty of Creativity & CultureWord Count: 8000Module: ADM02

FROM ‘This is iT’ TO ‘heRe i aM’

the metamorphosis towardsholistic brand communication

About the author:

As a graduate of Design Factory Hamburg, Germany (with one term at International School of Communication Design, Zhuhai, China) Johannes can look back to studies which included advertising and design and has won a couple of international awards in both fields.

At the same time he has gained experience in the professional life working for traditi-onal and digital advertising agencies (including Jung von Matt, Proximity, BBH and Mother London) as well as design agencies and is operating a wide range of communi-cation projects under the label schatzi&schatzi with his partner Annabel.

Johannes will complete his studies of MA Advertisingat Bucks New University in 12/2009.

FROM ‘ThiS iS iT’ TO ‘heRe i AM’

Johannes Schubert

[email protected] +44 7551 581 606GeR +49 93 19 46 04

Acknowledgment

Introduction

1 The digital age The everyday life of digitally empowered people A new kind of media is turning consumers into ‘prosumers’ Moore’s Law is determining the progress of digital reality experiences it is about technology in a human context

2 What does this mean to brands?The end of marketing as we know itAre there any rules on this bazaar?Don‘t be evilFrom designing products to designing brand experiences

3 What do the people want?People are seeking the great experience of being aliveRules for authentic communication

4 Crisis. What crisis?Dead men walking?Time for Titanium

Silos and Strawberries

5 What is our job?Making clients succeed through strategic creativityA new way of workingCreativity that fits in

Conclusion

Account of sources

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2527293335

374145

47495355

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71

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Table of contents

3

Marcus Aurelius Roman emperor 1

Of each particular thing ask:What is it in itself? What is its nature?

Dear Reader,

Rather than following the convention of including tangentially relevant information into formal appendices or footnotes, I have elected instead to put these parts into coloured‘information boxes’ throughout to create a magazine-like experience.This is why pictures are not numbered on the page. An overview of the used illustrations classified by page-number is part of the Account of sources.

Here you are.Johannes Schubert

1 Global Oneness, Marcus Aurelius <http://www.experiencefestival.com/a/Marcus_Aurelius_-_Roman_emperor/id/5275301> accessed on 02.05.2009

Matt Pyke Artist 2

The more connections I make,the further I can reach across the worldfinding inspiration in every personthat I meet.

Bucks New University:Bruce SinclairDr. Ray BatchelorWaqar Riazmy fellow students at Bucks New University

London:Martin Runnacles, Ultegra ConsultingIan Haworth, RappStuart Outwraight, MotherSara Tate, MotherAdam Arnold, BBHMaximilian Gerdau, BBHJohannes Hermann

Hamburg:Michael HoinkesGötz Ulmer, Jung von MattStefan Walz, Kolle RebbeTobias Schupp

New York:Simon Kelley, Keith Blanchard and Michael Perry, Story Worldwide

Many thanks to AKQA, AMV BBDO, BBH, EHS Brann, Elvis, IDEO, Jung von Matt,Landor, M&C Saatchi, Mother London, Rapp, R/GA, Story, Volume and Wunderman

Special thanks to Tim Brown and Aradhana Goel, IDEOBob Greenberg and Nick Law, R/GA for sharing knowledge.

Helge Tennø, Russel Davis, Faris Yakob and many many morefor continually blogging me up to date

Dedicated to the wife of my dreams and our great families with thanks to the one who is the A and Ω.


Acknowledgment

5

2 Vimeo, Nokia E71, Universal Everything - 6 billion people, 6 billion colours <http://www.vimeo.com/2818289> accessed on 17.04.2009

The opening of the world wide web by Tim Berners-Lee on August 6th of 1991 at CERN is seen nowadays as the entry into the current digital age. His invention, the Web 1.0 which is connecting digital devices has spread all over the world and become a part of our lives on both private and professional level. The rise of the humanized ‘Web 2.0’ (Tim O’Reilly)3 which is connecting people, enables internet consumers to actively participate in its creation. This democratization of the media landscape is ‘shifting the power away from the editors, the publishers, the establishment, the media elite.’ (Rupert Murdoch)4

This documents aims to explore the nature of this transition and its consequences for brands and the creative industry from design to advertising by starting with an analysis of the impact of digital technology within the western society (Europe and US). As we realize the shift from a communication principle which can be characterised by the words ‘This is it.’ to a model of ‘Here I am.’ which puts people and brands on equal level, we zoom into the resultant chan-ges in the world of brands. Analyzing the behaviour and expectations of today‘s consumers we can understand in what way the end of the traditional mass-media dominance presents a challenge to the current setup of commercial communication.

The author then explains the recent reactions of agencies, portraits their changing way of wor-king and presents different ground-breaking case studies of creative brand communication that create appreciated value in people‘s life. This document is based on intensive research in the creative industry of London and Hamburg (centres of European Communication Design and Advertising) including various meetings with different types of professionals (i.e. Creative Director, Copywriter, Designer, Planner) of internationally reknown agencies (i.e. Mother, Jung von Matt, BBH, Rapp, Landor), studies of relevant literature (books and periodicals) and a continuous and extensive global web research (mainly journals, blogs, speeches and presentations). The content of his current postgraduate studies of Advertising at Bucks New University as well as discussions with professionals from the client side of Marketing (i.e. Lufthansa) and research from this perspective have assured the author about the accuracy of his observation of a tendency in commercial communication from ‘Product Marketing to Marketing Products’.


Introduction

7

Anonymus

The one who has the power over the images also has the power over the people.

Tim Berners-Lee

3 Wikipedia, Web 2.0 <http://en.wikipedia.org/wiki/Web_2.0> accessed on 21.07.20094 Slideshare, Online Trends August 2009 <http://www.slideshare.net/belm/online-trends-august-2009> accessed on 19.09.2009

1Thedigital age

Roy Amara former President of the institute for the Future 5

People tend to overestimate the effectof a technology in the short run andunderestimate the effect in the long run.

9FROM ‘ThiS iS iT’ TO ‘heRe i AM’

5 Campaign Viewpoint, Faris Yakob, The invisible web <http://www.campaignlive.co.uk/news/features/855000/Digital-Viewpoint-invisible-web> accessed on 14.02.2009

And what aboutMichael Jackson in 2009?

Take a minute to think about how you experienced the death ofLady Di in 1997.

111 - The digital age

Today when we set up a video conference on Skype, comment on our friend‘s holiday pictures on Facebook (to announce that we just booked a trip on Cheapflights.com to another inte-resting location we didn’t know it existed some hours ago, before looking at some impressive pictures by ZhengHan87 from Shanghai at flickr) or simply explore the new collection of a New Zealand based designer of eatable jewellery on ebay, we are mostly not aware that our power of communication is crossing borders that seemed insuperable only years ago.

In the age of semiconductors (processing power), ferromagnetic compounds (storage), and fiber optics (bandwidth) that progresses towards unlimited information and total intercon-nection, the world without Google’s help is hard to imagine. This is why the company which was founded only in 1998 with the mission ‘to organize the world‘s information and make it universally accessible and useful’6 generally tops rankings (i.e.: Milward Brown Optimor7, FastCompany8, Good Brands9) being the most powerful and innovative brand alive. The ri-sing popularity of online search advertising is benefitting Google, which owns 73%10 of the market share.

The digitalization of cameras and camcorders has equally changed the way we picture the world as the conversion from physical records to audio-downloads, from videos and TV-Broadcasts to High-Definition and media on demand is influencing the way we culturally explore it. Both powerful and user-friendly software such as Apple‘s iLife (coming with every Mac) promises to provide everyone who wants to become a movie director, music producer or graphic artist with the essential tools required for creative expresion.

Mobiles that have a vast range of functions beyond making calls are becoming tools empow-ering us to lead our everyday digital life. Being multi-media content creators we capture and share ideas and impressions with our global friends and are able to access information from every corner of the earth at all times.

6 Google, Mission statement <http://www.google.com/corporate> accessed on 29.05.20097 Milward Brown Optimor, BrandZ Top 100 Ranking, pdf (April 29th 2009),

<http://www.millwardbrown.com/Sites/Optimor> accessed on 01.06.20098 FastCompany, Fast 50 <http://www.fastcompany.com/fast50_09> accessed on18.08.20099 PSFK, Good Brands Report <http://www.psfk.com/psfk-good-brands-report-2009> accessed on 18.08.200910 Apple Homepage <http://www.apple.com> accessed on 29.05.2009

1 - The digital age

The everyday life ofdigitally empowered people

13

The promise of Apple‘s tagline promoting the iPhoneapplication store summarizes the impact of digital onour daily lives: ‘There is an app for everything.’10

The star of traditional local and national TV and Radio stations and newspapers seems to fade at the same time that the digital age is dawning on the media industry. The web can be classified as a new kind of massmedia as it enables both a fusion of texts, voice, pictures and video for diffusion to a wide group of individual recipients as well as its bi-directional charac-ter allows unique interactivity.

Another of its aspects is, that it blurrs the line between non-commercial and commercial communication. Every user of the internet can take an active role and broadcast his or herself (the promise of YouTube). On the other hand established publishers can lose their influence in controling the media when their predetermined structure of media products is identified as being distant, inconvenient and dictatorial compared to digital citizen media channels sharing relevant User Generated Content (UGC) which are regarded as being close, personal and democratic. This fact has helped small businesses that have nothing to loose to become succesful when they understand the situation and make it a part of their concept. Companies like myMuesli have grown very quickly, as they totally incorporate the UGC (User Generated Content) in their community building business and communication strategy.

The shift is going from one-way pushed messages that are communicated by professional broadcasters to a number of consumers, to an enlaced viral network of scores of amateur broadcasters12 (charts p.14). This change can also be described as the transition from broad-casting to narrowcasting. Although we have to consider that some people have so many fol-lowors, that they can actually be considered broadcasters. Ashton Kutcher famous for the BlahGirls.com (an interactive, animated Web series that focuses on celebrity gossip, fashion, relationships and life as it happens)13 has 3,588,467 followers on twitter to ‘pull’ from him.14

As a consequence of the democratisation of tools and the defining culture of sharing all kind of information at increasingly no-cost, citizens of the digital world from being passive consu-mers are turning into interactive ‘prosumers’. At this occasion let us quote Wikipedia16 - the free encyclopedia that anyone can edit, which has become the largest (more than 13 million articles15...) and most popular (... in over 200 languages14) general reference work on the Internet and is continueing to grow at a rate of 156 articles/hour15): ‘The description prosu-mer describes the converse to the consumer with a passive role, denoting an active role as the individual gets more involved in the process.’16

Interviewing Stefan Walz11 (Creative Director, Kolle Rebbe, Hamburg, Germany) who has won a number of Awards (inclu-ding Cannes-Lions, ADC of Germany and Europe, LIAA and One Show) for his works which go to the edge of digital com-mercial communication, about his work he underlines the im-portance of providing made-to-measure content to the people and the need for active engagement.

The internet is the perfect media for an interactive society that participates and is full of people that want to see and be seen by sharing, commenting and rating content.

He describes the changing media behaviour with the example of a 16-year girl old who has stopped watching TV, as she can use YouTube (which has become the second biggest search engine) to create her own playlists and avoid annoying ringtone-ads.

Advertising agencies therefore have to switch from creating traditional ads to creating relevant and engaging content – a discipline where they can learn from digital agencies who are used to convince users to deliberately access websites and establish a positive attitude towards the brand which does something for them or starts a conversation.11

11 Stefan Walz, Creative Director, Kolle Rebbe, Hamburg, interviewed on 23.04.2009 in Hamburg12 Martin Runnacles, Lesson at Bucks New University, MA Advertising at 09.03.200913 BlahGirls.com <http://www.blahgirls.com> accessed on 17.08.200914 Twitterholic, statistics of Ashton Kutcher <http://twitterholic.com> accessed on 17.08.200915 Media Convergence, Promotional video for Conference hosted by The Economist <http://mediaconvergence.economist.com> accessed on 17.08.200916 Wikipedia, Prosumer <http://en.wikipedia.org/wiki/Prosumer> accessed on17.08.200917 YouTube, Social Media Revolution <http://www.youtube.com/watch?v=sIFYPQjYhv8> accessed on 28.07.2009

1 - The digital age

A new kind of media is turningconsumers into ‘prosumers’

15

Stefan Walz

MyMUeSLi.COM, The ONLiNe ShOP TO ORDeR yOUR OWN BLeND OF MUeSLi

By interacting very personal on social networking sites such as Facebook the three founders of the company are establishing a lifestyle around the brand that attracts a big number of friends. The community around the german start-up enterprise of the year 2007 is now sucessfully growing internationally.

