Strange Days


 ‘Strange days indeed’ began the LS:N trend briefing presented by Martin Raymond and Peter Firth. Featured as lyrics in John Lennon’s song ‘Nobody Told Me’, perhaps at the time of writing the song in the 1970s, Lennon sensed that the world was changing at a rapid pace, or that society was on the edge of a dramatic transformation and a technological revolution. But whether it was intuition or merely coincidence, in a short space of time, our world has changed more than most people could have ever imagined.  What was once considered science-fiction is now our reality.

The hugely insightful trend briefing proposed one mind blowing concept after another, and I was fascinated throughout the briefing by the symposium of everything from the dawn of big data and mega-systems to the conceptions of gated retail and physical-digital architecture. Unfortunately, scribbling down over 12 pages of notes during the afternoon briefing, I cannot possibly cover everything in this blog post. However, what I find particularly interesting, and relevant to my area of study, is how brands are adapting to changes in the modern world, increasingly using innovation over heritage to engage consumers with higher ‘tech-pectations’. It is also interesting to observe how new, young generations of people are adapting to technological advances.

Our world population is categorised by generation, with generation gaps widening synonymously with the developing of technology.  Perhaps the most fascinating generation to look at is Generation I, children under 10 who have grown up with technology and have a different way of thinking about how they interact with the world. Where you and I grew up with books, they are growing up with iPads and smart phones; expecting everything they encounter to be instant and interactive. It is common for young children to swipe the television screen with their finger to try to change the channel over, to touch a newspaper and expect to be able to zoom in or turn the page and even to ask if they can pause a match whilst in the stands watching a live football game. Because in the digital world they were born into, all this is not only possible, it is normal.

The emergence of what LS:N global has coined ‘Phy-gital spaces’ shows how digital interaction is increasingly incorporated into the real world and brands are using this concept widely as a part of their in-store retail. In fashion retail, the McQ London flagship store opened last year is a perfect example of a retail space where old meets new and authentic, tactile in-store luxury juxtaposes innovative, digital in-store technology.  The main feature of the store is an interactive table enabling customers to search, browse and share McQ looks and control a video in the entrance of the store. There are also mirrors with inbuilt cameras to allow customers to try on clothes, take pictures of themselves and then email these to friends or share via social media. 



McQ Flagship Store London

McQ Flagship Store London

McQ Flagship Store London


Most bricks-and-mortar stores are now seen more as show rooms, as consumers tend to browse in stores but purchase online from elsewhere. However, for those ‘old-fashioned’ types such as myself who don’t shop online but instead prefer to try and buy clothes in-store, brands are aware of the importance of offline retail to create memorable consumer experiences, even if the majority of consumers do leave the store empty handed to purchase online.

Generation I is the future, so brands are looking at how they can consistently engage and excite increasingly discerning and tech-savvy consumers who rarely accept the digital world as it is offered to them but recreate it in their own image to cater for their needs. It is interesting that 73% of Generation I children already influence their parents purchasing of clothes, holidays, food and technology. Would my parents have let me choose a car or a washing machine at the age of 10? Probably not. But then again when I was younger I did not possess the instinctive ability to comprehend, recode and analyse technology as generation I do. At the age of 10, I had probably only been on a computer a couple of times.

One of the key, underlying observations I noted from the briefing is the way in which science, art and technology are increasingly blurring to become the main driving forces of our society. Science was once considered dull and intangible; I myself was never particularly enthusiastic about science at school, yet now science is a driving force with technology as the enabler, and the boundaries between science and art are closer than ever before. Science is now more accessible than ever before, with a large number of citizen scientists undertaking complex scientific research from their own homes. As an example, more than 65,000 citizens are currently studying the surface of mars...

