Plus ça change, plus c’est la même chose… TV executives’ concern over changing viewing habits is nothing new. Sports coverage continues to deliver; it’s such thinking that pushed BT to pay almost GBP900m to show some football matches. But it’s not just knowing the score as it happens that has kept audiences from time-shifting. We wrote a piece back in 2011 detailing how the industry was trying to put a renewed focus on live events. Social media have contributed to this; having a constant stream of wry comments on Twitter to snark at while watching Downton Abbey can vastly improve the viewing experience. This is somewhat lost if viewing the show later.
There was a time when live events were much more common on network TV. Back then it was other formats – radio and cinema – that were running scared from the box in the corner. Now it is television that is trying to retain eyeballs; DVRs and OTT rivals are diminishing its sway; the cable industry lost 2.2m subscribes last quarter and Fox COO Chase Carey recently conceded the cable cord was “fraying”. TV viewing in general dropped 4% last quarter, Nielsen reported on Friday. Mobile use in general seems to be the largest culprit (see chart, below). As part of a strategy to keep viewers glued to scheduled, linear TV, NBC has previously screened the live performance of Sound of Music, and recently announced plans for a live rendition of A Few Good Men. Like the latter piece on content, Peter Pan similarly began as a play, and this past week saw its own broadcast, live, on NBC. It was a fine tactic in a broader strategy. Sadly, execution, and timing, are everything. Salon saw much room for improvement. The New Yorker compared it with earlier TV adaptations (NBC did a live version back in 1955) and found it lacking. More damningly, it also saw a broader disconnection from reality, as protests swept the nation in reaction to events unfolding in Ferguson. Viewing figures were half what the network got for Sound of Music. As The Wall Street Journal points out, live events may be losing their pull; both the Emmys and MTV Music Awards saw dips in ratings this year. Meanwhile though, marketers are still willing to pay a premium for advertising during such shows. Brands are said to have paid as much as $400,000 per-30 second commercial for the telecast.
“The nature of the internet as a platform for art is double-edged. The thing that makes it attractive — the fast turnover of content produced by unusual, gifted people — may be what stops it from bringing about a Golden Age 2.0.”
– India Ross, Financial Times
Another tactic in the strategy to retain eyeballs has been to license old seasons of shows still running to OTT providers like Hulu, Amazon and Netflix. On the one hand this may cannibalise viewers who are just as happy watching old episodes as new ones. On the other, it could provide a new platform to find audiences and increase advocacy and engagement. What Nielsen has found is that both are happening. As the WSJ reports, “Dounia Turrill, Nielsen’s senior vice president of client insights, said she analyzed the results of 16 such shows and found an even split of shows that benefited and those that didn’t”. Netflix, meanwhile, closed down its public API and is seeking world domination with culturally diverse content in the form of Marco Polo. Such OTT providers have their own problems to worry about, too; their niche is becoming increasingly cluttered. Vimeo is not mentioned often as a competitor to the likes of Amazon’s services, but it too is now producing original content for streaming, in much the same way as its peers, where shows are greenlit by popular demand and creatives given full rein. An article in this weekend’s Financial Times points out the limits of such a business model, “the internet audience — vehement but fleeting in its interests — may not always know what makes the best content for a more substantial series… returns are unreliable in a marketplace where even established services suffer at the hands of a capricious audience”.
In film, new possibilities arise in the form of ticket-booking innovation. While TV is recycling old ideas of content and engagement, these new tactics look to push the industry onward. This month through January 17, New York’s MOMA hosts a Robert Altman retrospective. One of his seminal films, The Player, shows in some ways how far the film industry has come, and in others how we haven’t moved on at all. The New Yorker wrote a brief feature on the retrospective. It’s insightful enough to quote at length, below:
“In the opening shot of “The Player,” from 1992, Robert Altman makes an explicit attempt to outdo Orson Welles’s famous opening to “Touch of Evil.” He has the camera zoom in and out, track left and right, pan one way and the other, and, before a cut finally comes, pick up with most of the major characters of the film. The scene also situates “The Player”—a movie about a studio created on a Hollywood studio lot—in film history, with passing references to silent film, forties genre work, the sixties, and, finally, the Japanese, who were then moving in on Hollywood, and are seen looking the studio over.