+ More video was uploaded to youTube in the last two months than if ABC, NBC and CBS had been airing new content 24/7/365 since 1948.17

+ US newspaper circulation is down 9 million over the last 25 years. But in the last 5 years uniquereaders of online newspapers are up 30 million.+ There are more than 200 million blogs54% of bloggers post content or tweet daily

One-Way Communication ‘Peer to Peer‘ Communication

Still being a teenager the internet has already had an overwhelming impact on our global civilization, but with both faster connections and more availability through the rise of black-berries, the iconic iPhone, pdas, netbooks and many more devices (as the ubiquitous internet of things is step by step arriving) its importance is becoming even more fundamental.

The continuous developing digital reality is becoming the home for a ‘global society’18 that is technologicaly empowered and interconnected and because of that able to change the world. (Gordon Brown)18. Its citizens are both explorers of the digital sphere as well as their architects acting as multi-media content creators, capturing and sharing ideas and impressions with their global ‘friends’ (bear in mind that the social network Facebook with its more than 300 million users19 has enhanced the concept of what the term ‘friend’ can mean). Increasingly at former analogue and ‘offline’ environments (the so called ‘first life’) we are confronted by digitally influenced situations (such as the shown Lego Packagings using Augmented Reality) Real-time services such as Twitter or the upcoming GoogleWaves redefine our understanding of what is a conversation is. As a consequence the seperation between the digital and the real world has already become an out-of date concept.

20 years after inventing the World Wide Web, Tim Berners-Lee20 is asking the world to provi-de raw data for a new type of web which links data. The bigger the amount of the linked data provided the more powerful computerized analysis which is to play a fundamental role in our daily life by helping us to make sense of the shared knowledge of the world. One hope for this Web 3.0 is, that it is to be a groundbreaking tool in countless areas of research and culture, such as the fight against diseases on a TED-conference in February 200920. Of course it is the content of many discussions if it is one big step towards computerized intelligence (the Web 4.0 is expected to arrive around 205021).

We can be sure that this evolution digital technology will enhance our reality. Faris Yakob (EVP Chief Technology Strategist, McCann Erickson New York) describes that the more invisible the web turns the more powerful it is beco-ming, giving the philosopher Martin Heidegger’s example of the blind person’s cane which becomes like an organ for the user to experience his environment:

The social impact of the web will only become evident when it is ubiquitous – a tool used so intuitively by the generation that grows up once this happens that it is no longer a tool, but an extension of yourself.22

1 - The digital age

... digital reality experiences

17

Martin heidegger

Faris yakob

in-Store Use of Augmented Reality by LeGO

Augmented Reality with Webcam Campaign for BMW Z4

WiRiNG A WeB FOR GLOBAL GOOD Gordon Brown speaks on 21 July 2009 at a TeD conference in Oxford, UK

Moore‘s Law is determining the progress of ...

MOORe‘S LAW illustrated by thedevelopment of intel processors

18 TED, Gordon Brown, Wiring a web for a global good <http://www.ted.com/talks/lang/eng/gordon_brown.html> accessed on 24.07.200919 Tagesschau.de, Facebook macht erstmals Gewinn <http://www.tagesschau.de/wirtschaft/facebook136.html> accessed on16.09.200920 TED, Tim Berners-Lee, The next web <http://www.ted.com/talks/lang/eng/tim_berners_lee_on_the_next_web.html> accessed on 14.03.200921 Karl Fisch, Scott McLeod, Did you know 3.0 <http://www.youtube.com/watch?v=jpEnFwiqdx8> accessed on 17.01.200922 Yakob F., The invisible web

1 - The digital age

It is about technologyin a human context

19

Russel Davis

Thinking PeOPLe first

SixThSeNSe is a wearable gestural interface that augments the physical world around us with digital information and lets us use natural hand gestures to interact with the information.

By using a camera and a tiny projector mounted in a pendant like wearable device, SixthSense sees what you see and visually augments any surfaces or objects we are interacting with. it projects information onto surfaces, walls, and physical objects around us, and lets us inter-act with the projected information through natural hand gestures, arm movements, or our interaction with the object itself. 'SixthSense' attempts to free information from its confines by seamlessly integrating it with reality, and thus making the entire world your computer.23

Heidegger‘s dynamic can be observed already today, as we are fading into a post-digital24 age (Russel Davis) where for example ebooks are becoming books, and IM (digital instant mes-sages) become ‚message‘. As the reality of space (i.e. through GPS or digital compassing) and time (there is no past on the searchable web) melt into the experience (SPIME - the device knows when and where it is), digital is becoming more transparent. Just as phoning is no longer about the technological experience of making a phone call, social research25 analyses that

people tend to go online to find people they know and tend to replicate, at least in part, their social performances online.These performances, the communities that they occur in and the dialects that they represent and produce should be the critical loci for research in the postdigital age, not the technologies themselves.25

As an open document of the international 52group26 (teachers reflecting on teaching in digital times) descri-bes this transition from an educational perspective:

The speed of the change, however, has left us with the mistaken belief that social change was somehow ‘created‘ by the digital rather than simply played out on a the canvas of the digital; that the digital itself is the main driver of change.

We would argue the opposite. This ontological error has had us move towards placing technology at the forefront (think e-learning as distance learning) and moving our focus away from the people involved in these processes; the needs that they have and the skills that they bring.26

ANyALyZe your family videotapes, or read your first emails and you notice how language is changing over time.

NO, This is NOTTwiTTeR laNguage.

23 Pranav Mistry, SixthSense, <http://www.pranavmistry.com/projects/sixthsense/> accessed on 23.02.200924 Russel Davis, meet the new schtick <http://russelldavies.typepad.com/planning/2009/01/meet-the-new-schtick.html> accessed on 18.01.200925 Department for Continuing Education at the University of Oxford <http://tallblog.conted.ox.ac.uk/index.php/category/society> accessed on 12.08.200926 52 Group, Open Document <http://docs.google.com/View?id=aqv2zmc9bgm_51ft65rbn2> accessed on 16.08.200927 Virtual Strategy Magazine <http://www.virtual-strategy.com/December-2008-Executive-Viewpoint/Executive-Viewpoint-Tom-Joyce-Akorri.html> accessed on 24.01.2009

‘We are stuck with technology when what we really want is just stuff that works.’27

Maybe this quotation of Douglas Adams explains the groundbreaking success of the iPhone which not only transformed the smartphone market but can be seen as one of the forerunning products in human-centric communication design.

21

Before we enter the second chapter which will talk about brands in the digital age let us analyze the american presidential election campaign of Barack Obama (who is sometimes refered as the first internet president) that represents the literal bridge between a brand and a person.

His approach to include various audiences in order to become a true people’s spokeman and spread the optimistic and involving message of ‘Change’ and ‘Yes we can.’ was more than a financial success (650 Mill $), assured by donations of in average only $100 given by private individuals.28 All other candidates before had mostly relied on the support by higher donations of companies or rich individuals. In terms of communication the ‘marketing’ of Obama can be seen as a ground-breaking modern political campaign with global reach and wide participati-on. Media was the engine and people were the fuel of this multi-layered masterpiece creating a people‘s president.

More than half of U.S. adults used the Internet to participate in the 2008 election and around 55 percent searched for political news online, researched candidate positions, deba-ted issues or otherwise participated in the election over the Internet. 45 percent of Internet users watched online videos related to politics or the election; 33 percent of Internet users shared political content with others, 52 percent of those on a social network used it for political purposes.29

Through the use of various online channels Obama achieved to gain the respect of large amounts of members of the growing part of the ‘long tail’ (see p. 32) of american voters who don‘t show a clear social affiliation to the democratic or republic party including ethnical and religious minorities as well as groups with special interests. The integrating spirit in his com-munication when he was talking about what ‘we’ can do instead of talking what ’he’ would do, created a historical movement of the american people by establishing an empowering group feeling expressed in the distinctive tagline: ‘Yes, we can.’ This big thought could be sensed in every fractal of the brand architecture.

This campaign which ‘parts created something which was bigger than the sum of them’31, (David Droga, Droga5) is winning unprece-dentedly many creative awards (including both the Titanium and Integrated Grand Prix of the 2009 Cannes Lions, Grand Clio, etc.).

Professionals in commercial communication study this movement as it ‘changed business as usual for everyone.’ (Fast Company32).

Learn about the visual identity of Obama‘s campaignin a Neewsweek interview with MiChAeL BieRUT,Graphic Designer and Critic at Design Observer

http://blog.newsweek.com/blogs/stumper/archive/2008/02/27/how-obama-s-branding-is-working-on-you.aspx

28 Campaign Magazine, supplement March 2009, Digital Essays29 Reuters Online News <www.reuters.com/article/internetNews/idUSTRE53E6FP20090415> accessed on 15.04.200930 Cannes Lions 2009, Press Conference Titanium and Integrated Lions <http://www.youtube.com/watch?v=rfiBQJCSdZw> accessed on 05.07.200931 FastCompany, The Brand Called Obama <http://www.fastcompany.com/magazine/124/the-brand-called-obama.html> accessed on 15.04.2009

David Droga

1 - The digital age

People are becoming brands justas brands are becoming people

to‘Here I am’

From‘This is it’

23FROM ‘ThiS iS iT’ TO ‘heRe i AM’

2What does it mean to brands?

A.G. Lafley CeO and Chairman, Procter & Gamble 32

Consumers are beginning in a veryreal sense to own our brands andparticipate in their creation.We need to begin to learn to let go.

25

32 Slideshare, TBWA on Change <http://www.slideshare.net/MADblog/tbwa-quote-compilation-on-change-1226374> accessed on 23.04.2009


Commercial communication follows consumers. Companies investing in branding and mar-keting their products or services recognize this fact as well as agencies that build bridges from brands to people. Analyzing the history of commercial communication (comparing for example content and tonality of ‘public information’ spots in the 50s to current viral movies) we notice why advertising can be seen as a mirror of society and how brands are continually drawing nearer to their consumers.

It is obvious that the sender-receiver monologue communications principle has to be ret-hought which sucessfully generated ‘brand fans’ (Scholz&Friends, Berlin)33 in an ancient age characterized by few brands. Their mostly packaged products were equipped with clear USPs, which simplified the decision process of easy to reach consumers in the few supermakets. The branding could focus on corporate identity and the packaging design while mass media do-minance and high advertising acceptance were a paradise for marketing.33

Nowadays in an age of ‘atomized and parallel media consumption’33, brand choice is com-plex as we have become brand sceptics that are more difficult to reach because we suffer from sensory and mental overload (more than 3000 messages per day)33 which leads to ahigh ad-vertising rejection rate, (actually 65% of the people feel constantly bombarded with ads)33. The market is flooded with many (often exchangeable) brands, as everything (no matter how untangible) can be a product today (the German market saw a flop rate of 70% in 2008).33

As a consequence only 18% of traditional TV campaigns generate a positive ROI (return on investment).34 The decay of prize for Adspace in TV or Print is an indicator that traditional media space is loosing importance at the same time as online advertising is rising. So how to talk to customers in an information age where digital is turning the world of commercial communication upside down and ‘Everything a brand does that connects to the consumer is media’35 (Lee Clow, Director of Media Arts, TBWA Worldwide)?

2 - What does it mean to brands?

The end of marketingas we know it

Martin Runnacles

Lee Clow

33 Scholz&Friends, Dramatic Shift in Marketing <http://blog.envision-grp.com/2009/01/scholz-friends-dramatic-shift-in.html> accessed on 04.06.200934 YouTube, Social Media Revolution35 Slideshare, TBWA on Change36 Russel Davies, 2008 - the year of peak advertising <http://russelldavies.typepad.com/planning/2008/01/2008---the-year.html> accessed on 22.01.2009

New wave COMMuNiCaTiON MOdel by Martin Runnacles, ultegra Consulting

With the shift of power from broadcasters and brands to people many communicationmodels are running out of date. Runnacles‘ marketing hypothesis does not primarily consider the digital space as an advertising possibilty but shows the potential of hos-ting the complete customer journey including raising awareness to purchase.

