Mini Austin

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Mini Austin - 8 April 2014

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Mini Austin

  1. 1. #CSMiniAustin
  2. 2. WELCOME
  3. 3. Louise Shannon Shane Walter George Buckenham Olivia Solon Adrian Hon Matt Rice/Sennep Dan Maher Alexandra Deschamps-Sonsino
  4. 4. V&A Memory Bank 8th April
  5. 5. Louise Shannon V&A
  6. 6. Shane Walter onedotzero
  7. 7. George Buckenham Wild Rumpus
  8. 8. Dan Maher Explosive Alan Productions
  9. 9. Olivia Solon Wired
  10. 10. Adrian Hon Six to start
  11. 11. Matt Rice Sennep
  12. 12. ! ! Alexandra Deschamps-Sonsino Designswarm
  13. 13. 28 Cyrus Vantoch-Wood Creative Director Cheil Cyrus Vantoch- Wood
  14. 14. © 2014 Cheil Worldwide 30
  15. 15. 31 Who’s idea is it anyway?
  16. 16. 32 Ownership
  17. 17. 33 Individual ownership gives us: Singularity Control
  18. 18. 34 Collaborative ownership gives us: Perspective Objectivity Diversity
  19. 19. 35
  20. 20. 36 JAMES BROWN
  21. 21. 37 JAMES BROWN
  22. 22. 38 JAMES BROWN
  23. 23. 39
  24. 24. 40 It’s not getting simpler.
  25. 25. 41 Using process to navigate complexity and spread the load.
  26. 26. 42 PROBLEM INSIGHT CONCEPT SOLUTION
  27. 27. 43 PROBLEM INSIGHT CONCEPT SOLUTION AGILE EVOLVING IDEAS TOGETHER PROBLEM INSIGHT CONCEPT SOLUTION PROBLEM INSIGHT CONCEPT SOLUTION
  28. 28. 44
  29. 29. 45 UNLEASHING HUMAN POTENTIAL
  30. 30. 46 Launching People Samsung
  31. 31. © 2014 Cheil Worldwide 47
  32. 32. 48
  33. 33. Who’s idea is it and who’s idea will it be?
  34. 34. 52 over 15 localisations
  35. 35. © 2014 Cheil Worldwide 53
  36. 36. © 2014 Cheil Worldwide 54
  37. 37. © 2014 Cheil Worldwide 55
  38. 38. © 2014 Cheil Worldwide 56
  39. 39. 57 Who’s idea is it anyway?
  40. 40. 58 Does it really matter?
  41. 41. 59 Idea - Action = Shit
  42. 42. 60 Thanks
  43. 43. Tim Noakes
  44. 44. With print titles rushing to become digital first, why are website publishers bucking the trend and expanding into print? Press Print
  45. 45. dazeddigital.com For over 20 years Dazed has embraced creative rebels, launching and nurturing talent like: ! Alexander McQueen ! The Chapman brothers ! Gareth Pugh ! Nicola Formichetti ! The xx ! Lottie Moss ! OFWGKTA ! Lana Del Rey ! Florence + the Machine ! Chance The Rapper
  46. 46. Lupita Nyong’o In January we launched our Girls Rule the World issue ! Took a risk by putting an unknown actress on the cover ! Gamble paid off – issue went viral. Two months later Lupita won the Oscar for Best Supporting Actress ! The issue also marked the end of our monthly print cycle and the start of a new era… ! !
