For more information, visit http://seymourpowell.com/

1. ISSUE 01
AUTUMN 2011
The cultural
zeitgeist
starts here...
Seymourpowell report back
from the Milan Furniture Fair

2. MAKING THINGS 1 INTRODUCTION
Who we are.
BETTER FOR 2 EVENTS AND COLLABORATIONS
What’s been driving us.
PEOPLE, BETTER 3 RECENT LAUNCHES
What we’ve been up to.
FOR BUSINESS,
4 ARTICLES
What we think.
AND BETTER
5 OUR GLOBAL FOOTPRINT
What we’ve seen.
6 OUT AND ABOUT
FOR THE WORLD
Where we’ve been.
MISSION STATEMENT
Seymourpowell

3. INTRODUCTION
We’ve had a key presence at
OVER THE LAST several conferences this year
QUARTER WE HAVE including Wired magazine’s
WELCOMED SOME inaugural conference - Wired 2011,
World Innovation Convention,
NEW FACES TO TEDSalon, TEDXOxbridge, PACE
SEYMOURPOWELL - the Packaging and Converting
Executive Forum and the
INCLUDING: Economist UK Energy Summit.
KEVIN JOHNSON We hosted a trends talk at
Creative Director the London Design Museum
where Mariel Brown and
PAUL FOULKES-ARELLANO Karen Rosenkranz from our
Client Services Director Research,Trends and Strategy
team took a wide-angle look at the
highlights of the Milan Fair 2011.
VERONICA HILL
Studio and People Manager We were proud to unveil a special
exhibition at the V&A to celebrate
over a year of collaboration
between Seymourpowell and
the V&A schools team. The V&A
Schools team partnered up with
Seymourpowell last year to devise
‘Design Pro’, a workshop that
introduced professional design
practice in the area of product
design taking inspiration from the
V&A collections.
If you have any questions or More recently we teamed up
comments about anything in with the D&T Association to lead
the newsletter please contact: a campaign to promote Design
and Technology education. The
Nichola Rinks - New Business
campaign film included thoughts
nichola.rinks@seymourpowell.com
from Sir Paul Smith, Sir James
Tim Duncan - PR Dyson, Sir John Rose, David Kester
tim.duncan@seymourpowell.com and Deyan Sudjic.

4. IDEAS WORTH
SPREADING
TED is a non- TED conferences offer free knowledge
and inspiration from the world’s most
“The greatest thing about TED
for me is meeting the OTHER
profit organisation inspired thinkers, and also a community TEDsters. Enquiring minds,
devoted to ‘Ideas for curious souls to engage with ideas most at the absolute top of their
and each other. game. It’s a banquet of brilliance...
Worth Spreading’ give me more!”
On Wednesday 18th May at the Unicorn
that believes Theatre, London, Richard Seymour took
passionately in the to the stage at the Spring TED Salon. RICHARD SEYMOUR
Speaking on the subject of intrinsic Co-Founder, Seymourpowell
power of ideas to and extrinsic beauty, Richard touched
change attitudes, on the complex system of ideas that
hit our brain before cognition, discussed
lives and ultimately, the millisecond first-impression, and
the world. explored how a designer can approach
this challenge. Richard’s talk is
available to watch on TED.com:
http://bit.ly/pnYcIB
Richard Seymour also delivered a talk
at TEDxOxbridge at Saïd Business
School, Oxford University on 4th June.
As a collaboration between Oxford’s
Saïd Business School and Cambridge’s
Judge Business School, TEDxOxbridge
attempts to unpack business in the
21st Century to reveal new realms of
possibility and deeper connections for
societal transformation through the
conduct of “Business as Unusual”.

5. SEYMOURPOWELL
AND THE V&A
In 2010 Seymourpowell announced a new
partnership with the V&A Schools team,
bringing their expertise and cutting-edge
design knowledge to the 2010 - 2011
academic programme. The collaboration
between Seymourpowell and one of the
world’s greatest museums of art and design
helped give students and teachers access
to a unique perspective on design through
specially devised workshops and events,
aimed at inspiring a new generation of
world-class designers.
The V&A Schools programme for David Fisher, Design Director
Secondary Design & Technology at Seymourpowell, commented:
students and teachers, DesignLab, “My attitude to design through
provides inspirational and innovative the work I do at Seymourpowell
learning through real-life insights into is to approach problems as broadly
the creative industries. During 2010 as possible (through research and
-11 this was provided by testing ideas), then narrow down To celebrate over a year of collaboration between
Seymourpowell, who share the V&A’s as quickly as possible (by prioritising Seymourpowell and the V&A, a special exhibition
desire to inspire and excite students the key issues) – to find answers was created in the museum’s Sackler Centre.
and teachers of Design & Technology in the most objective way I can.
The exhibition showcased work from the
in fresh and unique ways.
It’s a process, and one that I think V&A ‘DesignPro’ project, from both pupils
The sessions challenged students to we should share with young people and members of the Seymourpowell team as
solve a design brief through methods to show ways of solving problems, well as video content from past workshops
used by Seymourpowell designers not just for design, but for all and interviews with Seymourpowell.
in their day-to-day practice. aspects of business.”
This included techniques such
as ethnographic studies, product
analysis, trend-forecasting and
3-D prototyping.
Images courtesy of: V&A

