SHOOT FROM THE HIP

Twitter is here to stay. I don’t think that’s a particularly bold statement. Twitter has been embraced by consumers of every age and demographic. More and more companies are realizing it is a compelling medium through which to communicate their brand identity and engage in dialogue with their fans and detractors alike. They quickly learn that the most straightforward way in which to activate, and participate, in a conversation is through the use of hashtags. For those who have an active Twitter handle, hashtags are old news. But for anyone who has yet to be initiated into the language and etiquette of the Twitverse, the mention of hashtags draws black stares. And, unfortunately, the uninitiated still outnumber the converts by a significant margin.

Simply put, hashtags are any word, or linked words – words strung together without spacing, preceded by the “#” sign, eg. #asquaredgroup. Ideally, they relate to the subject of the tweet in which they are found. Traditionally, they are placed at the end of the tweet. Most importantly, they serve as a signpost for anyone wanting to be part of a conversation about the hashtagged subject.

For example, if I want to talk to people who love Nintendo, I’ll search #NintendoEnthused. My search will reveal a real-time discourse between Tweeters across the Twitverse who are excited about that brand and want to share their opinion with a larger audience. The search filters out any tweets from those same individuals that aren’t about Nintendo. I don’t have to be following any of them. I can “listen” to the conversation by just following the tweet stream. I can jump in and out of it whenever I want.

If I want to start a new conversation, all I need to do is send a tweet about my subject of choice and include a hashtag of my own making. My followers can engage in dialogue with me about it. In addition, anyone who is interested in the subject, and searches for it, can join in. The conversation takes on a life of its own. If members of the Twitverse think it is relevant, the conversation may continue for hours, days, or months. It may even start a movement.

The hashtag is a beautiful thing. And it’s just one of the many reasons why those of us who have embraced the incredibly dynamic and exciting world of Twitter advocate it so emphatically.

Have you ever purchased a car without test driving it first? Most likely, no. It’s a big commitment, after all. Of course, you may have felt the seductive pull of some fabulously cool-looking wheels once or twice, and mistaken it for love. Take, for example, the new moon rover. Really, who can resist a four-ton vehicle that has the power to travel sideways and climb boulders? But surface attraction rarely lasts past the honeymoon phase. Consumers want to interact with a brand, gain some knowledge of it, receive trusted feedback about it, and develop a connection to it before committing themselves to any kind of long term relationship. True brand loyalty requires experience, trust and nurturing. Without those, consumers can get lost in space.

Pop-up stores are a fantastic way to launch or reinvigorate a brand. When executed correctly, they capture the essence of the brand in a concentrated way. Their impermanent nature creates excitement. They provide consumers an intimate and unique interaction with the brand. What happens, however, when a well-known brand wants to completely shift how consumers see it? Does the pop-up shop work for that, too? The answer is an emphatic YES. The new 1969 Pop-Up, which A Squared Group created for Gap, Inc., is a perfect example of the transformative, buzz-creating, and sales-generating power of a well-crafted pop-up experience.

Gap, Inc. has been known for its denim since the company’s inception in 1969. In the past few years, however, a new wave of “premium denim” has taken the fashion world by storm. Gap sees an opportunity to compete with the Rock & Republics and True Religions with its newly redesigned 1969 Premium Denim, but needs to shatter consumer assumptions that a) premium denim needs to cost a premium, and b) Gap isn’t premium. A Squared Group has stepped in to address the challenge.

The 1969 Pop-Up is designed to generate a visitor experience for consumers that transports them into the world of high-end fashion while highlighting the core principles of simplicity, quality and straight-forwardness for which Gap is known. The keys to the 1969 Pop-Up’s success, and to the success of any pop-up, are location, decor, clarity of branding and inspired dashes of fun and surprise. With these elements in place, the consumer experience can be magical.

We built 1969 on Robertson Blvd., directly across from The Ivy. This is a high-end fashion nexus and center for celebrity fashionistas. It is the “must shop” strip of boutiques for anyone seeking premium clothes.

We created a striking, clean and simple space. It is all about the denim. Gap branding has been kept to a minimum; initial consumer impressions are based solely on the product. Visitors to the store are drawn in by the decor’s subtlety, embrace the premium denim ambiance, interact with the quality product, and feel they’ve uncovered a secret when they discover that their new favorite fashion finds are Gap. The visitor experience is utterly unique.

Consumers have flocked to 1969. The buzz is fantastic. And sales are phenomenal. It has been such a success, in fact, that Gap, Inc. and A Squared Group are looking into ways to extend the experience.

1969 has most definitely popped!

