It’s a common fallacy to think of a time before a change in status quo as somehow being magically problem-free. A Panglossian world where all was well and nothing needed to change, and wasn’t it a shame that it had to. Similarly, we cannot blithely consign the retail industry of the past to some glorious era when everything was perfect; far from it. The industry has been under continual evolution, with no absence of controversy on the way. It was therefore a timely reminder, as well as being a fascinating article in its own right, when the New York Times provided readers recently with a potted history and a gaze into the future of Manhattan department store stalwart, Barneys. Not only is their past one in which the original proprietor sought to undercut his own suit suppliers, creating a bootlegging economy by literally ripping out their labels and replacing them with his own, but it was also one where department stores served a very different purpose to what they do today. They had less direct competition, not least unforeseen competition in the form of shops without a physical presence. Moreover, today they are run in an extremely different way, with an arguably much healthier emphasis on revenue (though some might say this comes at the expense of a feeling of luxury, in a lobby now brimming with handbags and little breathing room). The problems and opportunities for Barneys could serve as an analogy for the industry of which it is a part.
Despite brief reprieves such as Black Friday (click on headline image for CNBC’s coverage), as well as the expected post-Christmas shopping frenzy, can one of the main problems affecting retail at the moment simply be that it is undergoing an industry-wide bout of creative destruction? Zeitgeist has written about the nature of creative destruction before, and whether or not that is to blame for retail’s woes, the sector is certainly in the doldrums. In the UK, retailers are expecting a “challenging” year ahead. Recent research from Deloitte shows 194 retailers fell into administration in 2012, compared with 183 in 2011 and 165 in 2010. So, unlike the general economy, which broadly can be said to be enjoying a sclerotic recovery of sorts, the state of retail is one of continuing decline. How did this happen, and what steps can be taken to address this?
Zeitgeist would argue that bricks and mortar stores are suffering in essence due to a greater amount of competition. By which, we do not just mean more retailers, on different platforms. Whether it be from other activities (e.g. gaming, whether MMOs like World of Warcraft or simpler social gaming like Angry Birds), or other avenues of shopping (i.e. e-commerce, which Morgan Stanley recently predicted would be a $1 trillion dollar market by 2016), there is less time to shop and more ways to do it. The idea of going to shop in a mall now – once a staple of American past-time – is a much rarer thing today. It would be naive to ignore global pressures from other suppliers and brands around the world as putting a competitive strain on domestic retailers too. Critically, and mostly due to social media, there are now so many more ways and places to reach a consumer that it is difficult for the actual sell to reach the consumer’s ears. This is in part because companies have had to extend their brand activity to such peripheries that the lifestyle angle (e.g. Nike Plus) supercedes the call-to-action, i.e. the ‘BUY ME’. The above video from McKinsey nicely illustrates all the ways that CMOs have to think about winning consumers over, which now extend far beyond the store.
If we look at the in-store experience for a moment without considering externalities, there is certainly opportunity that exists for the innovative retailer. Near the end of last year, the Financial Times published a very interesting case study on polo supplier La Martina. The company’s origins are in making quality polo equipment, from mallets to helmets and everything in between, for professional players. As they expanded – a couple of years ago becoming the principle sponsor of that melange of chic and chav, the Cartier tournament at Guards Polo Club – there came a point where the company had to decide whether it was going to be a mass-fashion brand, or remain something more select and exclusive. As the article in the FT quite rightly points out, “Moving further towards the fashion mainstream risked diluting the brand and exposing it to volatile consumer tastes.” The decision was made to seek what was known as ‘quality volume’. The company has ensured the number of distributors remains low. Zeitgeist would venture to say this doesn’t stop the clothing design itself straying from its somewhat more refined roots, with large logos and status-seeking colours and insignia. Financially though, sales are “growing more than 20% a year in Europe and Latin America”, which is perhaps what counts most currently.
In the higher world of luxury retail, Louis Vuitton is often at the forefront (not least because of its sustained and engaging digital work). While we’re focusing purely on retail environments though, it was interesting to note that the company recently set up shop (literally) on the left bank of Paris; a pop-up literary salon, to be precise. Such strokes of inspiration and innovation are not uncommon at Vuitton. They help show the brand in a new light, and, crucially, help leverage its provenance and differentiate it from its competition. Sadly, when Zeitgeist went to visit, there was a distinct feeling of disappointment that much more could have been done with the space, which, while nicely curated (see above), did little to sell the brand, particularly as literally nothing was for sale. The stand-out piece, an illustrated edition of Kerouac’s On the Road, by Ed Ruscha, Zeitgeist had seen around two years ago when it was on show at the Gagosian in London. Not every new idea works, but it is important that Louis Vuitton is always there at the forefront, trying and mostly succeeding.