6. 1 2 3
CREATIVE BRITAIN
IN REVERSE?
Business leaders unite to promote
Design and Technology education
as key to the future of Creative Britain.
Seymourpowell, in partnership currently being undertaken, and its
Those taking part in the
with the Design and Technology potential impact on D&T teaching
campaign film included:
4 5 6 Association and the James Dyson – many fear the subject could
1 IAN CALLUM Foundation, recently launched a potentially be removed as a
Design Director, Jaguar campaign film to promote the compulsory subject for all pupils
2 DICK POWELL importance of Design and Technology from age 5 to 14. Also discussed
Co-Founder and Design education, featuring contributions by the panel was the impact of cuts
Director, Seymourpowell from leading figures from across in higher education for non-STEM
3 DAVID KESTER business and industry. (Science, Technology, Engineering,
Chief Executive, Maths) subjects from across the
Design Council The film promotes the importance of
creative sector. Another issue raised
Design and Technology education in
4 SIR JAMES DYSON was the English Baccalaureate and
Britain’s schools and universities, its
Founder, Dyson and the view held by many in the creative
contribution to successful business,
James Dyson Foundation and manufacturing industries that
and its fundamental role in supporting
5 DEYAN SUDJIC it is already skewing the curriculum
the UK Economy.
Design Museum Director in many schools away from creative
6 SIR JOHN ROSE The film launch followed on from a and technical subjects towards
Former Chief Executive special event on the same subject, traditional, academic subjects.
of Rolls-Royce which was held on Tuesday 12th
Speaking at the event, Dick Powell
7 RICHARD SEYMOUR July at the Institution of Mechanical
stated that: “The soft introduction
7 8 9 Co-Founder and Design Director, Engineers in Westminster.
of the EBac is another blow on the
Seymourpowell
On a panel chaired by Design wedge that is being driven into the
8 SIR PAUL SMITH Museum Director Deyan Sudjic, UK’s education system, conceived
Fashion Designer speakers at the event included: to split out traditional academic
9 PAUL JACKSON subjects as somehow more worthy
Chief Executive, Engineering UK - Dame Ellen MacArthur
and important for our children -
- Dick Powell
a view incidentally held by many
- Ajaz Ahmed (Founder, AKQA)
teachers, too often institutionalised
- Paul Jackson (EngineeringUK)
academics themselves. If this move
- Mandy Haberman (Inventor)
isn’t stopped in its tracks, we will
To watch the campaign film, visit our Key topic areas discussed by see the almost complete dislocation
YouTube channel at the following link: the panel at the event included of theory from practise and a return
http://youtu.be/FAZ24bukRpU the National Curriculum review, to 1950’s education values.

7. People forget that the UK has In seeking to review the school
a world class creative industries curriculum and evaluate the English
sector which, last time it was Baccalaureate, there is a serious
measured in 2007, accounted for and growing risk that they will throw
4.5% of national exports totalling the innovation baby out with the
£16.6 billion and employing some educational bathwater.”
2m people. Between 1997 and
The D&T Association have since
2008, the sector grew an average
taken the campaign to the House
of 2% per annum, compared to
of Commons where a group chaired
1% per annum for the economy
by Sir Kevin Tebbit, Chairman of
as a whole. The big percentage
Finmeccanica UK plans to make
of people in those industries will
the case for the retention of Design
have studied Art and/or Design
and Technology to the Department
and Techology in addition to
of Education and enlist the support
academic studies and, thanks to
of businesses across the UK.
that, would have gone into higher
education to continue their studies
For more information on how
in a creative subject. On the one
to support the campaign, please visit:
hand, government talks of ‘creative’
http://www.believeindandt.org.uk/
Britain and the ‘innovation’
imperative, while on the other hand
To listen to a recording of the panel it is considering the emasculation
discusssion, visit our YouTube please visit: of the very system which made it
http://bit.ly/qKj0F5 possible and is required to sustain it.

