In April 2012 CultureLabel was invited by ABAF and other partners such as the British Council to tour Australia as part of a speaking tour on Cultural Entrepreneurship exploring the intersection between technology, culture and entrepreneurship. More information on some of the projects can be found at www.CultureLabel.com/agency
2. OUR BUSINESS PRINCIPLES:
CULTURAL ENTREPRENEURSHIP
CULTURE AND COMMERCE
BETTER TOGETHER
CULTURE MEETS CONSUMERS
ART WITHOUT WALLS
INNOVATIVE BUSINESS MODELS
GET ON WITH DOING IT
3. ABOUT CULTURELABEL
CULTURAL ENTREPRENEURSHIP
• CultureLabel.com is a curated online
marketplace for cultural and design
products and art. Launched in 2009 with
25 partners there are now over 650
organisations and 20,000 products onsite
• Named one of the UK’s Top 50 web design
influences by Design Week
• Our ecommerce technology powers
online retail for organisations including
Saatchi Gallery and Whitechapel
• CultureLabel is a for-profit, privately
financed enterprise. Our investors require
commercial and cultural dividends
• CultureLabel Agency works with cultural
sector and commercial clients from the
Houses of Parliament to Google on
income generation, technology, product
development and marketing projects
www.CultureLabel.com/agency
4. INTRODUCING CULTURELABEL.COM
• Aggregating 650+ museums, galleries, theatres, festivals, artists,
designers, music venues, craft makers and creative retailers
• Partners include Tate, V&A, Damien Hirst, Design Museum, Saatchi
Gallery, Royal Academy, Whitechapel Gallery, Royal Collection,
National Theatre, British Museum, Tracey Emin, Abbey Road Studios,
Versailles, New Museum, NYC and the Royal Opera House
5.
6. ECOMMERCE
THE ONLINE ART REVOLUTION
• Own Art lets UK Taxpayers borrow from £100 to
£2,000 spread over 10 months, interest free to
buy art (APR 0% Representative)
• CultureLabel partnered with Arts Council
England & Creative Scotland to take the
scheme online to grow ecommerce sales
• Pilot project includes several thousands works
of affordable art and craft from 500+ artists
across 70 commercial and not-for-profit
galleries and studios. Many organisations had
never previously sold online. Partners Include
Whitechapel, BALTIC and RSA
• Artists range from established names,
including Tracey Emin, Sir Peter Blake &
Damien Hirst to emerging talent at the Royal
College of Art
• Latest developments include In-gallery iPads
to promote online stores, new co-funded and
marketing initiatives that have made the site
page one on Google for key search terms
7. BUILDING A CONSUMER BRAND
REACHING THE MAINSTREAM WITH CURATED CULTURAL PRODUCTS & ART
8. CULTURAL ENTREPRENEURSHIP
INTELLIGENT NAIVETY
CONSUMER INSIGHT
+ CULTURAL ASSETS
= OPPORTUNITIES
+ RESOURCE ALLOCATION
+ STAFF CULTURE
+ MARKETING
= AUDIENCE DEVELOPMENT
= NEW COMMERCIAL INCOME
THE COMMERCIAL AND CULTURAL
DIVIDEND
9. TREND SCOUTING
A NEW CONTRACT: TREND SAFARI
WHAT’S NEXT?
Are we ‘making’ or ‘catching’ trends?
•What are audiences up to (existing and
potential)? An overview of selected
consumer trends and what they mean
for cultural organisations?
•Which trends closely match our asset
base allowing us to lead the way?
•Where do we find our audiences?
10. TREND SCOUTING
THE KODAK EXPERIENCE
• Not surprisingly, it is very hard to predict the
future
• It is as hard to make change happen if the
model does not appear to be broken
• Look what happened to Kodak, the inventors
of the Digital Camera! Or Blockbuster vs Netflix
• The pace of these changes are accelerating.
