According to my guru, Seth Godin marketing is simply “making work that matters for people who care”. As a marketing expert, we make change! We are trying to make a change happen and often we think that we just have to make it better. The problem with better is that it has no real definition. Let us assume we are trying to make it better for the customer and the enemy in the search for better, is average. And average is what everything we do is measured against.
You do not want to yell at strangers about your average products for average people. You have to make a brave promise to yourself that you are going to make something better for a very tiny group of people who are risk averse. And who also want to demonstrate to their community that they understand what it means to fit in with better quality products and services. I think there something about this change that we are making that is contagious. So contagious that people are proud of engaging with your products or services that they want spread the message.
Does what you do matter?
Who are you making promises too?
What does it mean to keep those promises?
And would they miss you if your promises were empty?
People with passion can change the world for the better
You can go to the best education facilities and spend years trying to learn about marketing or you can spend 7 minutes watching this Steve Jobs presentation from 1997.
What is your purpose?
You either believe when there is no evidence and sometimes that is delusion fuelled by denial. And sometimes, you believe where there is no evidence and this shows that you have faith in things that have not been seen yet. The challenge is knowing the difference between the two.
The mind is an element, strategy is an element, but it’s PURPOSE that is the missing link that binds everything together. Purpose is what really matters!
The majority of human beings have never had a deep thought in regards of self-regulation. Everyone is so busy, we are all so distracted that we do not give ourselves time to ask questions that matter. What truly matters is giving yourself the space and time to ask these question.
What is the purpose of your organisation?
I think that purpose is the core, root or foundation of your organisation. Therefore, if anything is poisoning the roots, then we must stop and get rid of the poison.
How?
- By looking at the relationships, dynamics within your organisation.
- By looking at what’s driving people within your organisation.
- By looking at the crap that you drag into the business and what poisons the purpose within your organisation.
And I think that if you don’t do this work, you will never get purpose within your organisation.
What do you stand for?
The early adaptors are people who are playing with new ideas in the culture. NIKE are selling to the early adaptors of fashion and make their money at the front end of the curve. NIKE is a disruptor in the marketplace and the brand DNA is so clearly identifiable with “We stand for something”.
c/o Nike
Colin Kaepernick is a symbol who stands for something and the other sneaker companies have been afraid to stand for what he stands for. NIKE helped to transform Colin Kaepernick from a kneeling quarterback to an icon of change. I think when you wear NIKE, you are symbolizing that you also stand for something.
How can you become a meaningful specific and not a wandering generality?
This means that you should not become someone who is wandering through life with no specific purpose or meaning to your life. Instead, be someone who stands out from the crowd. With dreams and goals that add meaning and purpose to your life as you accomplish them along your life journey, you become a meaningful specific.
I think that marketing is creating true stories, that when they intersect with people who want to hear them, these stories will change those people for the better. Seth Godin recommends reaching your “smallest viable audience that you can be sustained by.” And he describes the smallest viable audience as “that core group that you know, you understand and seek to interact with and so delight them that they will tell others.”
I don’t want to trick people into paying attention for a short while by making interesting click bait. I think that whatever your brand aesthetic may be, consistency in tone, voice, and style is crucial in building trust and keeping your audience coming back for more.
How do branding and company culture interact?
c/o Sacai @ Lane Crawford
In 2016, I managed to fulfil a lifelong ambition and traveled to Tokyo and Kyoto as I have been fascinated by Japanese culture throughout my life. I was not disappointed, Japan was exactly as I imagined. I worked with Beams way back in 1990, and I subsequently worked with all the major Japanese department stores.
I think you cannot successfully tell a story to the outside world for long which is opposite to the culture you actually have. We didn’t invent culture to inform capitalism, we invented capitalism so our culture could get better.
- Culture defeats strategy every time.
- Culture is people like us do things like this.
- Culture is how we make decisions.
Would you like me to look into your culture?
Are you aware?
I think that one has to remain open-minded to the fact that there are 6 billion people around the world who are not European or North American, and they buy an awful lot of stuff.
Perhaps it would be a good idea to start asking some questions about these consumers, for example:
- Why do they buy it?
- How do they buy it?
- What are they using to buy it?
- Who’s serving them?
- How do they serve?
How to get our attention?
c/o British Vogue
A vision usually comes from an individual. An entrepreneur. They make their companies and the whole world share the values to which they are attached. Luciano Benetton had a clear image of a world without interracial hatred.
Back in the days the “United Colours of Benetton” campaigns were groundbreaking. AIDS, racism, homosexuality and religion were important issues and Benetton was the brand that provoked the establishment. It’s a real shame that their voice has gone flat.
c/o Wallpaper
I think that when you close your eyes, you see your inner world and when you open them, you see the outside world as it presents itself. If you keep one eye open and the other one closed, your sight is blurred, but you find your vision. Remember that when you look through a telescope, you have to close one eye if you want to see farther!