8. SEYMOURPOWELL
AT LONDON DESIGN
FESTIVAL 2011
In collaboration with This collaboration made up part
of a programme entitled Ideas
curatorial collective Generator, an interactive set of
The Concept Lounge, events including workshops,
discussions and practical sessions
Seymourpowell ran a on 20, 21 and 22 September.
series of workshops During each workshop, members
at the London Design of the Seymourpowell team and
talented new designers imagined
Festival 2011 at the a future where reality has changed.
Gallery in Redchurch Seymourpowell used their distinctive
research and design process to
“I would like to thank you for Street, E2. explore the implications and
hosting such a highly creative
event, and giving designers from possibility of a future where energy
other industries and students consumption was strictly rationed.
such as myself the opportunity Included in each session was an
to get involved in the Seymourpowell introduction to the Seymourpowell
design process. It was very useful design process and practical
for me and there was a lot that sessions on trends, ethnography,
I could take away from it. It also ideas generation and concept
served as a good platform to development. On Friday 23rd
meet various people in the design September, visitors to The Concept
industry”. Lounge were able to view some
ASHWIN THIRUMURTHY of the best work from the three
Designer workshops.
“Just a quick note to say how much The workshops were featured in
I enjoyed the Ideas Generator the Icon Design Trail guide 2011,
workshop with Seymourpowell. a highly influential guide, featuring
There were some great ideas and only the best events and shows
I was able to take away one or for London Design Festival:
two things regarding process that http://bit.ly/psRvs0
I will be using in my own work. Visit this link to see photo highlights
My thanks for a great evening”. from the workshop sessions:
PETER WONG http://bit.ly/pniVnp
Product development engineer

9. MILAN IN PERSPECTIVE
On Wed 20th April, Seymourpowell
hosted a media event, ‘Milan in
Perspective’ at the Design Museum,
London’s museum of international
and contemporary design in Shad
Thames.
Following the success of their 2010
Milan report, Seymourpowell were
keen to step it up a notch and create
an event around their findings from
this years’ trip. The result, ‘Milan in
Perspective’ - a talk hosted by Mariel
Brown and Karen Rosenkranz from
Seymourpowell’s Research, Trends
and Strategy team.
Karen and Mariel took a wide-angle
look at the highlights of Milan 2011
to explore the broader relationships
between cutting-edge design and
the cultural trends which surround
them. Covering themes as diverse as
new mythology, sense and tactility,
restrained luxury and choreographed
creation, the event offered a unique
and insightful perspective on this
year’s fair.
As a result, the report was
featured in top design publications
including FX, Newdesign, Designer
“For designers and trend researchers alike, and Commercial Interior Designer,
For more information about
all roads lead to Milan. A lighthouse which as well as numerous influential
Seymourpowell’s trends
design blogs.
illuminates the future of design, Milan is both offering, please contact:
Mariel Brown
geographically and aesthetically the centre mariel.brown@seymourpowell.com
of the emerging design universe; the cultural
For a copy of the Milan report
zeitgeist starts here first” with image library please contact:
Tim Duncan
Richard Seymour tim.duncan@seymourpowell.com

10. For designers and
trend researchers alike -
all roads lead to Milan

11. doing at Seymourpowell - taking a genuinely of the handset. We also worked closely with
NEW HANDSET DESIGN
innovative technology and embodying it in a CyDen’s engineering team to deliver the final
product that meets the needs and desires of product to the market. Overall it was a great
the user as well as of the business. We spent team effort and rewarding to work on such
FOR SMOOTH SKIN PLUS
a lot of time trying to understand how users a genuinely useful product that delivers on
interacted with the previous generation product its promise in an intuitive and elegant way”.
by carrying out ethnographic research that
As a result of the in-depth ethnographic
uncovered key insights.
research carried out by Seymourpowell’s
These insights allowed us to develop the next design team of the first generation ‘Smooth
Seymourpowell is pleased to generation product with fundamental ergonomic
improvements. We spent a lot of time in our
Skin’ device, the new ‘Smooth Skin PLUS’
unit is fundamentally more ergonomic than
announce details of its design workshop developing and refining prototypes the original first generation device.
work for CyDen iPulse on the
new Smooth Skin PLUS currently
retailing in Boots stores nationwide.
Seymourpowell has designed a new handset for The main objective of the brief was to
the ‘Smooth Skin PLUS’ from Cyden iPulse, the explore insights relating to how consumers
permanent body hair reduction system (retails used the first generation iPulse device as a
exclusively through Boots, as ‘Boots Smooth permanent hair reduction system. Another
Skin PLUS’). Seymourpowell worked with the element was to explore the world of light
team at CyDen Ltd, a British beauty and health based therapy for skin in the salon/ spa
company specialising in the application of light context, to uncover insights that could
in-home beauty treatments that developed inform and inspire the new product’s design.
state of the art iPulse technology, to design the Seymourpowell considered factors such as
handset and help refine the base unit. ergonomics, storage, the length of the cable,
buttons, lighting, volume and navigation on the
Seymourpowell was tasked with creating a new
interface, value and general consumer appeal.
generation light therapy product for hair removal,
Seymourpowell wanted to ensure that the new
based on the first generation technology, to
design was perceived as a premium beauty
launch in Boots. The aim was to further drive the
device with visual language that evoked the
category growth in light based hair removal by
ideas of luxury, spas and pampering.
inspiring ‘desire, confidence and ease of use’
with the beauty-involved consumer. The device Matthew Cockerill, Associate Design Director
was also to be positioned within the face care at Seymourpowell, explains the challenges and
and body care categories, as a more premium results that the team faced during the design
product than the first generation device. process: “This is the kind of project we love

