Échec retentissant pour Quibi, le Netflix qui misait sur les mobiles

Lancé en grande pompe en avril 2020, Quibi voulait révolutionner la SVOD en misant tout sur des contenus courts, mais haut de gamme, accessibles uniquement sur mobile. Six mois plus tard, l’ambitieuse plateforme met déjà la clef sous la porte.

source: https://www.lesnumeriques.com/vie-du-net/echec-retentissant-pour-quibi-le-netflix-qui-misait-sur-les-mobiles-n156093.html

Jeffrey Katzenberg est un homme à qui tout réussit. Il a notamment grandement contribué au redressement de la production cinématographique de Disney dans les années 1980, puis a cofondé les studios Dreamworks avec un certain Steven Spielberg, donnant naissance à de grands succès comme ShrekMadagascar ou Kung-Fu Panda. Rien de surprenant donc à le voir prendre la voie très lucrative de la SVOD en avril dernier avec la plateforme Quibi.

Six mois et puis s’en va

Las, un peu plus de six mois plus tard, ces cinq petites lettres sont devenues synonymes de l’un des plus gros échecs dans la carrière du producteur. L’annonce vient en effet de tomber : Quibi, c’est déjà terminé. Il faut dire que le projet avait de quoi dérouter. À l’heure où Netflix et Amazon se lançaient dans la production cinématographique à grande échelle tout en investissant dans des séries toujours plus ambitieuses, le service SVOD de Jeffrey Katzenberg prenait le contre-pied.

Le principe de Quibi était assez simple : des contenus haut de gamme, certes, mais uniquement dans des formats courts conçus pour les smartphones, consommables sur les petits trajets du quotidien. Le tout au tarif de 8 $/mois pour une version sans pub et 5 $ avec réclames. Son fondateur avait mis les petits plats dans les grands au moment du lancement. Une liste interminable de vedettes du grand écran s’était attelée au développement de contenus pour la plateforme, des programmes dont les budgets de production s’annonçaient impressionnants, de 5000 à 125 000 $ la minute.

Jeffrey Katzenberg lors de la keynote de lancement de Quibi au CES 2020. © Quibi
Jeffrey Katzenberg lors de la keynote de lancement de Quibi au CES 2020. © Quibi

Chroniques d’un naufrage annoncé

Dès le mois de juin, le Wall Street Journal avançait un nombre inquiétant de 379 000 installations recensées à l’ouverture de la plateforme. Sur 7,5 millions d’abonnés visés d’ici la fin 2020, Quibi s’attendait finalement à atteindre péniblement les 2 millions. Depuis le mois de septembre, des rumeurs circulaient quant à une éventuelle vente du catalogue à d’autres acteurs du secteur comme Apple, Warner Media ou encore NBC Universal.

Dans un communiqué publié cette semaine, Jeffrey Katzenberg a reconnu la triste vérité : “Le monde a radicalement changé depuis le lancement de Quibi et notre modèle économique n’est plus viable tout seul.” Traduction : Quibi est certainement tombé au pire moment.

Victime d’une souris, d’un virus et des challenges TikTok

Outre la concurrence d’acteurs du streaming déjà bien installés et l’impact évident de la crise sanitaire, le développement fulgurant de Disney+ a probablement fait dévier une partie du public potentiel de la plateforme. Ironique quand on sait que Katzenberg avait quitté la firme aux grandes oreilles avec pertes et fracas dans les années 1990.

L’explosion de TikTok, lui aussi positionné sur des formats courts, mais dans une dimension bien plus interactive et communautaire, aura probablement achevé d’enterrer les ambitions débordantes de Quibi, qui rejoint le cimetière déjà bien peuplé des naufragés du streaming vidéo.

How to use personal passions to create meaningful content

30-second summary:

  • Nearly half of all consumers consume plenty of content before deciding on a purchase, so brands should focus on crafting compelling, useful reads.
  • If you position your brand as a trusted source, people are five times likelier to look to you for pre-purchase information.
  • RAPP copywriter Jack Schuleman shares three tips for encouraging a team to use personal passions to write richer content.

