We're ten years old, so we're taking a journey back to where it all started...
We’re all about culture here at Crowd DNA, so we wanted to celebrate our ten years by flashing back on the good, the bad and the random (we’re looking at you mannequin challengers).
We’ve created ten videos, each covering a year of the last decade, highlighting key moments – from the news stories that shook the world to the fads that became viral. You’ll laugh, you’ll cringe and then you’ll remember that in 2008 Katy Perry kissed a girl and Barak Obama became president…
We headed along to The Drum’s Brandalism event, held in partnership with HP, when in Singapore this week, where a panel session at the ArtScience Museum had those agency and client-side rubbing shoulders with artists, seeking a shared view on the role of art (specifically street art) in advertising. Inevitably, this was not easy to find, and much of the challenge centred around if the value exchange between creativity and commerce could ever really be set right.
Art and advertising have in fact been dancing around each other for over a century (Toulouse-Lautrec, Rockwell, Warhol etc), but some new perspectives never hurt. Here’s a few quick notes from the session -
It was suggested that a brand’s values must match with those of the artist – easy to say, seriously tricky to deliver against, we’d suggest.
Alternatively, and likely a more realistic exchange, that the secret lies in the brand creating an opportunity that the artist would not otherwise have had; as a modern-day patronage of the arts, you could say, with Coke, or UBS, or Beck’s, taking the role once occupied by Renaissance-era establishment.
Most on the panel cautioned against brands thinking that collaborating with artists could function as a kind of shortcut to cultural relevancy. And Didier ‘Jaba’ Mathieu, the street artist on the panel, said that it often wouldn’t help an artist’s credibility within the scene if they’d notched up a track record of working with brands
Shaky ground all round, then. Though some examples (not specifically current, admittedly) were put forwards of art/brand collaborations that had appealed:
Art House: an Airbnb initiative at Art Basel Hong Kong a couple of years ago, that saw 11 artists given a disused store to set up studio in. The scary, but ultimately rewarding part, explained panellist Matthias Schuecking (consultant and former Airbnb marketer) was just allowing them to do whatever they wanted.
Favela Painting/Let’s Color: AkzoNobel-backed initiative with Dutch artists Haas&Hahn which turned 34 houses of a hillside favela into a huge community art project. For the month of painting, community members ‘received an education as well as a paycheck’.
eL Seed: the French/Tunisian artist is known as a ‘calligraffiti’ pioneer, working on everything from Arabic script art in New York proclaiming ‘The only thing people have in common is the fact that they are different’, to painting across 50 buildings in Cairo. He collaborated with Louis Vuitton, creating designs over the classic monogram scarf and LV trunk cases (ok, so not advertising really).
Coca-Cola: their quest for personalisation went into overdrive when they set a target of producing two million unique bottles of Diet Coke. Physical pieces of art were first created that, though abstract, featured brand relevancy in the form of bubbles and visual interpretations of fizz. HP then digitised the designs, creating an algorithm that could generate infinite new variations of each design to adorn bottles.
The common ground here? Perhaps a higher than normal level of investment in the cause by the brand and/or surrender of control. Commitment and humility, then – two factors for brands to bear in mind when engaging with art; though there’s a tension in this space that, we imagine, won’t be solved anytime soon.
How Burger King takes curious pops at its (golden) arch rival...
Competitor brands normally do a good job of completely ignoring each other in their communications, but it’s intriguing when that’s not the case. Burger King has quite a history of beef (flame grilled, natch) with McDonald’s, and their latest swipe is one of strangest yet.
American agency David Miami has crafted a print campaign which features real pics of rather large homes owned by former McDonald’s big cheeses (so many burger puns on offer in this post), each boasting a patio grill and the assertion that “flame grilling is hard to resist” – flame grilling, of course, being Burger King’s point of difference.
Previous Burger King pops at their rival include dressing a Queens, New York, outlet up as the ghost of McDonald’s on Halloween. There’s a fine line in getting this type of stuff right – if you’re not careful, you can come across as bitter, twisted and perhaps a little overshadowed. But we reckon the rather random, and unexpected, nature of these executions sees them coming out well.
From launching an NYC office to unveiling our thought leadership study for Spotify, we’ve had an amazing year at Crowd…
At this time of year, everyone’s waistbands expand a little. At Crowd, we’ve been happily growing all year. Of course we can’t talk about all the incredible projects that have seen our team travel from South Korea to Argentina and back again (several times). What we can say is that we’re happy to welcome several weighty global clients to the roster.