12. SEYMOURPOWELL AND DUREX
FROM PRODUCT TO PACKAGING...
In May earlier this year,
Seymourpowell announced
details of its 2D and 3D
design for The Little Devil
- the playful vibrator ring
for Durex ‘Play’. 1.
The Little Devil is the very latest in a line of
designs for Durex ‘Play’ by Seymourpowell,
marking a long-standing relationship with the
brand. Back in 2003, Durex approached
Seymourpowell to design a range of beautiful
vibrators with high design values for the ‘Play’
range that had to be alluring, safe, effective,
reliable and tactile, as well as meet users’
desires and expectations. Through the design 2.
of Wand, Little Gem, and Charm (see opposite
page), Seymourpowell helped Durex carve out
a sexual wellbeing category and destination for
sex-related products in-store.
As part of the brief for Little Devil, Seymourpowell
was tasked with designing a new playful vibrator
ring that complimented the existing Durex ‘Play’
range, echoing a sense of accessibility, fun and
pleasure for everybody. Sebastian Rusu, brand
1. WAND
manager at Durex added: “Little Devil is a great
3.
innovation and a perfect addition to the Durex 2. LITTLE GEM
‘Play’ range building up on the success of our
3. CHARM
Vibrating Ring. It’s a cheeky and playful adult toy
for moments when you really want to have fun, Seymourpowell continues to work
adding more spice, variety and excitement into closely with Durex and hopes to
your sex life. We want to inspire our consumers develop more exciting additions for
to improve their overall wellbeing, enjoy and love the Durex ‘Play’ range in the future.
the sex they have, and Seymourpowell is a great
partner to help us bring this mission to life.”

13. LIVE UP TO THE NEW STANDARD
Seymourpowell is pleased to announce
details of its design work on an advanced
domestic drinking water appliance for
Israeli company, Strauss Water
Strauss Water approached contained in a compact design “Baby Formula” feature, which
Seymourpowell back in 2009 to with a low carbon footprint. This allows the user to dispense water at
design a premium domestic drinking technology allows water to be the recommended temperature in
water appliance, initially for the cooled to 6 degrees and heated the correct bottle volumes for
Chinese market, that would utilise up to 96 degrees rapidly. formula preparation.
Strauss Water’s breakthrough
In order to reduce the visual bulk of The additional “My Water” feature
purification technology.
the product, Seymourpowell also allows other family members
Seymourpowell was tasked with reduced the amount of plastic to have fast access to their
implementing Strauss Water’s unique at each side producing a ‘waist’ as preferred preset.
gravity based filtration system, ‘the a reference to the filtering
The “WaterMaker” can be
Hero’, into the heart of the unit with technology. The upper tank has
plumbed-in directly from the mains,
all the internal components fitted been left transparent in order to
or water can be dispensed from a
around it. ‘The Hero’ is designed to highlight the water within the unit,
localised tray situated at the top of
remove impurities whilst keeping with the control panel seemingly
the device, which can be topped
healthy minerals without the need floating from the tensioned infinity
up when required.
for ultra violet lamps. style top.
The “WaterMaker” has been
Together with Strauss engineers, Seymourpowell was also tasked
successfully launched in 100 stores
Seymourpowell developed an with creating the full user interface,
in major cities across China. The
automated tray, which ejects and which intuitively allows all family
brand campaign carries the tag line:
tilts to allow for the cartridge to members to dispense the exact
‘live up to the new standard’ which
be loaded and replaced easily. volume and temperature of water
alludes to the insight that until very
that they require. Advanced set
Seymourpowell had to design for recently, people had to compromise
up functions offer complete
Strauss Water’s advanced cooling on their drinking water solutions.
customisation including a unique
and heating technology to be
Seymourpowell have developed a strong relationship with
Strauss Water and will continue to work with them in the future

