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1 ®. 2 Nº5 / February 2008 / Year 3 in motion :  The democratization of “luxury”  The sensory experience of touch applied to marketing  New concepts.

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Presentation on theme: "1 ®. 2 Nº5 / February 2008 / Year 3 in motion :  The democratization of “luxury”  The sensory experience of touch applied to marketing  New concepts."— Presentation transcript:

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2 2 Nº5 / February 2008 / Year 3 in motion :  The democratization of “luxury”  The sensory experience of touch applied to marketing  New concepts in the world of sweets in the bazaar  From gadgets to robots: pets of the future?  The search for personalised fragrances  Evolution of the internet as a channel: the participating consumer  “I love my stress”: a positive focus C uriosities & Innovations  Environmental awareness  Customising the post  In search of extreme originality  Ideas to revolutionise crockery  Old objects, new uses ®

3 3 Ed itorial : For three years we have been reflecting on novelties and trends that appear in society and on the market. In these pages we aim to demonstrate our direct contact with the consumer and our constant attitude of “observation”. We take this opportunity to thank all who read us, your comments and suggestions; as well as the recognition given to us with Research International’s Diamond Awards prize. http://www.diamond-awards.com/ ® Nº5 / February 2008 / Year 3 The in trends team ®

4 4 The democratisation of luxury he word luxury comes from the Latin luxus, and refers to luxe or the strength of appeal for certain people; in other words, when we talk of luxury we are speaking of a power of selective attraction, as the fascination is not felt by everyone. The history of life on earth is primarily the effect of wild exuberance: the main event is the development of luxury, the creation of increasingly costly ways of life. George Bataille “ ” According to Bataille, no society is known to have ignored luxury entirely. At least from the end of the Palaeolithic times “there have always been forms of luxury, even in the poorest tribes, there was always clothing, feasts and abundance”. Thus, in Lipovetsky’s opinion, the fact that today’s hyperluxury in developed countries coexists with the extreme poverty of the Third World is not new, as “luxury has always existed against a background of social poverty”. According to him, “what is new is that nowadays, the poor want luxury and, in a way, the market is trying to respond to this demand”. This is what the author calls the “beginning of the adventure of the democratisation of luxury”.

5 5 …The democratisation of luxury With the democratisation of luxury companies, the products are more accessible, on an economic level. In fact, in the industry of luxury, perfumery and cosmetics make up 40% of the market, followed by leather, jewellery and watches. The phenomenon of the democratisation of luxury is known in marketing as brand irony or massclusivity; a mixture of concepts that seem to be opposites: mass and exclusivity. The word masstige, a mixture of mass and prestige, with the same meaning, has also arisen. Nowadays, the democratisation of luxury has become one of the main sources of income for prestigious brands. Few luxury brands can resist “sacrificing or risking” their brand image to launch products with their name at an affordable price. Even in the car sector, Mercedes and BMW have launched more “affordable” ranges. ” I love luxury. And luxury lies not in richness and ornateness but in the absence of vulgarity Coco Chanel “ In the words of Lipovetsky “we can see how the brand mass culture has developed, with widespread imitation, the expansion of fake products” as well as “the hyper-mediatisation of big houses, the elevation of chefs and of renowned designers and the proliferation of books about creators, about fine products and about the history of the most beautiful objects.”

6 6 …The democratisation of luxury ” It’s always difficult to talk of luxury. Indeed, on one hand it is a little surprising and even scandalous, sometimes Gilles Lipovetsky “ Despite the unstable state of international finance, the figures and expert opinion seem to show that the market of luxury and exclusive products is not following the general consumer trends. (Source: ADN 14th January 2008). 2006 159,000 Million euros is the total amount of money spent worldwide on luxury products in 2006. 9% increase compared with 2005. 2006 159,000 Million euros is the total amount of money spent worldwide on luxury products in 2006. 9% increase compared with 2005. 2007 170,000 Million euros is the estimated worldwide turnover on the luxury goods market. Europe is consolidated as the top market for this type of product. 2007 170,000 Million euros is the estimated worldwide turnover on the luxury goods market. Europe is consolidated as the top market for this type of product. Next we will give a few examples of this new culture of luxury. Luxury within reach of almost anybody, which we have called accessible luxuries, through different ways: Outlet stores Internet Renting Mass fashion

7 7 “Outlet factories” – A little history. These are stores with prestigious products, from big companies, at lower prices than usual. They first opened in the United States during the seventies as small stores as a way of selling the season’s surplus. Three and a half decades later, their implantation seems unstoppable and in our country they are enjoying increasing acceptance. The first centre opened in Spain in 1992, in the Madrid area of Las Rozas. In 2007 a total of 2,600,000 people passed through La Roca Village, of which almost 40% were foreigners. …The democratisation of luxury Who purchases in Outlets? On the one hand, “opportunists” who look at the price and their savings, without worrying about quality, service, presentation or brand and on the other, those who are looking for a “quality purchase”, those who want particular brands for the prestige. Big brands joined in with this business idea, to sell their surplus, which makes up between 5 and 7% of production, as selling it at a lower price is more profitable than storing it, but with one condition: the centres must only be opened in the outskirts of the cities, so as not to come into direct competition with the brands themselves. We also found that many leading fashion brands, such as Adolfo Dominguez, Extart&Panno… are opening their own 'outlets'. a)a)

8 8 Luxury brands are getting closer to the Internet Traditionally, big designers and luxury brands have been sceptical about the internet, as it can be difficult to convince someone of the value of a dress worth 2,000 euros without them trying it on. But in the last few years websites such as the Italian Yoox or the British Net-a-Porter have convinced the most sybarite that selling luxury brands on the Internet is not dangerous, but is actually very lucrative. A few figures…Yoox Year of launching2000 Products sold in the last year1 million Number of visits per month3 million …The democratisation of luxury Before the Internet was seen as something cheap. Now, with new technologies, you can replicate the store image, or even improve it. Frederico Marchetti, founder of Yoox. ” “ b) On the Internet, in addition, one can also find outlets where to get a hold of luxury (or semi-luxury) brand products. A few examples are Privalia, Vente-Privee, Buy Vip… Websites which in theory try and maintain the value of exclusivity– you have to be “invited” to join -, but which are increasingly being promoted as the number of members grows.

