Amazon Launches Luxury Stores on Its Mobile App With Oscar de la Renta as First Brand Partner (Source: Vogue)

BY NICOLE PHELPS September 15, 2020

Cara Delevingne wears Oscar de la Renta
Cara Delevingne wears Oscar de la RentaPhoto: Angelo Sgambati
  • After months of industry speculation, Amazon is finally launching its Luxury Stores experience. Oscar de la Renta is the first and only label to open a shop-in-shop today, though more established and emerging ready-to-wear, accessories, and beauty brands are expected to join the new platform in the weeks to come. Christine Beauchamp, president of Amazon Fashion, tells Vogue, “We’re excited about creating an elevated and inspiring customer experience, while also infusing innovative technology to make shopping easier and more delightful.”

Luxury Stores is launching on Amazon’s mobile app, and eligible U.S. Prime members will receive an invitation to experience the service via email. Anybody who doesn’t have an invite from Amazon in their inbox this morning can register for one through the new website. Beauchamp explains the strategy: “Mobile shopping is incredibly important for our customers. We find that the Amazon fashion customer overwhelmingly shops fashion in the mobile experience, so we began it with mobile, where our customer begins. In fact, in the past year [Amazon] customers have ordered over a billion fashion items on mobile.”

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Oscar de la Renta’s mobile shopping experience on Amazon’s Luxury Stores

That’s a very attractive number, as Oscar de la Renta CEO Alex Bolen makes clear: “I would guess that somewhere near 100% of our existing customers are on Amazon and a huge percentage of those are Prime members,” he says. “So they’re already in that environment. For me to get more mindshare with existing customers in addition to getting new customers—that’s the name of the game. We want to be able to talk to her wherever she’s comfortable shopping.” When pressed about luxury’s perceived resistance to the world’s largest online retailer, he adds: “This idea that you don’t want to speak to a customer where she’s spending a lot of her time is a mistake.”

For the record, Amazon has over 150 million Prime members, but the company is banking on more than just its prodigious size. It’s operating Luxury Stores as a concessions-based platform and giving brands more power and freedom than they tend to enjoy in a traditional department-store relationship or on one of the premier luxury e-commerce sites. Bolen and his Oscar de la Renta team are able to independently make decisions regarding their assortment, their pricing, what they will showcase to customers when, what kind of customer service they’ll offer (there are no customer reviews on Luxury Shops), and whether they will utilize fulfillment by Amazon or do their own shipping. “Fundamentally our relationship with Amazon is not a wholesale arrangement,” Bolen says. On launch day, the brand’s pre-fall and fall 2020 collections will be available.


“We really believe this is an opportunity to partner with luxury brands who are seeking tools and a synergistic environment to bring luxury shopping into the future,” Beauchamp says. (Earlier this year, Amazon partnered with Vogue on the Common Threads initiative, which was formed to lift designers’ sales during the pandemic. Anna Sui, 3.1 Phillip Lim, Victor Glemaud, Adam Lippes, and Deveaux were among the participating brands.) Luxury Shops was built on customer feedback. “Our customers share with us that when they’re shopping for luxury that they’d like it to be an immersive, inspiring experience. Increasingly they’re looking to understand not only the product itself but the story of the brand, the craftsmanship, the make.” Amazon and Oscar de la Renta collaborated on a launch video, starring Cara Delevingne, directed by Bunny Kinney, and styled by Jason Bolden.MOST POPULAR

Aligning content with commerce is a winning formula, but engaging videos aside, Amazon’s most impressive innovation is its View in 360 tool, which is an interactive 360-degree-view feature that allows customers to visualize how select garments will look on various body types and skin tones, with multiple models for each dress size. It was designed, Beauchamp explains, “to overcome any shopping challenges pertaining to size, fit, draping, and whether the garment will be flattering.”

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The View in 360 feature  allows customers to explore styles in 360-degree detail.
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View in 360 was designed to overcome shopping challenges pertaining to size, fit, draping, and whether the garment will be flattering.
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Beauchamp says: “We look forward to learning from customers what they’d like to see in the future to continue to develop innovative experiences.”

Bolen explains the challenges of online shopping for a ready-to-wear brand. “For us,” he says, “one of the huge frustrations of digital is return rate. The return rate in our brick-and-mortar stores is low single digits on a bad day. Online, it’s almost 30%. If digital becomes an increasing part of our business, and the smart guys say it could reach 30%, 40%, that has huge implications. It means I need to have much more inventory, many more people dealing with returns. It’s kind of a different business than what we’re used to. We have to learn on the fit side how we can get better, and Amazon is very interested in that problem. They’ve got teams of people that are thinking about this all day long.”

Amazon won’t reveal its upcoming brand partners, but there’s no way it doesn’t disrupt the way luxury fashion is purchased. Luxury Stores arrives in a moment when the designer and retailer relationship is being problematized. In May of this year, Dries Van Noten, one of the industry’s most beloved and respected designers, spearheaded an open letter advocating for selling clothes in the season they are intended for—coats in winter, swimsuits in summer—with the discounting periods limited to the end of the seasons. By the end of June, there were 80% off sales on some e-tail sites. And the pandemic is likely to make retailers’ terms more taxing. Meanwhile, launching and maintaining direct-to-consumer e-commerce could be cost prohibitive and complicated for the emerging brands that Amazon says are part of its future. The store’s store-within-a-store strategy presents a seamless solution. And let’s face it, size matters. Says Oscar de la Renta’s Bolen: “In general, learnings are something with Amazon that we can’t get to the same scale with other people. We think we know things about our customers, but do we have it on the scale that Amazon is going to be able to gather it? We don’t.”

