From ‘skintellectuals’ to K-pop collaborations, our new instalment of Crowd Tracks exposes the changing face of beauty over the past four months...
Download the full copy of Crowd Tracks: Beauty here.
We’re back with round two of Crowd Tracks – a social data dispatch highlighting emerging trends using our Culture At Scale method. This time, the spotlight is on beauty, as we look back at the viral stories and online conversations sprucing up the category.
The last few months have been turbulent (to say the least) and we completed most of this edition before the full extent of the Covid-19 crisis became clear. While the observations still have relevance both now and post-pandemic, we’ve also made some adjustments to reflect the new beauty behaviours that we’re starting to see.
The full report features:
– Viral stories from around the world – from female politicians breaking beauty taboos, to the growing appetite for halal and vegan cosmetics in South East Asia
– A brand leaderboard highlighting the companies that are making the biggest waves in beauty through nostalgic throwbacks and K-pop collaborations
– A spotlight on how UZ deployed a cloak-and-dagger campaign at New York Fashion Week to ignite a cult following
– Deep-dives into active beauty, the industry-wide paradigm shift putting power in the hands of consumers and creating a new generation of DIY dermatologists
– Our view on how Covid-19 is set to accelerate the virtual beauty space as people stay home and get creative with AR filters and lenses
Download the full copy of Crowd Tracks: Beauty here.
Culture At Scale at Crowd DNA
At Crowd DNA, we’re constantly tracking conversations online across a range of categories. We deploy social media and other unstructured data sources in a number of ways; either as a stand-alone method (including producing one-off and periodical reports for our clients) or integrated alongside semiotic, ethnographic and quantitative approaches. If you’d like to find out more about how we can use Culture At Scale to meet your business challenges, get in touch.
In a second week of isolation, the Crowd DNA NYC team have been recording their experiences…
As the world is driven further into isolation, and terms like ‘quarantine’ and ‘social distancing’ become commonplace, you’d be forgiven for thinking that our lives just got a whole lot lonelier. At work, we no longer sit directly next to our colleagues. We no longer meet our friends for coffee, go to the movies together, or exercise in a room full of strangers. As for most brands, the in-store experience is indefinitely on hold. Yet despite our new found physical isolation, we’re finding interesting ways to connect.
At Crowd DNA New York, we wanted to explore how we’re now doing that connecting. Whether it’s shifting social gatherings online, virtually supporting local businesses or simply getting nearer to ourselves, we’re finding new ways to boost our sense of closeness in this physically isolated world.
Crowd DNA New York’s Eden Lauffer and Lizzy Hussey interrogate the semiotic codes that brands are employing amid the Covid-19 crisis, as they reach out to let people know that they are there for them...
If you’re living on planet Earth and have email, chances are you’ve received a few (or tons) of missives informing you how various brands are reacting to Covid-19.
We’ve stretched our semiotic muscles, analyzing email marketing received over the last five days to uncover what these brands have been saying – and more importantly – how.
Readers of our semiotics content hopefully recall that normally we explore a relevant topic through the lens of one brand. But these are not usual times. What’s noteworthy at the moment is that most brands have felt compelled to communicate their response over the same medium. Looking at the different ways they’ve done so lets us unpack how verbal and visual cues affect the ways we culturally understand ‘responsibility’ and ‘care.’
Care as a formal reassurance
As crisis grips, the need for voices of confidence, clarity and unwavering strength become more important than ever.
One company we see leaning into this code is Target. A recent email from their CEO was filled with strong, guiding language like ‘committed,’ ‘determined,’ and ‘purpose.’ Cueing confidence and decisiveness, this language works to ensure Target’s customers feel protected and enables the brand to adopt the position of a responsible and trustworthy leader.
Further underscoring this sense of respect and formality is the email’s left-aligned text, which acts as a visual manifestation of order. And where the brand usually relies on lively, bright red visuals and images of smiling people, this email forewent heavy branding or imagery.
By visually deprioritizing the brand, Target is literally conveying that it takes a backseat to public safety and the national interest. The email closes with the CEO’s signature, a final signal of formality and personal responsibility, and one that indicates how some brands are semiotically behaving more like public institutions than commercial enterprises. This alignment with a national message, as almost a civic call to duty, engages the brand with the people they seek to comfort and bolster.