Russel Davies Strategist & Author 36

There‘s a limited amount of attention in the world.If more of it is going to personal, non-commercial,un-advertised media, less of it will go to advertising.

27

The Cluetrain Manifesto compare today’s marketplaces to a global bazaar. In order to be eco-nomical it is important to raise a matching voice to become a part of the global conversation. People are put in a strong position in which they can freely decide what they like and share with their friends and what they don‘t recommend.

A number of bad online reviews on important platforms can harm the launch of a new pro-duct or service. A good proof for this point are the highly discussed attempts of doctors in the US trying to remove their footprint of negative patient reviews on rating sites such as Zagat’s and Angie’s List.37 There is no space for dark secrets in an information enlightened age. As people rate and comment on almost everything, the internet is ‘shifting the power away from the editors, the publishers, the establishment, the media elite.’ (Rupert Murdoch).38

Just like the doctors who try to stop their patients from sharing online reviews by giving them waivers which they have to sign vowing to stay silent, companies remaining in the model of ancient brand behaviour to tell people what to think about their products will eventually come into serious image problems as the processes of companies marketing are getting de-mystified. Not accepting this reality can easily leave a participator (whether it is a company or an individual) being considered arrogant and distant. Murdoch, one of the most influential global media entrepreneurs states the fact that ‘now it‘s the people who are in control.’38

Companies have to ensure that they are customer-relevant in order to prosper. Services or products have to be useful and available when and where people need them. A study in the second quarter of 2009 published by Microsoft for Europe (‘Europe logs on - European Inter-net Trends of Today and Tomorrow’39) predicts that by June 2010 the use of the internet will top the use of TV. 65% of the time is spend on news, video and communication platforms while e-commerce is taking the second place with 33%. Now is the crucial time for brands to make this medium their home. That is why factors like SEO (Search Engine Optimization) are becoming a crucial part of modern product marketing and brand management.


Are there any ruleson this bazaar?

siNgeR geTs his ReveNge ON uNiTed aiRliNes aNd sOaRs TO FaMe

Dave Carroll couldn't get compensation for damage to his guitar – until he named and shamed the airline in a youTube video Next time an airline loses or breaks your luggage, try shaming them with a song and a video. That‘s what a little-known Canadian country and western singer did after he claimed that his Taylor acoustic guitar had been damaged by baggage handlers at Chicago‘s O‘hare airport last year.

United Breaks Guitars has become a youTube sensation and provided Dave Carroll with the biggest hit of his career. The song - which chronicles his vain year-long attempt to win compensation from United – has had almost 4m hits on youTube and fans have been cla-mouring for the song at gigs where his band, Sons of Maxwell, has performed. (...)40

eaT OR be eaTeN

Tools like the social barometer measuring brand conversations below indicate how strong United Airlines was ‘virally infected‘ by the youTube-Video which also got coverage in global traditional media (TV, Press).

37 MSNBC,Docs seek gag orders to stop patients’ reviews <http://www.msnbc.msn.com/id/29497619> accessed on 05.03.200938 Slideshare, TBWA on Change39 CPC Consulting, Internet überholt TV <http://www.cpc-consulting.net/Microsoft+Studie+Europe+logs+on--n795> accessed on 18.05.200940 The Guardian, United Breaks Guitars Video <http://www.guardian.co.uk/news/blog/2009/jul/23/youtube-united-breaks-guitars-video> accessed on 29.09.2009

http://www.youtube.com/watch?v=5yGc4zOqozo

Rupert Murdoch

29

17 18BrandZ Top 100 Most Valuable Global Brands 2009

TOP 100

# Brand Brand Value % Brand Value 09 ($M) Change 09 vs. 08

26 21,294 85%

27 21,192 9%

28 20,059 67%

29 19,395 5%

30 19,079 3%

31 18,945 N/A

32 18,233 N/A

33 17,965 -25%

34 17,713 -8%

35 17,467 -20%

36 16,353 N/A

37 16,228 -34%

38 16,035 10%

39 15,776 5%

40 15,499 -14%

41 15,480 -53%

42 15,422 1%

43 15,076 7%

44 ** 14,996 -3%

45 14,991 -9%

46 14,963 -40%

47 14,961 -1%

48 14,894 -22%

49 14,608 -52%

50 14,571 -12%

TOP 100 Most Valuable Global Brands 2009


1 100,039 16%

2 76,249 8%

3 * 67,625 16%

4 66,622 20%

5 66,575 34%

6 63,113 14%

7 61,283 7%

8 59,793 -16%

9 53,727 45%

10 49,460 33%

11 41,083 19%

12 38,056 36%

13 35,163 -20%

14 29,907 -15%

15 27,842 -9%

16 27,478 100%

17 26,745 -9%

18 23,948 -15%

19 23,615 9%

20 23,110 -3%

21 22,938 -1%

22 22,919 6%

23 ®

22,851 4%

24 22,811 16%

25 21,438 -6%

TOP 100


51 13,562 -8%

52 *** 13,292 23%

53 13,242 -6%

54 12,970 16%

55 12,549 33%

56 12,396 17%

57 12,254 -17%

58 12,061 8%

59 11,999 -4%

60 10,997 6%

61 10,991 N/A

62 10,911 34%

63 10,864 22%

64 10,841 N/A

65 10,586 48%

66 10,582 -17%

67 10,206 -13%

68 9,719 19%

69 9,491 -17%

70 9,280 -40%

71 9,189 14%

72 8,884 N/A

73 8,779 -29%

74 8,638 49%

75 8,631 20%

TOP 100


76 8,609 -1%

77 8,601 36%

78 8,219 20%

79 8,154 N/A

80 8,052 168%

81 7,927 -31%

82 7,862 13%

83 7,852 -20%

84 7,777 -8%

85 7,512 -18%

86 7,468 15%

87 7,427 7%

88 7,415 -38%

89 7,260 -40%

90 6,992 -5%

91 6,922 -27%

92 6,765 -40%

93 **** 6,743 -55%

94 6,721 10%

95 6,713 -21%

96 6,572 24%

97 6,571 -17%

98 6,565 N/A

99 6,409 -19%

100 6,394 N/A

* The brand value of Coca-Cola includes Diet Coke, Coke Light and Coke Zero ** The brand value of Pepsi includes Diet Pepsi and Pepsi *** Budweiser’s value includes both Bud Light and Bud **** ING value includes ING Bank and ING Insurance Source: Millward Brown Optimor (including data from BrandZ, Datamonitor, and Bloomberg)

THE TOP 100

2009

1997This is Google at Stanford University

This is Google in Millward Brown Optimor’s BrandZ Top 100

2 - What does it mean to brands? 31

Contrary to a scientific ideal experiment, in the real world all variables are unlocked. In a changing economy and a changing media landscape the definition of a what a brand is has become the subject of countless discussions. Janice Capewell (Senior Marketing Manager, Leo Burnett Group)42 thinks that the old definiton of brands as landing points in which we follow our needs and invariably end up at a brand is changing. ‘The days of the static brands are increasingly numbered as they become a means and not an end. The brands of the future will be vehicles and not just destinations.’42

More and more companies understand that the important process of ‘brandbuilding’ is hap-pening on the side of the consumer. Jeremy Bullmore (Millward Brown) describes the role of marketing and design experts as ‘helping people to build brands as attractively as possible.’43

This understanding also leads into the three criteria ‘Innovation’, ‘Responsibility’ and ‘Com-munity’ of PSFK’s Good Brands Report listing ‘40 Brands that we can all learn from.’44

With a continuous closer integration of brands into peoples life behavioural economics (sug-gested reading: ‘Predictably Irrational’ by Dan Ariely, MIT Media Lab) are providing essential market understanding as technical economics the focus of businesses is shifting from exclusi-vely monetary value to alternative currencies such as ‘Attention, Reputation and Network’43 (Aradhana Goel, IDEO) which are drivers to success.

Although using different paramaters for measuring brand value, there is wide consensus among reknown business rankings about which is the most powerful brand alive (i.e.: Mill-ward Brown Optimor’s BrandZ Top 100 43, Fast Company’s Fast50 46, PSFK’s Good Brands 44). Most awards for being leading in both innovation and market value are topped by Google which has developed ‘from a search engine to a way of life.’44 (Good Brands). ‘They are the provider of a vast array of services that enable work, play, learning and more.’44 Often Google is mentioned as the role model for the ‘ability to promote innovation among its staff’44 as well as it includes the community (i.e. through beta-testing). This approach has made it become a greenhouse for fast experimentation with a culture of embracing failure. According to their motto ‘don’t be evil’47 accessibility and usefulness are at the heart of the customer experience.

From the way Google is using the ‘negligible cost of distribution through the web’44 (p.32) in order to ‘expand into areas including health, telecom, software, news, and advertising,’44 companies can learn how people-centered communication devices can be designed into the products of a company.


Don‘t be evil

ChRis aNdeRsON (editor in Chief of wired magazine)

The Long Tail 40 describes the niche strategy of mainly digital businesses.If we look for example at the sales of Amazon.com or the iTunes Music Store we can see that companies are able to sell only small numbers of a large collection of unique items (Anderson calls this derivat of the Pareto Rule the Long Tail).This is possible as the storing costs in the digital space approach zero.40

In his current book Free 41 Anderson, who is sometimes called a ‘digital prophet‘ analyzes the importance of free products and services in today‘s economy and explains various models based around the price of $ 0.00. Here are three of the most important.

+ The freemium strategy which means that standard service is free but customers will be charged for premium services. As an example a basic flickr account is free while a professional account will cost extra.+ One of the most succesful examples of the gift economy (totally free and not for profit) is the open-source dictionary Wikipedia.+ The key to the financial success of Google is hidden inside its business strategy to ‘help people succeed and when they do so soes Google‘. Its diverse free services are built around pay-per-click advertising revenue which is continuously growing. 41

40 Anderson C., The Long Tail: Why the Future of Business Is Selling Less of More, Hyperion, New York,

NY, United States of America, 200641 Anderson C., Free: The Future of a Radical Price, Hyperion, New York, NY, United States of America, 200942 YouTube, Leo Burnett Group Predictions 2009, Future Trends in Marketing

<http://www.youtube.com/watch?v=B4SklqUWXa4> accessed on 27.01.200943 Millward Brown Optimor, BrandZ Top 100 Ranking44 PSFK, Good Brands Report45 Aradhana Goel, IDEO, Presentation at IDEA 2008 Conference on 08.10.08, From Inidividuals to the Collective

<http://www.slideshare.net/whatidiscover/from-individuals-to-the-collective-presentation> accessed on 17.08.200946 FastCompany, Fast 5047 Wikipedia, Don‘t be evil <http://en.wikipedia.org/wiki/Don%27t_be_evil> accessed on 18.08.2009

Jeremy Bullmore

Aradhana Goel

33

In an era of rapid cheap fabrication (described by MIT professior Neil Gershenfeld in his book FAB) which is filling with a exponential number of new products and services everyday, designer Matt Jones (Schulze&Webb) analyzes a post-digital dynamic which he calls the New Negroponte* Switch.48 ‘Services are becoming tangible products and products are becoming intangible services as fast production and pervasive networks are allowing them to switch places and mingle.’48 Among his examples for this theory are on the one side magazines that are printed from the data of blog posts, flickr shares and twitter feeds and on the other side illustrating the shift from products to services urban bikesharing and carsharing companies.