When it came out, “The Player” was regarded as a scorching attack on greedy and unimaginative Hollywood: in the film, the industry’s shining past surrounds the executives at the studio and shames many of them. Twenty years later, the huge profits from big-Hollywood movies—digital fantasies based on comic books and video games—have washed away that shame. The executives in “The Player” have stories pitched to them constantly by writers, and then they say yes or no. They don’t consult the marketing division on what will sell in Bangkok and in Bangalore. The thing that Altman may not have anticipated was that one would be able to look back at the world of “The Player” with something almost like nostalgia.”
A recent McKinsey report declared that, for businesses, “The age of experimentation with digital is over“. That may be for most B2B and B2C private sector companies, but not for the luxury goods industry. Bemoaning the woeful development and investment in strategic initiatives for luxury brands online is something this blog has done once or twice before. There are understandable reasons why the industry has been reticent to commit to online retail, based on customer insight (the assumption that HNWIs don’t like to shop for something without being able to see and touch it for themselves) and conflicting priorities (physical store expansion into China and more experiential events has been the name of the game in recent years). But with a China slowdown mooted, particularly in the area of luxury gifting, and no real concrete research to show that HNWIs aren’t just as digitally savvy as their less liquid counterparts, there becomes less and less justification for what are, across the industry, woeful examples of digital strategy and innovation.
It can’t be easy for profitable businesses like LVMH, with an eye on quarterly earnings, to make drastic investments in the online space. Luxury’s brand equity often comes from provenance and tradition; a company’s roots are in its founding stores, the connotations of Milan, Florence, Paris, etc. They also worry about their neighbours; a flash-sale site or, worse, one full of counterfeit knock-offs, is always just a click away. From a logistical point of view, there is also the issue of back-end infrastructure to contend with. For several years, PPR (now Kering) ran much of its e-commerce business through Yoox, as we’ve talked about before. It would be wrong to single out those in luxury. L2 Thinktank recently tweeted with much excitement about Bacardi’s “cocktail discovery site” that worked seamlessly across web, mobile and tablet. Well, forgive us if we don’t leap for joy in an ecstasy of delirium, but this is 2014, that should be the minimum deliverable. Still, luxury is a sector in blatant need of redirection.
Burberry is lauded by many as an outlier in this world of luxury goods, a company that has truly embraced digital. For all the talk of such innovation though, the website itself is utterly dominated by a rote e-commerce site, as are its social networks such as Google+. It is the physical stores where technological innovation has been injected. And this is supposedly the company pushing the rest of its peers forward. It comes as little surprise then that eConsultancy published a superb piece at the end of April excoriating the sector, leaving no brand unscathed. Headlines included, “painfully slow load times“, “awful UX” and “not making much effort“. But the worst and most perplexing atrocity had to be the above screengrab on the purposeful hiding away of an e-commerce platform, one that was presumably quite expensive to source and implement in the first place. We can’t overestimate the necessity of having a clear user journey through to purchase, just as it would be difficult to overestimate the amount of luxury good companies that are guilty of this sin for which Dolce & Gabbana have been singled out for here.
On this note, Gucci’s recently relaunched mobile site – replacing among other things a tablet site that had been left to wither since 2010 – was welcome news to us, as it seemed to be also (logically) to those wishing to actually part with their money on Gucci wares. L2 in May reported the news, saying that the new site now accounts for 27% of all traffic, a 150% YoY increase. Sounds good, except that means traffic through the mobile site in 2013 was a miniscule 0.18%, right? Terrible.
There are signs of hope. Gucci’s move to invest in a new mobile site, though monumentally belated, is a welcome one. As more brands cotton on to the importance of online, the Financial Times recently reported on the moves many are making to secure ‘.luxury’ suffixes, in the wake of IPv6, if only to avoid the complications of cybersquatting. And Michael Kors, which seems only to be going from strength to strength every quarter, has praised its own social media presence for “driving international sales”. We’ve almost entirely focused on fashion brands here, but other companies within the luxury sector are getting the message loud and clear. Take the auction house Christie’s, a legacy company if ever there was one, having been founded in 1766. Not only have they dedicated time and energy to investing in major online auctions, they have also recently created a new sector vertical of ‘luxury’ within the house itself. New thinking might well take new talent, it will also take C-suite buy-in, as well an acceptance that digital commerce is an integral part of business now, no matter how exclusive your product is.
