Posts Tagged ‘Technology’

145 Years Young: Digital Innovation at The Met

June 17, 2015

In 1967, IBM founder Thomas J. Watson approached The Metropolitan Museum of Art in New York City with a then unheard of offer… to donate computers to the Museum. The Met declined. Ironically, one particular curator doubted that a computer would be a “time-saving device.”

This resistance to joining the technology-driven world may now seem as dated as a piece from the Met’s Ancient collection, given that 2011 marked the year the Met lifted its cell phone ban and redesigned its website for optimal viewing on smartphone screens. And in 2013, the Museum’s first-ever Chief Digital Officer, Sree Sreenivasan, was brought on board to digitally transform the museum experience.

Art and technology have long been bedfellows—from Michelangelo with his chisel and hammer to Ryan TrecartinSree Sreenivasan at BRITE'15 with his mixed-media video installations. Speaking at the BRITE ’15 conference, Sreenivasan, who is also formerly Columbia University’s first Chief Digital Officer, noted, “Any art you see today is because the artist used the right technology at the right time—the right canvas, the right marble, the right tools.”

Sreenivasan understands firsthand the challenges of keeping pace with a rapidly evolving digital world, particularly at renowned institutions with such historical significance. At BRITE ’15, Sreenivasan shared insights from digital, mobile and social lessons learned during his tenure with The Metropolitan Museum of Art. He explained that a consistent strategy across mobile and social media platforms, like the one employed by the Met, is pivotal to staying relevant and continuing to meet consumers’ day-to-day desires in this age of constant change and innovation.

It’s no secret that mobile is now more important than ever. In September 2014, the Met launched its first app. Sreenivasan wanted to provide Museum visitors with an app that would speak more directly to their interests, “instead of putting the whole museum in [their] pocket.” Art enthusiasts can track upcoming events, save their favorite works of art to their smartphones and tweet about their favorite exhibitions. Within two weeks of its release, the app was downloaded more than 100,000 times and has been hailed as one of the Apple Store’s “Best New Apps.”

Though his title is Chief Digital Officer, Sreenivasan considers himself to be more of a “Chief Listening Officer,” observing the varying interests and behaviors of the institution’s 6 million museum attendees and the 30 million unique online visitors a year. “That’s a lot of listening,” quipped Sreenivasan.

One result of all that listening was a commitment to creating hashtags for each exhibition. No small feat, considering the Met currently houses over 2 million works of art. Sreenivasan credits the audience who tweeted their wishes for an intuitive way to share their museum experiences.

Sreenivasan notes that audiences are becoming increasingly “culturally curious,” eager to glimpse the behind-the-scenes of installations. The Met answered this growing need by displaying online the restoration of one of its most coveted acquisitions, Everhard Jabach (1618–1695) and His Family, ca. 1660, by French artist Charles Le Brun.

Charles Le Brun (French, Paris 1619–1690 Paris) Everhard Jabach (1618–1695) and His Family, ca. 1660 Oil on canvas; 110 1/4 × 129 1/8 in. (280 × 328 cm) The Metropolitan Museum of Art, New York, Purchase, Mrs. Charles Wrightsman Gift, in honor of Keith Christiansen, 2014 (2014.250) http://www.metmuseum.org/Collections/search-the-collections/626692

Through the Met’s social channels, fans and followers were able to view this typically veiled process from anywhere in the world. “Instead of working on it in secret for a year and then putting it out, we’ve already started blogging about it.” Viewer comments have ranged from questions surrounding oil paint solvents to expressions of gratitude for the ability to witness art history in the making.

One such commenter said, “Thank you for giving us the opportunity to see this fascinating work…. [R]eading about it does not convey the same image.”

Another asked, “How many more do we have to look forward to? I’m anxious to see the work in the gallery, but not so much that I wish you to rush, rush. I am enjoying my time!”

When it comes to choosing social media platforms, Sreenivasan advised that, depending on your business, you don’t always have to be on every network, and “there is no reason to be first [on a social media platform]. Join when it makes sense for you.” Sreenivasan reminded the audience of the potential minefield of controversy that social media platforms can become. “Almost everyone will miss everything you do until you make a mistake,” he cautioned. In the October 2014 New York Times article, Museums Morph Digitally, Amit Sood, director of the Google Cultural Institute in London, echoed this sentiment, “I learned not to underestimate museums. They were a little slow to the digital game. That’s a good thing.”

Slow to the digital game, perhaps, but well-conceived. Sreenivasan’s digital strategy at The Metropolitan Museum of Art has allowed this nearly 150 year-old institution to remain a timeless cultural mainstay while continually reinventing how it delivers art to art enthusiasts, based on their desires as they express them, from their smartphones to the front steps of the Museum itself.