Content is still one of the best ways to engage consumers. Create meaningful content, and you offer like-minded customers more reason to get involved and invested with your brand. Whether information is coming from peers, family, or brands, people like the feeling of being understood. That’s what meaningful content does. It makes the individual feel seen and heard.

source: https://www.searchenginewatch.com/2020/10/20/how-to-use-personal-passions-to-create-meaningful-content/

Besides, nearly half of all consumers engage with copious amounts of content before arriving at a purchase decision. This is the perfect opportunity to persuade with a compelling, useful read and move the ultimate choice in your favor. It may also help position your brand as a trusted source, which has benefits of its own. Individuals will be five times more likely to look to you for information prior to a purchase, giving you yet another opportunity to persuade.

The question then is, how do you go about crafting a meaningful piece of content?

The power behind a passion

It all comes down to one two-syllable word: passion. Personal passion makes all the difference in the creation of meaningful content. It brings deeper insights into an intended audience. You already know what that community likes, engages with, and finds compelling. If you’ve spent a life immersed in a given subject, you know these people on an intimate level.

I’m a car guy. Anybody who knows me knows that. Working for an automobile client now, I’m able to incorporate my wealth of industry knowledge into the work — and get a little return on the years of magazine subscriptions. It’s allowed me to tap into not only my passion for cars but my understanding of the people who own and love them.

Take an SUV, for instance. One buyer’s interest stems from a desire to go off-roading regularly, while another may only use it to go to the mall. Other than the obvious, what’s the meaningful difference between the two? Where might their interests coincide? How can you speak to both effectively? My passion affords me a better understanding of how to write to either one of these customers, helping to craft more compelling and engaging content.

Unleashing the full enthusiasm

Using a passion to inform content is straightforward, but instilling this idea throughout a team can take some time. There’s a comfort level that varies from one person to the next. But there are few steps to make the process easier, and it goes something like this:

1. Find opportunities to utilize your passion

Integrating your passions into your work can certainly have a positive impact on your job performance. I can attest to that. It simply comes through in the work — and, best of all, consumers can feel it. When customers understand that the people behind the brand are passionate about the products, it sets an expectation: You can trust us to deliver quality goods. In fact, studies show that communicating passion in your advertising influences everything from purchase behaviors to brand attitudes. Look for the opportunities in the workplace to best utilize your passions. Ask to take part in that work.

2. Bring more of yourself to work

My previous team knew I was into cars, so they were more than willing to keep an ear to the ground should something on the automotive front open up. Had I decided to leave that part of myself at home, who knows whether I’d be working on that client today? Not that you need to divulge your entire personal life to co-workers, but sharing more of your “self” in the workplace allows you to bring your passions with you each day. You can more easily lean on your enthusiasm and do your best, most innovative work. There’s a lot of potential in that.

3. Give credit where credit is due

Whether ideas come from trade publications or industry events, lived experiences advance the work. So you should feel comfortable sharing its origin; it won’t make the idea any less valuable or worthwhile. And while on the topic, look for suggestions outside the confines of your department. Someone from customer service, for example, could provide valuable insights for your next marketing campaign. Ask for ideas. Challenge teams to bring new concepts to the table, and provide feedback on what you like most about it. The constant exchange can create momentum throughout your company and encourage everyone to think outside the box.

Speaking from a place of knowledge will always be more compelling. It simply provides an air of expertise that consumers respond to. Of course, each individual has only so many interests, which is why building a team with an eclectic mix of hobbies, passions, and lifestyles is essential to an agency or marketing department. The more backgrounds you can get, the better off your team will be — and you’ll see it in your content.

10 examples of effective OOH advertising in a year where outdoor spend has fallen

With office workers at home for the majority of 2020, it’s not a surprise that out-of-home advertising has been hit hard.

According to the WFA (World Federation of Advertisers), out-of-home ad spend was down by 49% for the first half of the year, and is 39% down on planned spend for the second half so far.

source: https://econsultancy.com/10-examples-of-effective-ooh-advertising-created-during-covid-19-pandemic/?cmpid=ECON-PULSE-REG-211020&utm_medium=email&utm_source=newsletter&utm_campaign=ECON-PULSE-REG-211020

As VIOOH’s Jean-Christophe Conti suggests, however, OOH is showing positive signs of getting back on its feet for 2021 (particularly in terms of programmatic). Even throughout the lockdown, we saw high levels of creativity, with advertisers executing some on-the-nose campaigns. Here’s a look at some stand-out examples of OOH so far this year.