Philippe Starck, one of the most famous designers of the world foeresees that the profession of a designer in its current nature will soon no longer be needed.49

Design will dissapear. There are two reasons: Design will melt into all kinds of projects or processes that the term design becomes obsolet. The seperation of blueprint and produc-tion is disappearing. Everything will be design, even more than it already is the case today. But there is also another reason why it will disappear: The history of our civilization shows that we are continually creating more powerful technologies and at the same time dissolve its materiality.49

This progress can be demonstrated if we compare the changes in size of computers. Starck goes on to say that ‘in a few years they might be integrated into our bodies as everything is getting smaller and is relocated to the internet. Maybe the role of a designer in the future is to be a personal trainer who is in charge of diet and gymnastics.’49

Well, we should not expect to see the transition into this working style within the next years, but the direction which Starck is talking about fits very well into our analysis about Moore‘s Law (p.17). As mentioned at the beginning of the first chapter everyone can access today professional tools of creative expression. So what does it mean that ‘creativity has become a commodity’50 (Alex Burgusky, Creative Head, Crispin Porter + Bogusky) to the creative in-dustry itself? Will advertising still be advertsing and will design still be design ? According to Tim Brown (IDEO) Design has become small.The term design has entered the lives of brands as a nametag symbolising ‘Ah! Exclusive!’ and is becoming ubiquitous part of the shopping ex-perience. But if we see three pairs of designer socks at Primark for 1.94£ we could ask ourself this question: Who did design my socks, if not a designer? We can see that the word design is finding itself falling into the same category as the word digital.


From designing products todesigning brand experiences

48 Gershenfeld N., FAB: The Coming Revolution on Your Desktop--From Personal Computers to Personal Fabrication,

Basic Books, New York, NY, United States of America, 200749 TED, Joseph Pine, What consumers want,

<http://www.ted.com/talks/joseph_pine_on_what_consumers_want.html> accessed on 04.02.200950 seen in a video about the Artist, Tate Modern, London on 22.08.200951 Slideshare, The New Negroponte Switch <http://www.slideshare.net/schulzeandwebb/the-new-negroponte-switch>

accessed on 19.07.200952 SZ Magazin, Philippe Starck, Dem Design fehlt Idealismus und Moral

<http://sz-magazin.sueddeutsche.de/texte/anzeigen/28948> accessed on 19.07.200953 Slideshare, Creative Planning at Miami Ad School

<http://www.slideshare.net/theplanninglab/creative-planning-miami-ad-school> accessed on 24.09.200954 TED, Tim Brown, Tim Brown urges designers to think big

<http://www.ted.com/talks/tim_brown_urges_designers_to_think_big.html> accessed on 02.10.200955 Negroponte N., Being Digital, Vintage, Knopf Doubleday Publishing Group (Vintage Series), New York, NY, 1996

Philippe Starck

Jannis Kounellis Artist 47

The material almostalways leads to the immaterial. * Nicholas Negroponte is the author of

‘being digital’. in this book which was al-ready published in 1995 he explains that wired things will become unwired and unwired things become wired)

Philippe starck: lOuis ghOsT

Starck who has designed an extraordinary wide range of objects is considered often as one of the most influential designers of the world. His famous Louis Ghost Chair for Kartell is a dematerialising reinterpretation of a classical Louis XV. style furniture.

35

The Progression of economic value by Joseph Pine48

If we understand the medieval markets as the birthplace of capitalism we can analyze four steps in the progression of economic value through customization. (chart) The writer Joseph Pine explains, that the commoditation of services to goods creates a need for staging experiences

in today’s economy of mass-customization, ‘where con-sumer sensitivity is reaching for authenticity.’48

3What do the people want?

helge Tennø Strategic Director, Screenplay 56

As the air around our citizens thickenswith unwanted messages and interruptions, the goal should not be to add to theunwantedness, but to create deliberateand appreciated value.

37

56 Slideshare, Helge Tennø, Post Digital Marketing 2009 <http://www.180360720.no/index.php/archive/post-digital-marketing-2009> accessed on 14.08.2009


2001 2009This is the first iPod in This is what people feel about the iPod in

3 - What do the people want? 39

Human beings do whatever they do based upon an expectation that their experience will be better for it. We work and strive to improve our lives for our families and ourselves.We want to make positive use of our time, to accomplish things large and small, to enjoy life and to relax. We want to make every day we can meaningful.And we want to enjoy the ride.58

(Robert Brunner and Stewart Emery in Design Matters)

Through the rise of interactive media (from push to pull p.15), the democratisation of tools and channels, through the shift towards social media, brands and consumers are becoming same-leveled interlocuters. That is why the traditional language of marketing which includes many expressions of war (i.e. tactics, brief ) is in a process of transition. As the dictatorship of mass-media is fading away a new diplomatic marketing language is forming, reflecting on how to empower people who are looking for a great experience. The digital agency AKQA puts it into two formulas: 1) ‘Excite me or get lost.’59 2) ‘From interrupting to engaging.’59 In today‘s age of conversations, companies have to learn again that ‘marketing is not about selling stuff, but about giving participants a reason to buy stuff.’ 60

One step backwards. The most important interface between a company and people is the customer experience. To turn people into satisfied participants demands therefore a focus on its complete supply chain management. Just as brands can be considered platforms, products should be considered portals of experiences. If we analyze the success story of the iPod, we can see that the difference between a great product and a merely good product (Apple didn’t invent the mp3-player) is that ‚A great product embodies an idea that people can understand and learn about – an idea that grows in their minds, one they emotionally engage with.‘61

The starting concept of ‘1000 songs in your pocket’ and a continuous design-driven process of improving the product to be able to create value and play an intimate part in peoples live changed the perception of Apple. With its focus on a great design experience and its simple humanity it has built a strong indirect relationship to its customers which are connected on an emotional level. And it continues to do so by embedding ‘design thinking’63 (Tim Brown, IDEO) and process into everything they do. Apple is living the lifestyle in which it is belie-ving. Everyone is in charge of delivering a completely satisfying customer experience.

Learning from a Lovemark like Apple means to understand their vi-sion, diligence and discipline that they have for the ‘soft stuff’62 (Sara Tate, Strategy Director, Mother London) that people see, hear, smell and feel of your brand, as it is the lifeblood of the customer experi-ence. This corporate culture and the outcome of emotional bond to its customers, which is reducing the danger of ending up as a commodity has helped the company overcome diverse mistakes (i.e.: the first gene-ration of iPods was only available for Mac).

3 - What do the people want?

People are seeking the greatexperience of being alive

41

DESIGN THINKING

Design Thinking can be described as a discipline that uses the designer’s sensibility and methods to match people’s needs with what is technologically feasible and what a viable business strategy can con-vert into customer value and market opportunity.63

LOVEMARKS

Lovemarks transcend brands. They deliver beyond your expectations of great performance. Like great brands, they sit on top of high levels of respect - but there the similarities end. Lovemarks reach your heart as well as your mind, creating an intimate, emotional connection that you just can’t live without. Ever. Take a brand away and people will find a replacement. Take a Lovemark away and people will protest its absence. Lovemarks are a relationship, not a mere transaction. You don’t just buy Lovemarks, you embrace them passionately. That’s why you never want to let go.

Put simply, Lovemarks inspire Loyalty Beyond Reason.(Kevin Roberts, CEO Worldwide of Saatchi & Saatchi) 57

Tim Brown

57 Lovemarks - How Do I Know A Lovemark? <http://www.lovemarks.com/index.php?pageID=20020> accessed on 27.09.200958 Brunner R., Emery S., Hall R. Design Matters – How great design will make people love your company, Pearson Education Ltd, Harlow, United Kingdom, 2009, p.21059 Presentation at AKQA, London on 25.03.200960 Tennø, Post Digital Marketing 200961 Brunner R., Emery S., Hall R. p.762 Presentation at Mother, London on 06.07.200963 IDEO,Definitions of design thinking <designthinking.ideo.com/?p=49> accessed on 02.08.2009

The difference between a great productand a merely good product is that it carries an idea.64

An idea that works inside a social, political and economical context and is based on human nature.

64 Brunner R., Emery S., Hall R. p.7

The evolving challenges ‘from tangible to intangible, permanent to temporal and reactive to predictive’65 (Goel) require a shift of focus from the creative industry. Still empathy for indi-viduals should be in the heart of everything but it has also become essential ‘to get the pulse of the collective.’65 The human factors physical, cognitive, social, cultural, emotional and contextual can be seen as the micro-context while trend factors represent the macro context of society, technology and business. At the IDEA 2008 Conference Goel recommends going beyond the individual to the collective patterns and to ‘dig deep’ into trends to create me-aningful contexts for your brand.65

Tate describes that it is more important to create ‘rich ideas’66 than ‘big ideas.’66 If you analyze fashion brands like Gucci, you can see how they don’t put everything out at once, but have enough ‘to do it over the years.’66 The danger of big two dimensional ideas is that they tend to be thin while rich ideas are able to exist beyond the ‘communications’.66

The whole industry is obsessed with the idea of a simple message, endlessly repeated ... What people actually want is stuff with some complexity, some meat, some richness ...Not stuff that‘s distilled to a simple essence or refined to a single compelling truth.No-one ever came out of a movie and said ‚I really liked that. It was really clear.(Russel Davies, Strategist & Author)67

As a consequence of the information overload, for creators of com-mercial communication today the response of people is of greater im-portance than the message itself. That is why you should ask yourself the question: ‘What’s the emotion you want to leave people with?’ For example the movie director Steven Spielberg decides that he ‘wants to make a movie that makes people cry’ before he starts to work on it. For Advertising this means that ‘it is equally important to be interesting than to be right.’ 66 The only way to reach audiences is to create media that entertains, informs and engages. People are receptive to creative that matters to them as end users, stories that engage them as an au-dience and experiences that touch them.66 In Mother’s recent cam-paign ‘Rubberduckzilla’ for Oasis they sensibly put many ‘little hooks’ into the communications which have inspired people to react.58

When you compare Google’s way of using people for beta-testing with traditional focus groups you recognice that ‘embracing not only accepting’ sharing is much more powerful than trying to own.66 The international ‘post-advertising agency’ 68 Story Worldwide explains that ‘as you don’t own your brand any more, you can’t force people to listen to you.’69 (compare p.33 J. Bullmore) Additionaly as a content creator you should consider asking yourself ‘How are you genuinely contributing?’ more important than feeding people with empty bubbles.

3 - What do the people want?

Rules for authenticcommunication

45

Steven Spielberg

IDEA 2008 Conference08.10.08 ©

WHAT ARE THE HUMAN FACTORS?

Cognitive

ContextualCultural Emotional

Physical Social


WHAT ARE THE TREND FACTORS?

SOCIETALTRENDS

SHIFTS IN CULTURAL LANDSCAPE

BEHAVIORAL CHANGE

CONNECTIONS BETWEEN DOMAINS

TECHNOLOGY ENABLERS

STATE OF THE ART

NEW POTENTIAL OPPORTUNITIES

PATTERNS OF ADOPTION

BUSINESSTRENDS

CHANGING THE VALUE EQUATION

EMERGING REVENUE MODELS

STAKEHOLDER ECOSYSTEMS



SOCIETALTRENDS


BEHAVIORAL CHANGE


TECHNOLOGY ENABLERS

STATE OF THE ART



BUSINESSTRENDS






SOCIETALTRENDS


BEHAVIORAL CHANGE


TECHNOLOGY ENABLERS

STATE OF THE ART



BUSINESSTRENDS




65 Goel, From Inidividuals to the Collective66 Mother, London67 Slideshare, TBWA on Change68 Story Worldwide <http://www.storyworldwide.com> accessed on 03.08.200969 Webinar Workshop by Story Worldwide, Narrative Approach to Story Listening & Measurement in Social Media on 19.08.2009 from New York

Rubberduckzilla

4Crisis. Whatcrisis?

Bob Greenberg Chairman, CeO and Global Chief Officer, RGA61

What is happening to Detroit’s carcompanies right now will soon happento the large global agencies.