Temps de cerveau disponible : comment les salles de ciné vont devoir muter (Source: l’ADN)

Frappées de plein fouet par la crise et face aux grandes plateformes, les salles de cinéma doivent plus que jamais repenser le lien qu’elles entretiennent avec leurs publics. Du rôle de diffuseur, elles doivent passer à celui de médiateur culturel, estime Elisha Karmitz, directeur général du groupe MK2.


Donner la parole à l’économiste Esther Duflo, à l’écrivain italien Erri De Luca ou au philosophe Charles Pépin ou diffuser le dernier blockbuster à l’affiche, c’est le pari du groupe MK2 avec le lancement de « MK2 institut ». Lancé début septembre, l’espace de débats et de conférences invite artistes, chercheurs et penseurs à partager leur travail auprès du grand public, en ligne ou depuis le confort intimiste de salles de ciné. 

À l’heure où la culture subit les conséquences de la pandémie et où le streaming tend à remporter la bataille de l’attention, l’initiative sonne comme une promesse de renouveau pour le secteur. L’enjeu ? Décloisonner le 7ème art et tisser des liens entre les disciplines pour comprendre le monde avec différentes clés de lecture. Un vaste programme (150 événements de septembre à fin décembre) qui ne tiendra pas « en 280 caractères », ironise Elisha Karmitz, directeur général du groupe MK2. Pour lui c’est sûr, si les salles de cinéma veulent survivre, elles vont devoir se réinventer et prendre leur rôle de médiateur culturel au sérieux.

Comment évolue l’expérience de la salle de cinéma ? A-t-elle déjà changé au regard de la crise actuelle ?

Elisha Karmitz : Le cinéma a toujours été obligé de se réinventer. Aujourd’hui, la situation est celle que l’on connaît, mais en prenant du recul, il y a toujours eu des crises ! Il ne faut pas oublier que le passage du muet au parlant était déjà considéré comme tel à la fin des années 20. Récemment, le passage des salles de centre-ville aux cinémas multiplexes a été à la fois un essor et une crise pour le secteur. En parallèle, on se rend compte que les gens reviennent dans les salles de cinéma de centre-ville à cause des problématiques de transport et de proximité. Ce qui veut dire que les salles de quartier se portent mieux. A contrario, on voit que les multiplexes sont dépendants d’un certain type de programmation, notamment parce qu’il y a beaucoup d’incertitudes sur l’engagement des distributeurs américains auprès des salles. Tout change vite et ces facteurs nous obligent à nous remettre perpétuellement en question. 

Comment les salles de cinéma doivent s’adapter, en particulier face à une audience dont le temps d’attention est de plus en plus courtisé ?

E. K. : Comme les grandes plateformes de streaming, il faut que les cinémas réussissent à mettre en avant leur programmation et leurs films. Pour ça, les salles de cinéma vont devoir muter et penser leur rôle comme celui d’un média, d’un médiateur, d’un programmateur. Il faut aller à la rencontre du public. Personnellement, je trouve intéressant que l’on puisse diffuser – avant un film à grand spectacle ou un film d’auteur – la bande annonce d’une conférence d’Esther Duflo. La première fois, les gens ne la connaîtront peut-être pas, mais à force d’y être confrontés, cela attisera leur curiosité. Pouvoir confronter le travail de penseurs et de chercheurs à un film, c’est ça qui fait la richesse du cinéma. C’est aussi son rôle : être un support de débats de société. Aller écouter un philosophe ou un historien là où vous êtes allé voir le dernier film de Nolan en famille ou avec votre petite amie, c’est tout de suite moins intimidant. 

C’est ce que vous avez voulu faire avec l’Institut MK2 ?

E. K. : On sentait qu’on avait besoin d’un outil qui nous permette de faire notre métier de programmateur avec le climat politique et social actuel. On nous martèle des idées à longueur de journée, parfois de manière idéologique, souvent sans trop de nuances, de temps longs, de réflexions… Il y a une vraie perte de repères et on ne peut plus se permettre de résumer le monde en 280 caractères. Alors on s’est dit qu’on allait redonner de l’espace à la parole, à celle des intellectuels notamment. On souhaite confronter notre public à l’altérité, à des idées avec lesquelles ils ne sont pas forcément d’accord. On cherche aussi à faire sauter certains verrous. Passer la porte du Collège de France pour aller écouter un chercheur, ça peut être décourageant. Alors que dans une salle de cinéma, c’est différent, il n’y a pas de barrières à l’entrée. Aller écouter un philosophe ou un historien là où vous êtes allé voir le dernier film de Nolan en famille ou avec votre petite amie, c’est tout de suite moins intimidant. 

Est-ce une manière d’assurer vos arrières, d’hybrider vos sources de revenus au regard de la situation économique actuelle ?

E. K. : C’était d’abord une réponse à une problématique idéologique. Cela dit, ça nous permet effectivement de diversifier nos offres au vu du contexte actuel. Mais de manière générale, on essaye d’éviter la dépendance à une seule source de programmation, tout comme on ne veut pas être dépendants des studios américains. Leur propre modèle souffre d’ailleurs aussi de la crise…

La manière dont vous avez communiqué autour du lancement de l’Institut est assez révélatrice de l’époque : « Ne confiez pas votre temps de cerveau disponible à n’importe qui ».