9 9 “If you can’t buy it, rent it” FASHION: On the internet one can find several websites where you can get bags, jewels and, in some cases, general fashion items of most luxury brands for a reasonable price for a limited amount of time, although if you later can’t part with it, you have the option of buying it… ART: In order to enter into the world of art without risk, to enjoy good quality work for a “good price”, many consider renting. Monthly rental of paintings and sculptures is usually priced at around 2% of the value of the piece of art. Rental of luxury items is becoming popular in a society in which appearances are everything …The democratisation of luxury www.rentartis.com c)

10 10 Get any bag you want The designers of many “mass” brands such as Zara, H&M, Top Shop, etc. are not hiding the fact that their designs are increasingly similar to those of big fashion companies. How? On the shelves of such stores, one can find “clones” or “subtle imitations” of many designs seen on the catwalk. To find them, all you need is a good memory, or to keep an eye on blogs that do the work for you. …The democratisation of luxury http://devilwearszara.elleblogs.es/ Sometimes, we see how prestigious designers, such as Lacroix, Cavalli, Estella McCartney, Viktor&Rolf… launch “limited, exclusive and accessible” collections in stores such as H&M or internet sales catalogues, like La Redoute. www.chistianlacroixpourlaredoute.com Massclusive collections d)d) ORIGINALIMITATION Here we have gathered a few examples from “The Devil wears Zara” (Elle blog that searches for imitations)

11 11 REFLECTION  What has happened is that “luxury” has widened its territory, forcing us to see several levels of luxury, as Lipovetsky has suggested. …The democratisation of luxury  In summary, getting hold of luxury goods or brands is no longer so limited, BUT “anyone” can have “something” by great referents such as Chanel, Dior, Louis Vuitton, Prada, etc, be it perfume, a wallet, a handkerchief or a bag.  In addition new forms of sales and distribution – Internet and Outlets – as well as other forms we have looked at, decrease the “frontier” and barriers between exclusive luxury and mass purchase (even without mentioning the imitations products that flood the streets)  Thus the paradox lies in: How to keep the value of aspiration and exclusiveness associated with luxury with its increasing democratisation? Where are the boundaries of luxury currently? Are there new forms of luxury? “We no longer talk about luxury, but about different levels of luxury, for various targets, as, at least occasionally, luxury is perceived as a something that is beyond everyone’s budget. ” Lipovetsky

12 12 … REFLECTION …The democratisation of luxury  These various levels of luxury enable brands to keep a few values of exclusivity within the definition of luxury, as well as giving luxury brands the benefit of being able to reach a greater number of clients.  For this reason, a parallel trend is developing, which Trendwatching.com calls “Premiumization” which demonstrates a type of extreme luxury in which only very few people can take part, and that possibly the majority of people are not even aware of: Perfumes worth 3,000 to 5,000 dollars Solid gold Ipods or gold laptops, with incrusted diamonds 75,000 dollar toilets (Jemal Wright) Even water bottles that would be “unaffordable” for most people  With all this, we can say that we are faced with extreme luxury in which the role of the brand can be two-fold: On the one hand, the luxury brand can give these extreme luxury products a guarantee using exclusive primary material (gold, semi-precious stones…): ostentatious and visible luxury. On the other hand, there are brands / less well-recognised products – which only a few can access – where there is a certain “anonymity” (public) on behalf of the creator: brands and products which become a kind of code language understood only by people belonging to the exclusive and refined circle.

13 13 The sensory experience of TOUCH ften we can see how people repeatedly touch objects such as the handle of a cup, the shape of a pen, any packaging that attracts them, the silhouette of a mobile phone etc. Unconsciously we are feeding ourselves with the sensory power of the sense of touch. However, this is one of the senses that is least used in marketing. WIKIPEDIA DEFINITION: The sense of touch is one that allows the body to detect qualities of objects and things like pressure, temperature, roughness or smoothness, hardness, etc. It is considered one of the human’s five fundamental senses. pr WIKIPEDIA DEFINITION: The sense of touch is one that allows the body to detect qualities of objects and things like pressure, temperature, roughness or smoothness, hardness, etc. It is considered one of the human’s five fundamental senses. pr In addition, the sense of touch is one that is often repressed or prohibited: “don’t touch” the objects on display (order from childhood), don’t touch people too much… In short, don’t touch what you often want to touch. This kind repression can cause the opposite trend of “relief” when this repression is removed. Next we will look at a few examples of how the value of touch is being recovered in certain fields.

14 14 The sense of touch in the context of TECHNOLOGY The sensory experience of TOUCH  One of the main ways touch has been applied recently is through the possibility of using it in technology.  The tactile iPod wheel demonstrates the differential value compared with other mp3-players (without looking at design): a different experience when you are playing and selecting music.  Generally, the type of uses mentioned most tend to be: Tactile screens or keyboards: something which has been made for a while, and which almost always generates a feeling of certain “power” among users (with only one finger you can blow up photos, select the options needed…) Pocket Guitar E.g. Pocket Guitar, created by Shinya Kasatoni to turn the iPod Touch into a virtual guitar (http://www.compradiccion.com)http://www.compradiccion.com Art Lebedev A new concept called Maximus Tactus The whole keyboard is a touch-sensitive screen