So what ways are there that retailers should be innovating, perhaps beyond the store? One of the more infuriating things Zeitgeist hears constructed as a polemic is that of retail versus the smartphone. This is a very literal allusion, which NBC news were guilty of toward the end of last year. “Retail execs say they’re winning the battle versus smartphones”, the headline blared. What a more nuanced analysis of the situation would realise is that it is less a case of one versus the other, than one helping the other. The store and the phone are both trying to achieve the same things, namely, help the consumer and drive revenue for the company. Any retail strategy should avoid at all costs seeing these two as warring platforms, if only because it is mobile inevitably that will win. With much more sound thinking, eConsultancy recently published an article on the merits of providing in-store WiFi. At first this seems a risky proposition, especially if we are to follow NBC’s knee-jerk way of thinking, i.e. that mobile poses a distinct threat to a retailer’s revenue. The act of browsing in-store, then purchasing a product on a phone is known as showrooming, and, no doubt aided by the catchy name, its supposed threat has quickly made many a store manager nervous. However, as the eConsultancy article readily concedes, this trend is unavoidable, and it can either be ignored or embraced. Deloitte estimated in November that smartphones and tablets will yield almost $1bn in M-commerce revenues over the Christmas period in the UK, and influence in-store sales with a considerably larger value. That same month in the US, Bain & Co. estimated that “digital will influence more than 50% of all holiday retail sales, or about $400 billion”. Those retailers who are going to succeed are the ones who will embrace mobile, digital and their opportunities. eConsultancy offer,
“For example, they could prompt customers to visit web pages with reviews of the products they are considering in store. This could be a powerful driver of sales… WiFi in store also provides a way to capture customer details and target them with offers. In fact, many customers would be willing to receive some offers in return for the convenience of accessing a decent wi-fi network. Tesco recently introduced this in its larger stores… 74% of respondents would be happy for a retailer to send a text or email with promotions while they’re using in-store WiFi.”
These kind of features all speak more broadly to improving and simplifying the in-store experience. They also illustrate a trend in the blending between the virtual and physical retail spaces. Major retailers, not just in luxury, are leading the way in this. Walmart hopes to generate $9bn in digital sales by the end of its next fiscal year. CEO Mike Duke told Fast Company, “The way our customers shop in an increasingly interconnected world is changing”. This interconnectedness is not new, but it is accelerating, and the mainstream arrival of 4G will only help spur it on further. The company is soon to launch a food subscription service, pairing registrants with gourmet, organic, ethnic foods, spear-headed by @WalmartLabs, which is also launching a Facebook gifting service. At the same time, it must be said the company is hedging its bets, continuing with the questionable strategy of building more ‘Supercenters’, the first of which, at the time a revolutionary concept, they opened in 1988.
One interesting development has been the arrival of stores previously restricted to being online into the high street, something which Zeitgeist noted last year. This trend has continued, with eBay recently opening a pop-up store in London’s Covent Garden. These examples are little more than gimmicks though, serving only to remind consumers of the brands’ online presence. Amazon are considering a much bolder move, that of creating permanent physical retail locations, if, as CEO Jeff Bezos says, they can come up with a “truly differentiated idea”. That idea and plan would be anathema to those at Walmart, Target et al., who see Amazon as enough of a competitor as it is, especially with their recent purchase of diapers.com and zappos.com. It serves to illustrate why Walmart’s digital strategies are being taken so seriously internally and invested in so heavily. Amazon though has its own reasons for concern. Earlier in the article we referenced the influence of global pressures on retailers. Amazon is by no means immune to this. Chinese online retailer Tmall will overtake Amazon in sales to become the world’s largest internet retailer by 2016, when Tmall’s sales are projected to hit $100 billion that year, compared to $94 billion for Amazon. The linked article illustrates a divide in the purpose of retail platforms. While Amazon is easy-to-use, engaging and aesthetically pleasing, a Chinese alternative like Taobao is much more bare-bones. As the person interviewed for the article says, “It’s more about pricing – it’s much cheaper. It’s not about how great the experience is. Amazon has a much better experience I guess – but the prices are better on Taobao.”