E. K. : On est dans une bataille de l’attention permanente. Des grandes plateformes de VOD aux jeux vidéo, en passant par l’industrie de la musique et du cinéma… les gens ont un temps de disponibilité limité. Netflix le dit d’ailleurs très bien, « notre principal concurrent, c’est le sommeil des gens, ce sont ceux qui s’endorment devant les contenus ». Je comprends cette façon de voir les choses, mais je pense qu’on peut s’y prendre autrement. On peut voir la culture autrement que comme une marchandise ou un tableau de chiffres, proposer des alternatives qui poussent les gens à aller vers des idées plus complexes. 

Vous avez pourtant noué un partenariat avec Netflix cette année avec des films de votre catalogue. (En 2020, Netflix et MK2 ont annoncé une collaboration autour d’une sélection de films emblématiques avec des réalisateurs comme François Truffaut, Charlie Chaplin et Jacques Demy, ndlr.)

E. K. : Netflix a en effet acheté un catalogue de 50 films pour une durée d’un an. MK2, c’est aussi un  distributeur de films, un détenteur de droits de catalogue. À partir du moment où Netflix a le désir de présenter du cinéma d’art et d’essai, cela nous paraissait naturel de nous associer ! Permettre à des contenus emblématiques de l’histoire du cinéma d’être largement diffusés, c’est formidable. Et comme les films de Truffaut ne sont pas présentés en prime time sur TF1 ou sur France 2, on se félicite que cela se passe sur Netflix, là où une partie importante de l’audience se concentre. 

Vous avez aussi misé sur des contenus gratuits avec la plateforme Curiosity durant le confinement. Est-ce que cela va perdurer ?

E. K. : C’est une initiative que l’on va poursuivre oui ! Comme pendant le confinement, on y trouvera des curiosités, des bizarreries, des choses que l’on n’a pas l’habitude de voir, des fonds de catalogue… On va professionnaliser la plateforme et lui attribuer un modèle économique d’AVoD (Advertising video on demand). C’est un site de streaming gratuit sur un secteur de niche, mais qui se veut complémentaire d’autres types de contenus. Après avoir passé des heures sur YouTube, on peut avoir envie de choses qui sortent de l’ordinaire, on recherche un temps d’attention plus qualitatif. Si on ne veut plus subir de flots incessants de contenus, il faut avoir une capacité à faire le tri, à dire que tous les contenus ne se valent pas.

L’idée selon laquelle nous serions des zombies incapables de nous concentrer serait alors infondée…

E. K. : Sans programmation travaillée en amont, nous sommes tous des zombies derrière nos écrans ! Prenez YouTube par exemple. La plateforme n’a pas de point de vue réel sur les contenus qu’elle propose, elle se présente simplement comme un outil technologique. Il y a des vertus dans cette forme d’expression, une libération de la parole, mais je pense que le rôle des diffuseurs est d’autant plus important dans ce contexte. Si on ne veut plus subir de flots incessants de contenus, il faut avoir une capacité à faire le tri, à dire que tous les contenus ne se valent pas. Je pense que beaucoup de gens ont envie de reprendre leur destin en main, de penser par eux mêmes. Je crois aussi que le public a changé,  surtout les plus jeunes qui apprécient autant d’assister à des conférences sur des sujets qui les intéressent que d’aller voir un Star Wars ou un Tenet. Beaucoup n’envisagent pas leurs pratiques culturelles comme un simple flux d’informations. Beaucoup ont besoin de reprendre le goût du temps long.

Havas Media Group Partners With Funnel to Remove Data Bottlenecks & Automate Client Reporting Worldwide

Leading global media agency rolls out Funnel to optimize digital marketing measurement and improve the client reporting process across its global networkby Havas Media Group • August 14, 2020

NEW YORK, NY, AUGUST 14, 2020— Havas Media Group today announced that it partnered with leading data automation company Funnel to remove marketing data silos and create a uniform reporting process for a growing list of their clients. The partnership furthers Havas Media Group’s commitment to make a meaningful difference to brands, businesses, and people.

With increased focus on scalability and transparency on a global level, Havas Media Group found a technology partner that will be able to support the diverse needs of all of their markets, as well as, allow them to create a streamlined process at a network level. Funnel, through its ability to easily generate Business-Ready Data, will fuel Havas Media Group’s global operating system, Mx System.

Havas agencies in France, the US, the UK, Belgium, and Spain, to name a few, have adopted the new network solution.

Havas Media Group aims to understand the most “Meaningful Media”—the media channels, moments, and brands that really move consumers to action. Media that is trusted, engaging, and influential has the best chance of helping brands reach an engaged audience. The global business invests in Meaningful Media to deliver great Meaningful Experiences, which sits at the heart of everything it does. Havas Media makes great Media Experiences, by capitalizing on the most Meaningful Media, to build more Meaningful Brands.

“We looked at many other solutions and tools on the market, but none of them came close to the service Funnel provided. The implementation has been extremely straightforward and the offices that have already adopted Funnel were able to complete the migration process much faster than we could have imagined. The flexibility, the level of support, and the quality of the partnership, in general, is extremely high and we look forward to a long and exciting relationship with Funnel,” said Pierre Raoul, ‎EVP, Global Head of Data Marketing, Havas Media Group.

“We’re excited to see digital agencies like Havas Media changing the industry standard by becoming more transparent and data-driven. Modern media buyers now have a much better understanding of the digital marketing landscape, which has, in turn, increased the demand placed on agencies,” said Fredrik Skantze, CEO, Funnel.

Havas Media plans to continue the roll-out of Funnel to automate their client reporting process worldwide.