BY THEO LEGRO

The Future of Omni-Channel: Insights, Innovations & Experiences

June 17, 2015

net-a-porterIn this technology-driven age, a common challenge for companies has been integrating new technologies into their existing business models, marketing and operations. This has been said to remain true for luxury brands. Convention has held that digital commerce is for the penny-wise. Research and consulting firm McKinsey dispels this perception. It reported that nearly 50% of luxury purchases are in fact influenced by digital. Warc’s Darika Ahrens aptly notes, “High-end income earners love high-end technology.”

Recognizing this, luxury fashion brand Rebecca Minkoff, an early adopter of new technologies in retail, is leading the way in immersive experiences that touch upon all senses to resonate with these digital-savvy, affluent consumers. Speaking at the Center Emily-Culp-BRITEon Global Brand Leadership’s BRITE ’15 conference, Emily Culp, Rebecca Minkoff’s SVP of eCommerce and Omni-Channel Marketing, discussed driving customer lifetime value by delivering multi-faceted experiences derived from technology, insights and organizational structure.

In 2014, Rebecca Minkoff launched its “Connected Stores” in New York and San Francisco. Culp explained that by leveraging beacon technology and RFID tags, Rebecca Minkoff offers consumers an even more personalized, integrated experience. “When [our customer] walks into the fitting room, it Rebecca-Minkoff-Connected-Storerecognizes merchandise and gives recommendations on what to wear [the item] with.” Interactive dressing room mirrors entice customers to browse video and content, order complimentary beverages, save merchandise options to their devices via the Rebecca Minkoff app, and check in-store and online inventory. Customers can even adjust fitting room lighting to reflect the setting in which they would don the outfit (i.e. “SoHo after dark”).

In developing experiences for their omni-channel consumer, the question Culp asks herself is straightforward: “How do we flawlessly execute this omni-channel marketing in such a complex ecosystem?” At BRITE ’15, she outlined four essential points to succeed at this:

  1. Leadership: the ability to embrace smart risk and experimentation
  2. Expertise: building teams with hybrid skill-sets (e.g. creativity combined with an understanding of metrics)
  3. Linkage: breaking down the silos to align the KPIs of different departments
  4. Communication: sharing insights even when they may seem irrelevant to another team. “Maybe they can take it in a different way that another hasn’t [considered],” explained Culp.

In particular, culling data from all touchpoints is at the foundation of their approach. “A lot of people think that data is boring,” she explains. “I inherently think this is one of the most creative and fascinating parts of marketing today.” Quantitative and qualitative insights paint a holistic picture of their consumer. “[W]e can see as she traverses across these different channels what her behavior is and help her make informed decisions when it’s right for her.”

Through research, Culp’s team discovered that their consumer checks her smartphone, on average, 150 times a day, spiking at different points depending on when she’s at work using her computer or at night on her tablet. “The constant is mobile. So for us, when we’re looking at omni-channel marketing… we start with mobile.”

Rebecca-Minkoff-App
Culp stresses the importance of not employing technology for technology’s sake. It should have a purpose. For Rebecca Minkoff, it’s using technology to seamlessly deliver value to consumers, relieving pain-points and empowering them to make informed decisions while shopping in-store and on any device at any time, anywhere in the world.

Check out Emily Culp’s talk at BRITE ’15 to hear more on developing omni-channel innovations and experiences to drive long-term value.

BY ALLIE ABODEELY

New Opportunities for Brands in Africa

September 3, 2014

A PwC’s survey of Global CEOs found that despite 74 percent of respondents expecting to grow their operations in the next 12 months; only 13 percent currently have key operations in Africa. There is ample opportunity for brands to be pioneers in the market.

According to the World Bank, Sub-Saharan Africa’s GDP is estimated to reach 5.2 percent in 2014, while global growth is estimated to rise by 3.7 percent. The International Monetary Fund (IMF) reports that out of the 20 countries with the highest expected GDP growth in 2014, nine are from Sub-Saharan Africa, with Sierra Leon’s GDP projected to reach 13.04 percent by the end of the year.

Economic growth in the region is fueled by mobile tech: The Ericsson Consumer Lab forecasts that by the end of 2014, “there will be over 635 million [mobile] subscriptions in Sub-Saharan Africa. This is predicted to rise to around 930 million by the end of 2019.”

Africans are using mobile technology to optimize markets, to improve health care, and to voice their opinions. It is not surprising that Africa’s top two most valued brands are MTN, a South African telecom service company, and Vodacom, South Africa’s largest mobile operator by subscriber numbers. In fact, MTN is the only African brand to make it to the top 100 list of MillwardBrown’s BrandZ tracker.

Big tech brands (like Google, Nokia, Samsung, IBM, Microsoft and Intel) are not wasting time, bringing more products to market and building research facilities in Africa. In a recent post for the Stanford Social Innovation Review, Erik Hersman, co-founder of Ushahidi and founder of iHub -an Innovation hub and hacker space for the technology community in Nairobi-, explained that “big tech companies [are] viewing Africa as the last blue ocean of consumer demand for technology.”

African consumers are tired of being misrepresented and are using mobile technologies and social media to speak up about product performance, customer service, and advertising.