14. HOW GOOD DESIGNERS THINK...
thinking about people as consumers to transform insights into inspiration. between functional silos as different is the best thing since sliced bread
We all know that really
SIMON RUCKER immediately dehumanizes them and as supply chain, marketing and R&D. and saying, “I did that!”
Associate Director at Seymourpowell HOW?
good designers somehow makes it harder to empathize.
ACTION: Secondly, they are good at
Firstly, they have the ability to
think differently about Secondly, good designers like
visualize what has never been. As
They Keep Going practical resolution. Bruce
observing – really looking at what Nussbaum describes the problem
new products from you people do rather than simply relying
Bruce Nussbaum said in the same When good designers talk about
thus, “Some of the smartest execs
post, “Many firms are plagued by innovation, they mean (and I make
and me. But just exactly on what they say they do. As Paul
articulate and persuasive ‘smart no apologies for cribbing Lord
get bogged down in the messy
Smith once explained, when asked process of implementation.” But
what does this difference where he got his ideas from: “You
talkers’ who sound good in meetings Sainsbury’s much quoted definition),
again, good designers’ ability to
but get bogged down in abstract “the successful exploitation of new
consist of? and I could walk down the street
complexities.” Good designers are ideas”. They don’t stop with the
‘make it real’ can help resolve
together and look at the same contradictions and find highest
good at what I call inspirational invention. They turn their inspirations
things, but I’d SEE ten times more common denominator compromises,
tangibility, ‘making it real’, whether into reality.
than you would.” helping the (innovation/marketing)
it be by concretizing with a sketch
HOW? process move forward.
Thirdly, they bring expertise in other what would otherwise be abstract
categories and industries to bear thoughts or so many post-its in a Firstly, in the case of a new Thirdly, good designers are good
on problems in others. They pull meeting, enabling large amounts of product or service, it’s unlikely to at iterative prototyping, refining the
together threads from different complex data to be understood and be successfully brought to market concept through repeated cycles
functions, disciplines, fields, and absorbed quickly with a diagram, or unless it can be integrated into and getting feedback from the right
sectors, and integrate them into a as Bruce describes it “quickly lashing and be supported by all the other people as they go. James Dyson
new and (the dreaded word) “holistic” together a physical or digital mock- aspects of the marketing mix: famously made two thousand
understanding. up” of a proposed solution. and if we’re talking new business prototypes of his bagless vacuum
strategy, then good designers have cleaner before he got it right.
Fourthly, good designers look at Secondly, good designers live
to understand how the new offering The rest, as they say, is history.
what might all change in the short, and work in the future most days,
could and should impact (and to
medium and long-term, by engaging immersed in the activity of actively
what degree) all the other aspects of
with the best trends and forecasting creating and shaping their client’s
the organization: from its structure,
intelligence. Unlike other crystal ball future visions of new products and
to its mission and culture…all the
The best summary of what INSIGHT: truly new ideas. And no amount of what consumers can’t tell them: gazers they use this prescience to services. And this familiarity with
way to the business model(s) that
makes really good designers They Look at What We Don’t Know consumer research gave Steve Jobs latent and emerging needs and help them understand how they fusing creativity with what’s feasible
underpin everything.
tick was a simple post by Bruce the confidence to re-imagine the motivations; actual behaviors and could bend the future, shape it to and commercial every day is what
Most insight, because it relies so their vision. makes good designers so good at Good designers don’t claim to be
Nussbaum back in 2007 - music industry. attitudes; and, crucially, barriers to as
heavily on asking consumers, only doing this consistently and better able to do all these things, but they
http://tiny.cc/tejum well as drivers of change – or simply And lastly, good designers pressure
deals with improvements to known/ Good designers aim to move than others. do know to work with the various
put, what your competitors don’t test their conclusions by consulting
Since reading that I’ve often existing products and services beyond what you get from simply functions and outside resources that
also already know. with other cultural ‘interpreters’ from Thirdly, they overcome the “not
pondered the subject and today, (I’d like it bigger, cheaper, quicker, asking consumers what they need do. And unlike some others, they
I find it helpful to look at my smaller, etc). It rarely deals with the and want. First of all because they HOW? a broad range of other disciplines. invented here…” syndrome. For This article was
don’t leave their colleagues at the
experience of how good designers new/never been done before – the understand that most people when new ideas to survive and indeed featured on the Harvard
Firstly, good designers don’t tend to INSPIRATION: bus stop; they stay with the project
think (and do) at each stage of unexpected but relevant solution. asked don’t say what they mean thrive they have to be successfully Busiiness Review blog.
think about consumers; they think They Look for What to Do until the end because nothing gives
the innovation process: insights, No one ever asked for Starbucks, or mean what they say, but also embraced by all the relevant (another
about people and what they want a good designer more satisfaction
inspiration, and action. or Walkmans/ iPods, the Internet because people often don’t know. Good designers want to solve ghastly word) ‘stakeholders’. Good
and need. It’s a subtle point, but than being able to point to
or texting, for example – they were Good designers want to unearth problems – and this makes them want designers can act as a translator
something that everyone else thinks