About Havas Media Group

Havas Media Group (HMG) is the media experience agency. HMG delivers this brand promise through the Mx system, where meaningful media helps build more meaningful brands. HMG is part of the Havas Group, owned by Vivendi, one of the world’s largest integrated content, media and communications groups. HMG also consists of two global media networks: Havas Media and Arena Media. The media experience agencies are home to more than 10,000 specialists across 150 countries worldwide, with 62 Villages. Global clients include Hyundai Kia, Puma, TripAdvisor, Michelin, Telefónica, Swarovski, Reckitt Benckiser, among many others.

For more information, visit the website or follow Havas Media Group on Twitter @HavasMedia, LinkedIn @Havas Media Group, Facebook @HavasMedia or Instagram @havas.

About Funnel

Funnel is the essential foundation for digital marketing, automating the generation of Business-Ready Data to empower marketers and to give them certainty about what’s really driving the business.

With its contextual data model, Funnel takes messy, siloed data from all sources to automatically generate Business-Ready data which is fully harmonized, up-to-date and always ready to act upon. Funnel doesn’t require any coding or manual maintenance, giving marketers point-and-click control to continuously experiment with new data sources, business logic and tactics without ever breaking the data model.

For the first time, marketers can operate at speed without waiting on IT or business analysts to access the data they need. Technical teams are now freed from tedious data collection and manipulation tasks to focus on higher-value activities.

Learn more at

Sven Bally aux commandes de Boondoggle CX

Sven Bally, ex Chief Digital Officer chez IPG Mediabrands, a rejoint Boondoggle CX, le département de Boondoggle qui accompagne les clients dans leurs besoins de transformation digitale et commerciale, où il coiffe la casquette de Managing Director.
Sven Bally travaillera aux côtés du Managing Director de Boondoggle, Stijn Cox (à droite sur la photo, à ses côtés), et de son CFO, Alessandro Pepi, pour renforcer la proposition intégrée de l’agence et faire croître la division Boondoggle CX. Carl De Mey, actuellement directeur associé dirigera et supervisera le service aux clients et les opérations, et lui rendra compte.
Sven Bally : « Ces dernières années, le marché et les marques accélèrent à une vitesse folle le parcours client au travers des différents points de contact. L’intégration des capacités marketing et de l’expérience client crée l’évolution vers une “Branded Customer Experience” qui sera la clé de différenciation pour nos clients. Positionnement de la marque, technologie, innovation et tactiques médiatiques alignées vont de pair pour améliorer le “Branded Customer Experience”. »

Consumer spending, retail footfall, Christmas: 5 interesting stats to start your week

Consumer spending sees slowest decline since lockdown began

Consumer spending declined 2.6% year on year in July – the smallest fall since lockdown began – as Britons began to spend more on non-essential items.

Spending on essential items was up 3.2%, with a 15% increase in supermarket shopping helping to offset a 22.2% decline in fuel spend.

Spending on non-essential items declined by 4.7% in July but this is a significant improvement on the 22.3% decline in June. Spend in restaurants was down 64.2%, compared with 86% the previous month, while spend in bars and pubs fell 43%, an improvement on the 93% decline in June.

Some four in 10 (37%) of UK adults are now unconcerned about visiting shops, with those aged over 55 least likely to feel concerned and those aged 18 to 34 most concerned. Among those who are comfortable, 46% say they feel reassured by people wearing face coverings and 45% by the presence of antibacterial hand gels.

Source: Barclaycard

Marketers feeling productive despite lockdown working

Marketers productivityThe majority of marketers (64%) feel they have been as productive, if not more so, working from home.

Of the 500 UK brand marketers answering the fourth round of an exclusive survey conducted by Marketing Week and its sister title Econsultancy, nearly 59% also agree that remote working inevitably encroaches on work/life balance, despite the rise in productivity, with 61% admitting they work more hours when working from home.

Perhaps surprisingly given this, the majority of people (66%) don’t agree with the statement that they can’t wait to get back to the office. It will be good news then that that nearly half believe that even if Covid-19 is over remote working will be very common (48%) or somewhat common (35%).

The majority of marketers have not found remote working more challenging except when it comes to creative collaboration, With nearly half (45.5%) citing this as more challenging compared to the 31% who  said no change and 13.4% who found it easier.

Source: Marketing Week & Econsultancy

Consumers starting Christmas shopping early

More than a quarter (27%) of UK consumers are planning to start Christmas shopping and preparing for the festive period earlier than usual.

There was a 44% increase in searches containing the terms ‘Christmas’ or ‘Xmas’ on Ebay between April and May this year than during the same period last year. Meanwhile, 34% of UK shoppers claim to have already bought Christmas-related items so far this year, including Christmas cards, wrapping paper, Christmas presents and decorations among other products.

Financial uncertainty is leading to a fifth of UK consumers prioritising cost efficiency when it comes to their celebrations this year, which could be one of several reasons why many have chosen to spread the cost of the holiday by beginning preparations sooner.

Source: Ebay

Consumers want brands to capture people’s true lifestyles

Nearly 80% of global consumers say they want brands to capture people’s true lifestyles and culture in their advertising, rather than simply featuring people of various ethnicities, backgrounds and appearances.

Six in 10 people prefer to buy brands that are founded by or represent people like themselves.

This is reflected in searches for images, with searches for ‘diversity’ up 133%, ‘culture’ up 115%, ‘real people’ up 115% and ‘inclusion’ rising 126%. Between May and June searches for diverse images rose 200% and for images around unity and equality by 500%.

Source: Getty Images

Hot weather hits high street footfall

Footfall across UK retail destinations rose by just 0.8% last week compared to the previous as the weather made it too hot for many to venture onto the high street.

High street footfall declined by 0.5%, while in contrast retail parks experienced a 1.9% rise and shopping centres 2.4%. Footfall was up by 0.3% in coastal towns and 0.9% in historic towns, while in London it fell by 4.5%.