Groupon reached a billion dollars (US) in less
than 2-years. It took Apple 8-years
• If it is not broken… Amazon.com is now the
biggest library in the world. 5-years ago would
you have believed eBooks would be the
dominant format? Kindle only launched in
November 2007. We should always be asking
ourselves this question. If we did not exist,
would we build us again?
• How do we prepare for change as a
constant?
11. LIBRARY OF BIRMINGHAM
REWRITING THE BOOK
• £193 million capital project creating one of
Europe’s biggest public libraries
• What are the customer journeys for the
public library going to be in the 21st Century?
• Competitors to the ‘traditional’ public library
model include Facebook, Google, Amazon,
Publishers, Starbucks. GoodReads has over 7
million members contributing reviews across
250 million books. Amazon eBook sales
overtook physical sales in July 2011. $9.6
billion sales per annum by 2016 (3 x higher
than now)
• Vision to blur the digital and physical. A
space where customers can encounter
digital content and ideas
• Experiential space Incorporating theatre,
retail, catering. A new ‘living room for the
city’
12. HOUSES OF PARLIAMENT
COMMERCIAL STRATEGY
How do you exploit the untapped commercial
potential of an iconic World Heritage Site, protect the
dignity of parliament and not disrupt a building which
is essential to the day to day business of state? This
was the challenge for CultureLabel. Some highlights:
•Balance is essential but it can be done. Royal
Collection generated £41,785,000 in 2011 (£12,093,000
in retail and catering)
•Structure - recommended Trust status
•Developing the brand
•‘Premium’ aggregated London Shop with high-street
presence utilising the Parliament estate
•Tiered offers
•Franchise catering, Corporate Hospitality,
Membership
•See www.parliament.uk for the full report
13. 1.
CONSUMER INSIGHTS
WHAT ARE AUDIENCES UP TO
(EXISTING AND POTENTIAL)?
TRENDS
14. NEVER EVEN VISITED
THE RISE AND RISE OF DIGITAL CULTURE
• The web is already creating alternatives to
the physical visit and the possibilities will
only continue to grow
• This will also create new revenue
opportunities as many are created by or
co-produced with major technology
companies or well funded start-ups.
• These digital encounters with culture are
not better. Just different
• Google Art Project is redefining how we
experience visual art online
• The VIP Art Fair is another example
15. SEARCH & DISCOVERY
VISUAL ART
• Algorithm - includes sites like Art.sy that are
seeking to be the Pandora or Last.fm of art
• Curated - sites such as CultureLabel.com
offer a handpicked curatorial service to
consumers
• Community - Saatchi Online or Red Bubble
grows its audience by allowing any artist to
create a profile and upload and list work.
These use filters like ‘best selling’ for
example to surface the more popular
works. There is often still a layer of hand
curation such as in the Threadless.com
model for T-shirts
16. CONTENT
ON DEMAND CULTURE FOR YOUR SMART TV
• Consumers have yet to buy the 3D hype
but Smart TV penetration is growing rapidly
as are the use of associated streaming
devices such as PS3 or Xbox 360. Netflix and
LOVEFiLM are both bringing content into
our homes this way
• Already people are pitching business ideas
for niche content. What will rise for arts
programming? For example, there is
already DigitalTheatre.com and
CurzonOnDemand.com is already offering
a streaming service for arthouse lovers
including films on show in its cinemas
• It’s already big. 100 million people watched
the Royal Wedding online
• Integration of social, commerce and
demise of linear programming are all
happening as we speak
17. MULTI-CHANNEL CULTURE
ROYAL OPERA HOUSE
• Taking content into cinemas but also 3D,
DVD, BLURAY, CD, MP3 and online
streaming
• The purchase of Opus Arte brought the
means of distribution in-house
• Film4.0 is designed to make multi-platform
the core on new production to discover
new ways of making, marketing and
distributing films and engaging new
audiences online
• See also V&A Channel and Tate Shots and
the hugely successful NT Live
18. CONTENT
NEW MEDIA
• Cloud by Troika at Heathrow, Terminal 5 has
616,047 YouTube views and counting (as at
12/07/11). Tate is producing cinematic trailers
to exhibitions
• 30% of people who watch a YouTube video will
share with a friend. 700 videos tweeted every
min. 300 years of video viewed on Facebook
every day
• Using overlays on your videos so people can
click through to your site is crucial
• In the UK there is a YouTube non profit channel
with free tools available
• Where you are hosting content speed is crucial.