15 15 The sense of touch in the context of TECHNOLOGY The sensory experience of TOUCH Haptic Technology: studies the possibility of transmitting senses such as pressure, texture or vibration. The uses can be multiple, such as making videogames more realistic, reproducing the texture of fabrics, or cosmetic simulation. Thus, they can optimize sales over the internet, making them more realistic. “The HAPTEX (HAPtic sensing of virtual TEXtiles) project … scientists from the University of Geneva are working on a system that would allow you, for example, to touch your online purchases. Let’s say you want to buy yourself some trousers, but you don’t know if you want corduroy or denim ones; well all you have to do is put your fingers in a special device and you will be able to “touch” the virtual fabric of your new garment. Sounds good doesn’t it?” http://es.engadget.com/2006/11/04/haptex- tocando-tejidos-virtuales-mediante-la-haptica/HAPTEX http://es.engadget.com/2006/11/04/haptex- tocando-tejidos-virtuales-mediante-la-haptica/

16 16 The sense of touch through FABRICS The sensory experience of TOUCH  Fabrics open many possibilities when it comes to promoting the sense of touch: smoothness, roughness, coolness, warmth, etc.  And it is precisely these different uses of fabrics, which will allow brands to offer different experiences in the way they promote tactile sensations: clothed or embossed walls, cars or pens covered with artificial grass, sofas, cushions or puffs with textures that are useful, velvet- covered packaging, steel menus, etc. http://www.annekyyroquinn.com/ Oromono Anemone (Source: MocoLoco)

17 17 The sense of touch in the context of FOOD The sensory experience of TOUCH  Food is another area which allows for the use of the sense of touch, in order enhance the quality of the experience of consumption.  This experience of consumption can be seen on two levels:  In the organoleptic pleasure of touch/texture: more and more dishes in which temperatures and textures are combined are on offer (crunchy – soft), innovation is taking place with traditional texture (creams, foams, crunchy, chocolate pieces that “explode”….)  In the visual pleasure which can also liven textures: embossment, shapes…

18 18 The sense of touch in the world of ARTISTIC DESIGN The sensory experience of TOUCH  Designers are perhaps those who currently most make use of the quality of the touch in the objects they create.  Although these creations are often not applicable to daily life, they do give clues as to the potential of appeal (and curiosity) which the tactile can generate in the consumer: desire to touch, experience different feelings… Royal Flush, Let Them Eat Cake by Qu Guangci (Source: MocoLoco) China Chair project (Source: MocoLoco) GreenMeme (Source: MocoLoco)  It’s a white porcelain lamp which is pleasant to touch when you hold it in your hands and which also uses a 15 W light bulb to obtain the perfect temperature and thus to warm your hands on a cold day  This ingenious design named “Cold hands, warm heart” is one example

19 19 REFLECTION The sensory experience of TOUCH  “Touching” is part of “feeling”, but – as we said at the beginning – it is a feeling that is quite repressed and even forbidden (how many times have seen you “forbidden to touch”, “don’t touch”…).  Ikea’s last advertising campaign (“Esto no se toca, quita. Con esto no se juega…”)” [Don’t touch this. Don’t play with that…]) demonstrates a certain attitude of rebelliousness towards this repression, this “don’t touch” and it is in fact creating a certain social “noise”, as it’s sticking its finger up at the forbidden “touching”.  There are also examples like Kansei in the “senses engineering” which “means the “feeling" this produces for the user from the point of view of the product … ” and which maintains relations with the sense of touch (www.ingenieria-kansei.com).www.ingenieria-kansei.com

20 20 … REFLECTION The sensory experience of TOUCH  The Kansei technology (used by brands such as Shiseido), attempts to identify and weigh up these psychological feelings– often related to the sense of touch, senses, impressions… – in order to find out the elements that should most be taken into account in the creation of a new design (for any product for which one wishes to communicate aesthetic, ergonomic, pleasant, sensorial feelings).  Thus, although the sense of touch has, up until now, been one of the senses used the least, it would seem that taking it into account in the design of certain of products could give it an emotional role that would help to awaken the desire and appeal searched for.

21 21 eyond the world of flavours, formats, fillings, etc. we are increasingly seeing how other types of concepts – both fun and functional – lead to new ideas in the world of sweets. New concepts in the world of sweets The world of sweets encompasses a triple dimension: pleasure, fun and functionality (easy to hold, practical…). However, with an adult target, the dimension of fun has not been made as popular or promoted as much as pleasure (tastes, textures…), and nor has functionality been developed to its full potential. These dimensions are precisely the ones explored by new concepts of chewing-gums, candy and other sweets, targeted at adults as we will demonstrate later, and which will allow us to consider the new paths this new category could take, within current consumption trends.

22 22 a) Happy Pills is a new concept for a sweet store, in which the only change is basically in the way the products are presented. Based on a concept of “medicine” for happiness, “Happy Pills” sells all the usual sweets but with packaging (first aid kit, medicine bottles…) and labels (“Anti-Mondays”, “Happy pills”…) which give the product content: each customer can choose what he wants on the label, according to his mood or the humour desired A way of selling sweets that is poetic, at least. New concepts in the world of sweets Happy Pills is in Barcelona, near the Cathedral http://ideacreativa.blogspot.com/2007/07/hap py-pills-contra-los-lunes.html

23 23 In Barcelona, one can find the strangest sweets and chewing-gums in the store DOCTOR PAPER: : Instant Afro gum Don’t have ugly children gum Gay accent mouth spray Swedish Accent, Irish accent, etc. These sweets are designed by Blue Q ( http://www.blueq.com ) and although the product, as with the last example, does not look too different organoleptically, the concept is eye- catching. http://www.blueq.com This type of product shows the possibility of giving sweet consumption a certain amount of humour, as well as a message and content. New concepts in the world of sweetsa)

24 24 New concepts in the world of sweetsb) Papabubble ( http://www.papabubble.com/start.htm) is a handmade sweet store (which can be smelt from the street) that combines tradition and modernity. http://www.papabubble.com/start.htm Papabubble, whose Head Office is in Barcelona, although it also has shops in Tokyo, New York and Amsterdam, uses the traditional artisan way of making sweets (live and on the spot) but with original shapes and concepts, including design. Their sweets concept, then, is based equally on recovering tradition, as well as catching one’s eye, using almost all the senses: smell (can be smelt from outside the shop), sight, taste and touch.