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…
What a fantastic ad from Channel 4 advertising their showcasing of the Paralympic Games, beginning soon. Meanwhile, what of the Olympics? Though there have been tales of Tube and travel chaos, Zeitgeist has not personally experienced problems with public transport, either for commuting or for travelling to the Games themselves. And while our mayor may have been left dangling like a pinata the other day, he certainly seems not to have left London in the lurch in its preparedness for the Games.
LOCOG, however, have had to face two severe lines of questioning since the Games opened last Friday. The first, which became immediately apparent to anyone watching the first few days of events, was that thousands of seats were unoccupied, including for events LOCOG had deemed sold out. The fault, it seemed, lay mainly with the Olympic Family, who weren’t turning up to events. Seb Coe tried to shrug off the incident, saying it was normal for the few first events of an Olympic Games. It must be particularly galling for him though after the same thing happened in the 2008 Games in Beijing and he pledged to avoid such an occurrence in London. It is unfortunate then for all concerned then that, despite releasing more tickets, the problem is still not resolved as of today.
Moreover, this brings us to the second big problem. The selling of tickets. The whole balloting system originally set up was pretty arcane and inefficient to begin with. But now with tickets being released on a rolling basis throughout the day, the chaos is all the more apparent. Yesterday, eConsultancy published an excellent article with a blow-by-blow account of just why “the Olympic ticketing website is so bad”. Worst, for Zeitgeist, was firstly not having a mobile version / mobile-optimised site. Secondly it was not having anything informing users of when certain tickets became available. Thankfully, as in any well-functioning democratic society, where there is a market failure, substitute products or competitors will come in to correct the situation. Such was the case at the weekend, when the completely unofficial @2012TicketAlert account was launched on Twitter, which used automated tweets to alert followers when any Olympic tickets became available. It was a fantastic idea, and seemed much in keeping with the ‘hack’ trend we see nowadays, when companies like Microsoft and Transport for London open up their APIs for users to develop their own programs. Such examples clearly had not occurred to LOCOG though, and earlier this evening, after amassing over 8,000 followers, LOCOG denied the @2012TicketAlert account further access. As the administrator of the account, Adam, wrote,
It seems a poor PR move on LOCOG’s part, and more importantly a poor operational move because it makes it that much harder again to check for newly available tickets. Taking into account the immense budget that must have been allocated to the ticketing website, the result is severely lacking, and many thousands of people have been put off the Olympic experience because of it. Ticketmaster, which has branding on the website, has also come under fire. These acts, as we predicted in an earlier article, may well be the undoing of those involved, for, once lost, a good reputation is hard to recover.
This lovely TV spot for travelling First Class on American Airlines, the latest incarnation of a campaign featuring Kevin Spacey, emphasises individuality above all else. Great iAds have been appearing for this recently in iPad apps for The Economist and The Financial Times. It’s disappointing then, upon arriving at the AA site, to be greeted with a data-heavy template that seems like it’s stuck in 2003, and the only mention of the campaign – ‘The Individual’, takes you to an unsatisfying pop-up microsite. This microsite URL is ‘The Individual Flyer’. Why not call the whole campaign that, as typing in ‘The Individual’ reveals no immediate organic or paid results for AA. What is worse, when you Google ‘The Individual Flyer’, the first hit on Google is for the mobile site. Similar in its failure to equate luxury with excellence in all fields is the newly launched – and undeniably beautiful – Four Seasons website, which, at a gigantic cost of $18m, attracted a withering review from eConsultancy.
“I want [a product] that treats me like me, whoever I happen to be”, Spacey intones. It’s no recent phenomenon that brands are trying to tailor their offering to every consumers’ whim, but what this ad hints at is that economies of scale just won’t work for luxury products and experiences. Unfortunately the digital agency who worked on the AA site have economised, and the site itself, much like Zeitgeist on a long-haul flight, is in need of an upgrade.
In December, shopping transactions saw a 187% increase, year-on-year. This sounds like good news for the economy, and surely the high street. Unfortunately, this increase was purely for mobile shopping, as reported by IBM. Brand Republic, which picked up the story, noted “mobile traffic on retailers’ websites rocketed by 169%, meaning 15% of all traffic came from mobile devices during December”. The principal attractions of mobile commerce are easy to identify: it allows you to purchase items from anywhere with a phone signal rather than travelling into a store. It also allows the customer to shop around far more easily than would be possible on a high street for the best deal.
The drift toward mobile commerce, however beneficial and efficient for the customer, is part of myriad factors that are having a pejorative effect on the high street. Another, recently noted in a fantastic editorial in The Financial Times, detailed the onus shoppers must face up to, as a nation obsessed with the material quest for the very best deal possible. “We are all going to hell in a shopping basket”, read the headline.