15. ONCE UPON A TIME...
AUTHENTICITY IN FAIRY TALES
I’m noticing that more agencies are claiming especially in a portfolio context, are make money?” or “Who do you And the moral
to have ‘storytelling’ expertise, all saying actually made of the same stuff, run serve first: ‘me’ the consumer, of this story?
down the same lines, put in the same or ‘them’ the shareholders - with
they are the new Aesop or Archer, and how bottles and controlled by the same me as the patsy?” If your newly 1. Be sure you can really live your
story and demonstrate real
they will find the ‘inner tale’ that your brand people. In the quest for differentiation
not only from the competition,
developed brand story and cause
merely serve as a cynical veneer, desire for your cause from start
must shout to the world. but often from their stable-mates, behind which you continue to go to finish, in all the little hidden
these brands rely on their ‘stories’: about the business of making the nooks and crannies.
Of course, we all know how evil. We all love it, who wouldn’t?
equity often plundered from the most money from the least effort as 2. Have every one of your people
compelling great stories can be, that Hence the reason why so many
bygone days of independence, usual, then surely, if your methods enrolled in the legacy they leave
a great story is timeless and speaks brands are beating a path to
before the original company brand contradict your own story, you run behind, not just the short term
to a deep-rooted human truth, aforementioned ‘storytellers’ in order
was absorbed. the gauntlet of being found out and thrashing of the brand equity for
drawing us in and arousing a myriad to help them emotionally connect
open to another, more honest and the length of their assignment.
of emotions. That’s why they survive with consumers and sell more stuff. Now post-recession, brand owners
generous player coming along,
down the ages and why mankind But what if the story isn’t really true are obviously concerned with 3. Identify a powerful brand guardian
reinventing your category and
continues to tell the same stories behind the scenes? Isn’t that just a maintaining value in brands they have to be the constant conscience for
eating your lunch.
over again - Star Wars being derived con? With the rise of social media it stripped back and cost-optimized the entire brand and its behaviour.
from classical Greek tragedies etc. is increasingly impossible to control for years, by going back to the core If, as consumers, we’re sold on Incentivise them for legacy and
public opinion once a scandalous idea that made the brand great in the a believable story only to discover consumer loyalty, not simply sales.
The thing with a great, moving story
exposure or powerful idea takes hold. first place. Rewriting its brand equity that it isn’t in fact what we thought,
is that it doesn’t need to be true to be 4. Activate & innovate against your
In Egypt recently, a thirty year pyramid/key/compass/box/trumpet the disappointment can be
effective. Stories exist not only for cause absolutely. We’re back in the
dictatorship was overthrown by etc. and redefining the brand’s central crushing. To a once meaningful
entertainment and escapism, but also middle-ages – if the blacksmith in
galvanised public opinion and action purpose – it’s reason for being in the relationship it can be irreparable!
to teach us lessons, give us the moral the village is actually crap, everyone
in the space of eighteen days. An world. Great stuff! If it’s acted upon Reputation is fast becoming the
guidance we need through life that will know very quickly!
extreme example, but what can with truth and dedication throughout most important currency in the
helps us do the right thing. That
that mean for brands, and the the organization – from supply chain consumer’s commercial world.
doesn’t often happen so neatly in
companies that own and operate and marketing through to usage and Who would buy from someone on
real life, so the construction of a KEVIN JOHNSON
them, if they are discovered to not be disposal, being an actively positive ebay with only a 50% reputation? Creative Director at Seymourpowell
story becomes a nice airtight, and
all that they claim? One observation part of the community. It can take many years and millions
somewhat predictable, way to create
I have made is this: many of of dollars to carefully build an image
a point of universal understanding. However, the rise of even greater
our favourite brands are owned that people can believe in, that they
consumer awareness means there
Beginning, middle and end, a cast of and operated by multi-national inherently trust and aspire to own a
might be some awkward questions
traditional characters or ‘archetypes’, corporations, in turn owned by piece of, only for one piece of poor Please contact Tim Duncan for the
to answer – “Are you in business
challenges and tasks, gifts and shareholders. In the constant mission judgment to ruin everything in an full version of this thought piece:
to make a difference, or simply
wisdom, where good triumphs over to drive efficiencies, many brands, instant. Just ask Tiger Woods. tim.duncan@seymourpowell.com