25 25 New concepts in the world of sweets www.atypyk.com With a touch of humour and decadence, the traditional Pez sweets can now be found, in different, renewed versions, for different tastes. It’s another way of using sweets for a nostalgic revisit to the past (for today’s thirty year-old). They are unique pieces transformed by Atypyk. b)

26 26 1.- Energy sweets The Austrian manufacturer of drinks and other products, rhino's, has launched energy sweets (which contain taurine and caffeine). In addition, the ingredients include no artificial colorants and the water they use is pure spring water from the Austrian Alps. (Source: www.directoalpaladar.com)www.directoalpaladar.com New concepts in the world of sweetsc) Although sweets with a functional use are often associated with / used for throat problems, oral hygiene etc., their uses can go far beyond these, as these examples demonstrate: 2.- Cholesterol-reducing chewing gum The Finnish company Fennobon has launched chewing-gum which has the benefit of reducing cholesterol (contains sterol and stanol esters). Although the quantities are minimal (75 ml compared with 1800 ml needed), it is at least a first effort at trying to adapt sweets or chewing-gum- which are convenient and easy to eat- to a problem that is so widespread nowadays.

27 27 Section in the bazaar

28 28 in the bazaar: Gadgets & Robots as pets In previous issues we wrote about the proliferation of “dolls” in different fields (the world of cinema, comics, charity sponsorship, raising awareness on some issue, brand character, etc) and for an adult target. These “dolls” are growing and evolving thus reaffirming their “mission” to make emotions tangible using objects or a legitimate and fashionable fetish. If we take this trend into account, as well as the advances in technology and the convergence of different uses (digital photography, communication through WiFi, messages, getting the news online or on the radio, etc.) the fetish can be given greater value as it has a more legitimate, useful function. In this short article, we will give a few examples of the new “robots” – many looking like dolls – which have also started to be widely available, with the fusing of this double trend.

29 29 in the bazaar: Gadgets & Robots as pets iZ, is a type of robot doll or gadget which, as well as being a loudspeaker to listen to audios, moves and lights up with the music. In addition, in order to extend its use and entertainment value, this “friendly monster” allows you to play with its mobile parts, to be able to create your own melodies. (Source: regaletes.com) Nabaztag “is a 23 cm high rabbit, which is exceptionally white and bright, with two little ears that move when it receives a sign or you tell them to... “ (www.regaletes.com) At first glance, the uses of Nabaztag are neither new nor do they respond to an unmet demand, as it basically works as an alarm, radio, sends messages to the rest of the Nabaztag community, lets you know when you’ve received a new email ( WiFi connection), etc. However, its aesthetics, moving its ears and having a “voice” gives it a personality and even “life”, which brings back memories of the renowned Tamagotchi (as they sometimes even “call for attention”) or even of a slightly strange but “friendly” pet, for many who form part of the Nabaztag community. (Source: regaletes.com & www.nabaztag.com)

30 30 in the bazaar: Gadgets & Robots as pets Each ChatterBot has its own personality. It links up to the computer via USB. They make comments and tell jokes based on the activities of the user, such as electronic email, calendar, application, web navigation, and instant messaging. The comments can be personalised with software. Can be used as a loudspeaker to listen to music with an MP3 player. http://www.ubergizmo.com/ WoWee is the creator of Mr. Personality, a gadget which shows its personality on its face which is projected onto an LCD screen. It interacts with the user not only with a voice, but also with gestures as it talks. It can “tell jokes, fortune-tell daily and respond to the user’s questions about the future…” In addition, new personalities can be downloaded from the internet and transferred from a USB using an SD card.” http://www.ubergizmo.com/

31 31 in the bazaar: Gadgets & Robots as pets Nikko is reminiscent of the R2-D2 robot from Star Wars although in reality it’s a multifunction machine with the following characteristics: DVD player Memory card reader Can link to an iPod And even a DLP projector Thus it has used the shape of the mythical robot-person and has several functions which make it justifiable to potential purchasers. It’s called Spyke and it’s another “robot” made by Mecanno: WiFi Connection 2 motors to be able to move around Compatible with Skype – without needing to be close to the computer, as it has its own microphone - Movement sensor (an example is that it can be left as a “watchdog” during the holidays, and if robbers come, it detects the movement, takes a photo and sends you an email or starts an alarm) Video camera + Microphone + Loudspeaker + MP3 Player Thus, although it doesn’t have many more functions than a computer might, the difference lies in its capacity to move and have “life” and empathy. (Demonstration on: http://es.youtube.com/watch?v=AG7J2S5s qbo&feature=related http://es.youtube.com/watch?v=AG7J2S5s qbo&feature=related

32 32 in the bazaar: Gadgets & Robots as pets BEAR is a robot that helps soldiers (US Military) with a remote control. It can reach beyond where a human being can, and with its two hydraulic arms it can lift people of up to 135 kg. It can thus be used, in theory, to save the wounded on the battle-front, although it can also help in hospitals or in people’s own homes. REDOWL is a robot head, used for battles, thought up by Glenn Thoren, director of Insight Technology in Londonderry (USA). Controlled using a laptop, its developed senses can detect objects from a distance of a football field and identify which rifle has been shot, from a mile away simply by analyzing the sound. It works with 3 basic elements: 1)EARS: when a shot goes off, the system recognises the arm (ignoring friendly fire). 2)EYES: a central camera allows it to see where they are being aimed at, and a strong zoom makes it easier for the operator to detect the enemy. It also has a powerful beam light. 3)MATHEMATICAL KNOWLEDGE: calculates distance, positions, finds locations...