So how can we make for a more flexible shopping experience? One which perhaps recognises the need in some users to be demanding a sumptuous retail experience, and in others the need for a quick, frugal bargain? Some permutations are beginning to be analysed, and offered. Some of these permutations are being met with caution by media and shoppers. This month, the Wall Street Journal reported that retailer Staples has developed a complex pricing strategy online. Specifically, the WSJ found, it raises prices more than 86% of the time when it finds the online shopper has a physical Staples store nearby. Similar such permutations in other areas are now eminently possible, thanks in no small part to the rise of so-called Big Data. Though the Staples price fluctuations were treated with controversy at the WSJ, they do point to a more realistic supply-and-demand infrastructure, which could really fall under the umbrella of consumer ‘fairness’, that mythical goal for which retailers strive. Furthemore, being able to access CRM data and attune communications programmes to people in specific geographical areas might enable better and more efficient targeting. Digital also allows for a far more immersive experience on the consumer side. ASOS illustrate this particularly well with their click-to-buy videos.
As the Boston Consulting Group point out in a recent report, with the understated title ‘Digital’s Disruption of Consumer Goods and Retail’, “the first few waves of the digital revolution have upended the retail industry. The coming changes promise even more turmoil”. This turmoil also presents problems and opportunities for the marketing of retail services, which must be subject to just as much change. If we look at the print industry, also comparatively shaken by digital disruption, it is interesting to note the way in which the very nature of it has had to change, as well as the way its benefits are communicated. It is essential that retailers not see the havoc being waged on their businesses as an opportunity to ‘stick to what they do best’ and bury their head in the sand. This is the time for them to drive innovation, yes at the risk of an unambitious quarterly statement, and embrace digital and specifically M-commerce. What makes this easy for those companies that have so far resisted the call is that there is ample evidence of retailers big and small, value-oriented to luxury-minded, who have already embraced these new ideas and platforms. Their successes and failures serve as great templates for future executions. And who knows, the state of retail might not be such a bad one to live in after all. Until the next revolution…
“Marketing has always combined facts and judgement: after all, there’s no analytic approach than can single-handedly tell you when you have a great piece of creative work.”
- McKinsey & Co., Measuring Marketing’s Worth
Capitalism has come in for a bit of a knocking of late. Recently, the Futures Company found that 86% thought “big business” maximised profits at the expense of customers and communities (not helped by another recent poll stating 51% of top financial services executives think businesses should just be about making money). The antipathy is not a recent phenomenon and hardly one confined to the fringe. John Maynard Keynes, whose ideas framed modern macroeconomics, said capitalism is “not virtuous [and] doesn’t deliver the goods”. And while there was a short period when such sentiment was only to be found in places like Pyongyang, these feelings are now more pervasive, particularly against the driving force of capitalism, the finance sector. Can marketing help shift perceptions?
From the outside looking in, it would be difficult to say that some of the wounds are not self-inflicted. Multiple fiascos have led to much head-shaking and hand-wringing within the industry. The furore has ceased to abate as politicians score cheap points for fingering the blame on bankers, and lionised institutions like Goldman Sachs suffer massive public relations disasters (including a part ownership stake in a prostitution ring). The manipulation of the LIBOR scheme and subsequent reforms reveal no quick end in sight to a period of immense negative exposure that began with the global recession four years ago.
So the image of finance is indisputably tarnished right now. Marketers are trying to change this, in different ways. Many Western financial institutions have been around for a while; the symbolism of such longevity can serve as a valuable asset for brands. Coincidentally, this year sees Citigroup – while dealing with its turbulent present – celebrate its 200th anniversary. They’ve had a broad above-the-line campaign celebrating their place in history, putting their relative achievements – helping fund the building of the Panama Canal – alongside other important moments in time. Citi also have their eye on the future too, making a concerted push in areas of sustainability, recently managing to become the first bank to achieve LEED (Leadership in Energy and Environmental Design) certification for 200 projects from the U.S. Green Building Council. The question is whether leveraging history and sustainability – both of which arguably convey a sense of trusted consistency, rather than reckless risk-taking – with advertising can help address a serious deficit in consumer affinity for the finance sector. Does it even matter? If we assume banker-bashing is an irrational emotion, and the whole sector is tarnished with the same brush, how much sway does it have over the rational part of our brain that must decide where and how to invest our money?
