The Purpose of Purpose

toms-shoes-one-for-oneOh, little precious darlings.

You’ve been doing purpose wrong all this time, haven’t you?

All because studies have shown brands with a purpose out-perform those without?

(Richard Shotton takes that down here.)

Is it because people – especially millennials, those special unpeople people – like brands ‘with a purpose’, especially a ‘saving the world’ style purpose?

(The same millennials that wear sweatshop Nike, and unethical Primark, and fly polluting Easyjet all over the world.)

People (millennials? Are millennials even people? Debate for next post) don’t like brands because they have ‘a purpose.’

As if any ‘purpose’ would do.

 

Yes, Tom’s shoes are helping clad the feet of poor children globally – and many customers buy it simply because of that wonderful story.

But they’re the exception, not the rule.

 

People just like that you’re talking about something more interesting than your own product the whole time.

There’s a reason there’s sections of the newspaper devoted to world news, and science, and food, and health, and arts.

And not a section called ‘Information About Products.’

(Unless you count the Classifieds? And maybe Dating. They have their place.)

 

Ben & Jerrys talked about climate change and social justice, through ‘Peace, Love & Ice Cream. (And their founders still get arrested at protests.)

This got them the fame, awareness and press coverage to sell great ice cream all over the world.

 

Unilever has thrown its weight behind a belief in purpose-driven brands – and it’s right to do so.

Because I’d rather be shocked that children play outside for less time than prisoners (than see another washing machine ad.)

Because I’d rather feel good that poor children are being saved from disease through hand-washing (than see animated germs on a soap bottle.)

Because I’d rather see women campaign to feel good about their bodies (than a lady moisturising her legs.)

Because it’s simply more interesting.

 

That’s why the Pepsi ad was shit – because it was still about Pepsi, and about Kendall Jenner, not actually about police brutality, or the protest movement.

(Their protest signs said “Join the conversation”, for chrissake. The last protest I was at had “Trump is a cunt” and “This pussy grabs back”.)
Pepsi was a purpose-themed advert – not a purpose-led advert.

 

It’s not having ‘a purpose’ that’s good for a brand.

It’s making your purpose what you start with, what you talk about, and what you do.

And it’s the fact that your purpose is rooted in culture, not in your product.

 

Start with what’s interesting (in culture).

Then link back to what’s right (for your brand).

 

That’s what Purpose does for you – gives you something better to talk about than your product.

(And that’s also where it can go wrong, by coming completely unmoored from what you’re selling.)

 

But as a general rule,

START WITH WHAT’S INTERESTING.

And half your battle (for attention) is already won.

Twee, But Sinister

ZOcn1BME_400x400Would you trust someone who’s always smiling at you?

Marketers seem to be obsessed with their brand being shown in a positive light.

Perhaps it’s due to studies such as these, that show likability is strongly correlated with purchase.

(Though arguably it works the other way around – something you purchase more, you’re going to like more – familiarity complex.)

Or a spill-over from ideas of PR and social buzz, that brands must have a ‘positive’ sentiment, not negative.

Or just gut feeling, that being likeable as a brand must be good for sales.

 

The problem is that this idea of ‘positivity’ is seen as a way of getting to a good outcome, rather than a happy accident of a damn good marketing strategy.

So from the product itself (never mocked or made fun of or played with)

through to the people in the advert (everyone is beautiful and must smile)

to the whole tone of the advert (optimistic).

I can copy-paste the tone of campaigns between briefs: positive, optimistic, happy, joyful.

Where’s the differentiation in that?
FMCG marketers are the absolute worst for this.

They even try to brand it and bottle it as their sole purpose – Open Happiness; Taste The Feeling; Feel The Joy.

Let alone the success of Innocent setting off a whole spawn of cutesy, joyous imitators.

Yes, food and drink make people happy.

Thank you, basic survival instinct.

 

But, once upon a time, FMCG marketers understood they could have other tones – and to do so, would make them distinct and memorable in the marketplace.

(Byron Sharp’s wet dream.)

 

They could be twee, yet sinister.

They could be cannibals.

They could be the product of an affair.

Or hunted to death, like the Ribena berries, squished into the drink.

Or like Tango, they could be brutal and violent, starting happy slapping before its time.

(And props to my homie Thomas Keane’s ad for Homepride Fred, that was sinister enough to spawn horror film remixes.)

