Four For Friday (23)

A reason behind this series was for me to keep track of my own varied reading. Everything, while appearing disjointed, really is connected. Often there is a unifying theme too. Can you see this week’s?

Much has been written lately about terminology. An “immigrant” has fewer rights than a “refugee” but has exercised more autonomy in arriving in a country that promises her a better future. To an alien, especially one reading European press it would seem immigrants remain just a smidgen more welcome than refugees. Should Europe be worried as much as it is? Click here to see where the refugees come from and where they go.

Should Europe instead worry more than the USA constantly gets high quality immigrants, as Scott Sumner writes here?

One of the reasons why the US is more unequal than a place like Germany, especially at the very top, is that the US is host to economic engines like Wall Street and Silicon Valley and Hollywood. I suppose you could throw in fracking. There’s no particular reason why continental Europe couldn’t have its own Wall Street, or Silicon Valley or Hollywood or fracking industry, but they don’t. Britain has “the City” which is sort of the Wall Street of Europe, and that adds to inequality in Britain. But Europe failed to attract the other engines of wealth creation and inequality that are as dominant as the US examples. Europe’s industries tend to be less of the boom/bust variety that often lead to great wealth, although they certainly have their share of billionaires.

From self-driving cars at Google to teaching and learning at Udacity, Sebastian Thrun outlines the problem with technology.

“Because of the increased efficiency of machines, it is getting harder and harder for a human to make a productive contribution to society.”

In a week when Apple announced more new products — and a plan (in some countries) for annually leasing iPhones — there is no need to wonder about what happens to our old mobile phones. In the EU, the manufacturer must take back end of life electric and electronic goods. Everyone from Mercedes to Apple offers recycling returns; if in working order, Apple devices recycling earns you a neat sum too. But we don’t know what happens to our best intentions & their regulation compliance.

We reached the shore, and looked across the lake. I’d seen some photos before I left for Inner Mongolia, but nothing prepared me for the sight. It’s a truly alien environment, dystopian and horrifying. The thought that it is man-made depressed and terrified me, as did the realisation that this was the byproduct not just of the consumer electronics in my pocket, but also green technologies like wind turbines and electric cars that we get so smugly excited about in the West. Unsure of quite how to react, I take photos and shoot video on my cerium polished iPhone.

It being Friday and New York Fashion Week, let’s finish with a note on style.

“On having his own style icons: “Why should I . . . I am one!””

Four For Friday (22)

Since the last edit of this occasional series, the scope of this blog has grown to envelope all my interests. Curation becomes trickier, but on y va! Those, who used to follow the series in the past, will notice that there are now excerpts. These are mere amuse-bouche to nudge you to click and read the whole article linked!

Rebecca Robins explores what luxury means in the age of “you”, grounding luxury in history and modern technology at once.

In The Age of You, the fine line between what luxury brands reveal and conceal as they engage with the transparency demanded of consumers and the element of mystery that is endemic to their very being, will be fascinating to watch.

Liam McGee writes how CEOs can work in partnership with their boards of directors without sacrificing their own authority.

It’s all a matter of developing trust. In my five years as CEO of The Hartford, a Fortune 100 insurer, winning trust was crucial to turning around the company in the aftermath of the global financial crisis.

Building trust can be a delicate thing, but it isn’t magic. You don’t need special charisma. All you really need is courage and self-confidence.

Starting over can be a boost to creativity, not a mark of failure. This idea caught my attention: “what are you still good at?”

Coping with old age and illness in his later years, Henri Matisse could no longer hold a paintbrush. So he put away his oils and restarted in a new medium. Discovering he could work with scissors, Matisse began what he called “painting with scissors,” creating his famous cut-out works. It became one of the most prolific—and stunning—periods of his career.

Having spent the last three years thinking about design and creativity, I found Amrita Chandra’s piece on why businesses are investing in design naturally engrossing.