The increase in activity in retail parks means that footfall is now just 13.2% lower than last year. However in shopping centres it remains 37.1% lower and on the high street 39.2% lower.

Source: Springboard

How Game Technology is Defining the Marketing of the Future By Isabelle du Plessis

Interactivity and gamification are the new heart of the ultimate brand experience

Profile picture for user Isabelle du Plessis

By Isabelle du Plessis of The Mill on Aug 13 2020 – 6:00am

We live in an age dictated by screens—exposed to a world of branded content that extends far beyond the concept of traditional “marketing.” With brands competing for eyeballs and attention more than ever, how can they cut through the noise?


Advertising was traditionally dominated by the 60-second TV ad buy. However, with the rise of streaming and digital content platforms, the way audiences are interacting with brands and advertisers is changing. With a multitude of contact-points available, brands are looking for new ways of engaging with their consumer, and it’s all about interactivity and immersion. Marketing in 2020 is all about building on the traditional storytelling concepts of commercials and taking them into the experiential space, introducing consumers into the brand narrative and giving them the ability to navigate their own, independent experience.

More screens = more content, and in recent years, as we’ve seen the demand for quality content rise, budgets are getting slimmer and timelines significantly shorter, meaning creative studios need to offer new production solutions to deliver.

Enter game engines; technology that the gaming world has used for years. Creatives are increasingly leaning on the principles and processes of gaming to deliver heightened brand experiences and new ways of producing work. This is because the technology behind gaming provides ultimate creative flexibility and enables the production of live visuals that viewers can play and interact with. 

Game engines are the firepower behind the games we love, they are the technology that allows the live-play and interactivity aspect of the game. Game engines were born out of the desire to go beyond video games that were locked to precisely defined hardware systems—from mainframes in the ’50s to the stand-up arcades of the ’70s. Game engines brought gaming to PCs and consoles and then democratized development to mobile and headsets as well. 

The nature of game engines mandates constant evolution, and today they have smarter A.I.’s, better rendering and more customized tools for filmmaking and mixed reality experiences than ever before. Industries beyond gaming are increasingly seeing the power of real-time visualizations and interactive products—in architecture, engineering, construction, manufacturing, and more recently, film, advertising and live events. According to a Forrester report, “95 percent of architects are interested in adopting real-time rendering solutions as a means for reviewing and editing designs with customers.” This is just one example of the power of gaming technology. 
Within the world of marketing and filmmaking, the benefits are twofold; using game engines can supercharge productions through virtual workflows that are collaborative and responsive. The use of this tech enables the production of graphics at an accelerated rate. This offers the visual effects industry alternative ways of working and is credited with helping generate scenes within productions such as The Mandalorian, Nickelodeon’s working title The Voxels, and the visuals on Lady Gaga’s Las Vegas Residency tour. This tech also widens the ways we engage with our audiences, through experiences built for and delivered through web, mobile, augmented and virtual reality platforms.

Game engines are completely altering the paradigm through which consumers engage with brands. It enables us to gamify content through augmented reality (think branded Instagram filters), virtual reality and live interactive experiences. By using the principles of gaming within marketing, consumers can take an active part in brand narrative, building an experience that activates emotion and memory. The huge appeal of gamified content is that it gives us agency and enables us (within parameters) to define our own narrative. We interact. We play. We effect. We choose. And it’s how modern platforms work. 

The big corporate players in this field are gaming companies such as Epic Games (makers of Fortnite) and Unity, but they would not be who they are without the masses who use their software. The community driving game engines to success are the masses of players and developers who are constantly experimenting and pushing the boundaries of this tech into new sectors such as advertising and marketing.

The nature of real-time rendering is that it can blend seamlessly into so many facets of our existence. Game engines may power the wayfinding of the future in stadiums, museums and public exhibits. It will power multiple XR experiences across the globe when augmented and virtual realities are finally democratized and widely used within education, architecture, medicine and other fields.

The real-time rendering market is projected to grow at an estimated annual rate of 17 percent. The market is projected to reach $4 billion by 2027 from $1.1 billion in 2019. The high demand for real-time rendering solutions in entertainment and media is driving the growth of the industry due to the increasing demand for immersive and interactive content through mobile devices such as tablets and phones. 

We desire interactivity more than ever in all facets of life—so as marketers and content creators, let’s listen to audiences and lean on this versatile and powerful technology to develop cutting-edge content and define the future of marketing and consumer engagement. 

Gary Vaynerchuk: Small Business -TikTok has one big advantage over Facebook that you can exploit


Eric Rosenbaum@ERPROSE

  • Gary Vaynerchuk says Facebook is the best way to reach new customers, and the ad boycott has brought down prices, but it’s still difficult for small businesses to win without a significant advertising spend. 
  • TikTok offer entrepreneurs the chance for organic growth through personal content, though that opportunity won’t last forever.  
  • LinkedIn has a similar edge, so if Microsoft were to acquire TikTok, it would have the two social media apps with the best organic growth potential.


As the U.S. and Chinese governments battle over the fate of TikTok, with tech giants including Microsoft vying to acquire the popular social media app, advertising guru Gary Vaynerchuk says small business owners also have a big TikTok opportunity to exploit.  

“It’s really hard to go on Twitter, Instagram, YouTube, or Facebook right now and have organic business growth, just set up an account and put stuff out,” Vaynerchuk said at the CNBC Small Business Playbook: The Path Forward virtual event on Wednesday. “You have to be exceptionally talented in your creative or your personality to break through and you’ll probably need six months to a year for it to happen,” the CEO of VaynerMedia told CNBC’s Julia Boorstin.