16. BRINGING IDEAS TO LIFE
...Designers would interaction and experience of use.
Then there is the user - who is this
the real-life situations in which the
product will be used.
the business to believe in and work
towards. It gives confidence and
be given design and what are their needs? reassurance that it is making the
Another tool is brand DNA. This
briefs that were fairly You then come to the product itself is the definitive expression of a
right decisions. And it can help the
business to see beyond the way
well defined with - what is the context for its use? brand’s design essence – both its
things are now, and towards a
Why is it needed and what affects tangible and intangible elements.
regard to objectives, how or where it will be used? And It defines the relationship between
better future that can transform its
long-term prospects.
functionality, target how will it benefit the business? product and brand, and enables
Next up is the manufacture -how consistency between user and Delivery: Once a vision is in place
users, markets and will it be made? Of what? And brand. Fully understanding your and people have bought into it,
so forth, but they where? And what technological brand DNA brings clarity and the final step is to deliver on that
advancements can we learn from precision to otherwise subjective vision; to preserve and champion
would have had other industries? And, of ever and emotional issues and its original intent and develop it into
minimal involvement growing importance, there is the embeds emotional understanding an implementable reality. This is not
prior to that point. environment - how can we design it
to be sustainable? And what does
throughout the business. just a question of how it performs
(aesthetics, interaction etc) but
And finally, there are trends. It is
sustainable mean? also how it works (mechanically
Today, there are so many important to understand the way
and practically) and is to be
competitive products jostling for Designers need to juggle all these the world is moving if you’re not
manufactured. That means building,
Traditionally, designers would focus attention that there is an ever urgent
need for differentiation, stand out
factors as they design a product,
but how do they manage this
going to be left behind, beyond the
comfort of ‘your’ market. By looking
testing and prototyping to learn
empirically and iteratively, working
on the creation and embodiment and innovation. And this is where
the designer’s remit has changed.
process? One way is to break the
process down into three areas of
at the world around you, sitting
at the heart of people, society,
with partners when necessary
to make it happen. This is the
of a product, whether that be a Now, design is more deeply
embedded in the front end, ahead
focus - clarity, vision and delivery.
Clarity: The first step is to
business and technology, design
involves having a full understanding
heart and soul of innovation - it is
not enough merely to talk about
consumer or FMCG pack or product... of the brief - finding new uses,
new markets, new opportunities
understand the space, both
physical and emotional, that the
of the context and relevance for
new products, both now and
innovation, or just to generate
concepts around consumer
derived from consumer insights in the future.
product will occupy. Before you insights, it has to be delivered if it is
and new ways to create value - can make something better, you Vision: The next step is to define to profit the business.
MICHAEL WEBSTER
and in the navigation of that whole need to know who, what and what the product should be, or
Associate Director at Seymourpowell And that managed systematic
process. Design now involves where you are. There are various could be, and why - a vision for
scoping, defining and coordinating creative process is what brings
tools available to find the truths to the business to get behind, where
opportunities, as well as embodying ideas to reality. A fluid, non-linear
inspire and focus our creativity in future scenarios are worked out
them - in short, innovation. Design process that combines thinking with
the right direction. and relevant solutions provided;
is more than just the physical doing, inspiration with perspiration
and where clarity of context and the
manifestation of something - there One tool is ethnographic research, and experimentation with expertise.
ability of the designer to envisage
are numerous factors that need where consumers are observed
a better future fuel creativity, the
to be considered. First, there on what they actually do rather
lifeblood of design.
is the brand - how should that than what they say they do! This is
be expressed through not only how to learn about people - their Vision is crucial to the successful
the physical form, but also the latent, as well as their real needs implementation of a project. It
and emergent behaviour - within provides something tangible for