1. Twitter

In September, Twitter tapped into so-called ‘caution fatigue’ for an OOH campaign, which is the apparent lack of motivation to partake in social distancing or proper mask-wearing efforts to fight the spread of the virus.

In order to remind and urge people to wear masks, Twitter turned a number of its users’ tweets about the topic into billboards, which were displayed in seven US cities including Florida, Chicago, and LA. Messages included “So…is ‘hey nice mask’ the new pick up line?” and “Why do I feel like everyone’s giving me Resting Mask

While Twitter tends to be a place for contentious and heated debate (particularly when it comes to Covid), the campaign was deliberately designed to be humorous and relatable in tone, while firmly reminding us all to do the right thing.

2. Paddy Power

Paddy Power isn’t a brand you’d normally associate with doing social good, but even the betting brand got behind the ‘stay at home’ message back in March by appealing to people to “Give Our NHS Better Odds” and reduce the strain on our healthcare system.

Paddy Power OOH
Image: Clearchannel.co.uk

Run by Clear Channel, the campaign was simple but effective, and even more impactful coming from a brand you perhaps wouldn’t necessarily expect.

3. Outsmart

Back in April, the OOH industry donated media space to the ‘Grateful Britain’ campaign, which amplified the nation’s gratitude to the NHS and other key workers on the frontline. Run by Mother London and initiated by Outsmart, which is the UK OOH trade body, the campaign used lighthearted and colloquial language to highlight the diverse and varied roles that have been so valuable throughout lockdown and beyond.

The fact that key workers were among the only people to see the billboards in April and May (as everyone else stayed at home) heightened the impact of the emotive message.

4. Emily Snacks

In Tom Fishburne’s (aka The Marketoonist) talk on day three of the Festival of Marketing 2020, he cited Emily Snacks as a good example of how to inject relatable humour into advertising. The brand cleverly adapted an outdoor advertising campaign to poke fun at the bad timing of their original planned launch.

Emily Snacks

Fishburne said: “They committed to their first advertising campaign at the end of 2019, planning for an outdoor ad campaign, unfortunately not realising that it would run in the summer in the UK when everybody was sheltering. Rather than pull the ad or run completely generic advertising, they decided to have a bit of humour about the situation they were in.”

Emily’s campaign is also an example of “affiliative humour”, which as Fishburne explained, is when you find empathy in humour through a shared experience, in this case the impact of the coronavirus pandemic.

5. HUN Wine

Launching a new product in 2020 was never going to be a great idea, particularly when that product was designed for social gatherings and big events like festivals. This was the predicament that HUN Wine found itself in early this year, as the brand had already committed to the launch of its new wine-in-a-can (and corresponding ad campaign).

Instead of scrapping it entirely, however, HUN Wine mirrored the actions of Emily Snacks, pivoting to a tongue-in-cheek message about the decision to execute an outdoor ad campaign when everyone was staying at home. Fortunately, the campaign went on to generate brand awareness on social media, helping HUN Wine to gain traction just in time for the summer (when consumers could enjoy the product in parks and outdoor areas).

6. McDonald’s

McDonald’s is one of those brands that doesn’t need to put its logo or name on advertising. It is just that recognisable. This is what the fast food chain did in September with its ‘Bitten Billboards’ campaign by TBWA\Paris, which looks just like it sounds… billboards with huge “bites” taken out of them.

Image: tbwa-paris.com

Interestingly, McDonalds chose not to include any context or reference to Covid-19, which was perhaps a calculated decision since McDonalds Brazil separated the golden arches in its logo to represent social distancing earlier on in the year – a decision that people criticised as a misguided marketing ploy.

7. Skoda

With UK consumers returning to shopping malls in late summer (in alignment with new Covid rules), Skoda decided to launch a DOOH campaign to promote its new range of Skoda SUVs. Crucially, the campaign – ran by Clear Channel – was touchless, which enabled consumers to interact with screens in malls simply by gesturing their hands. In doing so, they were able to explore vehicles and even book a test drive there and then.