47

70 Communication Arts, July/August 2009, Volume 51, Number 3, pdf, R/GA, A Profile <http://www.rga.com/#/section=inthenews/article=172> accessed on 15.09.2009


‘We‘re not in the business of keeping the media companies alive. We‘re in the business of connecting with consumers.’72 Trevor Edwards, Vice President of Global Brand Management, Nike. Today the creative industry has to embrace the changes in technology and society and ensure to brands that they can provide their customers with meaningful experiences. Although there are many different opinions what are the means that have to be taken there is consensus that the ‘mix of spents on communication’ has to be redefined along with ‘consumer engage-ment and creativity’73 (Mary Dillon, EVP and Global CMO, McDonalds). Brands are today not only looking for ‘adpeople that can tell you how to cut, but for evangelists that they can invest in.’73(Brian Perkins, EVP, Corporate Communication, J&J)

Amir Kassaei (DDB Germany) one of the highest decorated Creative Directors of the world compares the speed of the changes in media and media behaviour with a ‘tsunami that comes from the blue’ and criticizes the deficient reaction of the creative industry.’74

They don’t start to consider the consequences of this change of the world but tell their cli-ents that they should not just do advertising in the traditional media (TV, Print) but in all kind of things, as you can not reach the people as easy as earlier. They are still thinking in ‘old school advertising ideas’ with the only difference that the old ads now are running on-line as CRM-applications (Customer Relationship Managment) or as POS-posters (Point of Sale). That’s what then they call integrated communication trying to cover their lacking authority and foresight. 74

Big parts of the creative industry (especially in cities like London and New York) have been hardly hit by the current recession. The need for effective creativity is bigger than ever at the same time as many budgets are tightened. Story Worldwide explains that social media ‘thre-atens to wreck everything’. 75 In a connected world where everything’s opt-in, ‘adjacency is ignored, interruption generates hostility and bad news can travel very fast traditional adver-tising is doomed.’75

In its nature advertising and design as organs of commercial communication have never been about ‘l’art pour l’art’ but ‘art for the businesses sake’76 (Goodby Silverstin & Partner). Alt-hough many people argue that its past gained power in an age of mass-media dominance has led to an isolation from the people. That is why RGA’s Bob Greenberg expects that ‘what is happening to Detroit’s car companies right now will soon happen to the large global agencies.’ He explains that the revered Bernbach model (following page) is increasingly obsolete and that the ‘perfect storm’* which is now descending upon the marketing world ‘will wash away all those who don’t sprout gills and otherwise adapt.’77

*among other elements of this storm he is talking about the economic climate which is increasing the speed of expensive traditional advertising becoming irrelevant

4 - Crisis. What crisis?

Dead men walking?

49

Amir Kassaei

Oliviero Toscani

71 Deutschlandfunk (German Radio), Art, Commerce and Culture, mp3 recording72 Slideshare, TBWA on Change73 Cannes Debate 2009 - How is the recession affecting the industry now and how will it shape its future?

<http://www.youtube.com/watch?v=xrSpsmlaShg> accessed on 27.06.200974 Brisanz ADC Festzeitschrift, Amir Kassaei, Nachruf auf die Werbung

<http://brisanz.jimdo.com/amir-kassaei-die-zuk%C3%BCnftige-rolle-der-kreativen-elite> accessed on 20.08.200975 Story Worldwide, Narrative Approach to Story Listening & Measurement in Social Media76 Goodby, Silverstein & Partners - Beliefs <http://www.goodbysilverstein.com/#/beliefs> accessed on 20.09.200977 Communication Arts, R/GA, A Profile

CRITICISM OF RELIGION

Oliviero Toscani, the artist who became famous for his campaign for Benetton in the 90s, complains about the current state of the advertising industry that it has nothing to do with the ‘conditio humana’.Analyzing it as the religion of capitalism, its iconography is not able to compare with for example the richness of the sistine chapel that tells stories reaching from heaven to hell. It has been trapped between production and con-sumption. ‘Real creatitivity is subversive’ but there is too much fear of the new and if it will work. This atmosphere of insecurity leads to the dominant mediocrity of com-mercial communication.71

THE BERNBACH MODEL78

Warren Berger describes the old model of advertising creativity in five points:

1) A great campaign revolves around ‘the big idea’

2) Said big idea usually takes the form of a memorable line or perhaps a metaphorical story that somehow captures the essence of a brand

3) These big ideas are best generated by placing a copywriter and art director in a room together and forcing them to engage in a series of exchanges that typically begin with the words: ‘OK, what about this?’

4) Upon coming up with the big idea, said creative people shall hand that idea off to various types of specialists (film producers, media buyers, digital techies) whose jobs are make sure it gets distributed in three or four media formats, with special emphasis on (ca-ching!) high-budget TV commercials

5) Handing off the ideas in this way is important because it enables the ‘creatives’ to get back to the really important stuff – dreaming up the next big idea

78 Communication Arts, R/GA, A Profile

Investments in digital advertising which is today worldwide 13%79 of total adspent is expec-ted to grow rapidly as in the current economic climate companies are stepping back and ‘hit-ting the reset button.’80 (Marc Pritchard, Global Marketing Officer, P&G). Procter&Gamble the world’s biggest spender in communication is changing its structure. With Marc Pritchard now being both Chief Marketing and Chief Branding Officer advertising, media investment managment, design (including packaging design), market research and public relations are gathered in one department.80

In an interview at the Cannes Advertising Festival 2009 with Martin Sorrell (CEO of WPP, Worldwide) Pritchard explains that the reason behind this step is ‘to integrate all our brand-building activities.’

The expectation is to touch the life of consumers around the world much more quickly. ‘We’ve got great capabilities within the individual departments internally and agencies externally but what they need to be is to be better together. We are making structural changes to do that. On over 50% of our sales we have brand franchise leaders which are global in nature and integrate all the functions to get things done around the world. On over one third of the business the BAL - Model (Brand Agency Leader) is running. So we can integrate the agencies. Rather than briefing them individually, we can brief all of them together, so you can come up with integrated ideas and live them around the world. And now internally we are also integrating all of our disciplines because it creates speed and allows us to more rapidly build great ideas. It really comes down to and what we see increasingly as examples here at Cannes ‘the integrated creativity’. This is what we need. Those grand brandbuilding ideas that then we can integrate to consumer touchpoints and come together to create something which is larger in a whole than the individual pieces.80

And this is is one of the reason, the present and near future is seen by many people all over the world (including the author) ‘as the most interesting time ever for advertising and design.’ ‘In an interconnected world, media is everywhere: ... The opportunities for value creation are greater than ever before – but we must expand our vision of what media is to begin realizing them. (Havas Media Lab).81 It is time for Titanium creative work ‘that does not follow exis-ting models, but sets trends’82 (Cannes Lions Category description).


Time for Titanium

53

Marc Pritchard

Sir Martin Sorrell

Seth Godin

hOw is The ReCessiON aFFeCTiNg The iNdusTRy NOw aNd hOw will iT shaPe iTs FuTuRe?

This was the subject at the Cannes Debate 2009 with Mary Beth West, eVP & CMO, Kraft Foods; Marc Pritchard, Global Marketing Officer, P&G; Mary Dillon, eVP and Global CMO, McDonald’s Corporation and Brian Perkins, eVP, Corporate Communication, J&J was hosted by WPP’s CeO Sir Martin Sorrell

http://www.youtube.com/watch?v=xrSpsmlaShg

Seth Godin Author of Meatball Sundae: Is Your Marketing out of Sync? 81

New Marketing isn‘t a single event or website or technology. New Marketing treats everyinteraction, product, service and side effectas a form of media.

79 Media Convergence 80 Cannes Debate 200981 Slideshare, TBWA on Change82 Cannes Lions, Titanium and Integrated Lions <http://www.canneslions.com/awards/categories.cfm?section_id=36> accessed on 26.06.2009

Not long ago integrated 360° communication (the idea that agencies have to create a communication soluti-on for every existing media) had been the goal that all companies were running after. But with the exponential growth of social media and the constant birth of new media channels as a result of technological progress (i.e. the mobile evolution) this target seems not only impos-sible to achieve but also ineffective from a business per-spective. Instead of taking the same advertising message to everyone it is considered smarter to tailor messages around specific target audiences and provide an enga-ging brand plattform. So the question is no longer ‘What should the communication say?’83 and push this message but ‘What should the communication achieve?’83

360°360°

Along with the changing definitons of media, products, brands and communication the un-derstanding of what the job of the creative industries should be is changing.

You have to know the market, products and brands better than your client. You have to anticipate the reaction of the competition. You should not surf on trends, but create new trends. You have to become a part of people’s life, enter their psychis and become indis-pensible to be succesful as a brand.83

(Amir Kassaei)

In an interview Götz Ulmer84 (Executive Creative Director, Jung von Matt/Alster) describes a situation at a collective meeting of Unilever’s agencies ‘It is very dissapointing as you will see that the Direct Marketing Agency willonly bring DM-Ideas on the table, the DesignAgency design-ideas and so one.84 Why in thisconfrontation of business interests it is notprobable that a true media-neutral solutionwill be established is easy to understand.

Advertising can no longer rely on whathas worked before (Paul Arden describesthat 90%85 of Ads are inspired by other Ads).It has to open its doors to establish a freshcreative culture in a time where innovationin communication is more needed than ever.


Silos and strawberries

55

Götz Ulmer

Scott Donaton AdAge 86

Forget above the lineand below the line.Forget lines. Forget silos.Forget competing disciplines and the eternal scrapfor what they view as their rightful share of thealmighty dollar.... To truly move forward, many ofthose models will have to be torn down and rebuilt.

The dilemma of marketing departments and specialist agencies:

You can be certain that if you ask a strawberry sellerfor the recipe of a great cake to impress your friendhe will recommend you a strawberry cake.

But maybe your friend doesn‘t like strawberries.

83 Amir Kassaei, Nachruf auf die Werbung84 Götz Ulmer, Executive Creative Director, Jung von Matt/Alster Hamburg, interviewed on 30.06.2009 in Hamburg85 Arden P., It‘s Not How Good You Are, It‘s How Good You Want to Be, Phaidon Press, London, United Kingdom, 2003, p. 686 Anomaly, Why we exist <http://www.anomalynyc.com/another/why.php> accessed on 23.02.2009

ÀÁÂÃÄÅ

ÈÉÊËÌÍÎÏ

Manoeuvres

JuNg vON MaTT

The agency is reallocating the staff of its digital subagency JvM/next into the other subagencies. With the established mix of disciplines the agency is able to offer more holistic communication solutions.93

By acquiring two creative agencies in Poland (Grandes Kochones) and the Czech Republic (Kaspen) the german/austrian/swedish independent network is improving its performance for international clients and emerging markets.94

RJBKQBHR

Manoeuvres

dROga5

At the age of only three years, droga5 (New york, USA and Sydney, Australia)has made its way energized by the power and speed of digital progress and isalready considered as one of the mostbest agencies worldwide.

The agency focuses on business sustaina-bility by positioning itself as ‘an advertising agency for companies of the 21st centu-ry’.88 Droga5 was the first agency to win two Black Pencils at this year‘s DandAD.

RHBKWBHR

Manoeuvres

RaPP

Rapp, one of the major international agencies focusing on Direct Marketing is reinventing itself. With the shifting focus of its work towards Customer Relationship Management the company is adopting to people’s changing financial, meda, shop-ping and buying behaviour on- and offline.

in its new mission statement the agency is offering ‘emotional creative that demands action’ and ‘action that can be measured’. its internal logic is based on data that lead to insights which inspire creativity. As the gathered data can be measured in real-time, the agency can quickly adjust brand experiences strategically.87

THBKQBHR

Manoeuvres

aNOMaly

Anomaly bills itself very clearly as a new model agency. it describes itself as a response to the notion that the old agency models ’are all broken’ and ’the traditio-nal solutions are becoming less and less effective’. Quoting campaign magazine its positioning sounds like a bunch of cliches, because so many agencies are talking about the need to re-gear their approach around the same principles: ideas-led, media-neutral, integrated, multi-discipli-nary. Anomaly, though, launched with these principles at its core.96

RHBLQBHR

Manoeuvres

bbh, Kolle Rebbe

BBh set up an independent company within their network by the name of ZAG, which focuses on brand innovation. Analyzing the market they are constantly looking for gaps to fill with products and brands launched in cooperation with production and distributi-on partners. 91

Following the same business strategy the advertising agency Kolle Rebbe‘s plant company KOReFe has won manyinternational design awards. 92

RHBKWBHR

Manoeuvres

CP+b & daddy, saPieNT & NiTRO

Analyzing the changing nature of commer-cial communication and its ‘factories’ the shift towards online advertising and web design is changing the industrial lands-cape. There is a trend of big networks ac-quiring digital ‘hotshops’ (an industry word for innovative boutique to middle-sized(150 people) agencies).