1 second delay = 7% loss in conversions, 16%
reduction in customer satisfaction. 2-3 seconds
= amount of time people are willing to wait for
a web page to load. 8 seconds = amount of
time most users will give your site before
deciding whether to stay Cloud, Troika, Heathrow,
Terminal 5, London
19. SOCIAL
ITS GOOD TO SHARE
• The phenomonal rise of websites such as
Pinterest, Svpply and Tumblr tap into a
trend focused on discovery and self-
expression where people want to ‘follow’,
‘share’ and ‘identify’
• One-way communication is dead in the
digital age and passive brands are at risk.
Consumers are now curators; actively
broadcasting, remixing, compiling,
commenting, sharing and recommending
content, products, purchases, experiences
to both their friends and wider audiences
• The Guardian says its Facebook App was
the top generator of traffic at times in
February 2012. Six months ago, Google
provided 40% of traffic
• Instagram socialises photographs and
allows visitors and museums to share
images. Brooklyn Museum has 10,299
followers already (April 2012)
20. MONETISING SOCIAL
VIRTUAL LIVING
• People are spending extraordinary
amounts of time in these virtual worlds and
social gaming experiences
• The sale of virtual gifts and goods now
exceeds $3 billion. That’s more than the
entire confectionary spend of US cinema
goers
• Playmob has just raised £500,000 from
NESTA for it’s giverboard software
• Virtual product representations can also
be used in eCommerce such as in the sale
of art work in the Own Art online platform
21. DIGITAL TO PHYSICAL
TECH ENTREPRENEURS BLUR THE BOUNDARIES
• Integration of online and offline retail technology
such as eBay’s Xcommerce platform
• CultureLabel has introduced touchscreen
devices into venues such as the Saatchi Gallery
and Barbican to enable Own Art purchases in-
gallery allowing self-service and eliminating the
need for paper-based applications. Interactive
devices are now in multiple formats
• Barcode scanning Apps by Amazon allows
consumers to price check and order through
their mobile
• Google Goggles also leverages the collection as
a potential trigger for purchase. Getty Museum
partnership allows uses camera phone to identify
art works
• QR Codes are another way of getting additional
content from physical or digital prompts such as
from Google Books allowing new navigation or
direct purchase such as Tesco Home Plus in
Korea
22. MOBILE CULTURE
DIGITAL TO PHYSICAL
• The Shopkick App transforms the high
street into an “interactive world using your
smartphone”. It already has over 3 million
active users, over 1 billion offers viewed
and $110 million sales driven in its first year
of operation
• History Channel created a Foursquare App
to ‘push’ you facts and videos on locations
you visit. The more locations you discover
the closer you get to the coveted Historian
badge. The History Channel has signed up
more than 20 UK visitor attractions all of
which are offering deals to Foursquare
users. There were 100,000 check-ins in the
first two weeks alone
23. DIGITAL TICKETING Somerset House / Courtauld
Gallery, London
COURTAULD GALLERY
• Introduced use of ‘airline style’ 2D
barcode tickets for the blockbuster
Michelangelo exhibition
• Allows for sale of add-on merchandise
such as catalogues
• Particularly effective with targeted
discounting tactics such as 10% off
exhibition merchandise alongside a ticket
purchase. This this has driven up the
average basket order considerably
…and •IT’S area will continue to grow and grow
This STILL ABOUT
QUALITY,as consumers seek convenience. Withyour
INTEGRITY and
Near Field Technologies, the ticket or