January kicked off with the release of the Power of Audio project on Spotify for Brands. The study, which saw us travel to US, Brazil, Japan and Manchester, investigates and celebrates the role of sound in our lives, as well as looking at what the future of audio holds for brands and consumers. It’s a great example of the power of socialising insights: the trailer has been viewed 326,000 times on Twitter and counting.
At Crowd we believe that understanding visual culture is essential for getting to grips with consumer culture. In February, Matilda Andersson, head of insight and innovation, shared our thinking when she presented ‘A picture paints: understanding visual culture’ at Atlantic Monday, a Festival Of NewMR webinar.
March saw us proudly open an office in New York, headed by former Flamingo Kiosk NYC lead Hollie Jones. The move to Cooper Square consolidates existing US client relationships and has already resulted in building several new ones. We’re off to a great start, with Hollie joined by Isabelle Kage of the Insight Strategy Group and senior consultant Tom Eccles from London’s Socialise team joining them both in January.
Our first Rise breakfast event in London took place in March. ‘Superfans’ saw Anna Chapman, Socialise director, map the journey of fandom, drawing on our work around influencers and passions.
Gender empowerment has been a huge theme this year both within Crowd and in wider culture. In May, associate director Jake Goretzki discussed the changing face of masculinity in ‘How to speak man’. His session explored changing attitudes to masculinity and, in particular, what being a man means among millennials.
In June, products and services expert, Tom Morgan teamed up with our service designer Essi Mikkola to discuss how we tackle consumer journeys at Crowd, combining a cultural, behavioural science and visual approach.
At Crowd, we’re well known for our work researching millennials and increasingly Gen Z, so it might seem a little odd to debunk traditional demographics with an event called ‘Agelessness’. But as an insights and innovation agency, we know that as the world changes, so do our beloved cohorts. In September, our brand and communications expert, Eleanor Sankey tackled this delicate subject by exploring the idea that understanding consumers by age traits can be a little limiting at times.
Over the year we hosted a number of Rise events in London and Amsterdam. Each one, supported by Crowd content, including downloadable PDFs. Please email email@example.com if you’d like to be sent these.
What better time than the summer to make a short film about what we do? Edited by our head of film, Tom Eccles, it’s definitely worth just over one minute of your time.
September saw the launch of CrowdStars our global network of thinkers, influencers, creators and culture-shapers. We work with them to shake up conventional thinking within businesses in areas including immersive workshops and co-creation sessions, expert interviews and forecasting.
In October Sabrina Qureshi joined us as online communities director. We’re not actually new to online communities. We’ve been running them for years for the likes of IKEA, Booking.com, Sony Music and Channel 4. But now we’re giving the offer an even stronger position within our business – recognising the value of online communities in developing deep and continuous relationships with target audiences for our clients.
The research involved a road trip across Canada where we conducted in-depth interviews with generational experts and Canadians aged 18-34, as well as a quant survey.
We learned that millennials rely on mobile, find strength in online communities and take pride in their country’s multicultural identity. We also found that when it comes to defining success and spending money, they hold surprisingly different views than older generations.
Catch us at the MRS day devoted to discussing and debating social media behaviours and trends on February 8, 2018...
Our head of insights and innovation, Dr Matilda Andersson, will be presenting at the event; furthering our recent agelessness work and looking at the role of social media in forging cross-generational communication.
Social media is often described as the new bus stop or park bench: a space for teenagers to hang out with each other, away from their parents. However, Matilda will be proposing that social media can also be important for bridging gaps between generations, bringing them closer together. Her insight is grounded in demographic trends, which show the gap between young and old decrease as Gen Z grows up faster, millennials delay adulthood and Gen X and Boomers live in very different ways to their parents.
Crowd DNA’s head of insight and innovation, Dr Matilda Andersson, talked millennials and mobility at Jaguar Land Rover TechFest...
When I was first asked to speak at Jaguar Land Rover Tech Fest, I was pretty sure they’d got the wrong person. The truth is I don’t own a car: I can’t even drive. But when I realised the panel was going to discuss millennials and mobility I felt more confident I could contribute to the debate.
As we know, owning a car isn’t the traditional marker of the transition to adulthood that it once was. The same can be said for getting married and having kids. They’re all still happening, just later or in non-traditional ways. Even if cars still play a significant role in the life of today’s millennials, the difference lies in what car ownership means: the values assigned to it, the expectations surrounding it and how it elevates the life of its driver.