Care as community support
As we’ve retreated indoors, concern for small and local businesses has spurred social posts urging us, as neighbors, to get creative in our support. We’ve also seen brands such as Uber Eats adopt this code of community into their outreach.
Speaking with collective nouns like ‘our’ and ‘we,’ and choosing to write from their entire team (vs. an individual CEO) establishes a peer-to-peer tonality that emphasizes community, and positions Uber Eats as part of it.
This is supported by language choices like the header: ‘We’re in this together. Let’s support local restaurants,’ and the deliberately local-first tone, which highlights small business owners and workers, delivery personnel, and first responders in need. The subtle use of green throughout the note bolsters cues for growth and community renewal.
Though this is expressed differently, in aligning themselves with the community, Uber Eats is another example of a brand behaving like an institution rather than a commercial offering.
Care as a brief respite
While the previous two codes of care confront Covid-19 head-on, a few brands have taken a different approach.
Local fast-casual chain, Dig Inn, for instance, does not explicitly refer to Covid-19 once in its communication. Instead, its language – with the opening line ‘A lot of things are changing, but your lunch doesn’t have to be one of them’ – offers both support, but also respite from the constant flow of coverage; it reassures readers that some elements of normalcy and their routine can remain.
While the font is simple and the message concise, even the use of Dig Inn’s typically bold and bright images of their natural and vibrant food permits a sense of respite, cueing the pleasure and sensory stimulation that is lacking in more formal brand comms (eg Target, Uber Eats).
How to care
We all care. And demonstrating that care as a value is more important than ever right now. It’s admirable and vital that brands are ready and willing to take up their social roles and help the planet manage and recover from its current plight.
It’s also very important, as a brand, to be able to express a sense of responsibility and offer reassurance in a way that is both culturally relevant and effective. What this post underlines is that there are many ways to express this care, each with differing implications for how it positions you in the cultural landscape.
At Crowd DNA, we’re learning fast about how to work under current conditions. We’re adjusting our methods and already working on Covid-19-related briefs for clients in areas such as alcohol, media, retail, home and luxury. Check in with us if you’d like to find out more.
What does trust look like in a world of economic uncertainty? Crowd DNA semiotician, Bridget Dalton, explores the future of trust in the age of the digital bank...
It feels like a truism to say that banks must communicate trust. But in a financial world that has been churning since the crash of 2008 – alongside frequent innovation from ‘challenger’ banks responding to a new generation of consumers – the way that trust is communicated is very much anyone’s game.
Culturally, we’re moving away from trust narratives located in one well and/or long established place or person. Consumers are looking for new representations of trust that can accommodate change, impermanence and flux. So how can banking brands (traditionally a category for which stability is important) build trust in this context?
In the second post of our Semiotics At Crowd series, we’re looking at Starling Bank. The digital banking service was founded in 2014 and offers personal, business, joint and euro accounts. From a semiotic standpoint, it also sheds interesting light on future-facing narratives of trust and fluidity in finance, as well as how brands can approach an ambition to grow older customer bases in fintech. Below, we’ve used Starling to explore three new codes of trust in the age of the digital bank.
1. Trust as fluid and always in motion
The murmuration of birds in Starling’s comms demonstrates a very clear shift when it comes to trust in finance. Compared to the permanence of bricks and mortar banking represented by long established institutions, trust is now in the nimble ability to react and change (think from bullion to bitcoin). The group of starlings appears to duck and dive at random, bolting through the landscape along an unpredictable course. But, the birds are also always in perfect formation; instinctive and fluid, efficient and elegant. There’s room for individual flight, but they are able to regroup at any moment.
“Starling’s birds are a far cry from the guardianship of, say, Barclay’s eagle – static and watchful. Instead, they’re adaptable and able to respond to changing environments.”