 

We live in a world in which teenaged Youtubers quickly knock all their edges off and bland-ify themselves in order to secure corporate sponsorship

(“Oh take this girl off the influencer list, she once did a video about how to put on a condom. Pick the guy who talks about how to cook pasta instead.”)

Maybe it’s time for corporations to reclaim radicalism.

(Did Pepsi fail because it didn’t go far enough?)

 

I want adverts for tea where the tea bags are selected for drowning; where the toast is ripped apart limb by limb; and where the cheesecake begins a guerrilla warfare style food fight.

Because hunger is as much savage as it is joyous.

 

(With thanks to planner Jack Carrington for the title & Unigate dwarves inspiration.)

Creative Disorientation & Deciem

Adownload-24 cool, new brand I’ve seen building up recently is Deciem: The Abnormal Beauty Company, owner of the excellent ‘The Ordinary’ skincare brand.

The Ordinary – for those of you who don’t follow the beauty pages – is one of the fastest growing beauty brands of all time. It sold 30,000 products within two weeks of launch, and caused a shockwave across the beauty industry. Simply, excellent, technical ingredients at cheap prices, in simple packaging.

But lets look at the master brand of Deciem. So far, so hipster beauty company – the black buildings, the use of white space, the bold font, the vaguely industrial chic vibe.

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But wait, there’s one thing about Deciem that really strikes me.

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They really love monkeys.

There are monkeys everywhere. Their employees are called monkeys. Their website is covered in monkeys. The monkey is their mascot, symbol, brand character – call it what you will. And I even clicked on the very weird Facebook ad about a monkey demanding a coin from me, only to be given a £1 offer on their serum.

I’ve seen plenty of new beauty brands come in, and none have really stuck in my head the way Deciem has. And why? There’s no faces or airbrushed models or glamour shots here, no Instagram-worthy envy-inducing shots.

Instead, a furry monkey, to advertise a beauty company.

Imagine trying to sell that to L’Oreal…

The Glue Society believed that there should always be “one degree of creative disorientation” in their adverts. So an advert for a car insurance might have a man holding a cream eclair the whole way through, for no apparent reason.

In an age of advertising where we know the real battle is for attention, having quirks and oddities to your creativity is not just an arty luxury – it is a business necessity.

Dairy Milk

ImageAccording to The Guardian, there is a furore over Dairy Milk’s new rounded shapes, as the chocolate tastes sweeter. Dairy Milk promise the recipe hasn’t changed.

Sensory scientist, Charles Spence, says that people associate sweetness with round shapes and bitterness with angular.  Circles are sweet, while triangles and stars are bitter, as well as associated with fizz.

Spence also asked subjects to match speech sounds to different chocolates, as well as shapes. Lindt extra creamy (30% cocoa) gets soft-sounding, lower pitched sounds like ‘maluma’. Lindt 70% and 90% get sharper sounds like ‘takete’.

It’s also been found that tastes can be mapped consistently to musical parameters.

“Bitter is associated with low-pitched and continuous music (legato), salty is characterized by silences between notes (staccato), sour is high pitched, dissonant and fast and sweet is consonant, slow and soft.”

These crossmodal correspondences mean we must, deep within our brains, taste our music and hear our tastebuds. A fascinating new area of research about how our brains respond to the world we live in.

Mind Your Language

ImageWords matter. We all know that.

The difference between someone choosing life-changing surgery might be whether you tell them it has an 80% survival rate, or a 20% mortality rate.

We know it as conversationalists, when we use the wrong word and watch our friend’s face fall.

We know that as advertisers. It’s why we change a runny yoghurt into a ‘probiotic drink’, mark it up 100% and sell it as a health product. It changes the frame of reference, both for the category its sold in, and the consumers who buy it. 

Now this study about how words prompt us what to see. If prompted with ‘dog’, participants were more likely to see the image of the dog being shown – an aspect of priming perhaps. But also proof that language and sight are intertwined. That language helps us order our world and also makes sense of it.

The most interesting part is the last:

Lupyan now wants to study how the language we speak influences the ability of certain terms to help us spot images. For instance, breeds might be categorised differently in different languages and might not all become visible when volunteers hear their language’s word for “dog”.

It’s something literary criticism has struggled with before. How is the signified – the object itself – related to the referent – the word? And how does this change across languages and cultures?

There’s an amazing two parter here about how we divided up the colours in our cultures, naming them differently. What is distinctly either blue and green to us might just be purueda in Korean. 

