SHOOT FROM THE HIP

Waiting in line for Grand Opening Event

What would make jaded New Yorkers do a double take, tourist buses screech to an unscheduled halt and busy shoppers feel like the holidays came early? An unexpected encounter. A phenomenal experience. A change from the ordinary to the extraordinary. That is exactly what happened a few weeks ago at Old Navy’s flagship store in Manhattan. In concert with nineteen other Grand Opening events that A Squared Group developed and orchestrated throughout the United States and Canada, including a carnival complete with Ferris wheel in Manhattan Beach, California, we created a jaw-dropping brand experience in SoHo, New York.

wow

Our goal? To ensure that every Old Navy customer and passerby, from infant to octogenarian, felt part of the Old Navy celebration and the Old Navy community.

Lots of smiles

The excitement level was at a fever pitch all day long. Vintage sodas, popcorn and freshly spun cotton candy were given out. Face-painters and balloon artists delighted children (and adults) with their creations. Branded games were created specifically for the event. And members of Cirque du Soleil wowed the crowds with feats of daring and delight.

Teamwork

Customers called, texted and tweeted their friends and family. Pedestrians made unplanned detours into the store. More than one sight-seeing tour added Old Navy to their agenda. The experience reaffirmed consumers’ conviction that Old Navy is a fun and friendly place for the whole family. And we loved being part of it!

ROI

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.

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.