Take the example of Kenyans on Twitter (#KOT). During the 2013 attacks at Westgate Mall in Nairobi, #KOT denounced CNN with the hashtag #someoneTellCNN for reports showing Kenya as a nation in chaos while they were suffering a terrorist attack.

The Mo Ibrahim Foundation reports that in 2013, “Sixty-eight percent of Twitter users in Africa relied on the platform as a primary source of information on national news.”

Strategy

When developing a strategy for Africa, it’s important to consider that: 1) word of mouth (empowered by mobile) is the predominant way of communication, and 2) market research in the continent is very limited, making it extremely important to learn about the aspirations of local communities when designing your strategy.

Since many common products are new for local markets, word of mouth — both in person and through mobile platforms — will help brands provide customers with stories to tell about their products, and will give these brands the opportunity to educate consumers on how to use those products.

Gerhard Fritz, Divisional Manager for the Shoprite Group of companies, told PwC : “What works in other parts of the world may not work in Africa. People in Africa have a proud heritage; they don’t take kindly to others coming and telling them what to do. Our perspective is to think of every business as local.”

Building trust is especially important in an environment where shoppers maintain a strong brand consciousness. A 2012 McKinsey survey shows that 59 percent of African grocery shoppers are loyal to their favorite brands, compared to 38 percent who chose the cheapest offer.

Educating customers about the use of new products will make or break your brand. In Nakumatt stores, for example, shoppers tried to put black mascara on their lips because they didn’t know what it was for. Now, according to the Financial Times, the chain is setting up “free nail bars and makeovers to spread the word and tempt new customers for more expensive western brands entering the market, including Revlon and L’Oréal’s Maybelline.”

Understanding how locals are using products will give you clues on how to market to them. Think about the contrasts that are part of the daily life of your customers: from fetching water for their households, to actively using mobile phones to get livestock price updates.

Brands entering or repositioning in Africa will need to pioneer market research efforts in the continent; understand how Africans use mobile technologies and embrace these technologies as part of their strategy; and earn the trust of African customers.

Their strategies should be both global yet hyper-local, and consider partnerships with established brands which will share knowledge of distribution channels and influencers, and how to participate in informal economies.

BY GABRIELA TORRES PATIÑO

Do consumers view technology as magic?

February 7, 2011

More than a hundred years ago, sociologist Max Weber wrote that secularization—or the “disenchantment of the world”—lay at the heart of modern society. He argued that due to the industrial revolution and advances in science, the modern world had become less mysterious and more predictable to individuals, and society as a whole had become more rational and bureaucratic.

Last week, in a talk here at Columbia, Russ Belk, professor at York University in Toronto and a leading consumer culture researcher, argued that consumers view new technologies—computers, the internet, and nowadays social media—at first, before they get used to the technology, as magic.   His argument is quite intriguing. As evidence, just watch the resurrected video of Steve Jobs introducing the Macintosh—appropriately dubbed “the magic moment” by TextLab, the discoverers and restorers of that film.

Belk points to the possibility that our modern world never fully rationalized, that there was always an emotional and magical undercurrent, and that the “theme of magic” now, paradoxically, manifests itself in consumers’ admiration of the very device that was supposed to erase it—technology.

BY BERND SCHMITT

Crowdsourcing in Action: One Step to Build a Company

October 14, 2009

There is growing evidence that a company can strengthen its brand by listening to customers and even sourcing business ideas from the crowd. But just what does such an effort look like in action?

Entrepreneur Aaron Cohen used his speaking slot at the BRITE ’09 conference to conduct a live crowdsourcing experiment with the attendees. Cohen described the basic concept and unique assets behind a new company he was about to lead, AnyClip.com, and then sought out suggestions that might turn these raw materials into a breakout media brand. Here is a video of this “crowdsourcing in action.”

Cohen assumed the role of CEO shortly after BRITE, and AnyClip is now moving forward along some of the tracks discussed during the conference. AnyClip (now in beta launch) lets users find, watch and share short clips of their favorite movie scenes online, and it has already secured the rights to host films from most of the major Hollywood studios. The company won rave reviews for its recent demo at the TechCrunch50 competition, walking away with the coveted Audience Award.

One of the key ideas in Cohen’s crowdsourcing discussion at BRITE was to open up the company’s film clip database to the software developer community — so that anyone can build new applications, services, and revenue streams based on AnyClip’s platform. Cohen discusses this strategy in a recent piece he wrote for The Business Insider, including the use of an “open API” (application program interface). Opening a new platform up to development by other entrepreneurs has been a critical part of the success of both Twitter and the iPhone App Store.

Open APIs are unique to technology brands. But, whatever industry you are in, there are ways to solicit ideas from your stakeholders and strengthen your brand through collaboration with your customers.

BY MATTHEW QUINT

This post originally posted by Matthew on the BRITE Conference blog at: http://www.briteblog.net

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