context…
virtual credit card can be used to pay for
things inside the venue. Eventbrite.com is
one of the fastest growing dot com
businesses in the world and is expected to
file for an IPO this year
24. AUGMENTED REALITY
DIGITAL TO PHYSICAL
• Holition uses Augmented Reality to
demonstrate how accessories will appear
on you
• Working with designer-makers such as
Hannah Martin
• With on-demand production technologies
this means you can produce a single proto-
type for digital scanning so stock production
risks are minimal
• Allows the customer to shop from home
rather than requiring the physical
experience
25. THE NEW HOLLYWOOD
GAMING TAKES CENTRE STAGE
• Call of Duty: Modern Warfare 3 made a billion dollars
faster than Avatar the biggest movie ever - in just 16
days (Avatar took 17 if you are interested)
• Zynga has turned social gaming into a multi-billion
business publishing Facebook titles such as Farmville
• Moshi Monsters is the most popular virtual world for
young people with 60 million users (70% of UK children)
• App games account for 64% of time spent. They have
created the market of the the $0.99 casual gaming
title as opposed to the triple AAA $60 releases
• Tate Trumps and Race Against Time are successful
examples of creating a gaming experience to
develop a playful interaction with art
• The Royal Opera House have recently launched an
App called the Show Must Go On where the user goes
behind the scenes as a venue manager to ensure a
successful production as the title suggests
• Serious Gaming helps solve real world problems
26. PERSONALISATION
CUSTOMISING CULTURAL EXPERIENCES
• The Whitney Museum has introduced a
membership scheme based around
different interests
• Commercial attractions such as the
London Eye have created multiple
personalised packages including Late
Night, Champagne ‘Flights’ and
themed capsules for weddings or in
association with partners such as Green
& Blacks for Easter
• CultureLabel.com sells experiential
products such as Afternoon Teas
combined with tickets to major
exhibitions at the British Museum
27. URBANOMICS
URBAN CONSUMERS
• The dramatic growth of cities is giving rise to
new forms of enterprise
• Urban consumers tend to be more daring,
more liberal, more tolerant, more
experienced, more prone to trying out new
products and services
• Strong affinity with cultural audiences
• CultureLabel.com has grown on the back of
urban consumers that match this profile and
it’s expansion strategy is based on reaching
more urban consumers based on a range of
predominantly urban creative producers
• Love Art London have tapped into the
experience angle
• The High Line Park Art Programme
High Line Park, NYC
28. CULTURAL MASTERPLANNING
PLACE MAKING
• Kinetica at Spitalfields is an example of a pop-up
cultural space developed at private sector cost
as part of a vision to build a 21st Century market
• The MAKE building with artistic intervention by
Claire Woods is one of the most viewed public art
works in London
• Cultural Branding of sites and place making is
often driven by Private Sector consultancies such
as FutureCity working with developers and
architects to help them with planning gain (% for
art), design differentiation, sustainable
communities and place making
• In the UK, the recession has greatly impacted
such deals (especially outside of London). Some
developers have sought to renegotiate on
planning agreements to make developments
financially viable. This makes it important these
cultural interventions tick more than one of the
boxes above to ensure they make the cut
29. SOCIAL - LITES
REDEPLOY THAT MARKETING BUDGET NOW!