33 33 in the bazaar: Gadgets & Robots as pets Zeno is a robot prototype created by Hanson Robotics, whose facial expressiveness stands out particularly. This robot – inspired by a Japanese TV character: Astro boy – can record the faces of people around it, as well as learn their names and voices. Zeno is able to respond with facial expressions and move its body according to what it sees around it: thus it has a certain “independent life”. Another case is robots that go one step further, they are claimed to be so real looking that could be confused with real human beings. However, what is their function?. Although in some cases they are presented as possible new generation electronic stewardesses, in reality they are capable of very little, but their main objective seems to be to resemble humans physically, in facial expressions and with certain movements. It would seem that these robots “threaten” with the power of replacing human beings in some areas, but is it for this reason that they often cause rejection? Is it for this reason that they provoke reactions of admiration, as well as a certain amount of fear? …cont

34 34 in the bazaar: Gadgets & Robots as pets This graph (Wikipedia) relates human’s emotional response with a robot’s anthropomorphism.Wikipedia “The phenomenon can be explained by the perception that if an item is quite similar to the human being… its human characteristics generate empathy. On the other hand if the item is “”almost human” … it is its non-human characteristics that will be noticed, which creates the feeling of it being “”strange” from the human point of view” ( on Wikipedia; theory formulated in 1970 by the robot engineer Masahiro Mori)Wikipedia What happens with these robots that are so “realistic” is a phenomenon called the “inexplicable valley” which we explain below and which serves as a theory to explain the rejection generated by: It would seem that the future of the robot is increasingly accepted, if it’s from the point of view of making it into a pet (generating empathy, used for daily functions…) and not as a “humanoid” which as well as being perceived as a possible competitor, because of its similarities, generates rejection because of its “strangeness”. In summary…

35 35 in the bazaar: More personalised fragrances Ways of personalising a fragrance, or making it your own Greater access to material goods has triggered a search for differentiation in a broad section of the population. As we saw in earlier articles, the customisation or personalisation of products is undergoing considerable growth (this being a booming trend). The world of fragrances is not immune to this trend; in fact, it is leading the way in some aspects, as we shall see in this article.

36 36 “Does an entertainer’s name on a bottle make the fragrance unique or exclusive? Have you smelled someone wearing your perfume? Are you an individual in the mould with others? Have you ever wished you owned your own exclusive fragrance? With over 30,000 different designer fragrances on the market, what makes My DNA fragrance unique? You do! Why? My DNA is created by each individual’s genetic code which gives each person a different and unique fragrance. Because the fragrance is designed by your personal genetic code, no two people will ever smell alike again. Simply put: your fragrance is in the bottle, but the scent is in you! “ www.mydnafragrance.com “My DNA” fragrances are a good example of this search for differentiation in the world of fragrances. The insight they set out from is linked with this search for showing the individuality of every person with the aim of creating a unique, personal fragrance (not repeated in other people). In this vein, the formula offered by “My DNA” guarantees this personalisation, basing itself on each individual’s DNA, meaning that not only is each fragrance unrepeatable, it also connects with each person’s “essence”. The procedure is as follows: the client is provided with a home DNA collection kit, which is then sent to the laboratory, where the DNA sequence is extracted and the formula of the fragrance is thus personalised (so every formula is different, as no two people’s DNA is the same). Furthermore, to facilitate accessibility, the price is around 135$. in the bazaar: More personalised fragrances

37 37 The fragrance house In Fine was founded in 1979 in the South of France, in a small, picturesque town called Velleron. In Fine’s concept has been developed by master perfumer Jean Patout who, having acquired the necessary experience in Lancôme, created this, his own perfume brand. www.parfumeur.be With In Fine we find another attempt at offering personalised fragrances; they offer the opportunity to choose the fragrance most adapted to each individual, following a personalised selection process. In the In Fine boutique, the client is personally attended to, with the following being explained: The origins and type of personalisation offered: based on Jean Patout’s selection of 50 perfumes. They are told that, when making a fragrance, a significant “maceration period” is necessary – “compared to the personalised mixtures they offer on tours of Egypt”. The selection system: 50 essences are smelled, following a set order. In this sense, they are attempting to revive the selection method previously followed in French perfumeries. Final selection of 4 fragrances, which are applied to the clothing and experienced for around 15 minutes (to see how it evolves, to see whether it suits the client or not). Explanation of the main scent families and their associated personal values. Application to the 4 selected fragrances. Final selection, in which rational and emotional personality criteria are mixed: the appeal of the fragrance itself together with the personality defined. in the bazaar: More personalised fragrances

38 38 In a world where luxury perfumes are mass-produced and sold in places resembling supermarkets, in which advertising campaigns try to drive consumers wild, making them think they are unique, despite the fact that their « unique » fragrances are bought by millions, we think there is another solution. As a result, LE LABO has decided to take part… www.lelabofragrances.com The insight coined by Le Labo is accompanied by a search for careful creation and optimum treatment of quality primary materials (Le Labo’s series of 10 basic perfumes) But above all what is being sold is differentiation and anti-conformism in terms of: Limited access (not as popularised, but rather known via reduced circuits, scarce points of sale). A basic, simple design which reinforces the personality of the brand (and the fragrance) in search of said differentiation (superiority through greater “knowledge”, fleeing from mass marketing). The possibility of “personalising” the bottle – including the name, in an area in which the label will then be printed. in the bazaar: More personalised fragrances

39 39 In both cases, they are budding trends, but we must not lose sight of how they develop, as they form part of the response now being produced on the part of more sophisticated consumers searching to differentiate themselves in the face of mass market products. However, while the consumer becomes sophisticated based on a wide, “accessible” offer, to what extent does differentiating yourself become a “mass” activity? REFLECTION Bearing this in mind, perfume houses like Serge Lutens and Annick Goutal are already putting themselves on display at more mass points of sale like Sephora, in order to reach the consumer in search of a different experience. Also, the Internet (sites like www.barfumeria.com) is an important window for being able to acquire this less accessible, cult type of product (in many cases no longer in terms of price, but physically).www.barfumeria.com “Serge Lutens perfumes are simply perfect and unique. They make you feel like you’re part of a unique club because they have a personal aroma and are not mass-produced.. They’re not easy to find, but now Sephora is selling Serge Lutens perfumes. They’re ideal for women who want to be different and smell of “something else”. (Opinion at www.ciao.com) “This fragrance, evidently, is born out of the GREAT LOVE that this woman Annick Goutal has for her husband, the violinist Alain Meanier. I like perfumes with history – I think they have more value. I'm always investigating this field, and since I’ve tried more or less the whole range of commercial brands, I wanted to look into less well-known perfumes” (Opinion at www.ciao.com) in the bazaar: More personalised fragrances