Several banking brands rely on the prestige of their historical affiliations, and have found themselves no safer from customer ire. It can be hard to seek engaging differentiation in a commoditised industry where the power of switching costs can a play a strong role. A PwC report from July summarises, “Many consumers remain loyal due simply to the absence of a negative because it is often easier to put up with something that is less than perfect than go to the trouble, and potential expense, of switching”. So what else can be done to wake potential customers from this inertia?
It’s interesting to see Morgan Stanley take a decidedly more personal tack, with a new campaign, “What If?”. Shifting focus away from the company as a faceless monolith, the WSJ said the aim is to make the company seem “like your neighborly [sic] stock picker”. The creative itself is beautiful, showcasing professional types with aspects of business and social responsibility framing their translucent faces. It attempts to convey a personalised and considerate attitude that includes but also goes beyond profit-making. It broadly taps into themes in a new book. “Positive Linking”, by Paul Ormerod, sets out to dismiss the outdated notion that people are driven by personal, “rational utility maximisation” and instead claims they are more interested in aiding the network to which they belong, realising this will help them too. This in essence is a slightly less selfish form of capitalism.
“I owe the public nothing”, J.P. Morgan was once quoted as saying. Have times changed much since? The problems with the world of finance are too numerous for this article. The crisis of confidence has begun to have an effect on recruiting, as MBA graduates turn their learned eyes to more reputable sectors. Although it may not seem like it now, customer perceptions of brands within this sector are malleable. Any one that can position itself as an outlier in what is currently seen as a pernicious industry will have much to gain. The tail cannot wag the dog though. If these businesses are to change, they must back up their ambitions with operational changes that reduce risk and ensure profits sit alongside dedication to the broader lifestyle their advertising evinces.
Zeitgeist has written before about the luxury goods company Yves Saint Laurent. Then-creative director Stefano Pilati opined, “[I]t’s such a contradiction, because we want to be luxurious and have 300 shops all around the world, but you can’t be luxurious with 300 shops around the world”. It’s always difficult to introduce dramatic innovation to a company that conversely prides itself on provenance and tradition. In trying to adhere to past methods, what starts out as a respectful outlook can lead to stagnation. It was evidently with this in mind that incoming designer for YSL, Hedi Slimane, has decided not only to personally redesign all retail environments – as he did at his last post at Dior Homme – but also to change the name of the brand itself, to Saint Laurent Paris.
It is not the first time a luxury label has grappled with a name change. “Gianni Versace” was similarly shortened some years ago to “Versace”; more recently Dolce & Gabbana’s more affordable “D&G” brand, announced it is to be shuttered due to consumer confusion over nomenclature. YSL’s name change is actually a return to tradition of course, as the brand used to be known as Saint Laurent Paris. This news was overlooked though on Twitter, where a lot of the knee-jerk reactions to the news were far from positive. The move will allow Slimane to stamp a real sense of authority on the brand, much as he did while at Dior, where many objective observers rightly claim he revolutionised contemporary menswear.
Most importantly though, the renaming should help move the brand away from the vestiges of any remaining cheap associations (evinced by the above person wearing a YSL polo shirt). In the 1980s, the company sold licenses to use its name to over 200 different companies, which led to poor-quality clothing being produced under the YSL marque, and a significant erosion of brand equity. A similar situation befell ’70s doyen Halston. Hedi Slimane’s Saint Laurent Paris has the opportunity to breathe new life into the company, while still maintaining a distinct sense of style that the eponymous designer would have been proud of.
Form follows profit is the aesthetic principle of our times
- Richard Rogers
You know your movie is knocking on the door of the cultural zeitgeist when razor brands are piggybacking off your product. Disney’s ‘Tron: Legacy’, released around a month ago, has accrued a great deal of spilled ink in newspapers and online. The reporting has focussed not only on the film itself, but also its unique design aesthetics and marketing formula across multiple platforms.