• They are all about discovery, as consumers
become curators; actively broadcasting,
remixing, compiling, commenting, sharing
and recommending content, products,
purchases, experiences to both their friends
and wider audiences
• Accelerated and amplified by the growth of
social media
• Secret Cinema is a business that has grown
predominantly by word of mouth using social
media and eschewing all typical marketing
techniques as not cost effective
• It has recently moved to take on the
multiplex head to head with longer running
screenings in entertainment venues in
multiple locations with The Other Cinema
venture
• Tate now has 594,075 Followers and 358,073 Secret Cinema, Lawrence of
Fans. A recent exhibition discount to fans saw Arabia, Alexandra Palace
London
10,000 redemptions
30. Frank’s Campari Bar,
PLANNED SPONTENEITY Peckham, London
PERMANENT POP-UP CULTURE
• Live a little! A reaction against self-control and
negativity created by recession norms
• Explosion of pop-up culture experiences is
finding more and more innovative expressions
and reaches the mainstream quicker than ever
• People spend more on experiences making
fewer more luxurious purchases
• The Museum of Everything has grown from a
Frieze fringe event into a major global brand
with shows at Selfridges, Tate and most
recently New York
• Frank’s Campari Bar is one of the best
examples of transforming neglected space
into a cultural experience, in this case a multi-
storey carpark in Peckham, London
• See also Punchdrunk & You Me, Bum, Bum Train
31. OUT OF HOURS CULTURE
TARGETING NEW CONSUMERS
• Sleepovers at the Natural History Museum
• LATES sponsored by Apple, Sony etc. and
Museums at Night sponsored by SKY
• Somerset House Ice-rink by Tiffany
• Gigs at Eden
• Culture is key to the backdrop but the
experience is the draw
32. 2.
CONSUMER INSIGHTS
WHICH TRENDS CLOSELY MATCH CULTURAL
ASSETS ALLOWING US TO LEAD THE WAY?
TRENDS
33. STORIFY
PURPOSE DRIVEN BUSINESSES
• We are selling ‘products with soul’ and we
need to tell their story in a compelling way
• Consumers are seeking a deeper
engagement, and want products to have a
story they can relate to and this coincides
with the rise of purpose driven businesses
• Use of video, audio, design, animation,
compelling copy and editorial, social
integration i.e. All Saints
• Crafted, operated by the Walpole Group
brings together luxury brands with craft
makers
• Net-a-porter App uses the luxurious real
estate of the iPad to create an online
magazine experience
• Kickstarter.com and Etsy are great examples
of wildly successful commercial organisations
that impact our sector New Museum, New York
34. PASSION BRANDS
BRAND EXTENSION
• The V&A have taken the brand onto the
High Street in an innovative way. The V&A
Wine Bar combines an art bookstore and
wine bar
• The recession could accelerate this trend
in Europe and the US as the new found
power of global cultural brands could be
further monetised and meet growing
consumer demand and international
opportunities in growth economies
• Saadiyat Island in is perhaps the most high
profile example to date incorporating a
branch of the Louvre and Guggenheim. A
careful balance will need to be struck
however to protect the integrity of the
brand
35. CULTURAL BRANDING
CO-PRODUCTION
• Sponsorship evolved, often extremely
collaborative such as the Sony PlayStation
Series or Creators Project (Intel). No longer ‘lolly
for logos’
• Sony also worked with Punch Drunk to create a
live adventure game for the launch of a PS3
title called Resistance 3
• Inspiration - Toshiba are working with The Louvre
to light some of it’s most iconic features with its
energy saving low-CO2 LED lighting
36. ARTIST AS BRAND
• Launch of DamienHirst.com
• Emin International at Spitalfields, London
• Rob Ryan - Ryan Town & YSP collaboration
• Zaha Hadid x Design Museum
• Takashi Murakami x LVMH at Moca
37. CREATION
DIGITAL CULTURE
• Sedition.com is the first online platform
allowing you to buy and sell digital art from
artists including Damien Hirst and Tracey
Emin
• David Hockney’s used the iPad to create
works for his current blockbuster exhibition
at the Royal Academy
• Becks Green Box Project is an AR art tour
• BMW Tate Performance Room
• The Space (BBC, Arts Council England)
39. 3.
MARKETING
WHERE DO WE FIND
OUR AUDIENCES?