Utilizing this ubiquitous science culture, brands are becoming key facilitators of scientific research and experiments; take the Red Bull sponsored Stratos jump as an example. But why do we have such a fascination with space? Well, it seems that we can only consider the potential of our world from an insular perspective for so long, before we begin to look upwards for opportunities in our hunger for new ideas and innovation. Escapism? Perhaps. Curiosity? Definitely. Foolishness? We’ll see. Space tourism is the next frontier for wealthy travellers and space is inspiring advertising campaigns in what LS:N have termed as ‘space-vertising’. In a film created by Maneki Lab with the help of Obscom, luxury fashion brand Louis Vuitton’s campaign Red Journey pushes the desire for travel to new limits in a fascinating 3D journey exploring the landscape of planet Mars. It’s not on my list of places to go, but it really is breathtaking. Link to video here: http://vimeo.com/channels/ceiga/52230493



Still from Louis Vuitton's Red Journey

Still from Louis Vuitton's Red Journey

Still from Louis Vuitton's Red Journey

Still from Louis Vuitton's Red Journey


I’m not part of generation I; the generation with the world at their fingertips who can’t remember anything else. But even at the young age of 20, immersed in creative industries at the forefront of modern technology and open-minded thinking, some aspects of society seem alien to me; the thought of space travel scares me and I can’t help but question the consequences of continuing to blur the physical and the digital world into one. Having said that, I am intrigued by change. The future is uncertain, yet we are living in an age where we have come to view uncertainty as opportunity to achieve the unthinkable; these days may seem strange, but they are about to get a whole lot stranger. These are capricious but exciting times.

Thank you to Martin and Peter for such a fascinating talk! 

  

Maiyet - Pioneering a New Luxury


Luxury is defined by superior craftsmanship. Characterised by timelessness, richness and quality, the enduring concept of luxury fashion opposes the destructive phenomenon of ‘fast fashion’ and the unethical production practices and damaging environmental effects that overshadow it. But, due to the ephemeral nature of fashion and trends, the fashion industry as a whole is not renowned for having a particularly positive impact on the world.

Thankfully, there are an increasing number of initiatives developing in the fashion world which seek to challenge negative perceptions by showing that fashion can have a social and moral conscience at its core. Endorsing an innovative, ethical approach to luxury fashion, high-end brand Maiyet demonstrates how a globally recognized luxury fashion brand can harness the power of business and capital to establish stability, self-sufficiency and prosperity in developing economies around the world.

I first discovered Maiyet when I came across the beautiful short film 'Sleepwalking in The Rift'; a deeply immersive love story set amidst the breathtaking plains of East Africa, directed by highly acclaimed director Cary Fukunaga. Visually stunning and emotionally poignant, the film explores the intricate connections between nature, humanity and creativity; embodying Maiyet’s philosophy to utilize the crafts and traditions of indigenous people to increase employment, profitability and peace in creative communities.




What is particularly exciting about Maiyet is its deep commitment to forging partnerships with master craftsmen in unexpected parts of the world; to celebrate and sustain the rarest and most unique artisanal skills. Promoting the highest calibre of ethnic design from countries such as Columbia, India, Indonesia, Italy, Kenya, Mongolia and Peru, Maiyet works closely with independent non-profit organisation Nest to ensure that a percentage of profits go to fund training and development for artisan businesses.

For me, it’s the skill, spirit and soul behind the work that makes the Maiyet collections so captivating. Inspired by the Ancient Egyptian concept of truth and harmony, Maiyet’s unique collections are characterized by the human touch. The essence of the Spring/Summer 2013 collection is captured perfectly by a stunning campaign shot in India, featuring model Daria Werbowy wearing a selection of exquisite white-on-white looks, delicate silks and chiffons, and striking prints and embroideries.

Maiyet is pioneering an innovative new concept of luxury; giving something back to the people and places that need it most.  


Image from Maiyet.com. S/S 2013 Campaign.

Image from Maiyet.com

Image from Maiyet.com

Image from Maiyet.com

Image from Maiyet.com

Image from Maiyet.com

Image from Maiyet.com