Industries are being disrupted at a much faster pace than ever before. Leah cited an Insight study that showed the lifespan of company going from 60 years in the 1960s to 18 years in 2012. The level of volatility organizations have to live with today is motivating them to behave in different ways, and design is seen as a solution to this volatility. This is one reason why management consulting companies from Anderson to McKinsey have acquired design firms in the last 8 years.

The age of un-empathy

“My Spotify drains my phone battery”, she said.

“Do you listen to it on streaming or offline?”, I asked.

“Why, yes I do listen to it on streaming!”

“So you see both the 3G access you are using and the app itself use battery. You can see battery use by app and make choices accordingly especially when you are outside and worried you couldn’t recharge your phone.”

“How do I do that?”, she immediately wanted to know.

Cue, search through settings and battery use data on her 4 year old Samsung Android phone.

“The guys at the Samsung store didn’t help me”, she lamented.

So we opened the settings to check battery use and she was horrified.

“Where did all these apps come from? I am not using them”, she said.

“Not right now, perhaps, but they may be running in the background or operating on a pull mechanism”, I said, weakly. And clearly, unhelpfully.

We then discussed what “pull” means, what other common uses may be battery-draining, how it may be necessary to behave differently to conserve battery, how some apps more than others drain battery, and other things she now needs to know, just so she can use the technology she deems essential to her work and her outside-work life.

There were several such moments, as I helped this 65 year old friend of mine. She needs to get to grips with some essential technology tools and social media as she works on taking her business global.

The detail about her age and her business are material here lest the rest of this reflection should get drowned in the assumptions that just because she is older, she is not “smart enough” or “compos mentis”.

She isn’t the first among my over-55 friends whom I have recently helped with their technology and social media needs. Phones and social networks all play a key role.

It is soon clear that much of the technology design has forgotten technology also serves our ageing population at hand.

IMF depiction of our ageing populations

Mobile phones have several non-obvious hidden access features, sometimes resistive touch screens, complicated pathways to switching off default settings on various apps and in case of Android phones, a fragmented ecosystem that confuses older users who did not cut their teeth on technology.

Social networks have arcane and complex privacy settings, light coloured buttons, light grey ellipses to access extra features, drop-down menus hidden behind little arrows, and of course, their own lingo for features.

It may even seem the ageing user is misbehaving i.e. not behaving in accordance with the designers’ expectations of their ability to make use of features they should be able to see (never mind almost universally weakening eye sight with age) or discover. Because, hey, it is so intuitive, you know!

What is wrong with this picture?

Is technology meant to exist for its own sake? Or is it meant to serve someone?

What are the design assumptions at work here? Do we care whom we are including — and whom we are excluding — by our design choices?

Can the growing numbers of ageing people be this invisible?

Post script

As she started to gather her things and prepare to leave, I said, trying to be helpful, “Of course, you could just buy a portable battery pack so you are never out of battery when you leave home.”

She put her things down and looked at me sternly, “That is now for another day, Shefaly. I cannot cope with this any more.”

Related reading:

Why I think “digital native” and “digital immigrant” typology is short-sighted and unhelpful

Luxury’s other heritage challenge

“You never actually own a Patek Philippe. You merely take care of it for the next generation.”

This well-known Patek Philippe tag line tells its customers that the brand’s heritage could be part of their own as they bequeath their Patek timepieces to their future generations.

Patek Philippe Generation Ad campaign

One can, of course, buy pre-owned Patek Philippe time pieces from dealers, or at auctions where the brand commands huge prices, which Patek no doubt monitors. The presence of complete documentation, including owner history and service records, adds to the heritage angle, hence the price tag. Patek also supports collectors’ clubs and offers to service any Patek, no matter what its journey to the present owner has been.

Brands such as Vacheron Constantin engage actively with not just the customers, who already own their watches but also those, who aspire to own a Vacheron timepiece one day.

That said, there are brands, who do not really do much for, or with, collectors.

Hermès comes to mind.