Starling’s troop of birds are a far cry from the guardianship of, say, Barclay’s eagle – static and watchful. Instead, they are adaptable and able to respond to a changing environment. Coding money itself as fluid and changeable, as opposed to singular and steady. The starling comms represent thoughtful but fast freedom. By using the image of the birds in flight, Starling is suggesting that today trust is about enabling consumers to have confidence and range through intuitive structures, that are always ready to respond to the environment.
2. Trust as authority, balanced by youthful pleasure
Starling’s livery allows the brand to sit between the established formality of traditional banking and the bright, disruptive optimism of a challenger bank. From a semiotic point of view, Monzo’s neon orange card redefines our relationship with finance; the payment moment becomes enlivened, almost irreverent and youthful. Starling’s colour palette is a balance between the dark blue seriousness of traditional authority and the refreshing, swimming pool turquoise of light-hearted pleasure.
The use of the blue colour wheel strongly evokes the soothing holism of wellness apps, such as Headspace and Calm, and codes trust as about reassurance, transparency and support. This balance allows Starling to effectively communicate trust to consumers across generational divides. The brand maintains a sense of dependability for older consumers, while also inviting the suggestion of excitement and difference for a younger audience.
3. Trust as independence, and as part of wellbeing
Bó, NatWest’s new digital arm, leads with the message: ‘Do money better’. While the language might be casual and jargon free it is still, at its heart, instructive and authoritarian. This type of disciplinarian command, even when it’s framed by modern, wellness aesthetics, connotes the former banking mode of establishing trust: we know best and you must do as we say.
Starling also employs the casual vernacular ‘feel good’ but takes a far softer, more emotional approach. Trust across multiple categories (eg fitness and wellbeing) is increasingly about establishing legitimacy through demonstrating authentic care for consumers. This is amplified in the eminently gentle: ‘You’re not bad with money. You’re just with the wrong bank’ strapline, which is a significant rearrangement of the relationship between a consumer and their financial services. The word ‘you’re’ combines direct address and the active verb to connote positive affirmation and agency. By explicitly locating the source of financial woes at the feet of the banks, Starling is able to offer financial rehabilitation to consumers and build trust through the idea that the bank, in fact, trusts the consumer. Within Starling’s comms we find holistic ideas around financial health and emotional wellbeing coalescing in one space.
“Starling is taking careful semiotic steps to redefine trust in the financial landscape, coding it as strongly linked to wellness, fluidity and peer-to-peer support.”
Overall, Starling is taking careful semiotic steps to redefine the meaning of trust in the financial landscape, coding it as strongly linked to wellness, fluidity and peer-to-peer support. The brand is achieving this without alienating older consumers by repurposing some established cues of financial trust within a more future-facing context. Starling is making some measured strides in the category coding of trust – but just like in life, in culture, and in semiotics, building trust takes time and work.
Is America ready to make fun of itself? Crowd DNA New York’s Eden Lauffer explores how this year’s Super Bowl ads are poking fun amid the turmoil...
With the Trump presidency in the US and Brexit anxiety in the UK, both locales are no stranger to turmoil. But as fires spread in Australia and China’s coronavirus lockdown continues, 2020 seems to have kicked off with a feeling of worldwide unrest. In the first few weeks of January alone, online memes have been crying World War III and the end of humanity as we know it (with a humorous twist, of course). It’s no surprise, then, that escapism has become a fully-fledged trend since the 2016 US election. Consumers retreat from the noise of politics into rent-a-nap centers, drag culture, astrology charts etc.
Escapism takes a new form in this year’s Super Bowl ads. After all we’ve been through in just the first month of 2020 – the Harvey Weinstein trial, the impeachment case, the overwhelming number of presidential candidates – America is ready to start making fun of itself. And while funny, over the top ads are synonymous with the Super Bowl, this year, their tone is a different kind of escapist humor – it’s more tongue in cheek.
Of those ads, we’ve identified three cultural trends that they fall into, namely: mocking millennials, poking fun at devices that listen to us, and lightly treading on political satire.
Mocking Millennials, Again
If you’re a millennial (as I am), you may find millennial jokes tiring by now. But in this year’s ads, the media seems to be on our side with several brands playing on some of the typical ways people like to mock this generation. For example, millennials are often criticized for spending on unnecessary items such as avocados. In response, Avocados From Mexico stages a shopping network featuring absurd products for your avocado to use, such as a pool floaty or a bike helmet.