A Squared Group is in San Francisco at the moment, having just produced an incredibly successful, buzzed-about keynote address for Motorola at Mobilize 09. We had the opportunity to hear all about the new Motorola CLIQ and MotoBlur before anyone else, as we created content for the event and worked with Dr. Sanjay Jha to prepare his announcement to media, industry leaders, and tech savvy regular Joe’s throughout the world. The Motorola CLIQ and MotoBlur use cutting edge technology to make consumers’ lives easier and better. We love being able to bring that news to the public.

New Motorola CLIQ

The energy here in San Francisco is electric, and people can’t wait to get their hands on the new phone. That is why, in addition to developing the keynote, A Squared Group has created an interactive experience for key industry experts and leading international media to do just that, later today. These select individuals will be able to check out every aspect of the phone’s bells and whistles, while simultaneously seeing how others respond to the device, in a relaxed and realistic environment rather than in a controlled “testing” space. We expect a lot of texting to happen, and excitement about the new products to grow even further.

Follow feedback about the announcement by using hashtag #Moto or #Blur, and put this little baby on your holiday wish list. I know it’s on mine.

If you’ve been following the Swedish furniture giant, IKEA, lately – whether via its newest catalogue, Twitter or Time Magazine – you have probably discovered that the company recently underwent a transformation which caused shock waves and outrage to ripple through the Social Media universe. The transformation was a change in the style of font used for IKEA catalogues and print advertising, beginning with the recently-mailed 2010 catalogue. The ensuing consumer response to this change illustrates three notable phenomena: 1) the passion of brand enthusiasts, 2) the crucial need to listen to, and engage with, customers before making changes that affect those customers’ perceptions of one’s brand, and 3) the vital force of Twitter. That is why I love this story.

The switch IKEA made was from a customized version of Futura to a standardized version of Microsoft’s open-source Verdana. Now, before you roll your eyes, let me assure you that this was a strategic decision. IKEA wanted to cut costs and be able to use the same font across the globe. As IKEA spokeswoman, Monika Gocic, put it, Verdana is “more efficient and cost-effective.” The ultimate result of IKEA’s decision, however, may turn out to be anything but cost-effective, and ultimately damaging to its brand identity.

IKEA failed to consider the level of passionate attachment IKEA enthusiasts have for the brand, and its visual representation. According to statements made on Twitter and in interviews, many IKEA enthusiasts saw the company’s shift to a more ubiquitous, simplified font as potentially emblematic of a shift in IKEA’s larger brand and design philosophy. And they were vocal in their upset.

This was both a blessing and a curse. The fact that enthusiasts are so invested in the IKEA brand that they felt compelled to articulate their dismay is impressive, on one hand. It indicates how much they identify, and personalize their relationship, with the brand. Companies live for this kind of loyalty. However, these enthusiasts had interpreted the company’s actions as negatively influencing the overall brand image and value.

No company known amongst its loyalists as a design innovator wants to suddenly be associated with dumbed-down, common-place design. But that is exactly the leap that was made. IKEA did not expect this reaction. In addition, it did not formulate a response to, or open up dialogue with, its enthusiasts.

This may have been a critical misstep.

In less than a day, IKEA’s new font was as active a topic in the Twitterverse as Senator Edward Kennedy’s death. And the conversation was global. Days later, the discussion continues. It is fed by the interactive energy of Twitter, and carried forward by mainstream media, blogs and word-of-mouth. It involves both IKEA enthusiasts and those originally only marginally interested in the subject. But a voice from IKEA has yet to join in.

It is too soon to tell whether enthusiasts’ negative sentiments will mushroom into a revolt, as happened for Coke when it made a little change back in 1985, or will disappear from the Twitterstream without affecting IKEA’s bottom line. It would be a shame, however, if nothing is learned from this “surprise” development.

I hope that IKEA eventually does fashion a response to their enthusiasts, addresses the misunderstanding, and adjusts their strategy following this episode. If nothing else, perhaps they now will remember the following:

a) Never underestimate the power of your brand enthusiasts. They will carry you far, maintain inspiring loyalty and spread the message of your brilliance… as long as you hold up your end of the bargain. Simply put:

* Listen to your enthusiasts;

* Respect their opinions; and

* Create dialogue to communicate your intentions.

b) Do not dismiss the force of Twitter. It is now, dare I say it, as powerful as the blog.

In the interest of full disclosure, let me clarify that A SQUARED GROUP has no present or past association with IKEA, though I’d put money down that most of the team, at one point or another, has owned a piece or two of IKEA’s assembly-required furniture.