  47. 47. Declare Independence
  48. 48. Dazed spring redesign Scaled back print production from 12 issues per year to 6 to keep in line with our Digital First approach ! Redesigned and refocused title with more fashion content ! Increased production values, making the magazine more collectible ! Cut “& Confused” from the logo
  49. 49. Why are you so attracted to abandoned factories? I’ve had a love affair for a long time with factories and industry – primarily the smokestack industry. I love all the textures associated with it. It’s so much about the beautiful light and shapes. When you enter them, is it like walking on to the set of one of your own movies? No, I don’t think I’ve ever shot a scene in factories like these. It’s an incredible mood. I feel like I’m in a place that’s just magical, where nature is reclaiming these derelict factories. It’s very dreamy. Every place you turn, there’s something so sensational and surprising – it’s the Beatles’ Magical Mystery Tour. Is the world of these factories akin to that of Eraserhead and Mulholland Drive? Yes. Every film has its story. It has to be a certain place, with a certain light, with certain things said by certain people. Then you make a world in cinema that didn’t exist before. The world of Eraserhead was inspired by Philadelphia, a bit of an industrial city. I fell in love with Philadelphia for its architecture and mood. But now all the cities are looking more and more the same. The real treasures are going away; the mood they create is going away. Graffiti is one of the worst things that ever happened to a city. Do you have a favourite from the series? I love all of them. But again, it’s the mood, shapes and textures – it’s something that thrills my soul. The way the light can fall on a factory is the same way the light can fall on a body. One slight turn of the light and it’s a brand new thing. It just keeps going on and on and on. Why did you choose to shoot photographs of these factories versus a film? Every medium is its own thing and is infinitely deep. And there’s a connection, obviously, between cinema and still photography. For me, still photography was born out of cinema, but a still is just one frame that pulls you deeper and deeper in. It’s about the beauty of one image. Is the disused industrial aesthetic being forgotten today? It’s disappearing. In north England, I was in search of what I was told would be the greatest factories. The time I was up there, they were destroying one smokestack every week. All the factories were being torn down. It was a nightmare for me. I couldn’t believe it. I missed them by just a couple of years. The photos resonate with a kind of veiled terror. Is the exploration of good and evil important to you? No, but there’s a certain amount of fear connected to industry for me. As a child, I grew up in the northwest of America, where there weren’t any giant factories, none of that mood. But my mother was from Brooklyn, so we visited my grandparents a lot, and there it was a whole different story. I got a big fear of subways and the certain smell of a city. Sometimes these factories capture some of that. But mostly, it’s a kind of beauty connected to fire and smoke, steel, concrete, glass and all kinds of incredible machine parts. And nature reclaiming them. The whole thing is a dance. And it’s beautiful to be in that dance, photographing it. Does nature reclaiming industry have to do with the failure of technology? It has to do with change. Those factories have served their purpose. What’s happening now are smaller, more efficient, less dreamy things that don’t have the same feel of power and majesty. It’s a little depressing. But I do like contemporary mixtures too. Can you choose one image in the world that really gets under your skin? Naked women. The human body is very special, and throughout time people have been painting and photographing it, and there’s a reason for that. Anything to add? Everybody’s different. So when someone steps in front of a photograph, it’s a unique experience they’re having. It doesn’t matter what the photographer or filmmaker says. The work has to speak to the people. David Lynch’s factory fantasyland Text Christine Jun Photography Brad Elterman David Lynch’s factory photographs – now on show at The Photographers’GalleryinLondon–revealthegreatfilmmaker’s lifelong fascination with abandoned industrial buildings. The architectural compositions echo his most revered work – think of the claustrophobic attack on domesticity in Eraserhead, the looming shacks of Twin Peaks, the vortex swirl of Mulholland Drive’s nightmarish party scene. The black-and-white stills depict menacing silhouettes, gutted interiors and billowing smokestacks, using blurred light and layered textures to stretch the possibilities of photography to their outer limits. Until March 30, 2014, David Lynch: The Factory Photographs, The Photographers’ Gallery, London. A book of the exhibition is out now, published by Prestel 96 97
  50. 50. Naked Truth 150 151
  51. 51. François Nars and the immaculate makeover Famed for creating Madonna’s Sex face with Steven Meisel and for shaving off Kristen McMenamy’s eyebrows in 1992 – an act that became emblematic of the grunge era – François Nars has spent his career exploring the transforming power of make-up. In the haze of New York’s electric 80s and 90s scene, he paved the way for a look that elevated the likes of Linda Evangelista and Naomi Campbell to supermodel status, releasing his own make-up line (including the Orgasm and Deep Throat blush shades) that offered the same possibilities for women across the world. Despite spending his life collaborating as both a make- up artist and photographer, Nars has always been attracted to isolation, and has taken this to its logical extreme by buying his own remote private island in Tahiti. Did you always have hopes of owning a private Island? It wasn’t planned at all – well, maybe deep inside of me! I probably liked islands as a kid watching movies, but I’ve never been like, ‘Oh my God, I want to own an island!’ I’ve always been attracted to the tropical and love the idea that you’re on the other side of the planet. It’s mindblowing to see places that are still totally untouched. At the same time, it’s wild owning a place like that – it can be a big burden and there’s a lot to maintain. Do you know much about its history? Oh yes, I’ve done lots of research! I bought so many antique books. A French architect, Christian Liaigre, helped me build the house, so we looked at its culture and architecture. Of course, we read about Gauguin’s time there and writers like Pierre Loti who spoke about this part of the world. There’s also a certain darkness to these islands, as you captured in your photo book Faery Lands: Tahiti. Yes, the islands are sort of black-and-white in a way. The last thing I wanted to do was to have the book in colour! I started finding people on the street or on the side of the road and asking them if I could take their picture. It was almost old-fashioned portraiture, like people took pictures back in the late 1800s or early 1900s. Then, for the landscapes, I travelled to different archipelagos. The one I loved most was where Gauguin did most of his work, the Marquesas Islands. They’re so remote and untouched, but also very dark – something you don’t really expect from French Polynesia. Were you always dreaming things up as a teenager? Actually, I was a pretty lonely teenager. I loved being by myself and had very few friends. So, yes, I would lock myself up into a dream world. I would skip school to go to the movie theatre. I watched a lot of movies. It was practically empty during the week, so I would just skip school and watch fabulous European movies! You know, I wasn’t going to see blockbusters but the really underground movies. It was really the best thing I’ve ever done. Then the dream came true when you hit New York in the 80s! Yes, it was exhilarating. I was lucky enough to meet Steven Meisel, who was a really big mentor for me. We built something strong together by creating all those girls – models like Linda and Naomi. We really did create them. I mean, we worked hard but we played hard too. I used to videotape all of our shoots during the day and then at night we would all watch them back. The best moment with Steven was probably when we did the Sex book with Madonna in Florida. We had so much fun doing those crazy pictures with her. What were your first impressions of Linda and Naomi? I remember when Naomi first came to the studio. She’d barely modelled and was so incredibly shy, so she just sat in the corner. I started painting her and I thought, this girl has potential. Steven and I fell in love with Linda. It’s funny, she said to me that if she didn’t make it in the next year she was going to quit. I did like, 3,000 different looks on her: we bleached her hair and we cut her hair off. I think she wouldn’t deny it, but Steven, myself and Oribe (Canales) were really the ones that created Linda Evangelista! And what was the most extreme transformation? The most extreme? Well, our goal was to always make the girl look larger than life, to create superstars. No matter how crazy the look was we never gave up on making them look beautiful. That was always our motto. I mean we dyed Linda’s hair so much – it went from platinum blond to bright red and black – and I tweezed her eyebrows so much I had to build them up completely from scratch! I didn’t like her natural ones. Is there anywhere else in the world you would like to explore? You know, in a crazy way, I always wanted to go to New Guinea and Papua and do a book in the middle of the jungle on all of the primitive tribes. It’s probably very difficult to do, but they wear all of this incredible tribal make- up and the way they dress themselves is quite inspiring. The Tahiti book took 12 years to do, going back and forth. So, who knows! If I come back alive and have not been eaten or killed! imagecourtesyofStevenMeiselandArt+Commerce Text Isabella Burley Image: Kristen McMenamy in American Vogue, October 1992, shot by Steven Meisel. Make-up by François Nars 108 109
  52. 52. Photography Ben Toms Styling Robbie Spencer Miu MiuSonia Rykiel 172 173
  53. 53. Dazed’s new print cycle has enabled deeper digital expansion, including an original video vertical, exclusive longreads and a news feed focusing on fringe digital youth culture ! We are uploading at least 18 new pieces of content every day ! In March we achieved: ! 1.5 million unique visitors ! 7 million page views ! Overall 500% growth in one year Dazed Digital
  54. 54. Notable digital publishers expanding into print
  55. 55. Pitchfork
  56. 56. Hypebeast
  57. 57. Jezebel
  58. 58. Rookie
  59. 59. Google
  60. 60. Tech City
  61. 61. Protein
  62. 62. Net-a-Porter
  63. 63. HHA Dazed panel:
  64. 64. ALEX CAPES, HUMAN AFTER ALL ! “Digital publishers are always exploring new channels. Print is just another channel. Collectibility is key – people still have bookshelves to fill. I think the misnomer is that it’s all about digital versus print. It’s not a battle.” Why are digital publishers investing in a “dying medium”? KIRSTY DARE, PROTEIN ! “The Protein journal is never going to be a revenue channel that matches what we do on the digital side of things. The editorial in the journal is as strong if not stronger than the output on the web, but the ad network we work with is the commercial core of our business. We just enjoy making a printed magazine - we love to produce something that you can actually hold (and send to our Mums).” MARCUS FAIRS, DEZEEN ! “It is a massive battle between organisations and brands, in print and online. It’s brutal. One of the main reasons why websites are making magazines is that advertisers love print. Someone asked Tyler Brûlé, who started Wallpaper* and now runs Monocle, ‘What advantage does print have over the internet?’ And he said, ‘The back cover.’ The back cover is insanely valuable to advertisers. Even with precise internet metrics, they love it. If your journals aren’t making any money you need to get a new sales team.”