TikTok and LinkedIn — which already is owned by Microsoft — have the most organic reach, he said. “Those are two places you can post and not spend ad money and get customers. The other platforms become a question of, whom do I want to reach?” 

Vaynerchuk said while the hyper-growth of TikTok has attracted the most attention, it is both LinkedIn and TikTok where “you can literally go on and be stunned by how many people see your stuff randomly. … There’s a lot of attention, and not as many ads or content creators on there right now.”

TikTok logo displayed on a phone screen.

TikTok logo displayed on a phone screen.Nicolas Economou | NurPhoto | Getty Images

But, the current opportunity to grow organically without a glut of content competitors won’t last long.

“Quickly, that’s changing on both platforms, especially TikTok,” Vaynerchuk said.

As the platform gets more crowded, advertising on TikTok does make sense. “I’m a huge proponent of running ads on these platforms, because in comparison to direct mail, TV commercials, print ads, banners, you know, flying over a beach or outdoor media, or anything else one can do with money, I find them to be more efficient for their dollar, more localized, which matters to most of the small businesses right now,” Vaynerchuk said.

The decision on where to advertise for a small business has to come back to knowing your customer, Vaynerchuk said. Every business needs to start by “reverse-engineering your customer, or the customer you’re trying to get.”

If you’re selling to 55-year-old B2B decision makers, LinkedIn becomes the No. 1 social media platform for which a business needs to know how to create content and media. If you’re trying to acquire 15 -to 25-year-olds, TikTok and Instagram matter a lot more.

“Step one is figure out who you’re trying to target. And if it’s stay-at-home moms, all of a sudden, Pinterest, all of a sudden Instagram ads, not just posting,” he said.

What’s changed in ad market pricing

Vaynerchuk said that his belief in the value offered by TikTok and LinkedIn does not imply Facebook’s importance has diminished. In fact, he said Facebook and Instagram are offering advertisers rare value right now because of the boycott by large brands.

“Their media product or ad product is incredible and has the broadest collective reach. So if you’re a big company within the small business space, that’s always going to be a place you’re going to want to be,” he said. “The biggest opportunity for everybody right now, and it’s kind of going to go away here pretty quickly, because Facebook is too important to the big businesses, but some of the prices went down … because a lot of brands pulled out dollars and so I see hyper-under-priced opportunity on Facebook and Instagram.”

Vaynerchuk described Roku and Hulu as also having “somewhat under-priced products.”

The advertising that continues to be overpriced is in traditional markets.

“I spoke to my outdoor guy, who I know really well, and he’s like, ‘the prices are like discount by 10%,’ and I’m like, ‘there’s nobody on the road.’ Newspapers, I was curious, I reached out just to be educated in case a question like this was asked. No heavy discount. It fascinates me how the traditional landscape doesn’t adjust to the reality of the marketplace. This is why digital continues to eat up market share,” Vaynerchuk said.

The No. 1 Facebook mistake

The social media expert said making content work on Facebook requires a lot more work than just paying for ads. He said too many small business owners say Facebook doesn’t work after running a few ads.

“Facebook ads work. The question is: Are you good at it? And I think that people blame platforms for their inability to be good at targeting ads or doing good creative. The No. 1 mistake I see is people giving up on a platform because they did not have a successful campaign and that was their fault. It was not the opportunity,” Vaynerchuk said. “You have to practice. I am blown away by how many people refuse to put in the 10 hours of learning to save their business. … You know it. It’s your business, you’re trying to save it.”

He explained that Facebook is about zip codes and targeting: “If you’re a pizza shop owner, and you want to rev up your deliveries, or if you have a dog grooming business, or if you cut hair and you’re willing to go to people’s homes or want them to come in, you basically target the one-, five-, 10 mile-radius of your location.”

Vaynerchuk said it’s always a good time to spend more wisely, and that of course includes during an economic crisis that is forcing business owners to rethink their existing approach to the market. Business owners should not overspend on a single video, but they also should not give up too soon if they don’t see immediate results from the investment.

“Spend only $25 ins ad, $100 in ads, against a single video, and if you don’t like what you are seeing, then you go and make some more. Sometimes people give up too early. Change up the copy that supports the video, or picture. Its test and learn, test and learn, test and learn, test and learn. You have to get good at it,” Vaynerchuk said.

He added that self-awareness — knowing if you are the one who should be on camera, if you are comfortable with it — is key to creating content that will resonate, and while video will perform better than pictures, video won’t perform well if the personality is not comfortable in the format.Too many people are selling, selling, selling, and it’s an infomercial, not a piece of content that inspires somebody to consider you.Gary VaynerchukVAYNERMEDIA CEO

Vaynerchuk said one of the advantages of online advertising is the ability to test multiple concepts and learn which work.

“Everybody here right now probably thinks there’s eight reasons people should do business with their business. Well, make eight different ads … and then see which one gets the best comments. And see which one gets the most phone calls. You can literally run an ad on Facebook that has a phone number and people press the number and call you and you’re like, ‘Oh, I’m getting the most calls from this one.’ You can run an ad focused on better prices one week and better service the next. It’s truly revolutionary. You’re not wasting money if you’re good at what you do, and if you really learn this craft,” he said.

He said small businesses should not overthink their ads, either. Ads should be compassionate at a moment in time when the U.S. is dealing with Covid-19 and the Black Lives Matter movement. Ads should never be planned too far in advance because news events could quickly make the ads insensitive without any intention. And ads should never try to trick people. What’s appropriate is to explain to customers what your business does: ”‘We cut hair, we sell pizza, we can take care of your dog, we can distract your child for four hours with our live sessions or consulting,’ whatever it may be.”