Digital interactive screens are often used to increase interaction and engagement in OOH ads. By adding on a touchless element, Skoda was still able to reap the rewards and re-establish a connection with consumers, while still adhering to essential safety regulations.

8. Bumble

Bumble is another brand that used relatable humour in its 2020 OOH campaign, launching billboards that cleverly referenced dating in a post-Covid world. Examples include “Add falling in love to the list of crazy things that happened in 2020” and “Look for a rebel who washes their hands.”

Using Bumble’s recognisable yellow branding, the eye-catching billboards were a great reflection of the weirdness that has occurred in 2020, and again a perfect example of how to convey humour in advertising.

9. The Guardian

The Guardian recently launched a striking OOH campaign in Dublin and Berlin in a bid to attract more subscribers to Guardian Weekly – its international news magazine.

The Guardian enlisted artist Rafael Alejandro to create three surrealist scenes, related to the three equally surreal global news events of coronavirus, Donald Trump, and the environment. The three designs also include three phrases, “The world is… ‘confusing’, ’absurd’ or ‘in crisis’, next to the campaign tagline: ‘Find clarity’.

With many people feeling overwhelmed or confused about topics reflected in the media, the campaign effectively highlights The Guardian’s aim of providing balanced and trusted journalism.

10. Knix

Instead of billboards or the side of a building, underwear brand Knix decided to utilise a different medium to display its OOH message this year. For the launch of its new Super Leakproof Underwear, Knix used a New York City dumpster truck to ask women to “stop trashing their periods”, bringing to life its message about feminine hygiene waste. (Approximately six billion tampons are said to end up in US landfill sites every year).

The campaign gained attention on social media, with people praising its bold message and unique execution – as well as being an example of how to breathe new life into out-of-home advertising during the pandemic.

BETC rend hommage à Air France après son départ

C’est un geste élégant et assez rare dans le monde de la publicité : une agence remercie son ancien client peu après qu’il lui a préféré une autre maison, au terme de six mois d’intenses compétitions.

« Merci », c’est le film dévoilé ce mercredi 14 octobre par BETC à l’adresse de la compagnie aérienne Air France, soit un condensé des publicités les plus emblématiques de leur partenariat.

Vous l’aurez compris, il ne s’agit pas « seulement » d’une agence et d’un ex-client. BETC et Air France symbolisent 21 années de collaboration et autant de films mythiques, de slogans et de musiques rendues cultes. Le film « Le Passage » (1999) réalisé par Michel Gondry sur une musique entêtante des Chemical Brothers (Asleep From Day) condense à lui seul ces trois aspects.

La « playlist » de ce partenariat diffusé en fin de clip ferait d’ailleurs rougir le plus branché des festivals de musique : Phoenix, Sebastien Tellier, Chet Baker, The Chemical Brothers, Rone, Keren Ann, The Blaze, Telepopmusik, The Shoes, Tame Impala, Jorja Smith, Jungle, Rhye, etc., la liste est bien trop longue.

Les grandes heures de la compagnie aérienne se sont dessinées au gré des pépites créatives pensées par l’agence créée en 1995 par (Rémi) Babinet, (Mercedes) Erra et (Eric) Tong Cuong et désormais plantée au bord du canal de l’Ourcq à Pantin.

Une histoire qui se lit à travers les mots de Rémi Babinet : « Je remercie tous ceux qui au long de toutes ces années ont porté l’image de la compagnie aussi haut, c’est le plus grand service qu’ils pouvaient lui apporter.

En votre nom je remercie Air France de nous avoir fait confiance et de nous avoir donné la chance d’embarquer tant de talents au service de sa publicité.

Air France restera pour nous la plus belle compagnie du monde. Nous lui souhaitons ainsi qu’à sa nouvelle agence le meilleur pour les années qui viennent. »

A Quarter Century of Hype – 25 Years of the Gartner Hype Cycle

A presentation of several novel ways to visualize 25 years of the Gartner Hype Cycle. The goal is to demonstrate how one’s understanding of complex information can benefit greatly from viewing the data from a fresh perspective.