PLATFORMS/CHANNELS
40. YOUTUBE
MUSIC
• 101 musicians from 33 countries chosen on
YouTube to make up the YouTube symphony
orchestra. In 2011 it converged on Sydney
• YouTube extravaganza has become the most-
watched live music concert on the internet
displacing U2 with over 33 million views
41. LITERATURE
THE APP BOOK
• Waste Land has been hugely commercially
success making a return on the investment
only 6 weeks after release
• The partner is critical. It was produced by
Touchpress, the team behind Wonders of the
Universe, Elements and Biophilia
• Audio innovation is also occurring with Apps
like Papa Sangre
42. MARKETING & AUDIENCE
LITERATURE
• The world’s largest bookseller Barnes & Noble is
fighting back head on by taking the tech giants
on at their own game. Produced their own device
the Nook, recognising need to create an end-to-
end ecosystem. Can mirror the Apple and
Amazon offer + play to their offline strengths of
their customer base with the advantage of face
to face contact to help orientate them. Already
established partnerships with 1,000 libraries
• 3M’s Cloud Library allows you to browse
anywhere, read anywhere. With the 3M Cloud
Library, patrons use personal accounts to access
e-books on their devices. They can check out a
book on an iPad, take notes while reading on a
PC, and finish the book on an Android phone. The
bookmark feature works across all devices, so
readers never lose their place.
• Kindle Fire is now a low cost alternative to the iPad
• What does this mean for libraries?
43. PHYSICAL REAL ESTATE
OUTDIDE OUR VENUES
• New Museum x Calvin Klein
• Southbank Centre Food and Retail offer
includes permanent fixtures such as Foyles
Bookstore and pop-up offers such as
Dishoom and the Vintage Festival curated
by Wayne Hemmingway
• National Theatre, UK uses its building as a
billboard to take advantage of innovative
new projection technologies for corporate Dishoom, Southbank Centre,
partners such as Travelex London
44. AFFILIATES
PRICING PANDEMONIUM AND THE DEAL HUNTER
• Flash sales, member sales, group activated
hyper local location based, dynamic pricing
• Pride in ‘deal’ hunting
• Stripped down offering for price sensitive
consumers where economic uncertainty has
become the new normal
• Groupon is the best known exponent of
Group Buying
• VoucherCloud uses location to offer
discounts to users of it’s App
• Gilt.com and Fab.com incentivise members
with timed flash sales
45. MADE FOR CHINA
JUST BEING YOURSELF IS NOT ENOUGH
• It's where the money is. Western brands are
still favoured over local ones in areas such as
luxury goods but…
• The combination of perceived quality with a
bit of local tailoring, love or exclusivity can
provide cut through
• V&A has undertaken a marketing drive in
Asia with dedicated websites
• Chinese residents made 30 million+ overseas
trips in the first half of 2011 alone, up 20%
since 2010. In comparison, US citizens made
only 37 million outbound air travel trips
during the whole of 2010.
• It just the beginning: The World Tourism
Organisation has estimated that the total
number of out-bound tourists from China will
reach 100 million by 2020.