If you’re good at your business, you’ve probably heard what people want. You know the truth about your business, your strengths, or your category like pizza shops. See what people are talking about, making it contextual and relevant. You know, make it about them, not you. Too many people are selling, selling, selling, and it’s an infomercial, not a piece of content that inspires somebody to consider you. … The question is, do you know how to make a good piece of video or picture to get somebody to be compelled to do business with you?”

Intelligence artificielle : seules 9% des entreprises américaines l’auraient adoptée

Une étude publiée en juillet démontre que l’usage de l’intelligence artificielle en entreprise est encore loin d’être démocratisé aux Etats-Unis.


Par Thibault Minondo – @ThibaultMinondo
Publié le 13 août 2020 à 09h01

      Etude sur l'IA aux Etats-UnisImage : Unsplash

L’US Census Bureau, un organisme délivrant des études de marché basées sur l’analyse de données, publiait le 16 juillet dernier un rapport sur l’utilisation de l’intelligence artificielle en entreprise. Une enquête effectuée fin 2018 auprès de 583 000 entreprises américaine qui met en avant une adoption très résiduelle.

L’intelligence artificielle, encore en phase de déploiement précoce

Le machine learning n’est par exemple déployé que chez 2.8% des entreprises sondées. Si l’on ajoute les autres pans de l’intelligence artificielle considérés dans l’étude (reconnaissance vocale, véhicules autonomes, machine vision, robotique, RFID Réalité Augmentée, etc), nous tombons sur seulement moins d’une entreprise américaine sur 10 (8.9%) ayant recours à au moins un d’entre eux.

Un chiffre qui a de quoi surprendre, mais qui est à mettre en perspective. L’étude date tout d’abord de fin 2018. Nul doute qu’avec l’accélération exponentielle des usages autour de l’IA ces six derniers mois, les résultats de l’enquête sont un instantané en décalage avec la réalité du monde post-Covid-19. Comme nous vous en parlions récemment, d’ici 2022, les technologies basées sur l’intelligence artificielle devraient faire leur trou dans 80% des entreprises.

Mais alors, comment expliquer un gap si conséquent entre l’état des lieux à fin 2018, et la projection à quatre années plus tard ? “Nous n’en sommes qu’au tout début de l’adoption de l’IA. Les gens ne doivent pas penser que la révolution de l’apprentissage machine est en train de s’essouffler ou qu’elle est du passé. Il y a un raz-de-marée devant nous” présente Brynjolfsson, directeur du Standord Digital Economy Lab et co-auteur de l’enquête de l’US Census Bureau.

Une vague d’adoption anticipée, mais encore prématurée si on se réfère aux chiffres de l’enquête. Chiffres bien en-dessous de ceux publiés à la même époque par deux autres enquêtes pilotées par McKinsey et PwC. La première, sortie en Novembre 2018 avançait le chiffre de 30% de dirigeants exploitant l’intelligence artificielle sous une forme ou une autre. La seconde, de PwC, paraissait fin 2018 et montrait qu’un dirigeant sur 5 planifiait le lancement d’une technologie liée à l’intelligence artificielle en 2019.Infographie de l'étude sur l'IA

Capture d’écran : Wired

Les grandes entreprises, leaders sur l’adoption de l’IA

Eric Brynjolfsson explique que contrairement aux études de leurs confrères, celle de l’US Census Bureau se veut plus représentative du tissu économique américain, car non-focalisée sur les Fortune 500. Une méthodologie qui se retranscrit dans la lecture d’une double réalité au niveau des entreprises : presque 25% de celles de plus de 250 employés ont investi dans une forme d’intelligence artificielle, quand seulement 7.7% des entreprises de moins de 10 employés ont fait de même.

“Les grandes entreprises adoptent”, dit Brynjolfsson, “mais la plupart des entreprises américaines – la pizzeria de Joe, le pressing, la petite entreprise de fabrication – n’en sont pas encore là”. Pour les grandes entreprises, ce rôle de porte-étendard dans l’adoption de ces nouvelles technologies sera déterminant dans le rebond économique. Portant en effet une proportion plus large de l’activité économique, il sera vital de voir ces leaders montrer la voie de la transition technologique.

Si la mise en place de composants d’intelligence artificielle peut paraître plus lente à enclencher chez des poids lourds du marché, la recherche de compétences en IA montre que la transition est lancée. Chez Google, le nombre de téléchargement de Tensorflow, son framework dédié à la création de programmes IA, a dépassé les 10 millions rien que sur le mois de Mai 2020.

Côté formation aux compétences de demain, Microsoft s’est allié au Français OpenClassrooms pour créer un programme “AI Engineer”, qui doit recruter et former 1000 ingénieurs en machine-learning et intelligence artificielle“Nous unissons nos forces pour combler le fossé des compétences numériques en offrant l’expertise et le contenu de Microsoft en matière d’IA, de cloud computing, d’apprentissage automatique et de sciences des données à des étudiants de tous âges et de tous horizons via la plateforme d’enseignement en ligne interactive et de haute qualité d’OpenClassroom”, déclare Ed Steidl, directeur des partenariats avec la main-d’œuvre chez Microsoft.