Throwback Thursday
Imran Amed, founder and editor-in-chief of The Business of Fashion and I were keynote speakers at Fashion Talks, Antwerp (October 2013).
Simon Nygaard Hoff, co-owner and creative soul at Wonderland Agency
You and I met each other around 2008 when you had the WAS Gallery in Vesterbro even though we have not seen much of each other over the past couple of years. Last year we bumped into each other at Helle Mardahl’s ’vernissage‘ in Boffi and we both remembered that healthy relationships are nurtured by good conversations.
Thanks for taking time out of your busy schedule to meet me. As adults we often let the serious things in life suck all the joy out of our lives. We need to engage the younger side of ourselves to remember what it means to have fun. It’s important to let yourself be a juvenile every now and then, not everything needs to be so critical all of the time. During this interview, I will go with the flow and it’s totally unscripted 😊.
Can you tell me a little about your background?
It all began with the Wonderland Magazine in 2005 which kickstarted the Wonderland journey. In the first magazine we had a big article with Tal R and Jonathan Meese. We based the concept around dressing them up as Freud and his mum, as they were both in love with Freud. Tal R and Jonathan Meese said they would like to use the costumes, but we had to come over to Berlin. As we were still students travelling to Berlin was expensive but we managed. Subsequently, Tal R and Meese had a huge exhibition at Statens Museum for Kunst called ”Mor”, SMK had already made promotional material which they scrapped in favour of our images for the official press release, advertising and posters. Crown Prince Frederik and the Minister of Culture, Brian Mikkelsen, opened the exhibition. We were buzzing, this was an ideal start for us and the success was a big deal for us students, over the next couple of years we made 11 issues of the magazine, which were distributed in Denmark and Germany.
What are you up to nowadays?
Product design, furniture design and interior design.
Copyright: Please Wait To Be Seated
What made you choose to design the salt and pepper pots?
It was because I made the concept and interior design of a restaurant on the top floor of Illum. I was hired by Carlsberg to design the Bar Jacobsen restaurant/bar - I did the concept and interior design, and then I bought a lot of chairs from a company called, Please Wait To Be Seated (PWTBS). The owner (Thomas) came to the opening and asked if there was something I would improve. Now, as there is always one thing that you are annoyed about and it was the salt and pepper pots. Thomas said that is was really funny as he, wanted to add a salt and pepper design to the PWTBS collection and then I was hired as the designer. I told him that if he gave me 14 days I would come back with some great ideas and the rest is history.
They are made in wood and are being sold in cool shops like Illums Bolighus and Stilleben, but we think they still need a more commercial retailer as it's a royalty agreement.
How did you get into the art world?
My education is a pretty boring project management degree and I am an autodidactic graphic designer. I slowly moved into the art world when we opened Wonderland Art Space in 2008. Working with the room experience, collaborating with different artists to build and design art bars for festivals. In 2010, I was working on the visual identity for Roskilde Festival, making an art bar for Absolut vodka (Pernod-Ricard) with Helle Mardahl and Andreas Emeniusalso I was making a campaign for Diesel. I was subsequently hired by Roskilde Festival in 2011 to make another art bar, again it was sponsored by Absolut vodka but this time I worked with the artist, Anne Sophie Sandal on the project.
What were you interested in whilst at school?
I grew up in Svogerslev (small town outside Roskilde), I went to high school in Roskilde, but immediately afterwards I moved to Copenhagen as I was so tired of small city life. Even though I really like Roskilde and will probably move back one day...
I was interested in creativity and art whilst I was at school, I wasn’t interested in learning languages or mathematics, I just wanted to play football and learn about creativity. The only thing that I knew was that I had to move to Copenhagen as soon as possible. I attended a 6-month foundation graphics course at Copenhagen Technical School which was extended to one year and I attended film, drawing and graphic courses.
Afterwards, I started a small T-shirt brand called SLRP with Rasmus Blæsbjerg who was one of the first web design teachers at the Design School and was also best friends with Oliver Bjerrehus. I moved to New York for a few months with Rasmus and tried to build up SLRP over there with an American partner, but it did not work out.
Courtesy of W Magazine archives
Did you read comics or magazines? Who was your hero?
No, I read magazines and I was really inspired by the American W-Magazine that featured fashion, art, film and culture. I remember receiving some money from my aunt and immediately buying a retrospective book featuring W-Magazine issues from 1990. The book was huge and cost DKK 2.500. Then I knew that I really wanted to make a magazine one day.
I have never been a big fan of comics, Rasmus Blæsbjerg was the man I looked up to for many years, he was a character and very funny. The Wood Wood guys were also quite an inspiration, especially in the beginning when they had the shop on Krystalgade.
What was your first big career decision?