Zeitgeist has mentioned the film’s marketing activities before in it’s blog, including it’s three and a half year journey as a promotional campaign to screen, (surely a record). It was a good eighteen months before the December 2010 release of the film that electronic music duo Daft Punk were revealed to be composing the soundtrack. On a brand level, this was a good fit; those who were inclined to see Tron would find this news very exciting; it would hopefully also pique fans of Daft Punk’s interest in the film. The collaboration naturally allows for figurines, bears and awesome headphones to be created, too.
The razor mentioned earlier – the Philips Norelco Senso Touch 3D – could have been an exploitative gimmick launched without much thought of the product itself and how it connects to the movie or their audience. To it’s credit, as reported by brandchannel,
The maker of the new Senso Touch 3D electric razor is offering tickets to an advance screening of Tron: Legacy via a special website that includes a rebate offer, the ability to “customize your photo into the world of Tron,” and a sweepstakes with a $10,000 prize.
The above tactics all help build a connection with the movie itself, ameliorating the product in the eyes of the film’s audience, as well as building anticipation for the film’s release. The week of the release was when footwear designer Edmundo Castillo announced the arrival of a pair of LED ‘Light Sandals’ that, according to Luxuo “pay homage” to ‘Tron: Legacy’. They will retail at $1,650 at Sak’s from February 1st. The article also mentions eyewear manufacturer Oakley is releasing special 3D glasses to tie-in with the film’s opening. Nokia have employed a similar effort with the release of a new handset. More collaborations can be found in a very comprehensive article by brandchannel, here.
In the digital world, it would be ironic if Disney had dropped the ball. Similar to other recent accounts like that for the film ‘Inception’, the film featured several region-specific accounts on Facebook that were regularly updated, informal and promoted reaction and engagement. One of the best things that Zeitgeist saw on the account was the brief chance to attend a free 20-minute preview of the film in several locations around the country. Zeitgeist attended and found himself surrounded by a very particular type of demographic, who doubtless were exceedingly excited to be there, as evinced by their cheering when anything vaguely exciting happened during the select scenes shown. The other digital platform to be wisely exploited was that of videogames. We’re not there yet, but we are fast approaching a time when movies open to support the release of a new videogame, rather than the other way around. There has been a significant fanfare around the release of the videogame based on the film. The game(s) make the bold, yet logical and laudatory move, of differing greatly between platforms, based on the typical owner of such consoles, reports Reuters. For example, the more family-friendly Nintendo Wii’s version lets you race around on a variety of the vehicles featured in the movie. For other platforms, where hard-core gamers make up a bigger portion of the audience, the game delves deeply into the mythology of the films, providing a back-story only hinted at in the new film.
The film itself also sees a number of product placements, including Coors, Apple (so to speak) and Ducati. The latter’s placement seemed rather glaring to Zeitgeist, but to those not on the lookout for such placement it might blend in more easily and authentically. The prominent placement of the motorcycle was spotted by many on Twitter however, with mostly positive reactions:
Associating one’s brand or product with such a cool film is a way of adding to your cachet, to be cool by proxy. Most surprising of all the collaborations then, is that of Apple, who need engage in no such ‘cool by association’ tactics. Yet here they are with a very, very cool app on the iPad. Between the film and the tablet, which is promoting the other in this case is hard to divine.
All this talk of marketing ploys ignores the film’s greatest asset, it’s aesthetic beauty. The film is indeed a wonder to look at, hence how it has inspired so many product collaborations, particularly in the world of fashion. While Zeitgeist realised he was supposed to be feeling somewhat tense and anxious near the end of the film as the goodies race for home, the climactic chase scene is one of a stunning light display that leaves one fairly awe-struck. The design of the film as a whole has been influential enough for the Los Angeles Times to produce a feature on it recently.
You may of course just be looking for a Tron: Legacy Coliseum Disc Battle Play Set, or one of the 37 other items related (vaguely) to the film that Disney has commissioned. In which case, best to head here.