One of the most discussed recent examples is Crispin Porter + Bogusky (USA) which turned the swedish interactive agency Daddy into CP+B europe and by that hopes to enhance its global indluence in the share of the digital market.89

Maybe even more interesting was the press release on July 1st 2009 informing that Sapient (a global digital service firm) is to acquire the young but highly succesful (i.e. Best Job in the World) NitroGroup which combines communications with business strategy, digital innovation and branded entertainment.90

RHBKQNHR

Manoeuvres

R/ga

Analyzing the R/GA agency model we can see that they first reintegrated media into their setup and added analytics on the strategic side. Within their creative model the old art director + copywriter teams was replaced by the disciples of interac-tion design, copywriting, visual design and technology at the bottom of everything. The services that the agency offers includes among others applications (i.e. Nike+), Brand Design (i.e. Nokia viNe) but also digitalize Retail (i.e. Club Nokia).95

RHBKQNHR

87 Rapp <http://rapp.com/home> accessed on 02.03.200988 Droga5 <http://www.droga5.com> accessed on 13.03.200989 Crispin Porter + Bogusky <http://www.cpbgroup.com> accessed on 20.09.200990 Sapient - Press Release <http://www.sapient.com/en-us/news/Press-Releases/a1024.html> accessed on 20.06.200991 ZAG <http://www.zaginvention.com> accessed on 28.02.200992 KOREFE <http://www.kolle-rebbe.de/de/agentur/korefe> accessed on 30.03.2009

93 Ulmer, Jung von Matt/Alster 94 Jung von Matt, News <http://www.jvm.com/de/news> accessed on 25.09.200995 RGA, Our Model <http://www.rga.com/#/section=offering/article=109> accessed on 15.09.200996 Anomaly <http://www.anomalynyc.com/> accessed on 23.02.2009

5Whatis our job?

igor Stravinsky Composer 97

I don‘t write music.I invent it.

59

97 Arden P., p. 28


to‘Marketing Products’

From‘ProductMarketing’

615 - What is our job?

What is needed in a world of communication where the customer journey has evolved from an unerring small setup of media into a fast growing cloud of potential touchpoints (accor-ding to the motto: ‘Everything is media.’) is not only a discussion between the instruments, but an effective orchestration of communication which is only commited to the end result.Some forerunning agencies, such as Anomaly (New York) have therefore chosen their strategy of working as creative business consultants. As their remuneration is based on a profit-share model companies can expect, that they will give what is best for their client and not only sell what they have in stock and as much of it as possible. The focus has to shift from the commu-nication to the solution as traditional ‘advertising ideas don’t have the momentum of surprise and persuasion to break through the accustomed grid. And they don’t have the strength to move people and markets.’99 Today agencies are less wanted to come up with standard com-munication products (‘one 30-second TV-Spot and three Press-Ads, please.’) so they have to develop a culture which thrives holistic understanding of brand problems.

The offer of agencies should therefore not end in just communications (as for many pro-blems communication might not be the right answer) but ‘represent a think tank which combines the competency and solid analysis of a consultant with and the intuitive strength of creativity to generate solutions that are fresh, innovative and targeted. This can be everything from the development of sales platforms and products to efficiency programs, further education or the discovery of new fields of business and market opportunities.’99

The social media revolution is described with the title of Clay Shirky‘s book ‘Here comes everyone.’100 Everyone is on the same level in the contemporary democraticed media setting. To find out which kind of people will be able to direct brands in the future we have to look beyond job titles. As ‘creativity has been commoditised’ (p.35), Michael Hoinkes (Creative Director, Hamburg) describes that ‘those who think become indispensable.’101 People show high acceptance for contribution of brands in social media (although it is meant to be their private space for discussions) if they ignite conversations instead of interrupting them. That is why brands need to fundamentaly understand that ‘social media in its core is not a technology but means ‘talking, discovering and building relationships.’102


Making clients succeed throughstrategic creativity

63

The Great SchlepDroga5 targeted the grandchildren of elderly Jews in Florida to visit their grandparents in Florida to convince them they should elect Obama.With a website including an online shop and viral videos featuring comedy star Sarah Silverman, the Great Schlep received 34298 million media im-pressions, as it was also reported on traditional media. Obama received the highest percentage of Florida’s Jewish voters in a presidential election in 30 years, and won Florida by 3 percentage points.

Eco:DriveAKQA and Fiat developed a system that connects your car to a PC. The software helps you to reduce CO2 emmisions and improve your fuel efficiency by analyzing your driving style and giving advise.

98 Titanium Lions, The Great Schlep <http://work.canneslions.com/titanium/?award=22#> accessed on 26.06.2009 99 Amir Kassaei, Nachruf auf die Werbung100 Clay Shirky, Here comes everyone <http://www.youtube.com/watch?v=A_0FgRKsqqU> accessed on 24.09.2009101 Michael Hoinkes (freelance Creative Director) interviewed on 31.06.2009 in Hamburg102 Tennø, Post Digital Marketing 2009

helge Tennø

Michael hoinkes

The Best Job in the WorldNitro created an open online competition for ‘Tourism of Queensland, Australia’ to become an island caretaker at the Great Barrier Reef. Additionally it had the offer in job adver-tisements of newspapers internationally.

This brilliant creative strategy caused a mass participation in the competition and increased the global awareness and desira-blity of the tourist destination Queensland.

Friend FatigueAs a part of their ‘Whopper Sacrifice’ campaign CP+B created a Facebook application that gave a voucher for a whopper to every participant who sacrificed 10 Facebook friends for it.

This highly succesful application can be seen as an innovati-ve cultural interpretation of the behaviour and need of Burger King‘s Online Target Group. After ruining more than 200.000 friendships the tool was stopped by Facebook but continued to be the content of many brand conversations.

5 - What is our job? 65

One of the aspects the impact of digital is having on our life is convergence. In a multi-media age unique combinations of media mixes are becoming part of our reality just like the alpha-bet. Commercial communication is always trying to expand its territory into unused settings and expressions. Technological progress leads to cultural innovation and for brands this means new stages to perform. The agencies ebracement of co-creativity is therefore a natural reac-tion to generate innovative, surprising and engaging communication solutions. Stefan Walz (Creative Director Digital, Kolle Rebbe) imagines the future of his job as an ‘interdisciplinary director’103 cooperating with people from diverse backgrounds who interact on projects just like a movie is produced.

These casts will include much more sorts of creative and strategic people than art directors, copywriters and planners. Behavioural scientists, directors, designers, architects, authors, philosophers, music editors, ... The team that is coordinated through interdisciplinary direction will depend very much on the project.103

The work on such kind of creativity demands other cooperation with the companies. ‘Agency people will have to spend more time in the client‘s kitchen.’104 (Götz Ulmer) With the digital opportunites and the demand for rich ideas the timing of communications has to be adjus-ted. There will be no more ‘we need this campaign in three weeks time.’104 and at the same time ‘but we had a refreshment of our packaging design only 5 years ago.’104

‘The people don’t differenciate when building a brand in their impressions between packaging and poster and we shouldn’t either. Since I am working, I have never understood the line bet-ween design and advertising.’103 (Walz) As brands are requiring the strongest communication that they can get, (see P&G, p.53) the creative industry needs to create strong and lasting brand strategies that open doors for short term creative applications in many forms. It is con-sidered more appropriate to create ecosystems around people then to craft message-oriented campaigns. The line between culture and commerce has never been smaller as the media par-ticipants long for experiences and entertainment that stand out of the crowd.

Analyzing the global restructurisation and rebrandings of all sorts of agencies we can see how the understanding is spreading that ‘holistic brandbuilding’ can only be achieved in a collec-tive of companies open to innovative ideas ‘from everyone’, that embrace change and partner with cooperating experts. Almost everywhere you look in the industry, you can notice agenci-es endeavouring to change their culture and reposition themself (i.e. TBWA Advertising turns into TBWA Media Arts Lab) as old models seem to run out of date (Rapp: the model is ‘there are no models’105 DDB: ‘don‘t follow rulebooks, follow playbooks’106). The only constant is: You have to put people in the centre and tailor communications around them.

To ensure that brands reach and touch people today agencies have to look from different per-spectives and have to go deeper into psychology and anthropology finding out what fascinates them. Modern planning has to consider ‘themographics’ higher than ‘demographics’103 (Do-minic Veken, Director of Planning, Kolle Rebbe) and study people’s motives, their situations and their behaviour.


A new way of working

67

iFoodGenex built an iPhone application for Kraft Foods as part of their strategy ‘Food and Family’ that people could buy for 0,99$ (they made money out their advertising) that serves as a platform around recipes. The shopping list for the recipes include Kraft Products.

Poem ReadingScholz&Friends did adbreaks in the form of poetry at a literature event to promote specific Doppelherz Products (Senior Health Care)with very high success within the elderly target group.http://www.youtube.com/watch?v=mbPn7U3TlhQ

HoneybeesGoodby, Silverstein and Partners convinced Häagen-Dasz to start an initiative of helping honeybees as they under-stood that if the bees died, so would HD.http://www.helpthehoneybees.com/

103 Stefan Walz, Creative Director, Kolle Rebbe, interviewed on 28.06.2009 in Hamburg104 Ulmer Jung von Matt/Alster105 Rapp106 DDB, How we do it <http://www.ddb.com> accessed on 24.09.2009

Dominic Veken

In an age of too much information and digital empowerement the nature of commercial com-munication is changing from telling to engaging. Rather than pushing mesages about pro-ducts on traditional media-channels it seems more advanced to create own platforms, services or products which serve as brand advertising. If we analyze the recent work of forerunning digital-oriented agencies such as AKQA and R/GA and compare it with work of innovative ‘traditonal’ agencies such as Crispin Porter + Bogusky or Goodby Silverstein & Partners, we can see stong approachments. As the mass-media dominance is coming to an end and at the same time the market offer is more complex than ever ‘ideas have to work back to the store’109 (Marc Pritchard, P&G) The need for different communications in order to create revenues for their clients and the evolving technological possibilities are changing the business for the crea-tive industry. Today advertising and design are more and more often working closely together in order to create products that are portals to brands with communication in its DNA. (in biblical language: ‘the stones cry out’110). This is what the author describes as the shift from product marketing to marketing products.

Nick Law (Chief Creative Officer, R/GA) writes in Advertising Age111:

Instead of asking ‘How do we break through?’ advertisers should be asking ‘How do we fit in?’ If your audience is on Facebook, don‘t interrupt their social life by shouting at them; find a way to insinuate your brand into their existing behavior. Burger King did it when it realized people with ‘friend fatigue’ would gladly sacrifice 10 friends for a Whopper. On another hand, if your audience is made up of runners who like to run with music, put a sensor in their shoe that connects to their iPod and then to a network of runners around the world and call it Nike Plus. Or, if your audience is already searching the web for coo-king ideas, do what Kraft did and give them a ‘Food and Family’ digital magazine and iPhone app full of inspiration, recipes and tools.

At first glance, these examples are very different. The first is a singular utility that attaches itself to an existing platform. The second is a product extension with its own robust plat-form. The third is a platform that delivers deep content and utility. What they have in common, however, is they are useful and social, and have been wildly popular because they blend into people‘s media habits. They fit in.111

Helge Tennø describes that it‘s not the enormousness of the operation or the extreme effort that went into it, that makes the Nike+ such a brilliant representative for the future of marke-ting, branding and advertising, but ‘it‘s their focus on truth and human dynamics, as opposed to preconceived ideas and technological mechanics.’107 With the changing media landscape marketing has to switch from the old currency of attention to new currencies which are about creating appreciated value in peoples‘ life. One of the timeless rules of marketing is to simply give people what they want. If we look at it from the people-perspective, we have to create brands that are like people that we respect, like or love - fascinating, trustworthy and enga-ging. Mike Arauz states ‘If I tell my Facebook friends about your brand, it’s not because I like your brand but rather because I like my friends.’107


From shouting to being

69

Nike+ The Human RaceR/GA came up with the idea to host the largest one-day running event in history based on the technology of Nike+. Nearly 800,000 participants representing 142 countries came together, both phy-sically and virtually, to challenge and inspire each other, and raise money for some charities. (i.e. Livestrong)108

Nike iDR/GA developed an application which allows you to create your own pair of Nike shoes. The system which runs online, in stores and even on outdoor media is now in its second generation. It can be seen as a forerunning innovation for commercial communication in an age of mass-customization and brand experiences.

helge Tennø Strategic Director, Screenplay 107

It‘s not about technology.It‘s about technologies immersioninto everyday life which is is giving usaccess to people in a completely different way.