In the beginning of the 2000s, I started to learn a lot more about visual art and then I became a fan of a lot of artists because for me art is pure creativity where there are no rules. There are just your own rules, there is no client, you don't have to think of a brand, there is no brief. As an artist you can do what you like. The downside of all of this freedom is also the difficult part! I have been advising a lot of young artists about their career, they should know what they want to do, which direction they want to pursue, for example, sound, video, installations, etc. You cannot do it all, if you want to be an art superstar you have to think about your own brand - Tal R is a good example as you never doubt that it is him when you see one of his paintings. The way he combines the colours and figures, he has a childish way of painting with an edge. Tal R is also really good at speaking about his art, his work has a high level of quality, his motives are appealing - it's painting, it's childish, it's funny. He uses beautiful colours and he's really charming and good at networking. Tal’s also made a lot of right choices, e.g. he’s represented by Contemporary Fine Arts in Berlin and I've met the owner, Bruno many times, he's also a lot of fun. There are so many characters within the art industry 😊
Everyone wants a deeper connection with their clients, how do you create an emotional connection with your customers?
We at Wonderland are a commercial agency but we combine our own projects e.g. salt & pepper, with more commercial projects. We have just reopened the gallery, we are making a podcast about the advertising business. We don't ask permission, we just do it!
It's really important to get your own experiences, for example, trying to make an event because it is really difficult. Getting people to come, creating the marketing and promotion, so if you have that experience then you know how hard it is when you have to do it for a client. Their client’s budgets also have to reflect that if they want to be successful.
It's difficult to get big budget projects, you really have to fight for them and then to have permission to be creative within your own field of expertise and that takes a lot of back and forth, briefs, meetings, etc. Now we are staffing up on the management side, as we know that we have a good reputation and the best creative freelancers want to work with us, where we have struggled in the past to get the big budget jobs.
Courtesy of Wonderland Agency
It appears as though you made a seamless transition from the art world into communication & design. What were the key drivers for you to make the move into the communications world?
The transition has evolved by taking small steps, going more towards a commercial agency and away from the art business. We had a tipping point at the end of 2011, where we had to make the decision whether we wanted to run a creative agency or to run a gallery. At that time the gallery was representing 5 artists and they wanted to be represented at international trade fairs. However, we were not prepared to spend our weekends trying to sell art when we knew that we made all our money from the creative agency. The gallery was more the face; it was definitely not the body.
We started to make small campaigns for Tuborg, we became the Danish advertising agency for Absolut vodka and Diesel, and they both liked the edge that we could bring by gathering the cool creatives. We could not give the artists the representation they deserved, so we decided to close the gallery and move in the city and run our commercial agency there.
In 2103, we landed our biggest job to date for Somersby. We created a sub-brand, ”Somersby Unlimited” specifically targeting young party goers in Denmark. Here we had our commercial breakthrough and a huge budget. We created everything for the concept (strategy, brand name, visual identity, packaging design, etc.).
Carlsberg sold out of Somersby everywhere during the first two years and this is really something phenomenal when a Carlsberg brand sells out, as they really produce a lot of units. There was so much hype created around the product, simply by adding animal print on the bottles - it was a really simple idea, but the timing was perfect. Fashion is really mainstream and it can move a lot of people, we needed a creative basis for the idea for Somersby to become fashionable. The following year we knew it would be floral prints and we knew that if we integrated that on the bottles it would be a hit and again it sold out. The third-year was really difficult to follow up on the iconic bottles, so, unfortunately, Carlsberg closed down the brand.
Courtesy of www.markedsforing.dk
What role has digital taken in your business model?
Yes, it does! We have two sides of the Agency, I am head of design & art and there is not much digital on that side. The other side is SoMe and digital marketing. Here there is a lot of digital, looking at online trends, Facebook algorithms are constantly changing but as we are doing all the SoMe for Fitness World we have to stay on top of the game. And my business partner, Sophie Hardinger is running that side of the Agency, she has become a SoMe nerd. We have 4 people in her department and hire freelancers if we need to work with Adwords etc.
What makes your brand stand out from the crowd?
I hope that this artistic creative edge we have is the reason why clients want to work with us. Pernod-Ricard recently contacted us again as they want us to integrate their brands in a creative and cool environment.
I realised that when you develop strong ideas and you invest in the creative process, for example, thinking about the materials, the look, etc. delete. then I am really good at taking a brand and taking it into a physical dimension with a lot of funny creative solutions. I prefer to work on interior designs rather than creating advertising campaigns! The work will last a lot longer than just a quick fix, but of course it's difficult to convince companies to invest money into a long-term solution than a quicker, cheaper one. I have managed, so far, to explain and sell to a supertanker like Carlsberg where the Hall of Carlsberg has been up for 5 years and the Carlsberg VIP Lounge at Parken has been there for 7 years