“I woke up as the sun was reddening… I was far away from home, haunted and tired with travel…”
- Jack Kerouac, On the Road
Taking a page from the Beats, brandchannel reported earlier this week on one man’s attempt to hitchhike through Europe relying solely on the good nature of those behind the wheels of Mercedes-Benz vehicles. Found on tramp-a-benz.com, it’s a lovely idea that apparently the brand didn’t instigate and isn’t sponsoring, but has mentioned it on its Facebook page, with almost 3,000 “likes”. (What they are doing is courting Twitter users to race some of their cars in order to win a C-class). It’s a great story that most brands would be extremely envious of; unadulterated, unsolicited brand advocacy and evangalism. The wonderful NotCot site also pointed Zeitgeist to the brand’s Yuletide message, which seems to be exclusively online:
Luxury group LVMH acquired what is to be a 17.1% stake in Hermès, it was announced at the weekend. Historically, the group has a tendency to purchase a minority stake before settling in for a full assault on the target acquisition. In order to leverage such a purchase, it is rumoured that LVMH is considering selling off the “MH” part, Moet and Hennessy, which Ogilvy client Diageo is understandably very keen for. Any rumours of takeover may just be that, of course.
But what of Hermès? Zeitgeist has paraphrased current IPA chairman Rory Sutherland before when he spoke of clothes today being about much more than mere “atoms”; these goods, especially in the realm of luxury, are sold on their intangible benefits, not on the assumption that they will merely keep you warm. Hermès, futhermore, really is a world unto itself, having been controlled by the Dumas family (offspring of Thierry Hermès) since its inception. The death of the brand’s patriach clearly left room for a potential hostile takeover.
LVMH must tred lightly however. One of the things that makes the Hermès brand so coveted by so many people around the world is that it is fiercely independent. Its heritage is bound up in the history of a single family, rather than a more homogenous consortium of initials. This family history has, without doubt, strong – though intangible – brand equity for its consumers, for obvious reasons. If it is to become subsumed into a phalanx of other brands however, the loss of this familial association might having a thoroughly tangible impact on the brand’s bottom line.
Contention, Controversy and Criticism, the three Cs that no brand wants to hear (unless they’ve intentionally brought it upon themselves in an incredibly well-orchestrated way). The Gap recently tried this, in an effort that Brandchannel called a “Gapocalypse”, i.e. not well-orchestrated. Mea culpas followed hard upon.
Last month, the Daily Mail reported that Dior was being similarly torn apart; “slammed” for its apparently racist imagery. The images in question, shot by Quentin Shih as part of the ‘Shanghai Dreamers’ campaign commissioned for the new store opening in the eponymous city, show a woman draped in Dior finery, surrounded by Chinese people who all look exactly alike. The campaign has been called racist, but Mr. Shih says, “I wanted to show the power of Chinese people standing together and a kind of socialism in Chinese history (only in Chinese history not China now)… The Chinese models are not people. They are symbols of Chinese history between the 1960s and 1980s.” According to the article, The Guardian’s Jenny Zhang wrote “[They] should have sent Chinese models for Shih to shoot, and should understand that the modern Chinese Dior customer will not recognise herself or himself in these photographs.” Dior could be forgiven though for playing on the well-known admiration that the Chinese have for luxury, exotic Western brands. Actress Marion Cotillard was similarly used in an international campaign for Dior recently, highlighting China’s rising prominence.
The ‘Shanghai Dreamers’ photos, intentionally glazed to give the appearance of those family photos from bygone days, remind Zeitgeist of old school photos… just not theirs. As always, your thoughts and raging tirades are always welcome on what you think of this campaign, and how well it treads the line of being at the cutting edge – which is what haute couture fashion is all about; pushing boundaries – while maintaining cultural sensitivity.
Zeitgeist will never, ever buy anything from Diesel. That said, it has enjoyed some of its advertising over the years, not least of which the Global Warming Ready campaign, which generated oodles of almost entirely favourable press coverage. An example ad is featured above, as exotic parrots find a new home in Venice’s Piazza San Marco.
Last week, brandchannel ran an article excoriating the new Diesel campaign. The manner and style of the article alluded to a writer who was alternatively, angered, frustrated and depressed by such moves, and backs up these emotions with a spot-on justification for what is wrong with the ads, all of which are featured in the article. The campaign in question is based on the insight, Zeitgeist supposes, that a great many people do not purchase sneakers for anything that might ever hope to be called physical exercise. Hence the copy “Not made for running. (Great for kicking asses)”. This could have been executed very well, with annoying bosses, ex-boy/girlfriends, parents etc., all in line for their humorous comeuppance. Instead the campaign is for the most part far too generic, if anything targeting overweight people. Of the series of advertisements featured in the brandchannel article, only one [see below] caught Zeitgeist’s eye as barely escaping the baseness of its peers; vaguely humorous, subversive and irreverent. Your thoughts?