Another popular millennial jab revolves around a lax work ethic. In a similar vein, we see Cheetos and MC Hammer join forces to help one millennial escape his responsibilities using the excuse of ‘Cheeto fingers’. As millennials now make up a prominent percentage of our population, these blows nod to a somewhat thicker-skinned America.
The idea that our devices are constantly listening is not a new one. As we continue to rely on technology and give up personal information, privacy becomes a more glaring concern. Even with this anxiety we continue using apps that may be leveraging our faces to strengthen facial recognition. A number of this year’s Super Bowl ads poke fun at our comfort with privacy invading devices. In Pringles’ and Bud Light Seltzer’s ads, Morty (of Rick & Morty) and Post Malone fall captive to mind control, respectively.
The commentary in the Pringles ad presents an extreme scenario of brands consuming our minds, encouraging us to buy new products. In the Bug Light spot, Post Malone’s brain is manned by a control center dictating which actions he should make when purchasing a drink. We complain about devices taking over, but still feed the problem. So at this point, perhaps it is best to just laugh at the continuing spiral of how much we rely on them.
Tip-Toeing On Political
In post-2016 election Super Bowls, some brands took a political stance, alluding to their position on the Trump Administration actions like building a wall. However, this year’s ads transcend any political stance by instead mocking the general political climate in the US, including how non-Americans perceive the country’s unrest. In a jovial song, Americans band together to #FixtheWorld by feeding it a giant Snickers. The ad features babies named Kale, moms sending nudes, and influencers falling into an enormous hole. Budweiser approaches this same satire in a more subtle way, playing on negative American stereotypes. The narrative dismisses a ‘typical American’ for being loud, while the ad shows a group of protestors speaking out on a cause. While the 2016 election showed an America more divided than expected, there’s still common ground between us. The ability to laugh about the ridiculousness of things like babies named Kale bands together people on both sides.
In early 2017, many Americans wanted nothing more than to escape the turbulence of the United States. Advertising shied away from our new president and everything that came along with him. It helped us forget our troubles by transporting us to simpler times. Think, for example, of the silly humor of Bud Light’s ‘Dilly Dilly’ campaign. Today, as we’re in the depths of a trial aimed at impeaching the president, it feels as if the pressure has reached boiling point. These ads prove that we’re beginning to laugh at ourselves again; and as we prepare for another presidential term, this satirical American voice helps cut the tension.
Marking the Lunar New Year this weekend, we’re releasing our full report on the major shifts shaping culture in China. Download Inside China to find out what TikTok has to do with Maoism, and how coffee cups can signal a low-key youth revolution...
China represents one of the most exciting opportunities for international brands – but also one of the hardest markets to crack. With a whiplash-inducing rate of change, keeping up to speed is a pretty big task.
Perceptions of China are often either outdated or contradictory. Is it capitalist or communist? Cutting edge or catching up? In our 2019 Rise event of the same name (repeated by popular demand!), we took a tour along the fault lines of these tensions to reach five key cultural shifts.
As the rate of progress burns through the baggage of societal rules and restrictions, Chinese youth are balancing individualism with an inherited tradition of collective toeing the line. In this report, we go into the products of this tension. There’s the wave of national pride putting a fresh spin on the label ‘Made In China’; the new currency of status that goes beyond the material; and the leap from consumption to high-volume creative output.
For brands looking to make an impact in this market, swotting up is key. Our Inside China report takes you through our five indentified cultural shifts, as well as a crash course in how brands can make the switch from playing catch-up to leading the way. Download it here.
Thanks to all who made it along to our event with 72andSunny and Lion in Sydney yesterday, exploring how women are portrayed in culture and how brands can engage with modern Australian women through gender literacy...
You can read more about it in this Campaign piece, and we’ll have a follow-up report to share soon. But, meantime, here are some of the key themes in how to integrate new narratives of womanhood in comms work.
1. Interrogate your narrative
Avoid ‘woke washing’ by taking a hard look at your brand narrative, making sure your internal and external stories align, and committing to real change.