40 40 in the bazaar: The evolution of the Internet Long before the popularisation of the Internet, a process of consumer democratisation began which was analysed in its various facets by many authors: more attention to consumer desires, more choice, more information, etc. (Among the many available examples, sociologist Gilles Lipovetsky’s interesting analysis of the “democratising” effect of fashion, “The empire of the ephemeral”). When the Internet started growing in notoriety and usage, many were already predicting the effect it might have on the process of “growth in consumer power”. Is the Internet simply another medium for obtaining information? Or Does the web’s influence go much further, allowing the consumer to stop being merely the object of marketing strategies and become complicit? How do the rules of marketing change? What remains unclear is how far this “power” might go and what impact it will have on marketing in the future.

41 41 in the bazaar: The evolution of the Internet Going into detail, we see that there are various ways in which the Internet aids in the democratisation of the consumer: both on a rational and emotional level. Thanks to the Internet, the consumer participates more and more – and does so on various levels: Co-creator Of content / products The hyper- informed buyer Consumer as an investor

42 42 in the bazaar: The evolution of the Internet One of the primary effects the Internet has had on the “power” of the consumer has been through its informative function: the Internet allows you to consult / compare / search for details on the product or service you wish to buy. In this sense, it didn’t surprise anyone to discover that 40% of European online buyers have changed their opinion about which brand to buy after carrying out an Internet search to get more information on the product (according to a new study by the European Interactive Advertising Association, the EIAA). All this is well-known, and in fact attempts are being made to take advantage of it through Buzz marketing. We could also talk about what the company Trendwatching calls “the tyranny of transparency”: through forums, weblogs and virtual communities, there is more and more information about prices, quality, experiences, etc. In short, we are faced with a consumer who, day by day, becomes “better” or more informed. THE HYPER-INFORMED BUYER

43 43 in the bazaar: The evolution of the Internet …THE HYPER-INFORMED BUYER The information the consumer has is not only restricted to that provided by companies. One of the revolutionary aspects of the Internet was that it allowed an interchange of information between consumers – easily, and on a grand scale. For example, there are pages / communities dedicated to specific sectors : Flyer talk or Tripadvisor are examples of pages that allow the consumer to share reviews and anecdotes, ask for advice, etc, in all things travel-related. There are also more generic pages where comments on all kinds of products can be searched. In this sense, one of the most famous sites in Spain is Ciao. In terms of the power of the transparency of the Internet, the example of a US blogger comes to mind: when Jeff Jarvis wrote about his poor experiences with Dell’s customer service, the damage to the company’s image was significant; it attracted the attention of hundreds of thousands of users (also frustrated with Dell’s customer service), until even the traditional media like Business Week started to cover the issue. In this same way, we have observed how many blogs have changed the US wine market: these blogs have become the “expert” or “reference” point, and so, instead of listening to what the company says about its product, people form their own opinions: the consumer “creates” the brand image.

44 44 in the bazaar: The evolution of the Internet We can also see it in the success that some initiatives are having after starting out as something “modest”. We see it in the creativity and initiative that can arise through the possibility of sharing creations (videos) through sites like YouTube. The same principle applies to photo portals like Flickr. We have already seen the potential of not limiting content creation exclusively to professionals in several areas: In addition to participating in the creation of brand image, the consumer is becoming a (co) creator. CO-CREATOR/PARTICIPANT IN CONTENT/PRODUCTS Weblogs that start as a hobby and then rise to fame and achieve unexpected importance. This is the case in Perez Hilton’s blog, which has become Hollywood’s main gossip reference.

45 45 in the bazaar: The evolution of the Internet CO-CREATOR OF CONTENT / PRODUCTS Logically, there are companies who want to take advantage of the consumer’s creative potential, asking for their collaboration in new products. In this sense, we can talk about Pepsi’s DEWMocracy : Consumers will be able to create the new version of their Mountain Dew drink, choosing / constructing the taste, logo, slogan and image. There are also more individualistic examples (creation for oneself). Coolantik allows online personalisation of its products: the buyer designs their product by choosing the colour of the wood and the various materials used. What Coolantik has achieved through having an online shop is the ability to better target its specific market segment, to cover a bigger market (national and international), and to interact with the buyer’s potential: finished examples at the same time as encouraging everyone’s creativity…

46 46 in the bazaar: The evolution of the Internet Returning to the question we originally posed: CONSUMER AS AN INVESTOR Will they be able to change the rules of marketing? How far will this greater consumer participation go? We have seen that consumers inform themselves and can create, but… To what extent could they become members of the companies? One of the sectors seeing the biggest changes due to the effects of the Internet is music. Because of the problems posed by the easy sharing of music, it is not clear what route the industry will take in the future. As well as making us think about the future of music, the following case could help in our reflection on consumer involvement in business methods.

47 47 in the bazaar: The evolution of the Internet Slice the Pie is a site that not only allows you to listen to and rate artists’ music, but also gives the consumer the opportunity to become an investor who could help finance a CD release (with certain investor rights). When a consumer decides to invest (by buying a backstage pass), they have the right to: A digital copy of the album Direct online contact with the artist Buy contracts (contracts allow financial returns) Will other sectors in future follow the logic of initiatives like “Slice the Pie”?

