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.
We're recruiting people to take part in a global lifestyle community...
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Crowd DNA are looking for people to take part in a one-year community about city life for a global lifestyle brand.
The community will explore people’s experience of living in a city as well as their behaviour and ideas around areas such as innovation, sustainability and retail.
We’re looking for 20-35 year-olds with good quality written/spoken English skills who live in one the following cities (and have been resident in the country for 10 years or more):
London, Mumbai, San Francisco, Shanghai, Stockholm, Tokyo
What do you need to do?
Over the course of a year, you’re asked to complete fortnightly ‘quick-fire tasks’ (e.g. polls, written responses, taking pictures) and one ‘major task’ every two months (e.g. interviewing friends, diaries). Topics will vary for every task.
What’s in it for you?
We offer remuneration in the form of Amazon vouchers for tasks completed, as well as prize draws for the best response, general engagement and overall contribution.
Crowd DNA associate director Eleanor Sankey didn't think she was a gamer until she played with Oculus. Now she wants to use it in her day job...
Last week we attended an event hosted by Oculus to showcase the new content landing soon on their Rift and Gear VR. Rubbing shoulders with premier league footballers, tech and gaming bloggers, and Jonathan Ross, I wasn’t convinced it was going to be my thing.
I swore off computer games in the 90s, when SimCity 2000 saw it fitting to destroy Eltown with a hurricane, and it was going to take a lot to make me reconsider.
Kicking off, we coordinated our troops in real-time strategy game Brass Tactics before singing our hearts out in a virtual stadium in SingSpace and finally slashed our way through zombies on Killing Floor.
The experience was exhilarating, if not a little overwhelming at times! With our senses seamlessly transported into these virtual worlds it took no time at all to forget our audience and become unselfconsciously immersed in the physicality of the game. I was hooked.
2017 looks to be a pivotal year for VR with anticipated growth evolving the technology from a curiosity to a tangible tool. Transcending the gaming market, we’re already seeing it used in sports and film with the NBA broadcasting one game a week via VR headsets and Amsterdam establishing the first VR cinema in 2016.
Moving beyond the entertainment space, the technology is being used by the military to replicate conditions of real world combat when training soldiers in bomb disposal and piloting drones. Equally, in the healthcare sector, it’s proving vital for educating staff but also has the potential to revolutionise how we treat pain and physiotherapy.
At Crowd we’ve already been using VR to help immerse our clients in the lives of consumers across the globe in an intimate way that they would otherwise never have the opportunity to experience. And given my experiences last week, I’m very excited to see what we can do next.
Crowd DNA filmmaker Tom Eccles explores the latest broadcasting tech at BVE 2017 in London...
BVE is one of the UK’s largest entertainment and media tech events. It’s a metaphorical sweet shop for filmmakers, broadcasters and tech addicts – with over 300 exhibitors showing off the latest film equipment, and a packed programme of seminars exploring the world of entertainment.
We kicked off the day with a talk from none other than national treasure (and personal favourite) Louis Theroux. Known for his irreverent, innocent and playful interview technique, he offered plenty of practical advice for budding documentary makers that can also be applied to research. One of his first tips (made slightly awkwardly at a tech-obsessed event): don’t obsess over the technology. The story is key – and tech should enable you to tell that story, rather than entirely driving it.
Louis spoke about the changing patterns of video consumption – pointing to long-form documentaries like Making A Murderer as evidence that on-demand platforms are creating new opportunities and formats for filmmakers to take advantage of. One interesting audience question asked for the three ideal qualities of a documentary maker. His answer: curiosity, the ability to get on with people without being too imposing, and tenacity – that journalistic edge, allowing you to take the interview to an uncomfortable area. All of which can be as equally important qualities for researchers.
Next up, Peter Collis from Inition, London-based VR and AR specialists, gave valuable insight into editing 360-degree video (something we’re branching into here at Crowd). His first lesson centred around the creation of a VR performance of the Philharmonia Orchestra. Initially, the film was intended to be based solely in the middle of the orchestra – but the team wanted to add more insight and storytelling to the experience.
To achieve this, they went back and filmed other environments building up to the performance – the backstage corridors, the entrance, and the pre-show practice. This builds up to the eventual grand performance and, coupled with an interview with the conductor, gently eases the viewer into the VR space.
Peter’s second example was a 360-degree film produced for Unicef. Without the use of traditional film techniques, such as close-ups or focus shifts, the challenge was to direct the viewer through an experience in which they can look in whatever direction they like. Inition used animation to bring the viewer into the VR world, and having viewers all starting at one specific point (termed the “north point”) helped to provide a clear point of focus from the beginning.
Our next event was a panel asking whether VR is a fad, or here to stay – surprisingly, the latter! Catherine Allen, who has produced a range of VR content for the BBC, believes that VR should only be used when there is a genuine purpose; for example an experience or place you wouldn’t normally have access to – incidentally, one of the reasons we think VR is perfect for research. Some stories, she argued, are simply better told through traditional film.
Matt Graff, co-founder of VR City, wants to see VR escape the confines of the headset. He gave the example of a giant projection dome created for a whisky client, giving a virtual distillery experience. In a similar vein to Louis Theroux, he made the point that technology shouldn’t get in the way – it’s about how you can use that technology to bring people closer to an experience.
Francisco Lima, VFX technology supervisor at Gramercy Park Studios, pointed to studies having shown that people recall VR experiences like real life memories – as if they actually happened. Once headset/projection technology improves, it will be less virtual reality, more teleportation – which then raises ethical considerations.
All valuable insight for exploring further VR and 360-degree film work at Crowd DNA.
At our breakfast event today, Anna Chapman, director of Crowd DNA's Socialise division, talked about superfans - mapping their journey from hysterical outsiders to a brand’s best friend. Below are some key takeouts...
Fandom has existed in some form or other for centuries. The composer Liszt drove crowds wild with his brooding artist’s good looks and sweeping hair. So wild, in fact, that at the time the collective excitement around the famous composer was described as ‘Lisztmania’.
The very thought of fans prompts visions of screaming, hysteric devotees — teenyboppers reaching near dog whistle frequency on airport landing strips as John, Paul, George and Ringo step off their plane; or Elvis sending waves of swooning through his audience of adoring fans with every sway of his glittering hips.
Before the internet, the relationship between a fan and an idol was entirely one way. But that’s changed now that fans can interact directly with stars on social media.
In the age of the superfan, brands can directly engage with fan communities on social media, disrupting the traditional route. And in this ecosystem, superfans can join the likes of vloggers and even celebrities in becoming influential brand ambassadors themselves.
The ‘mania’ of fans of old has been channelled. Now, the superfan has agency, the power to share their passion amid their networks. And as more and more stars appear in celebrity-land’s night sky, the superfan’s power continues to reach new celestial heights.
We love talking about superfans, influencers, their passions and how these relate to brands. Please get in touch if you want to find out more.