But have we reached the end of the road for car ownership? This was the pressing question we were asked to talk about. Beside me on stage were some pretty impressive millennials: online star Daniel Howell, YouTube vlogger Jim Chapman, broadcaster and writer Alice Levine, Neil Sharpe (director of mobility solutions at Bosch), Yihyun Lim (associate director MIT Design Lab) – and Sebastian Peck (managing director Jaguar Land Rover InMotion), who hosted the panel.
While preparing for the debate I summarised mobility into three major shifts which formed my point of view on the day:
Millennials want flexible spaces where they can live, work and relax.
Many millennials live in smaller spaces with fewer rooms than their parents. Most live alone or with flatmates instead of their family. Others save money by living in multi-generational households. They travel more, work more and spend more time outside their homes than previous generations. As a result, millennials crave places to relax, socialise and provide privacy on the move.
As our living spaces continue to shrink and commutes get longer, the car can play its own role in creating a ‘home away from home’ for the millennial cohort.
Millennials want products and services that enhance their life experiences more fully by saving them time and reducing hassle through simple design. Technology plays a crucial role in facilitating the idea that every moment counts and that they can accomplish more in less time. Brands that enable drivers to move seamlessly from one space to the next without interruptions to their connected lifestyles are those that will succeed.
It’s not only the concept of time and space that millennials have redefined, but the idea of luxury and symbols of status. In the eyes of millennials, luxury is no longer just about expense or scarcity. A fatigue from too much luxury is driving consumers towards more casual brands and more conscientious purchases that nurture the health of themselves and the planet.
What if as the luxury market shifts, ownership of exclusive goods will increasingly compete against a demand for experiences and digital bragging rights? What if one ride in a luxury supercar posted on social media was preferable for aspirant millennials than owning vehicle themselves?
At the end of the debate, the audience at TechFest voted and – surprise, surprise – 77% of those in attendance didn’t think we’ve reached the end of the road for car ownership. I managed to get the final word: ‘Ownership might still be relevant but it’s going to change. Shared ownership is the future.’
Norwegian youth drama SKAM’s fourth series just finished, but its fan base keeps on growing. Head of insight & innovation Dr Matilda Andersson explores the role audience insights played in its success...
Those of you who thought TV is dead, think again. The fourth series of SKAM, a teen drama made by NRK (Norway’s BBC) has just ended, leaving its global following wanting more. From Stavanger to San Francisco, SKAM’s success has been fuelled by fans sharing images on Tumblr, distributing translated transcripts via Google Drive and making subtitled videos available on YouTube. With unprecedented high ratings and a cult following that’s seen fans invading the set, stalking characters and learning Norwegian, what’s the secret of its success?
SKAM, or SHAME in English, captures the everyday lives of teens in an average Norwegian high school, giving a raw and up-close view of love and friendship today (date rape, coming out and cyberbullying are just some of the topics covered). The series is digital first, with episodes released online (at NRK.NO) scene by scene throughout the week, to create the impression that events are happening live. The stars of the show come to life through their social media presence, each character has an Instagram account, updated when something interesting happens in the series.
Even though the digital storytelling contributes to the show’s success, it’s the extraordinary realism capturing young people’s lives and relationships that has created waves reaching far beyond its suburban Oslo setting.
At the 2017 YLE Media Digital Summit, SKAM producer Marianne Furevold-Boland talks about using the NABC Method to get under the skin of Gen Zs. NABC originates from Stanford and stands for Need, Approach, Benefit and Competition. A familiar approach to us here at Crowd DNA, this audience-centric model focuses on needs first and then helps build value propositions to fulfill them. The team at NRK conducted surveys, content analysis of Instagram and Snapchat stories and visited schools to make sure they really listened to their audience. The producers of SKAM realized that if the consumers are willing to tell you their stories, there’s no point making things up.
A British broadcaster has yet to pick up the series, though Simon Fuller has bought the rights to produce an English language version for US and Canada. In the meantime, you can watch a subtitled trailer here.
At Crowd DNA we’re very proud to have contributed a young audience needs model to help future proof broadcasting, presented at the MRS Impact conference earlier this year. As their path to adulthood becomes less predictable, it’s even more important to take time to listen to young people today. Youth brands can learn a lot from SKAM’s strong audience needs proposition, innovative execution and digital first distribution.