And what fascinates me too is the words that simply can’t be translated, full of the promises and shapes of hidden cultural structures, that have risen to the surface in some of the world’s languages, but not others. My favourite’s iktsuarpok – to keep going to the front door and looking outside to check if someone you’re waiting for is coming down the road.

What we haven’t studied is how this matters. Do you see more vividly, do you notice individual objects more closely, if those colours are separated? Do you care more about certain breeds if you classify them as ‘dog’ over ‘large rabbit’? The Eskimos may not have a hundred words for snow, but the myth that they do has captured our imaginations.

When we carve up and name our world, language matters.

We just don’t know how yet.

On Boredom

boredom

It’s hard to define boredom, except by its essential lack. It’s about an absence of things: of thoughts, of activities, of fun. I spent childhoods watching rain run down the windows, having read all my books already, and yearning for another Paint-By-Numbers set. My mother used to tell me only stupid people got bored. But I think it’s the converse: it’s the ones whose brains are always flickering and shimmering, seeking out the next novelty, who must tire easiest of what they already know, of the conversations heard a hundred times before, of the words and pictures that can’t fill you up anymore. Powerful brains, the human miracle, that can find hours of imaginative entertainment inside their own head in a doctor’s waiting room, or instead let themselves in five minutes be submerged under the grey lake that is boredom.

Cortisol levels actually rise when we’re bored, showing us in a state of stress. We feel like ‘chewing off our own arm’ or engaging in self-destructive behaviour, we fidget and tap pens and drum our fingers and sigh. Drug addicts are more likely to relapse if they report feeling bored; patients with traumatic brain injuries more likely to report higher levels of boredom and then engage in riskier behaviour to assuage it. Boredom is a state that swallows and encompasses and crushes.

But boredom is increasingly squeezed out of society. Our phones are always in reach, to tap another round of Angry Birds out, or scroll endlessly down Twitter. Boredom is something to be avoided at all costs, to be feared, to seek to stave off its looming presence with low-touch, low-impact digital stimulus, firing up our brain with tiny fragments of pleasure like pixels bouncing across a screen.

However, it’s the strength of our internal resources that pull us through the vacuum of boredom, the wet pictures and fragile worlds we create inside our own selves. So maybe my mother was right. The thoughts that filter into your mind on a three hour train trip when your phone’s out of battery and your whole life seems laid out before you like patchwork fields. The way sunlight drips through grey clouds, how tightly the man next to you is holding onto the headlines in his newspaper, the tessellation of the patterns of the forms of train seats. Or flee instead into a richly created dream world, where magic is the everyday, creating the new from the impossible, seeking novelty in a long story arc, a life of characters who are not like and yet are, me.

I think we are scared of boredom because it is in boredom that we look inside, and see how we have filled ourselves.  

As Martha Naussbaum would put it, “Do not despise your inner world.” Embrace it.

The Need For Speed

Breaking the sound barrierWhen Apple launched the iPad, they predicted it would be used most of the time outside the home: on the commute, when travelling, for spare moments waiting around. But 62% of iPad owners never take their tablet out of the house. Tablets have moved into the living room: they are killing off notebooks, and now are outselling PCs. So how has the iPad been so successful?

 
One reason is speed. It’s simply faster to turn on a tablet. It takes a second to switch itself on, while your laptop is ponderously humming and whirring for at least two minutes. Why are we so impatient nowadays? Watching a microwave cook your food is almost intolerable: something about the countdown of a few minutes of anticipation begins to itch under your skin in the way that forty minutes of baking in the oven never did.

 
Speed is one of the defining features of the world today. Internet connections and computers speed up all the time. Things get quicker and quicker and the rate of change speeds up to. Do you remember the fun little games you used to get to play with your cursor while games loaded? Do you remember the spinning hourglasses or whirling wheels? How often do you see that now? I expect to get as quick a webpage load on my mobile as I do on my computer, if not often quicker.

 
This is often overlooked in the success of things. Surveys suggest that nearly half of users will abandon a site that isn’t loaded within 3 seconds. Make your webpage quick. No matter how good the promised content, no one waits for things to load.

 
Google did an interesting experiment with regard to load times. Marissa Mayer tells a story where Google asked users whether they’d like 10 or 30 Google search results a page, and the users wanted 30. Google implemented what the users asked for. The pages with 30 results had traffic drop and ad revenue to them by 20%. The difference in the loading time: just half a second.

 
Speed counts nowadays. That’s why Facebook’s often quoted motto is: move fast and break things. The first rule is: move fast.