107 Tennø, Post Digital Marketing 2009108 Media-Lions, The Human Race <http://work.canneslions.com/media/entry.cfm?entryid=19675> accesed on 26.06.2009109 Cannes Debate 2009110 Luke 19,40<http://www.bibleserver.com/index.php> accessed on 01.10.2009111 Advertising Age, Marketers: Think About Fitting in Before Breaking Through <http://adage.com/digitalnext/article?article_id=139155> accessed on 25.09.2009

Nick Law

Mike Arauz

71

Sir isaac Newton Mathematician and Physicist 112

Men build too many wallsand not enough bridges.


Conclusion

In the past five chapters the author has covered a journey which zoomed in from a sociological analysis of the digital impact to its importance for the world of creating products and their marketing. As we dissected how the empowerement of today’s consumers changes the way that they build brands we realize the current challenges of the creative industry. Following an old chinese saying that every crisis presents an opportunity,113 we can hope to look forward to witness a redefinition of our task as people demand matching authentic voices in order to connect.

Adrian van Hooydonk114 (Head of Design, BMW) explains:

Life has become more about experiences than about collecting things.As the customers think longer and harder about what they buy, we have to thinklonger and harder about what we create. I think there has to be a better story around it.Things that people then can also experience as they live with the product.114

Consumers are people. Brands are people. It is time for us as the creative industry as well to consider ourselves as people and find our place within context of society which is shifting from ‘This is it’ to ‘Here I am’. The more the drive towards holistic understanding is flurishing, the less people are considering themselves as functions and consequently just playing their parts.

Ellen J. Langer115 (Psychologist, Harvard University) illustrates the need for ‘Mindfulness’ in compelling ways. In one story she reports about a women who when being asked why she habitually cuts off a piece of the meat before putting the roast in the oven answered ‘Because my mother always did that.’ When the psychologist later interviewed the mother she found out that when the women was a child, her mother had an oven which was simply to small for a whole roast. The potential of each employee in the creative industry is that he or she can do a job that a machine can’t. If we identify ‘mindlessness’114

(Veken) as an obstacle we are less likely to remain in models that are threatened by extinction as we can see at the example of Bob Greenberg and RGA.116 It is important to understand the past in order to be prepared to shape the future but ‘it is not recommendable to fight with the same sword as Bill Bernbach (1911 – 1982, a genius of advertising who developed creative rules that have mostly endured for six decades) in a battle of automatic guns.’117 (Johannes Hermann)

The famous aphorism ‘If it works, it‘s obsolete.’118 by Marshall McLuhan (1911 – 1980) and ‘Change is the only constant.’119

by Heraclitus of Ephesus (c.535 BC - 475 BC) are therefore good ways to describe the nature of the marketing industry in general. Focusing on people we constantly have to question and adapt our way of working along with the mutating environ-ment. It is like buying clothes for a little child. Generally you buy them one size bigger, as you need to think for the future if you don‘t want to waste money. To create brand communication that stands out of the information overload in an age of commoditized creativity we should therefore no longer look at the walls between competing disciplines but as ‘T-shaped people, who can ignite conversations’ (Ian Haworth, Rapp)120 build bridges to enable synergy. Learning from Obama’s cam-paign we should create valuable fractals of rich ideas that create something which is bigger than the sum of them’121 because

You don‘t love things because they are pretty, but because they carry an own world insideand the bigger this world is, the more you fall in love.122 (Meike Rosa Vogel, Songwriter)

112 GoodReads.com < http://www.goodreads.com/quotes/show/105991> accessed on 16.9.2009113 Crisis & Opportunity <http://www.haikudesigns.com/crisis-opportunity-print.htm> accessed on 04.10.2009114 Monocle, Adrian van Hooydonk, designing cars to suit the times <http://www.monocle.com/sections/design/Web-Articles/Adrian-van-Hooydonk> accessed on 03.10.2009115 Veken D., Ab jetzt Begeisterung – Die Zukunft gehört den Idealisten, Murmann Verlag, Hamburg, Germany, 2009, p.236-243116 Communication Arts, R/GA, A Profile117 Johannes Hermann, Graphic Designer, interviewed on 29.09.2009 at High Wycombe118 Wired, Interview with Marshall Mc Luhan, Channeling McLuhan <http://www.wired.com/wired/archive/4.01/channeling_pr.html> accessed on 28.09.2009119 Wikipedia, Heraclitus <http://en.wikiquote.org/wiki/Heraclitus> accessed on 15.03.2009120 Ian Haworth, Chief Creative Officer, Rapp Worldwide, interviewed on 20.07.2009 in London121 Cannes Lions 2009, Press Conference Titanium and Integrated Lions122 Deutschlandfunk (German Radio), On Stage, Maike Rosa Vogel, 02.10.2009, 21.05, < http://www.dradio.de>

Bibliography:

Anderson C., The Long Tail: Why the Future of Business Is Selling Less of More, Hyperion, New York, NY, United States of America, 2006

Anderson C., Free: The Future of a Radical Price, Hyperion, New York, NY, United States of America, 2009

Arden P., It‘s Not How Good You Are, It‘s How Good You Want to Be, Phaidon Press, London, United Kingdom, 2003

Ariely D., Predictably Irrational: The Hidden Forces That Shape Our Decisions, Harper Collins Publishers, New York, NY, 2008

Brunner R., Emery S., Hall R. Design Matters – How great design will make people love your company, Pearson Educa-tion Ltd, Harlow, United Kingdom, 2009

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Veken D., Ab jetzt Begeisterung – Die Zukunft gehört den Idealisten, Murmann Verlag, Hamburg, Germany, 2009

Periodicals, Magazines:

Communication Arts, R/GA, A Profile, July/August 2009, Volume 51, Number 3<http://www.rga.com/#/section=inthenews/article=172> accessed on 15.09.2009

Harvard Business Review, Tim Brown, Design Thinking, June 2008<http://www.ideo.com/images/uploads/news/pdfs/IDEO_HBR_Design_Thinking.pdf> accessed on 17.08.2009

Campaign Magazine, Supplement March 2009, Digital Essays


Account of sources

73

Sir isaac Newton Mathematician and Physicist 123

What we know is a drop,what we don‘t know an ocean.

123 GoodReads.com < http://www.goodreads.com/quotes/show/170098> accessed on 16.9.2009

Webography:

Karl Fisch, Scott McLeod, Did you know 3.0 <http://www.youtube.com/watch?v=jpEnFwiqdx8> accessed on 17.01.2009

Russel Davis, meet the new schtick <http://russelldavies.typepad.com/planning/2009/01/meet-the-new-schtick.html> accessed on 18.01.2009

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TED, Joseph Pine, What consumers want, < http://www.ted.com/talks/joseph_pine_on_what_consumers_want.html> accessed on 04.02.2009

Campaign Viewpoint, Faris Yakob, The invisible web <http://www.campaignlive.co.uk/news/features/855000/Digi-tal-Viewpoint-invisible-web> accessed on 14.02.2009

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KOREFE <http://www.kolle-rebbe.de/de/agentur/korefe> accessed on 30.03.2009

Interviews:

Stefan Walz, Creative Director, Kolle Rebbe, Hamburg, interviewed on 23.04.2009 in Hamburg

Stefan Walz, Creative Director, Kolle Rebbe, Hamburg, interviewed on 28.06.2009 in Hamburg

Götz Ulmer, Executive Creative Director, Jung von Matt/Alster Hamburg, interviewed on 30.06.2009 in Hamburg

Michael Hoinkes (freelance Creative Director) interviewed on 31.06.2009 in Hamburg

Ian Haworth, Chief Creative Officer, Rapp Worldwide, interviewed on 20.07.2009 in London

Johannes Hermann, Graphic Designer, interviewed on 29.09.2009 at High Wycombe

Radio:

Deutschlandfunk (German Radio), Art, Commerce and Culture, mp3 recording, < http://www.dradio.de>

Deutschlandfunk (German Radio), On Stage, Maike Rosa Vogel, 02.10.2009, 21.05, < http://www.dradio.de>

Lessons, Presentations and Webinars:

Martin Runnacles, Lesson at Bucks New University, MA Advertising at 09.03.2009

Presentation at AKQA, London on 25.03.2009

Presentation at Mother, London on 06.07.2009

Webinar Workshop by Story Worldwide, Narrative Approach to Story Listening & Measurement in Social Media on 19.08.2009 from New York

Exhibition:

Video about the Artist Jannis Kounellis, Tate Modern, London on 22.08.2009


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FastCompany, The Brand Called Obama <http://www.fastcompany.com/magazine/124/the-brand-called-obama.html> accessed on 15.04.2009

Vimeo, Nokia E71, Universal Everything - 6 billion people, 6 billion colours <http://www.vimeo.com/2818289> accessed on 17.04.2009

Slideshare, TBWA on Change <http://www.slideshare.net/MADblog/tbwa-quote-compilation-on-change-1226374> accessed on 23.04.2009

Global Oneness, Marcus Aurelius <http://www.experiencefestival.com/a/Marcus_Aurelius_-_Roman_emperor/id/5275301> accessed on 02.05.2009

CPC Consulting, Internet überholt TV <http://www.cpc-consulting.net/Microsoft+Studie+Europe+logs+on--n795> accessed on 18.05.2009

Google, Mission statement <http://www.google.com/corporate> accessed on 29.05.2009

Apple Homepage <http://www.apple.com> accessed on 29.05.2009

Milward Brown Optimor, BrandZ Top 100 Ranking, pdf <http://www.millwardbrown.com/Sites/Optimor> ac-cessed on 01.06.2009

Scholz&Friends, Dramatic Shift in Marketing <http://blog.envision-grp.com/2009/01/scholz-friends-dramatic-shift-in.html> accessed on 04.06.2009

Sapient - Press Release <http://www.sapient.com/en-us/news/Press-Releases/a1024.html> accessed on 20.06.2009

Cannes Lions, Titanium and Integrated Lions <http://www.canneslions.com/awards/categories.cfm?section_id=36> accessed on 26.06.2009

Titanium Lions, The Great Schlep <http://work.canneslions.com/titanium/?award=22#> accessed on 26.06.2009

Media-Lions, The Human Race <http://work.canneslions.com/media/entry.cfm?entryid=19675> accessed on 26.06.2009

Cannes Debate 2009 - How is the recession affecting the industry now and how will it shape its future? <http://www.youtube.com/watch?v=xrSpsmlaShg> accessed on 27.06.2009

Cannes Lions 2009, Press Conference Titanium and Integrated Lions <http://www.youtube.com/watch?v=rfiBQJCSdZw> accessed on 05.07.2009



77

Communication Arts, July/August 2009, Volume 51, Number 3, pdf, R/GA, A Profile <http://www.rga.com/#/section=inthenews/article=172> accessed on 15.09.2009RGA, Our Model <http://www.rga.com/#/section=offering/article=109> accessed on 15.09.2009

Tagesschau.de, Facebook macht erstmals Gewinn <http://www.tagesschau.de/wirtschaft/facebook136.html> ac-cessed on 16.09.2009

GoodReads.com < http://www.goodreads.com/quotes/show/105991> accessed on 16.09.2009

Slideshare, Online Trends August 2009 <http://www.slideshare.net/belm/online-trends-august-2009> accessed on 19.09.2009

Goodby, Silverstein & Partners - Beliefs <http://www.goodbysilverstein.com/#/beliefs> accessed on 20.09.2009

Crispin Porter + Bogusky <http://www.cpbgroup.com> accessed on 20.09.2009

Slideshare, Creative Planning at Miami Ad School <http://www.slideshare.net/theplanninglab/creative-planning-miami-ad-school> accessed on 24.09.2009

Clay Shirky, Here comes everyone <http://www.youtube.com/watch?v=A_0FgRKsqqU> accessed on 24.09.2009

DDB, How we do it <http://www.ddb.com> accessed on 24.09.2009

Jung von Matt, News <http://www.jvm.com/de/news> accessed on 25.09.2009

Advertising Age, Marketers: Think About Fitting in Before Breaking Through <http://adage.com/digitalnext/article?article_id=139155> accessed on 25.09.2009