While active in developing, protecting and promoting its own brand image, Hermès famously does not support collectors’ clubs. There is still a brisk trade in second-hand Hermès scarves, bags and other artifacts. It is often difficult to verify if these goods are authentic or counterfeit, or even stolen (although the latter may be rarer).

Most established luxury brands’ own stories focus on the brand heritage. It is fascinating — and puzzling — however to see how little luxury brands do to honour (track?) how their customers create a story about these brands, steeping the luxury goods in their own family’s heritage.

This is a missed opportunity.

To create a luxury brand with longevity beyond the next season has to go beyond the brand extolling its own heritage. The stories that live on have to make sense, and be meaningful to those, who own and wear the products created by that brand.

And while everyone can participate in the democratic medium of the web, oral traditions and stories of familial heritage can still help preserve exclusivity for luxury brands, most of whom are still struggling to make up their mind on the matter.

Indeed one has to ask whether the idea of a heritage driven European brand of luxury has economic viability now that most of their growth is coming from Asian countries, many of whom boast a rich heritage going further back than any European brands!

Can lazy — even arrogant — brand marketing as luxury marques, reliant on their European heritage legacy, do now continue?

Don’t mind me though!

I have a simple curiosity.

I am just keen to hear from someone, whose family bought Hermès equestrian gear and riding equipment 300 years ago, and who is still wearing Hermès couture or carrying Hermès bags today.

(Thanks to Barbara Houdayer for the Twitter conversation, that sparked this monograph.)

Authenticity, genuineness and the luxury brand

A friend of mine is a genuine, passionate Porsche fan. Awaken him from deep sleep and start asking him about the Porsches he has owned through the years, and you begin to see how deep his fountain of knowledge, and his genuine affection for and attachment to the brand run.

Porsche North America Welcome KitHe showed me the letter that he received with his car. The opening paragraph talks about how Porsche is an exceedingly rare breed of automobile and continues to extol its virtues as follows:

“One born in the art of hand craftsmanship, with sporting bloodlines as genuine as the exhaust note. Every Porsche we build is a monument to authenticity … and the kind of unflinching performance that transforms the daily driving routine into one of fun, freedom and pure excitement.”

In the above, the bold is mine, the ellipsis theirs.

This is how the OED defines “genuine”:

1. Truly what something is said to be; authentic:
2. (Of a person, emotion, or action) sincere:

As I sat rifling through the pristine, understated luxurious contents of the welcome boxes  — he keeps them all — the conversation turned to engine sound enhancement technologies. My friend told me about the Porsche sound symposer, an intake sound amplifier now fitted into the new 911 and the Panamera. Intake sound amplifier to them, fake engine sound enhancement technique to you and me.

I cannot speak for anyone else. But two months on from that conversation, I am still reconciling “as genuine as the exhaust note” with the “sound symposer”.

How authentic or genuine is the latter?

Is it ok to use it because customers demand a quiet cruise and yet the primal pull of the sound we have all come to recognise as the Porsche engine?

Indeed my friend’s car doesn’t have this amplifier. When I am visiting him and am at home, that engine sound is how I know he is back. To that extent the signalling effect of the Porsche brand of cars does lie in its exhaust note.

Of course, I realise that the car itself is a manufactured artifact.

Given that, does sound enhancement detract from the authenticity of the engine roar?

Or should it be seen as just another way to make the customer happy by addressing his or her changed needs, and indeed, in case of hybrid cars, a way to address the critique that their quietness is potentially hazardous on the roads?

Signalling is often of the key functions a luxury brand serves. And brands know that.

“We are not selling watches to tell the time. We’re selling them to people who belong to a certain social class, who want to show off.” — Dominique Perrin, President, Cartier (in 1987)

Luxury brands also seek to deliver a wholesome sensual experience encompassing sound, sight, smell and touch. Porsche’s sound symposer, one could argue, just serves to enhance the audio experience and the signalling function of the brand.

Are existential questions such as this surplus to the conversation about brand building, or integral to it? What then is the source of a brand’s claim to authenticity?