2. Learn to read gender meta-narratives
Gender expectations shape our identity and have a pervasive influence on society. Look beneath the hood and understand what is shaping your audiences’ cultural context, rather than just analysing surface behaviour.
3. Question your assumptions
Do women really want to be ‘smaller’? Is beer still a ‘man’s drink’? Recognise and challenge your own biases and assumptions that exist within your brand and/or category.
4. Train your female gaze
If the male gaze turns women into objects to be seen, the female gaze sees them as people – complex, multifaceted beings.
5. Consider your male narrative
As the narratives around women evolve, the way we depict masculinity needs to become more individual and fluid, too.
6. Consider if you need gender at all
In the new age of identity, is gender really relevant? Does your brand and/or category need to speak to an audience’s biology, or are their values and identity more important?
How do you get your kicks? In the first in a regular series of culture decodes, Crowd DNA's Bridget Dalton examines changing representations of women’s pleasure, through the perspective of one brand in particular: audio streaming service Dipsea...
Pleasure is a universal aspiration, but how it’s represented is often culturally determined. For a long time brands have been signalling pleasure through formulaic cues (oozing chocolate cake, anyone?), so we thought we’d get past the repetition and use semiotics to decode the emergent ways that brands are communicating pleasure – through the perspective of one brand in particular: Dipsea.
In the West, a very brief history of pleasure reveals how it was traditionally defined by Christian ideas of good and evil. Bodily indulgence was framed as sinful, and therefore shameful. Following these morality lines, pleasure is still often viewed as overly sexual, secretive and naughty – ice cream is bad; perfume is mysterious; and sex is either a fuzzy, saccharine affair or the deep, dark functionality of Pornhub.
Dipsea – an audio streaming service specialising in erotic short stories to empower women – looks beyond these traditional signifiers of sexual desire. The brand is working hard to renegotiate the cues of pleasure by emphasising self love and removing the all too frequent suggestion of female transgression.
As we’ll see, the app actually shares its visual identity with much less kinky sources of pleasure – such as beauty apps, FMCG brands and liberal politics. This close semiotic relationship between an intimate brand and seemingly unrelated categories can tell us a lot about the new narratives of pleasure resonating with millennial generations. We explore three of these new codes of pleasure below.
Pleasure as tasteful and safe
Dipsea’s gender neutral block colours provide tastefully modern, carefully curated contrasts. In the context of pleasure in the #MeToo era, it’s interesting to observe how the uniform tone and lack of depth work to limit any sense of mystery or unknown; this is a very safe type of sensuality. The absence of shadow suggests the absence of menace and again codes pleasure as a secure space, not a risky romp to the dark side. This sense of safety represents an important shift away from the dark colours and hints of violence (fluffy handcuffs, Fifty Shades Of Grey) often associated with sex and sex products.
Pleasure as important and trustworthy
Historically, serif typefaces and capital letters were to be found in sombre, authoritarian spaces such as banks and museums. Today, they’re commonly used by liberal institutions such as London’s Southbank Centre and The Guardian. More recently still, these font styles are also found in more indulgent spaces, such as personal care and television (eg Treatwell and Netflix’s The Politician). Dipsea’s use of the font follows this lineage and codes pleasure as deserving of respect and trust. It’s serious business and, rather than hidden and private, pleasure deserves a platform and can even be a source of pride.
Pleasure as fluid and complex
Finally, Dipsea’s use of secondary and tertiary colours arranged in amorphous shapes code pleasure as complex and natural. The way the organic shapes in the Dipsea app and comms flow over the edge of the images reinforces that desire is fluid and unbound. Here, discovery and exploration are possible beyond the standard perimeters of pleasure. This helps Dispea communicate another important shift: that pleasure can be found in experimentation and beyond the traditional binaries of gender and monogamy.
Altogether, these three codes demonstrate how modern pleasure is coming out of the guilt-ridden, shadows of darkness into the light of empowered nuance. By decoding brands like Dispea at the forefront of cultural change, we can learn to speak the new language of intimacy, sex, and human connection. Pleasure is a human right for all of us, and semiotics helps us understand how to effectively communicate it in an ever-changing cultural context.