“Through the internet we can now get relevant information instantaneously, compare deals and move our money at the speed of electronic impulses. Consumers and investors have never been so empowered. Yet these great deals come at the expense of our jobs and wages, and widening inequality.”
183 retailers fell into administration last year. The internet must shoulder a large part of the blame for this, as customers shift to the relaxation of shopping at home. Experian Hitwise reported that Boxing Day 2011 was the biggest ever day for online retail in the UK, an incredible stat (one of many covered by eConsultancy), especially while circumstances for bricks-and-mortar stores seem so dire.
However, while digital technology is keeping people from shopping on the high street, it is also helping it evolve. Recently, CNBC reported from New York on the National Retail Federation’s annual convention. Technology companies like Intel and IBM were front and centre, and willing to engage ever more deeply with brands. 73% of consumers were willing to share their demographic information with retailers in order to improve targeted communications. In the store itself, Macy’s has unveiled Beauty Spot, a digital mirror that lets you try on what you want, what is suggested to you by the mirror, and share your looks with your friends, according to TIME magazine. Also at the conference, Kraft featured a vending machine that featured face-recognition technology, registering your ethnographic details and dispensing samples based on that data.
The possibilities for clothing are significant, too. At the recent Consumer Electronics Show, Microsoft unveiled a prototype digital mirror for retailers. PSFK noted it “relies on the Kinect gaming system and basically allows people to try on clothes before taking their final selection to the dressing room”. Moreover, last month, the e-tailer Gilt Groupe teamed up with GQ magazine to create a men’s high-fashion retail experience in the so-fashionable-it’ll-soon-be-uncool Meatpacking District of New York. The FT has more.
Such movements are part of a burgeoning trend toward blurring the boundaries between digital and bricks-and-mortar retail. But for the latter way of shopping, the problems are immediate. An article in this week’s The Economist referenced a report commissioned by the government in December that claimed “one in three of the nation’s high streets is failing“. Places like Argos, Mothercare and Thorntons plan to close up to one third of their shops. Conversely, the magazine references a survey conducted by Saatchi & Saatchi which detailed 16-29 year olds’ feelings on retail. Apart from enjoying a good shop, “42% said that, if they were to start a small business, it would be on the high street”. This puts a desire to see an epicentre of retail / beating heart of a town against an indolence born of the luxury of being able to shop while in the bathroom. To combat this dilemma of desires, Anne Robinson-lookalike Mary Portas has made several suggestions as shopping czar to the government, including requirements for a “quota of affordable shops”. This idea is pure lunacy. State intervention in market commerce is not a road we want to go down.
While the article offers some hope, detailing the importance of improvements to infrastructure, and making space above retailers into shops again rather than flats, the major threat is from online retailers. Last week, the Financial Times reported solemnly,
“Tesco [will] call a halt on new hypermarkets, believing the internet offers the most profitable future for non-food sales. Retail analysts believe Tesco’s admission marks a watershed moment for high street retail chains. Many have already seen their business models trampled over by the big supermarkets, but now they must follow the leader’s structural shift towards online sales, or face extinction.”
These are dire times for retailers, but things will not improve until they fully embrace the inevitable march of technology, both in their stores, and in people’s homes. With another recession looming, now is not the time to bury one’s head in the sand and hope for the best.
At the height of summer, Hollywood can always be counted on to release its annual glut of rambunctious, noisy films for the gluttonous, rambunctious, noisy masses (read teenagers). Zeitgeist commented previously on the exceptional marketing efforts gone to by Disney and Pixar for “Toy Story 3”. The film was finally released the other week in the UK, having been pushed back to make way for the onslaught of the World Cup. This article will be focussing on four very different films and the differing marketing efforts employed in them; “Eclipse”, “Inception”, “Knight and Day” and “Tron: Legacy”.