48 48 Under the slogan “I love my stress”, taken from the name of a shop in Madrid, we want to reflect on the growing trend of positive values directly or indirectly related to the phenomenon of stress in the population. in the bazaar: “I love my stress” Always being busy, not having time for oneself, dashing around in a wild rush, going to meetings, events, etc. betray a certain “need to sign up” and be part of this current, “stressful” lifestyle. What we want to emphasise in this brief reflection is that, although we often don’t have time for ourselves or for everything we want/can do (an almost infinite set of options nowadays), the most relevant thing about these manifestations is how they are expressed - what makes us talk of a positive, “light”, but above all “aspirational” stress, which in many cases we want to be part of.

49 49 Definition of stress Hans SelyeHans Selye (1907-1982) was responsible for coining the term. In 1950 he published his most famous investigation: “Stress: a study on anxiety”. Based on this thesis, stress came to encompass a whole set of psycho-physiological symptoms. Selve noticed that his patients suffered from physical disorders not directly caused by their illness or medical condition (Source: Wikipedia). ----------------------- We could define stress as an illness that is the product of a lack of adaptation to a competitive and changing society ; your surroundings exceed your ability to respond, which provokes a series of physiological, cognitive and psychomotor reactions. It is linked with anguish, depression, lack of social adaptation, somatization. (Source: www.definicion.org)www.definicion.org  Although stress, based on its more academic definition, is linked with physical and psychological problems, the term’s usage here is more general: to have a lot of work, lots to do, little free time, the feeling of “not managing” to do what was intended. This influences the “normalisation” of stress.  In fact, from our experience in discussion groups, we see how every day the vast majority of participants present themselves as people with very active lifestyles, in many cases defining this as stressful, be they housewives, bankers, students, civil servants or businessmen.  People never say they have time for everything they want / have to do, something which depends not only on the time available, but also on the goals defined (this influences in “not managing” to do everything) and the image people want to project. “Marta, 36, married, three kids, infant teacher: So many hobbies yet so little time – I read and swim” “Cati, 35 : I have two girls aged 9 and 4, I’m married and I work in an office. I don’t have any free time.” “Antonia, two kids, I love swimming, I paint I’m an office worker, and a housewife when I can. Always very busy” in the bazaar: “I love my stress”

50 50 Definitions of “positive stress” Good stress results from small daily challenges, and helps us to be in some way better. It should be measured, since if we give ourselves continuous challenges it can become excessive and negative. (Source: www.definicion.org)www.definicion.org Eustress Eustress : a positive stress that stimulates us to better ourselves (Source: Wikipedia)  In line with this, what we are beginning to note in social discourse is that stress – understood in its “lack of time” sense, not its medical definition – is also beneficial insofar as it makes the “possessor” feel like an active, energetic person, fitting with what looks good or is nowadays expected.  In fact, among the meanings of “stress”, this more positive facet is taken up as a positive stimulus for improvement and bettering oneself (see definitions).  However, this lack of personal time expressed as a grievance in many cases masks a need to project oneself as an active, “modern” person, with social engagements, with an “essential” role in society (something we have above all observed in women). in the bazaar: “I love my stress”  This stressful lifestyle with “little time” thus presents a paradox: It generates a grievance, a certain discomfort (“not managing”, “not covering everything”). It forms part of an implicit desire: to project oneself as an active person in terms of social image.

51 51 “Cristina, from Galicia: I live in Gracia. I’m happy to be where I am. Three kids – oldest 28, then 25 and 15. I work in admin. I love hustle and bustle, stress – it really charges me. I love adrenalin. I don’t like monotony.” in the bazaar: “I love my stress”  In order to better understand this paradox, we can imagine the opposite situation or discourse, i.e. projecting oneself as not a very stressed person. We give 3 key examples below: “Troughs” at work: times when the workload drops and there is an “excess” of time to complete tasks “ If I don’t have any work I feel nervous, I don’t know what to do… I need to be active” Retirement: a classic example where many people run the risk of depression due to having too much free time (especially if people don’t have hobbies or previous activities). Or the stereotype of the person who works in a relaxed way, taking their time to do things  this reflects a negative stereotype. “ You’ll never catch him running… He’s not going to strain himself… That guy doesn’t get stressed”  In short, demonstrating such “light” stress enjoys certain, associated beneficial values: Feeling alive / full of energy Having a mission, a role; feeling necessary It is also associated with a certain economic stability  The verbatim we have used below, from the presentation of a participant in a discussion group, very clearly illustrates this positive side to “light” stress:

52 52 Diesel Campaign: Last Thursday (7th Feb), these posters in Diesel’s window display on Paseo de Gracia (Barcelona) caught our eye; they use the claim “live fast”. Thanks to the assistance of Montse Nivau and Alexia Ripoll from Diesel, we have discovered that the campaign – shot in Los Angeles by Laurie Bartley and conceived by Wilbert Das – aims to promote a moment in which “everything is instantaneous, disposable, forgettable…nothing is worth wasting your time thinking about. Live faster and you’ll be able to do more.” The campaign shows young people who live in this world of “scarce time”, in poses such as running at the same time as applying make-up, praying or sightseeing, thus expressing in a comic, humorous way this “light” stress to which nearly everyone can ascribe. Or, at the very least, one can reflect on how to spend their time, managing to become a “CARPE DIEM”. in the bazaar: “I love my stress”

53 53 Reflection… In summary, it seems that the need to show oneself to be a busy person, with no time for hobbies and somewhat stressed by the daily routine, reflects a paradoxical situation in which grievance and desire combine (project oneself as “superwomen”, or as a highly important, sought-out person). And it is in this light that products thought up for a stressful pace of life, without time for oneself (a significant proportion of the population project themselves in this way), achieve success and a market gap.  Food products that deliver the necessary healthy nutrients, suitable to eat anywhere.  Beauty products that fight the signs of fatigue.  Massages, spas, relaxation treatments, etc. Furthermore, within Diesel’s proposal – “For successful living” – products and even consumption experiences must be optimised through this indirect mantra of “seizing the moment”. In short, a whole market opens up as people enter into this state of a stressful life. A life that requires rewards, pampering and other extras as compensation for the preoccupation of “not having time for oneself”. in the bazaar: “I love my stress” STRESS IS IN FASHION! If you’re not stressed, what are you waiting for?! If you can’t beat it, join it: Positivise your stress! Enjoy the moment more!