Lovemarks - How Do I Know A Lovemark? <http://www.lovemarks.com/index.php?pageID=20020> accessed on 27.09.2009

Wired, Interview with Marshall Mc Luhan, Channeling McLuhan <http://www.wired.com/wired/archive/4.01/channeling_pr.html> accessed on 28.09.2009

The Guardian, United Breaks Guitars Video <http://www.guardian.co.uk/news/blog/2009/jul/23/youtube-united-breaks-guitars-video> accessed on accessed on 01.10.2009

Luke 19,40<http://www.bibleserver.com/index.php> accessed on 01.10.2009

TED, Tim Brown, Tim Brown urges designers to think big <http://www.ted.com/talks/tim_brown_urges_desig-ners_to_think_big.html> accessed on 02.10.2009

Monocle, Adrian van Hooydonk, designing cars to suit the times <http://www.monocle.com/sections/design/Web-Articles/Adrian-van-Hooydonk> accessed on 24.09.2009

Illustrations

p.7Tim Berners-Lee<http://www.ieee.org/portal/cms_docs_sscs/sscs/08Spring/KFig8_bernerslee400.jpg> accessed on 15.04.2009

p.8Logos<http://www.brandsoftheworld.com><http://www.google.com>accessed on 25.09.2009

p.12Web 2.0 Logos<http://eggnyte.com/worldofweb20.jpg> accessed on 25.09.2009

p13iPhone<http://www.apple.com/iphone/apps-for-iphone> accessed on 01.04.2009

p.14myMuesli<http://startups.yeebase.com/data/pictures/254.jpg> accessed on 01.04.2009

One Way / Peer to Peer Communication ModelsMartin Runnacles, Ultegra Consulting

p15Stefan Walz<http://www.adc.de/images/mitglieder/MEMBER_stefan.walz.jpg> accessed on 18.04.2009

p16Moore‘s Law<http://web.sfc.keio.ac.jp/~rdv/keio/sfc/teaching/architecture/architecture-2008/mooreslaw_graph2-intel.gif> ac-cessed on 18.08.2009

Gordon Brown at TED 2009, Oxford<http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2009/7/21/1248196958204/GordonBrown460.jpg> accessed on 24.09.2009

p.17Martin Heidegger<http://i31.photobucket.com/albums/c390/yampaman/heidegger.jpg?t=1240931910> accessed on 09.04.2009



79



81

Lee Clows<http://www.tbwa-london.com/assets/images/talk/l-0090.jpg> accessed on 17.07.2009

GoogleSearch United Breaks Guitars<http://www.google.com> accessed on 25.09.2009

p.28United Breaks Guitars at YouTube<http://www.youtube.com/watch?v=5YGc4zOqozo> accessed on 20.08.2009

United Airlines Online Conversation Topics Buzz Study<http://infegy.com/buzzstudy/wp-content/uploads/2009/07/screenshot-on-2009-07-09-at-11734-am.png> accessed on 20.08.2009

p.29The Cluetrain Manifesto<http://www.livingstonbuzz.com/wp-content/uploads/2008/11/cluetrain.jpg> accessed on 12.02.2009

Rupert Murdoch<http://www.cosmogirl.com/cm/cosmogirl/images/rupert-murdoch-WI-1108-lg-59788136.jpg> accessed on 28.09.2009

p.30Google 1997<http://perspectives.mvdirona.com/content/binary/JeffDean_Google1997.jpg> accessed on 14.05.2009

p.31BrandZ Top 100 Ranking, released by Milward Brown Optimor on April 29th 2009from pdf at <http://www.millwardbrown.com/Sites/Optimor> accessed on 01.06.2009

p.32The Long Tail<http://battellemedia.com/images/longtail.jpg> accessed on 19.09.2009

Free<http://www.addto10.com/images/ff_free_bg.jpg> accessed on 19.09.2009

Chris Anderson<http://openreflections.files.wordpress.com/2009/06/chris_anderson1.jpg> accessed on 19.09.2009

p33Jeremy Bullmore<http://2.bp.blogspot.com/_WRdfWTlNEJk/R1P_0fd_VtI/AAAAAAAAAEg/hqLh3e3JIU0/s1600-R/jbpicture.jpg> accessed on 01.05.2009

Faris Yakob<http://theplanninglab.typepad.com/.a/6a00d83451688869e201156e40f31b970c-500wi> accessed on 27.05.2009

BMW Augmented Reality for Z4<http://www.inition.co.uk/inition/images/casestudy_bmw_5.jpg> accessed on 18.09.2009

LEGO Packaging Augmented Reality<http://augmentedblog.files.wordpress.com/2009/01/lego_digital_box_showcase.jpg> accessed on 26.07.2009

p.18Sixth Sense (three pictures)<http://www.pranavmistry.com/projects/sixthsense/> accessed on 02.10.2009

Tom Cruise in Minority Report<http://i.i.com.com/cnwk.1d/i/bto/20090209/minorityreport_500x333_270x179.jpg> accessed on 12.03.2009

p.19Russel Davies<http://newsimg.bbc.co.uk/media/images/41417000/jpg/_41417400_blooker_416.jpg> accessed on 18.08.2009

Post Digital<http://russelldavies.typepad.com/.a/6a00d8341c6b5453ef010536cc1c39970c-pi> accessed on 18.08.2009

p.20Obama Campaign Speech<http://www.siiaonline.org/files/Obama_Dom_JN.jpg> accessed on 27.02.2009

p.21David Droga<http://www.janela.com.br/imagens/gente/david_droga.jpg> accessed on 17.09.2009

Obama iPhone <http://assets.gearlive.com/blogimages/obama-sms-vp.jpg> accessed on 27.02.2009

p.26New Wave CommunicationMartin Runnacles, Ultegra Consulting

p.27Martin Runnacles<http://www.facebook.com/photo.php?pid=16228&id=1523023414#/photo.php?pid=16228&id=1523023414>accessed on 25.09.2009



p.41Tim Brown<http://www.wildcrown.com/blog/wp-content/uploads/2008/09/tim_brown-b-lr.jpg> accessed on 18.08.2009

Design matters<http://images.pearsoned-ema.com/jpeg/large/9780273721970.jpg> accessed on 12.08.2009

p.42&43Apple Product Design History<http://tofslie.com/work/apple_evolution.jpg> accessed on 12.08.2009

p.44IDEA Conference 2008 Presentation by Aradhana Goel (IDEO)<http://www.slideshare.net/whatidiscover/from-individuals-to-the-collective-presentation> accessed on 29.09.2009

p.45Steven Spielberg<http://img.listal.com/image/472640/600full-steven-spielberg.jpg>

Rubberduckzilla<http://img.thesun.co.uk/multimedia/archive/00822/SNF08RUB2Xs_682x400_822148a.jpg> accessed on 01.10.2009

p.48Sistine Chapel<http://images.suite101.com/750279_com_sistine_ch.png> accessed on 17.07.2009

CocaCola - Happiness Factory<http://farm2.static.flickr.com/1185/1215626986_f88cbbcb02_o.jpg> accessed on 17.07.2009

p.49Amir Kassaei<http://www.adc.de/servlet/PB/menu/1014235/index.html> accessed on 28.09.2009

Oliviero Toscani<http://www.droppingknowledge.org/web/images/participant_images/par_toscani_01.jpg> accessed on 17.07.2009

p.50&51Gravestone<http://www.siumed.edu/oec/SCOPE/scope03/Apalachicola%20Cemetery%202.jpg> accessed on 26.09.2009

Predictably Irrational<http://newvaluestreams.com/wordpress/wp-content/uploads/2008/12/predictably_irr.jpg> accessed on 17.07.2009

Aradhana Goel<http://ideaconference.org/assets/aradhana_goel_headshot.jpg> accessed on 17.08.2009

p.34Progression of economic Value<http://blogs.tribalddb.co.uk/beta/files/2009/02/economic-value.gif> accessed on 19.07.2009

Philippe Starck: Louis Ghost<http://www.voltex.ch/images/articles/Louis-Ghost.jpg> accessed on 29.09.2009

Louis XV Style Chair<http://1.bp.blogspot.com/_ULK86plVY2s/Sl0HYM_pfjI/AAAAAAAAAOk/GqIZJge9mNI/s320/decortoadore.jpg> accessed on 29.09.2009

p.35Philippe Starck<http://andy.ie/wp-content/uploads/2008/07/philippe-starck1172514861.jpg> accessed on 29.09.2009

FAB<http://www.experientia.com/blog/images/fab_gershenfeld.jpg> accessed on 26.09.2009

being digital<http://s3.amazonaws.com/monsoon/ed9mKrBBJtzDm2HbJNSsfg__/mon0000036130/image1.JPG> accessed on 26.09.2009

p.38Apple iPod (1st Generation)<http://beta.images.theglobeandmail.com/archive/00024/original_ipod_24207artw.jpg> accessed on 15.09.2009

p.39iPods-Heart<http://creativebits.org/files/ipod_heart.jpg> accessed on 15.09.2009

p.40Lovemarks Diagram<http://www.martin-fritsche.ch/files/images/2007/7/mob75_1183737314.png> accessed on 29.09.2009

Lovemarks<http://bajolalinea.duplexmarketing.com/uploaded_images/lovemarks-719521.gif> accessed on 29.09.2009

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Whopper Sacrifice<http://www.clioawards.com/winners_media/2009/interactive/high/200911012_1.jpg> accessed on 02.10.2009

p.63Dominic Veken<http://www.horizont.net/aktuell/leute/pages/protected/Dominic-Veken-ist-Geschaeftsfuehrer-bei-Kolle-Reb-be_71806.html> accessed on 16.07.2009

p.64Nike+<http://fitcompany.net/wp-content/uploads/2008/03/nike-ipod-sport-kit.jpg> accessed on 03.10.2009

Nike iD<http://www.hiddengarments.cn/wp-content/uploads/2009/06/nike1-1024x721.jpg> accessed on 03.10.2009

Nike+ Human Race<http://www.sostav.ru/articles/rus/2009/columns/clio2009/images/camp/3silver.jpg> accessed pm 03.10.2009

p.65Nick Law<http://www.clioawards.com/images/festival/NickLaw.jpg> accessed on 02.10.2009

Mike Arauz<http://www.creativeunconference.com/images/users//enlarge/147.jpg> accessed on 04.10.2009

p.52Cannes Debate<http://community.microsoftadvertising.com/cfs-filesystemfile.ashx/__key/CommunityServer.Blogs.Components.WeblogFiles/analytics.metablogapi/5078.cannesdebatelions2009_5F00_0B790BFD.jpg> accessed on 25.09.2009

p.53March Pritchard<http://www.adweek.com/adweek/photos/stylus/33127-MarcPritchardL.jpg> accessed on 25.09.2009 Sir Martin Sorrel<http://www.worldmalariaday.org> accessed on 25.09.2009

p.54Karl‘s Erdbeere<http://www.morgenpost.de/multimedia/archive/00391/erdbeere_BM_Berlin__391161b.jpg> accessed on 20.09.2009

p.55Götz Ulmer<http://www.facebook.com/photo.php?pid=839492&id=1322370741> accessed on 28.09.2009

p.60Eco:Drive<http://www.clioawards.com/winners_media/2009/interactive/high/200911457_1.jpg> accessed on 02.10.2009

The Great Schlepp<http://www.clioawards.com/winners_media/2009/content_and_contact/high/200910981_1.jpg> accessed on 02.10.2009

p.61Helge Tennø<http://www.norskdesign.no/getfile.php/Bilder_web%20(ikke%20arkiv)/Artikkelbilder/Utmerkelser%20og%20pri-ser/HelgeTennø.jpg> accessed on 03.10.2009

Michael Hoinkes<http://www.e-dfi.de/images/professors/hoinkes_01_preview.jpg> accessed on 05.04.2009

Clay Shirky - Here comes everybody.<http://adfundal.files.wordpress.com/2008/11/here-comes-everybody.jpg> accessed on 15.08.2009

p.62The best job in the world<http://conorbyrne.files.wordpress.com/2009/03/bestjob.jpg> accessed on 17.03.2009

85