The Hype Cycle journey of Virtual Reality is explored in greater detail and is illuminated by moments in the video creator’s own personal journey through three decades of working on cutting edge VR research including close to a quarter century of using VR for theme park design and movie production.

Data used to generate the visualization can be found at: drive.google.com/file/d/1y_fzgknqRdPa0KfXiGq44blGqDN3NYv3/view?usp=sharing

Interpreting technology hype

When new technologies make bold promises, how do you discern the hype from what’s commercially viable? And when will such claims pay off, if at all? Gartner Hype Cycles provide a graphic representation of the maturity and adoption of technologies and applications, and how they are potentially relevant to solving real business problems and exploiting new opportunities. Gartner Hype Cycle methodology gives you a view of how a technology or application will evolve over time, providing a sound source of insight to manage its deployment within the context of your specific business goals.

How do you use Hype Cycles?

Clients use Hype Cycles to get educated about the promise of an emerging technology within the context of their industry and individual appetite for risk.

Should you make an early move? If you’re willing to combine risk-taking with an understanding that risky investments don’t always pay off, you could reap the rewards of early adoption.

Is a moderate approach appropriate? Executives who are more moderate understand the argument for an early investment but will also insist on a sound cost/benefit analysis when new ways of doing things are not yet fully proven.

Should you wait for further maturation? If there are too many unanswered questions around the commercial viability of an emerging technology, it may be better to wait until others have been able to deliver tangible value.

How do Hype Cycles work?

Each Hype Cycle drills down into the five key phases of a technology’s life cycle.

  • Innovation Trigger: A potential technology breakthrough kicks things off. Early proof-of-concept stories and media interest trigger significant publicity. Often no usable products exist and commercial viability is unproven.
  • Peak of Inflated Expectations: Early publicity produces a number of success stories — often accompanied by scores of failures. Some companies take action; many do not.
  • Trough of Disillusionment: Interest wanes as experiments and implementations fail to deliver. Producers of the technology shake out or fail. Investments continue only if the surviving providers improve their products to the satisfaction of early adopters.
  • Slope of Enlightenment: More instances of how the technology can benefit the enterprise start to crystallize and become more widely understood. Second- and third-generation products appear from technology providers. More enterprises fund pilots; conservative companies remain cautious.
  • Plateau of Productivity: Mainstream adoption starts to take off. Criteria for assessing provider viability are more clearly defined. The technology’s broad market applicability and relevance are clearly paying off.

Hype Cycles help you:

  • Separate hype from the real drivers of a technology’s commercial promise
  • Reduce the risk of your technology investment decisions 
  • Compare your understanding of a technology’s business value with the objectivity of experienced IT analysts

The two main objectives behind omnichannel marketing are to provide a seamless experience across all of your brand’s platforms, and to make sure your brand message is consistent across each of these channels.

To learn and take advantage of the omnichannel strategy, it is essential to understand what this marketing strategy stands for. HubSpot describes as follows: “Omnichannel is a multichannel approach to marketing, selling, and serving customers in a way that creates an integrated and cohesive experience no matter how or where a customer reaches out“.

Furthermore, omnichannel marketing is a sales approach that allows brands to reach out to their customers using an integrated experience. The two main objectives behind omnichannel marketing are to provide a seamless experience across all of your brand’s platforms, and secondly to make sure your brand message is consistent across each of these channels.

Omnisend - Omni-channel Stats 2020

Without marketers adhering to these two objectives, an omnichannel marketing strategy simply does not exist. This is especially relevant for brands that are looking to provide a personalised customer experience. We’ve put together some examples of how various companies have developed effective omnichannel experiences, and why brands should integrate this approach into their marketing strategies.

Why apply an omnichannel approach?

A recent study by Omnisendlooked at how omnichannel marketing has improved in 2020 so far. According to the study, marketers that integrate three or more channels in their marketing campaigns increase their purchase rate up to 287%. In 2019, an omnichannel approach could improve the purchase rate by 12% versus 3.21% for single-channel campaigns. Most importantly, the consumers’ preferences for omnichannel campaigns have also increased by 14.8% between 2019 and 2020, showing the importance of this approach to improve the customers’ engagement with your brand message.