Les projets intégrant de l’IA se multiplient

Les initiatives mettant en avant l’intelligence artificielle commencent également à pointer le bout de leur nez. De nouveaux terrains de jeu émergent, et pas toujours là où on les soupçonne. En avril dernier, nous vous parlions du projet d’Intel, baptisé CORail. Chargé de collecter les données sur les récifs coralliens affectés par le réchauffement climatique, la solution est entièrement basée sur l’intelligence artificielle. Le mois dernier, nous vous présentions Tuna Scope, application dédiée à l’évaluation de la qualité d’un thon à partir d’une simple photographie. Construite à partir du machine-learning, l’application est déjà exploitée par une chaîne de restaurants japonaise. Côté boisson, il y a par exemple AB InBev. À partir de données recueillies dans une brasserie dans le New Jersey, la société a mis au point un algorithme d’IA pour prévoir les problèmes potentiels du processus de filtration utilisé pour éliminer les impuretés de la bière.

Le “raz-de marée” évoqué par Eric Brynjolfsson est donc encore à un stade précoce. Le sujet de l’intelligence artificielle se démocratise toutefois à une vitesse exponentielle, et il faudra garder un œil sur la multiplication des initiatives dans les mois et années à venir.

‘You get 2 seconds to engage consumers online’: Mars neuroscientist shares key findings

By Kenneth Hein

This 15-second M&M’s spot scored best online.

Mars shares key findings from one of the largest, on-going neuroscience studies in the world. The problem is marketers may not like the results. Have we got your attention?

Digital ads are now the equivalent of a print or out-of-home ad. Why? Because extensive neuroscience studies, conducted by Mars, show that similar to these traditional methods, marketers now only have about two seconds to capture consumers’ attention in the digital realm.


Mars, the family-owned global company behind brands like M&M’s, Wrigley’s gum, Skittles, and the like, thrives on impulse buys for many of its products. What Sorin Patilinet, global consumer marketing insights director, Mars, Inc., and his team in the communications lab, are trying to solve for is how to first draw attention and then create an emotional connection. The two together are the magic formula for triggering impulse purchases.

“You don’t go to the store with gum on your shopping list,” says Patilinet. “We want to reach as many people as possible to build this memory structure, which will be triggered at the point of purchase, especially since half of our categories are mostly impulse buys like chocolate and gum.”

His team has spent the past six months working with RealEyes and other partners to develop what it calls the “future of pre-testing.” Through anonymous “facial coding,” it can detect attention and emotion. It has tested 130 digital ads across key geographies from the US to China in various durations ‑ six, 15, or 30-seconds and even long formats on YouTube, Facebook, and other platforms.

This is the latest tool within one of the largest neuromarketing studies in the world, which is now in its fifth year. One of the biggest takeaways from it all: “Marketers would be shocked if they knew how little active attention some of their executions are getting,” says Patilinet. “They think that people watch all the 15-seconds, and then they find out that in some cases, it’s only two seconds.”

In addition to the new “future of pre-testing” tool, Mars has gathered 4,000 campaigns from which they have identified a direct sales impact. They’ve done so in partnership with Nielsen, Catalina, IRI, Kantar and GFK. Of those thousands of ads, they’ve tested 250 for various elements of the cognitive process, attention, emotion, and memory. They’ve learned from the good and the bad to develop an understanding of what a “four-star ad” looks and feels like. The key finding: attention is a strong proxy for sales impact.

But attention alone isn’t the answer. “We look at it as a ladder. The first need is attention because we know that attention is declining. Once you’ve gotten that attention, you can then start eliciting emotions. We’ve proven that by building emotions, you can encode your distinctive assets into the consumer’s brain much, much better. And then [those assets] can be recalled. So, the ultimate goal is not emotion. The ultimate goal is memory encoding. But that happens faster through emotions than through rational messages.”

There are four challenges when it comes to creating emotional ads.

Emotion takes time

The number one thing Mars realized is that it’s very difficult to elicit emotions in short form. The creative moves into a very tactical, rational space because of the short duration. A Facebook ad on newsfeed is seen for two seconds and a YouTube skippable ad is skipped as soon as possible. “So, we front load our creative. And this creates a little bit of tension with our belief that ads require emotional messages,” says Patilinet. “The ads that we tested have lower levels of emotion. Our conclusion was that it’s probably because we’ve moved from 30 seconds to now six seconds, that it’s difficult to elicit emotions. And because we need our logo and we need our brand [in those six seconds], it’s hard to make the ad emotional without a story.”

You can’t trick your customers

Attention too often becomes the element tricking consumers into watching your ads. “We’re not really looking for that because we know that that does not create a long-term relationship. We want to teach them about something and then show them the product. Digital ads now are very similar to what out-of-home ads were in the past or print ads because you basically have one shot in which to say your message and that’s it.”

You need to strike at peak attention

Brands need to show their product or to highlight their brand at moments of peak attention. “We’ve landed on peak attention as a KPI that that drives success in digital,” he says. This issue is marketers have a maximum of five seconds to make in impact. “The only thing we can do is to elicit some polite attention within the duration that they watch.”

Don’t forget the art

Ads are a mix of art and science, says Patilinet. “We’re trying as much as possible to push the science. But you can only push it up to a certain level because there’s the art that your agency will come up with. We don’t want to become overly technical.”

So, what works? Here is one M&M’s ad that really scored high on attention and emotion. No change was needed to it.

Patilinet and his team will continue to investigate how to strike the correct balance by leveraging neuroscience. They will also use it to remain rooted in reality. “I’d love to still live in the mirage, but I have my feet on the ground. We just need to be mindful that attention doesn’t become lower that because we’ve been doing this ourselves. Too many ads, too much clutter on websites has created this attitude of removing ads from your life.”

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This article is about: North AmericaNeuroscienceMarsDigitalYoutubeMarketingDigital MarketingDigital AdvertisingDigitalBrand