54 54 Curiosities & Innovations

55 55 Awareness about the environment, sustainable development, environmentally- friendly measures, etc, is progressively gaining weight in society: Greener cars, organic food products, organic cosmetics… However, to make people aware of something, it is important for the issue to be fairly automatically on people’s minds (generating habits). Out of this need came the original idea of creating paper dispensers which remind people about the deforestation of our planet as the (green) paper is used: a visualisation of a real problem. Environmental awareness Curiosities & Innovations Source: www.compradiccion.com Agency: Saatchi & Saatchi, Copenhagen, Denmark Creative Director: Simon Wooller Artistic Director / Copywriter: Cliff kagawa Holm, Silas Jansson

56 56 Correos de España has exploited the customisation trend in order to promote use of its services. Through its website, anyone can create their own stamp by simply choosing a photograph or drawing that they want to include. Correos (Spanish postal service) signs up to the customisation trend Curiosities & Innovations

57 57 Oxygenate yourself for pleasure Curiosities & Innovations Ogo, aside from offering water whose differential benefit resides in its oxygen concentration, have launched a range of oxygen canisters in 4 different flavours (each one containing 6 litres of “premium quality” oxygen). This product, according to the manufacturer’s website, “helps you to be alert and concentrate, and to replenish the oxygen your body needs to function optimally… A touch of OGO in the morning subtly awakens your senses. During the day, every new breath acts as a shot of energy, revitalising your concentration, reflexes and memory”.

58 58 Every day, more curiosities grab our attention: scissor-shaped or bicycle chain bracelets; necklaces decorated with what look like food items; wooden postcards; moulds to fry eggs in the shape of a gun; chocolate in glass shoes, etc. But why this need to be original? Why this constant search for something different, something to surprise our friends? One possible answer is that, faced with greater access to everything, a certain need arises to find something different, something surprising, which might help us to differentiate ourselves and define our personality. In search of extreme originality Curiosities & Innovations Source: www.compradiccion.comwww.compradiccion.com Bracelets Necklaces Moulds Bottles Wooden postcards PacMan guitar Designer fireplace Also turns 360º

59 59 Designers Marc Ballve & Victor Vinyamata have created these plates, conceived for the days when we have to prepare lunch and dinner parties at home; now there is no need to economise when using crockery. They have designed these plates which incorporate a hook allowing them to be hung out to dry in the sun with the rest of the laundry. …Though they also serve to free up space in the kitchen itself. Ideas that could revolutionise crockery Innovative solutions for the irritations of modern life Curiosities & Innovations Julia Mariscal, the designer of this spoon-pen, says: “I spend my life drawing: while I’m thinking, while I’m on the phone, having a coffee, chatting with friends… At times like these a pen usually makes an appearance and I start to draw using whatever’s handy to rest on: napkins, sugar packets, the bill, any old card… This spoon enables you to do all this, taking advantage of the texture of coffee, cappuccino or chocolate, which I like far more than the ink of a normal pen.” www.compradicción.com www.vinçon.com

60 60 How many times have we heard the line: “Without coffee, I can’t even begin to function”? Coffee has become a kind of fuel to get through the working day. For this reason, we thought it would be interesting to gather together some of the ideas other designers have put into simple coffee mugs… ¬ Some tell us if they’re empty or full with the words ON / OFF ¬ Others commemorate the anniversary of one of the most popular typefaces: Helvetica ¬ Some blend in with the work environment, such as this one made of yellowish ceramic, with lines like a block of notelets ¬ The Selector Mug helps us remember how other people take their coffee – it’s as easy as twisting the rings to discover our preference! ¬ MyCuppa is along the same lines as the previous mug, though much more visual: inside it, we find a colour-coded guide much like a colour chart ¬ Others vindicate being different: "I'm not a paper cup“, which as well as being original is highly environmentally-friendly. Curiosities & Innovations www.compradiccion.com

61 61 BIC™ have been with us for many years; as kids, at school, we always used to find new uses for this long-suffering pen. But who would have guessed that it would end up becoming a vase, or working cutlery? Curiosities & Innovations www.designboom.com Old objects get a new lease of life thanks to an ingenious design that gives them new uses. In this way, we find floppy disks that are CDs, cassettes that are bags, Polaroids that are mirrors, and televisions that are alarm clocks. Old objects, new uses

62 62 http://eikomemo.free.fr/+/la%20conference.html A comic strip taken from Eiko More at www.collette.frwww.collette.fr In this case, a trend is born out of an error. The reflection here is: Do we need to break with the norms in order to create new trends that cannot arise from logic?  ESCAPE FROM RATIONAL LOGIC TO CREATE NOVELTIES Or does it simply show that once a novelty is strongly supported – however odd it may be – the public ends up accepting it, provided the launch is optimally-executed?  FLEXIBILITY AND EVOLUTION IN WHAT IS CONSIDERED ATTRACTIVE ON THE PART OF THE CONSUMER Here is the trend I predict in 2 years’ time Oh no! It’s my son’s photo!! Great! It’s fantastic!! It can’t be true! 2 years later… Curiosities & Innovations

63 63 The following have contributed to this issue: ® Sources consulted Juan José Izquierdo Jakob van het Kaar Anabel Blasco Marisa Pascual “Eternal Luxury” and “The Ephemeral Universe” by Gilles Lipovetsky “Distinction” by Pierre Bourdieu “The Universe of Luxury” by Susana Campuzano Periodicals: Brandlife ADN METRO El País La Vanguardia www.brandchannel.com www.thesloganmagazine.com www.trendwatchingwww.trendwatching.com (all other sources are cited in the relevant article) Luciana Navone Montse Montané


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