The third film in the Twilight saga, “Eclipse”, has recently exploded into cinemas, making $280m in it’s first week at the global box office. In the film, Robert Pattinson’s ‘Edward’ drives around in a pining manner in a Volvo XC60 SUV. The car, owned by China’s Geely created their “most expensive campaign to date to promote its tie-in”, according to Variety. In the series’ sophomore outing Volvo had played on its product placement almost entirely online with their “Come and See What Drives Edward” campaign. In the new film there is another website, “Lost in Forks”, which is being more heavily promoted on TV in a cheesy, Americanised way (this is the ad Zeitgeist saw the other night). The site asks the user to play a game in order to be in with a chance of winning the XC60. The game, however, is interminably boring for all but the most dedicated of Twilight fans (who fortunately for Volvo number in the tens of millions); Zeitgeist lost all interest in entering the competition and having their information captured for Volvo to use in the future. Variety points out “the SUV is also being given away by Burger King as part of the chain’s own ‘Twilight’ tie-in and gives the vehicle a shout-out in its ads.” Even for the first film in the series, in which the Volvo C30 appeared but the brand had “no advertising budget”, the car “received millions of impressions [and] increased consumer traffic through [US] and international dealerships”. It helps that the author of the novels, Stephanie Meyer, had, bizarrely, sprinkled her books with mentions of Volvo.
Volvo took a back seat to Mercedes for product placement in Christopher Nolan’s “Inception”, the only product placement example in the film, writes BrandChannel. However, the film’s marketing has far more impressive accolades, namely its integration with Facebook. Although every brand and its uncle sees Facebook advertising as a sine qua non nowadays, the team at Warner Bros. created an imaginative and engaging campaign that helped raise awareness and excitement for a movie shrouded in secrecy. On the UK Facebook fan page for the film, competitions were announced that took place in Brighton, London and other locations. A man, suited and wearing sunglasses, and carrying the silver briefcase showcased in the film, appeared at various locations along with a vague clue or riddle as to where he was. The first person to solve the riddle and find the man was given tickets to the UK premiere. It’s an idea sui generis, and it evidently paid off. Apart from the film opening at No.1 and beating out “Toy Story 3” in its second week to retain its top spot, sometimes almost a hundred people would comment per competition when all was said and done. The great engagement continued in more simple ways when the film opened, with reviews posted from various publications, and asking fans whether they would be seeing the film again…
eConsultancy praised the efforts, saying they produced “a marketer’s dream campaign” (no pun intended I’m sure). The article details how Warner Bros. “went to great pains over its blog outreach campaign, utilising major and minor movie fan sites to help spread titbits of pre-release information.” They conclude with the pithy insight, “It’s worth contrasting this against that similar old media behemoth, the music industry, who have consistently struggled to find a new marketing model that competes with free sharing and piracy.”
All seemed not quite as rosy initially for the Tom Cruise / Cameron Diaz starrer “Knight and Day”, with the New York Times predicting before its release that it would fall short of expectations. The two stars, however, have gamely been showing their faces around the world, and not only at premieres, in this case touring Brazil before spending hours with fans in London. They also showed up at the Tour de France, watching from the side of the road before helping the eventual winner lift the trophy. Very soon the film will have it’s ‘People’s Premiere’ at London’s Somerset House, giving the film the added publicity of having two premieres. Finally, last week the duo showed up on the BBC’s “Top Gear”, driving the show’s ‘reasonably priced car’. The show is still available on iPlayer, and in Zeitgeist’s opinion well worth the watch. This kind of globe-trotting coverage is perfect fodder for the target audience, the kind who like big explosions, fast cars, and lean storylines.
The last film Zeitgeist will be discussing is the release this winter – December 17th in the US – of the second Tron film, “Tron: Legacy”, which, by the time it opens, Disney will have committed “three and a half years priming the audience” for, according to the New York Times. The team at Disney has – much like “Inception” did in a much shorter timeframe – been feeding rabid fans tidbits piece by piece, with the release of a new trailer (see below) at Comic-Con recently, where one arrived at the screening via a themed entryway, a great piece of experiential.
“Marketing campaigns for what the industry calls ‘tent-pole’ movies… have traditionally started about a year before their release in theaters [sic]. Increasingly, there is scarcely enough time… The goal is to make movies feel like must-attend events”.
Multi-channel integration, be it on Facebook as with “Inception” (and as with Disney’s newly purchased Playdom for $760m), through supporting Disney channels as with “Tron: Legacy”, or through mobile games that extend the movie’s universe, will help bolster revenues. However, as digital video recorders like Sky+ in the UK and TiVo in the US continue to erode film’s main piece of publicity – the trailer – and as DVD sales continue to plummet, without much offset from Blu-ray or online avenues, the film industry is increasingly less wary about taking risks when it comes to how films are promoted. One thing is for sure though, sometimes you just can’t beat a great trailer…