  65. 65. ALEX CAPES, HUMAN AFTER ALL ! “I think the content has to have something interesting about it. You need strong voices as well as strong sales tactics. When you identify with a brand, you kind of want them in your life. Eventually more consumer publications will cut out the middle man and be made by brands.” ! Do consumers trust the editorial remit of e-commerce magazines like Porter? KIRSTY DARE, PROTEIN ! “What publisher isn’t in bed with brands anyway? That’s how the advertising model works. In terms of Porter, they’ve positioned themselves as an authority in terms of the brands that they select that they have on the site. The fact is, if you’re a style-obsessed, fashion-hungry user online, you actually trust them as a source. They’re seen as an authority in the fashion world.” MARCUS FAIRS, DEZEEN ! “If you believe in the brand you’ll put aside all those old fashioned print values. That’s why print was dead because attitudes were locked in a 19th century model of journalism where the reporters were on one floor and the sales team were on another floor. That business model isn’t valid any more. If they trust your taste, they’ll also buy stuff direct from you. Brand eco-systems must expand to survive. And print publishers have to find new ways to distribute content to get the edge.”
  66. 66. ALEX CAPES, HUMAN AFTER ALL ! “I like the idea of short-form print and long-form online, I think that could be something that we will see. Long-form doesn’t mean good though. If it’s a good article that immerses you it doesn’t need video, it doesn’t need distractions. I think niche publications will continue to do really well, just the same way as vinyl has continued to do well in its own small way. I think magazine shelves will disappear. How long have WH Smiths got?” How will magazine content change? KIRSTY DARE, PROTEIN ! “Print is great for a number of things, but we can’t forget how or why the internet is so great and that’s the technology – we can do much more with the content to go beyond the words. Social media has got readers used to shorter and shorter text, but I think there’s a growing appetite for long form content to view offline.” MARCUS FAIRS, DEZEEN ! “We started off with long content on the internet and people weren’t used to reading on screens so it got shorter. Then it got even shorter. But I think we’re going to see a switch. Print has the limitation of space and a printed image is still a lot more rewarding in a lot of ways than a web image; you don’t have to rely on electricity, wi-fi or anything like that. So that’s my paradoxical prediction: print will go short form and the internet will go long-form.”
  67. 67. dazeddigital.com
  68. 68. Magnus Fitchett Daniele Fiandaca Martin Harrison Stephen Lepitak
  69. 69. Daniele Fiandaca
  70. 70. Tech Trends from SXSW
  71. 71. © 2013 Cheil Worldwide Wearable tech
  72. 72. © 2013 Cheil Worldwide Wearable tech
  73. 73. © 2013 Cheil Worldwide
  74. 74. © 2013 Cheil Worldwide Wearable tech
  75. 75. © 2013 Cheil Worldwide
  76. 76. © 2013 Cheil Worldwide
  77. 77. © 2013 Cheil Worldwide
  78. 78. © 2013 Cheil Worldwide 2013
  79. 79. © 2013 Cheil Worldwide 2013
  80. 80. © 2013 Cheil Worldwide 2014
  81. 81. © 2013 Cheil Worldwide 2014 - Robots
  82. 82. © 2013 Cheil Worldwide Questions
  83. 83. Thank you.
  84. 84. Martin Harrison
  85. 85. Nadya Powell
  86. 86.
  87. 87. @NadsBads
 @MRY_UK
 @InnovationSoc! ! www.innovationdisorder.com
  88. 88. Building advocacy between students and brands since 2003
  89. 89. Please stand up!
  90. 90. There is a lack of diversity in Marketing
  91. 91. Why is this a problem Powell?
  92. 92. Because some people find it harder to get jobs
  93. 93. Because the work they produce is all the same
  94. 94. Because if businesses don’t change they will fail
  95. 95. Jon Burkhart, Real-Time Content Labs! @Jonburkhart
  96. 96. • Image of Jon’s first talk
  97. 97. Austin! Hackney!
  98. 98. • Image of the teams
  99. 99. The programme The brief The hackathon The 6 weeks ! hard work Mentors ShellsuitZombie HCC & ACC
  100. 100. The programme The brief The hackathon The 6 weeks ! hard work
  101. 101. The programme The brief The hackathon The 6 weeks ! hard work The SXSW meet-up @ The Driskill
  102. 102. The programme The brief The hackathon The 6 weeks ! hard work The SXSW meet-up @ The Driskill Live pitch @ Hackney House
  103. 103. What did we achieve ?
  104. 104. These people think differently
  105. 105. Businesses will change, innovate and survive
  106. 106. Young people – from diverse backgrounds – are seen as a business asset
  107. 107. What did the students think?
  108. 108. “I left each session feeling excited, motivated, challenged and ready to take on the world”
  109. 109. What next?
  110. 110. Be part of Millennial Mentoring in 2015
  111. 111. Thank you 43
  112. 112. THANK YOU

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