When marketers are looking to build an effective omnichannel campaign, there are specific areas to consider: product, marketing, sales, customer support and customer access. Each team member in charge of these departments needs to understand the overall objective and main goals of the strategy. Making sure everyone is on the same page is critical for the success of the campaign.

Five brands with excelsior omnichannel experiences

Omnichannel marketing is still a relatively new concept for companies, and making this change can be quite overwhelming. We have identified examples of companies with a robust omnichannel strategy that might inspire your brand to try this approach.


Oasis offers a highly integrated shopping experience that includes its online and offline shopping experience. Before the pandemic, if you walked into one of their brick-and-mortar stores, you were welcome by a sales associate holding an iPad. By using this device, the representative could give their customers accurate and up-to-date product information on the spot. If there was something out of stock and the user wanted to collect it in-store or get delivered to its home, the sales representative could order it immediately. This entire service was integrated with the Oasis’ mobile app. The fashion brand has managed to deliver a unified service across multiple platforms, for customers both online and offline.

Oasis Fashion Retailer Omnichannel


According to Optinmonster, 2021 is forecasted to be dominated by mobile purchases, with 54% of all online sales. However, desktop is still the prefered device. REI, one of the leading outdoor retailers in the world, is keeping up with these trends. Their omnichannel experience is fully personalised and combines multiple channels: co-op journal, click and collect in-store service, a mobile app, a website and also their physical stores in the US. Their co-op journal is available online and in print at their store and gives customers lots of information on upcoming sales and product features. Customers can also go to its mobile app and desktop website to use its click and collect service. REI is always updating their various shopping touch points, allowing the customer to have plenty of purchasing options.


There is a reason why the Starbucks rewards app is at the top of the omnichannel customer experience. Once you become a loyal member of the Starbucks coffee community, you can choose to get a free rewards card. The more you use it when you buy coffee, the more rewards you receive. Sounds like any other customer loyalty program out there. However, the coffee giant adds a unique approach to the loyalty program. Starbucks has made it possible for customers to check and reload their rewards in-store or online using its app. Any changes to your card are updated instantaneously across all platforms. For example, you can top-up the card while queuing to order a coffee, making the experience truly integrated.

Starbucks Rewards App


The beauty giant Sephora provides a tremendous omnichannel experience. Sephora launched an updated approach to the traditional wishlist called Beauty Bag. Customers can save their products there to buy them later. The brand is also using augmented reality software (AR) with the online beauty bag to enable customers to try on products using this immersive technology. Sephora is combining its online and offline services to offer a genuinely personalised experience to its customers. If a customer goes to any of their brick-and-mortar stores, it can sign into its Beauty Bag account and try on a product using AR technology before purchasing it.

Sephora AR Technology


Benefit, a beauty cosmetics retailer, recently launched a successful BrowMobile omnichannel campaign in the UK. The campaign helped the brand to increase its market share for brow products by 60% in the UK market, and included an online competition promoted exclusively on Instagram. Benefit is a beauty brand that doesn’t usually engage in above-the-line marketing and prefers to take advantage of the omnichannel approach, whether on social media, its mobile app or a combination of online and offline services. For example, the brand previously launched a loyalty reward program on its mobile app. The program allowed customers to book a brow wax at their Benefit BrowBar, and after each wax, the brow expert would scan the phone to top up the rewards earned.

benefit cosmetics

Ikea se transforme en France via le digital et de nouveaux points de contact

Publié le  par La Revue du Digital 

Tous les produits seront 100% durables d’ici 2030

Ikea veut être plus accessible pour ses clients et plus durable. En France, cela représente un investissement de 250 millions d’euros sur les 2 ans à venir.

Ikea va renforcer l’omni-canal

L’enseigne veut créer de nouveaux formats de magasin en centre-ville, ainsi que renforcer l’omni-canal. Dans le même temps, Ikea pousse pour des livraisons zéro émission par ses prestataires et proposera une offre durable et abordable. La crise Covid rebat les cartes, montrant la créativité des équipes de l’enseigne afin de tisser des liens digitaux avec la clientèle.