17. ETHNOGRAPHY’S IMPORTANCE
PAULA ZUCCOTTI
Associate Director at
Seymourpowell
TO BUSINESS: CONNECTING Working at Seymourpowell for the
last ten years, Paula is responsible
WITH CONSUMERS’ NEEDS
for the creation and development
of the ethnographic research offer,
and for the success of many
innovative product launches
as a niche process within the
“Ethnographic research needs good blue chip companies of Palo
working in collaboration with
the wider team
observation, analysis and interpretation...” Alto, San Francisco has now
says Paula Zuccotti, Associate Director become mainstream.
and Head of Research, Seymourpowell The good thing about this is that
we’re now able to quote brilliant
The key to unlocking ethnographic ethnography has been more case studies; the bad thing is
research relies on this intersection, successful in informing and inspiring that everybody thinks they can do
beyond just good observation and the design process than traditional it, running the risk of losing best
analysis. How many times have marketing techniques. practices and blurring the main ethos
you heard companies wax lyrical of the process. As a result we
Ethnographic research has become
about the wonders of ethnographic need to re-think what we actually
a necessity in the field of product,
research but appear frustrated do and push our discipline a step
packaging, interaction, brand and
about the end results? “We spent higher, including not only quality
service design for several reasons.
time with consumers, it was observation and excellent analysis,
Firstly, it supports the need for
amazing! But we’re still not sure but also good interpretations.
approaching problems and briefs
what we’ve learnt…”
in a more holistic and sophisticated 1. GOOD OBSERVATION first mistake is to presume ‘we’ are LOOK FOR SUBVERSION understanding, empathy, curiosity, the purpose and started from user behavior and the company’s
This is what I normally hear from way - as designers we find ourselves The first step towards successful cleverer than ‘them’. The second and the ability to rigorously transform scratch, designing alternative goals and objectives. Anyone can
Look for things that are done
organisations when discussing their working in more complex ethnography is to re-engage with mistake is to presume they are your learning into compelling insights. solutions. As a result, we not only report what they see, however
differently and think of them in
experiences with the methodology. environments, where no product best practices and to remember wrong. We should actually be To unlock significant insights you managed to design better products, finding the insights that are most
terms of shortcuts, work-arounds,
Ethnography has become one lives in isolation and a greater this is not about having ‘been there, asking ourselves what are they need to take a given situation and but also mapped out the client’s relevant to a company’s vision
and alternative solutions. Then
of those words like ‘innovation’; ecosystem needs to be taken into bought the t-shirt’ but about good doing and more importantly why are experiment with variables, forecasting portfolio expansion having identified requires thorough investigation,
think about your clients’ brief and
companies must have it on their consideration. Secondly, ethnography observation. Knowing what and they doing it? different scenarios until you find the the need for developing new and a deep understanding of the
how that subversion may work
roster but the majority still wonder also enables global organisations how to observe by learning to look one that works best. This exercise product formats. clients business. Important to this
As part of a research project with within their current portfolio. Ten
HOW they are supposed to use it. to reach out to consumers at a and think in a different way: is a great starting point: is the ability to input and help
a major consumer electronics years ago, we discovered that 3. GOOD INTERPRETATION
personal and local level. redefine that company’s vision.
Ethnography’s ethos is spending client, we were asked why users one user was playing CD’s on her REMOVE THE PRODUCT,
ACTIONS BEFORE WORDS This third step enables ethnographic
time with consumers in their real While user empathy and weren’t engaging with the business DVD player: what we then referred CONCENTRATE ON THE NEEDS
This is the fundamental differentiator research to transform businesses
environments, observing their observation have always been applications on their devices (e.g. to as ‘the death of the hi-fi’. That
to other research techniques: We recently did this with an FMCG and can be found where unmet
interaction with quotidian objects inherent to the design discipline calendars, reminders). Instead simple example of ‘subversion’
observation rather than enquiry, food company where we mapped consumer needs cross with unmet
and activities in order to make - we can find examples of it in of reporting on the failures of the unlocked the user’s take on device
learning HOW people actually the five w’s (what, where, when, business needs. This goes beyond
sense of the wider context of their products more than a hundred applications, we tipped the problem convergence in contrast to the
do something rather than their who, why) and more importantly good observation and analytical
everyday lives. It is about pure years old - the commercial, on its head and drew inspiration manufacturer’s.
verbalised memories of how they the how’s of their current product skills: we need interpreters that can
observation with minimal intervention formalised use of ethnography from the dialogue and interactions
think they do it. Learn from the between the users and their 2. GOOD ANALYSIS in different usage scenarios (e.g. take both streams of information
and honest performance rather within our industry dates back Please contact Tim Duncan for the
users’ talents and ways, not from personal assistants. The second step is thorough baking a cake). We then removed and propose unique platforms that
than task analysis. This is why fifteen years. What started full version of this thought piece:
what they do right or wrong. The analysis. This involves good all the current products that served live at the intersection of emergent
tim.duncan@seymourpowell.com

18. SEYMOURPOWELL’S
GLOBAL FOOTPRINT
Our trends team regularly conduct
cross-cultural city visits to help our
clients understand regional preferences
and diversity, and to identify common
global preferences.
Thoughts and insights from all trips are reguarly posted on our blog:
http://blog.seymourpowell.com
and shared on twitter: @Seymourpowell
Image courtesy of: Design Panoptikum