46. BEYOND THE WALLS
SEEKING OUT THE AUDIENCE Camp Bestival
• BMW Guggenheim Lab
• Grand Tour, National Gallery
• Eurostar, National Gallery
• Museum of Everything
• Punchdrunk x Stella
• Art on the Underground
• Tate & The Great British Art Debate at Camp
Bestival
47. NEAR FIELD COMMUNICATION
THE END OF CASH IS NIGH
• You can already get on trains, pay for
coffee using this technology
• The take-up is already extremely
widespread in countries such as Turkey and
it is only a matter or time before the same
can be said elsewhere
• Google Wallet allows your phone to
replace an assortment of cards from Credit
to ID
• Nokia has partnered with the Museum of
London to explore multiple ways the
technology could enhance the visit once
you are past the entrance. The
experiments will range from getting
information on exhibits, buying tickets to
future exhibitions, posting ‘Likes’ to social
media platforms to retail and café
vouchers
• Integration with Reward Cards for data
48. MOBILE CULTURE
CONTENT
• Mobile First design is a must now (yet fewer
than half of US museums currently provide
visitors with an opportunity to use mobile
technology during their visits - AAM, Nov 2011)
• In the UK, nearly the same number of searches
for ‘art’ per month on mobile as desktop
• There are 5.9 billion mobile subscribers - that's
87 percent of the world population
• How many of those phones are smart
however? 1.2 billion of those subscribers
browsing the web through their devices
(accounts for 8.49 percent of global website
hits and growing)
• In 2012 more Android smartphones will be
shipped than PCs and in 2013 Apple will reach
the same milestone
• “Tablets such as the iPad will outsell desktop
and laptop PCs within a few years.” Tim Cook,
CEO, Apple
49. MOBILE CULTURE
ECOMMERCE
• 2009 sales were $1.2 billion. In 2015
predicted to be $119 billion. Online
sales predicted to go from $210 billion
to $1.4 trillion in the same period. 50% of
Groupon’s business is expected to be
from mobile in the next 2-years
• 51% of smartphone users more likely to
purchase from a mobile-specific
website, yet only 4.8% of retailers have
a mobile site
• Don’t forget social commerce which is
largely being driven by mobile devices.
This is estimated to reach $30 billion by
2016. CultureLabel has just released an
App that creates a Facebook shop for
our members and over 100 partners
activated this in the first week
• We are never without a price
comparison with barcode scanning
Apps from eBay, Amazon etc.
50. THE CROWD
FUNDRAISING
• Generation ‘G’ is an online-fuelled culture of
individuals who share, give, engage, create
and collaborate in large numbers
• ‘Generation Go’ will also create new ideas and
businesses in the creative and cultural industries
space. How can we tap into them?
• Kickstarter appears to be able to help people
raise big sums as well as small ones. In February
2012 the platform broke the $1 million barrier for
two projects. It has the potential to overtake the
NEA as the key arts funder with over 10% of films
at SXSW and Sundance funded this way
• Text giving is also being used to connect with
the passion of the visit
• Sites such as Freelancer.com are allowing
people to use the crowd to slash the cost of
certain tasks. CultureLabel even crowd-sourced
new products for Tate. The Public Catalogue
Foundation and BBC tagged thousands of art
works in the Your Painting’s initiative
51. CREATE A NEW BUSINESS MODEL
MICROFINANCE
• Microfinance is another way to fund cultural
output that has a commercial value. 691,072 Kiva
lenders have provided $285 million in loans. The
performance of these social entrepreneurs has
been extremely strong to date with a 98.88%
repayment rate
• Cockpit Arts have taken another route by teaming
up with Ingenious Media a Venture Capital Fund
to provide business development finance for
makers that are resident in their incubation centre
• Larger sums have been raised through specialist
ethical banks such as Triodos who have funded
studio space development at ACME Studios in
London
• Commercial websites such as Saatchi Online have
also raised substantial Venture Capital funding
• CultureLabel benefitted from Venture Philanthropy
52. MOBILECULTURE2
JULY 17th 2012, UNIVERSITY OF THE ARTS,
LONDON
WWW.CULTURELABEL.COM/MOBILECULTURE
AN EVENT BY SPONSORS VENUE PARTNER MEDIA PARTNER
53. THE CULTURE, BUSINESS
& TECHNOLOGY SUMMIT
SEPTEMBER 27th 2012, BLOOMBERG, LONDON
WWW.CULTURELABEL.COM/REMIX
AN EVENT BY SPONSORS ONLINE SPONSOR MEDIA PARTNER
54. INTELLIGENT NAIVETY FREE EBOOK AT
CULTURELABEL.COM/AGENCY
PETER TULLIN
PETER.TULLIN@CULTURELABEL.COM
CO-FOUNDER
TEL +44 (0) 207 749 6857
@CULTURELABEL @PETERTULLIN
FACEBOOK.COM/CULTURELABEL