Walter Kadnar, PDG et patron du développement durable d’Ikea France

« Nous accélérons notre digitalisation et le développement de points de contact aux formats inédits et inspirants »

« Avec nos prix bas, notre offre durable, omni-canal et nos équipes, nous avons tous les atouts pour répondre aux besoins actuels et futurs de nos clients » affirme Walter Kadnar, PDG et patron du développement durable d’Ikea France, avec le titre de Chief Sustainability Officer. « Nous accélérons notre digitalisation et le développement de points de contact aux formats inédits et inspirants pour créer une expérience phygitale qui rendra Ikea toujours plus pratique et accessible au plus grand nombre » ajoute-t-il.

Sur les 12 mois à venir, Ikea France veut mêler de manière équilibrée le digital et le point de vente. Le parcours client doit être fluide et le point de vente proposer une expérience unique et inspirante. Les outils digitaux sont là pour faire gagner du temps aux clients et permettre aux vendeurs de consacrer plus de temps aux clients et au conseil en aménagement.

Le e-commerce atteint 15% du chiffre d’affaires en France

La crise sanitaire a dopé l’e-commerce. Les ventes d’Ikea France via internet augmentent de 44% pour atteindre 414 millions d’euros en excluant les services. C’est 4 fois plus qu’il y a 3 ans. Ce résultat est porté par une forte augmentation (+ 66%) du « Click and Collect » et des livraisons de colis (+44%). Ikea France réalise ainsi 15,4% de son chiffre d’affaires grâce au e-commerce.

L’application mobile Ikea affiche 2 millions d’utilisateurs en France

Malgré cette hausse du web, le chiffre d’affaires global est en recul de 7% pour atteindre 2,8 milliards d’euros, sur son année fiscale, qui va du 1er septembre 2019 au 31 août 2020. Il faut dire que les 34 magasins ont fermé durant 10 semaines et le site e-commerce durant 4 semaines. Ikea reste extrêmement attractif. Sur son année fiscale, ses magasins ont enregistré 53 millions de visites. Son application mobile affiche 2 millions d’utilisateurs. Le programme Ikea Family réunit 9,5 millions de clients fidèles aux collections.

La période du confinement a mobilisé la créativité des équipes. Le service « Click and Collect » a été adapté pour devenir un service de type « Drive » avec livraison sur le parking des magasins. Ikea a développé un service de planification à distance de cuisine ou de rangement qui va continuer. De même, l’enseigne a créé un coaching en décoration intérieure par visioconférence avec les collaborateurs des magasins Ikea en charge de ce domaine. Le service a été lancé en avril, et depuis 3725 rendez-vous ont été réalisés.

Déploiement du service Shop and Go en France

Le digital est à l’honneur. Après un test à Lille, Ikea France confirme qu’il va déployer son service de paiement « Shop and Go » d’ici la fin 2020 dans tous ses magasins. Le service est prévu pour diviser par 3 le temps de passage en caisse, puisque le client scanne avec l’application Ikea les produits qui sont dotés d’un QR code et paye à une caisse dédiée.

Un système de géo-localisation des produits guidera le client en magasin grâce à la réalité augmentée

Autre annonce, pour faciliter le repérage en magasin, Ikea France déclare qu’il travaille sur un système de géo-localisation des produits grâce à la réalité augmentée qui guidera le client. Enfin, depuis septembre 2020, IKea France a simplifié son service de reprise de meubles d’occasion « Seconde vie ». Les clients accèdent immédiatement au prix de reprise de leurs meubles et peuvent les rapporter au magasin de leur choix en échange d’un bon d’achat.

Par ailleurs, Ikea va faire évoluer ses livraisons. L’enseigne va livrer les Parisiens avec des solutions à zéro émission de gaz à effet de serre sur l’année qui vient et dans toute la France d’ici fin 2023. Ikea pousse les livreurs du dernier kilomètre à déployer de nouveaux prototypes de véhicules. Le groupe Ingka – maison mère d’Ikea – a essayé des véhicules électriques adaptés aux livraisons urbaines en termes d’autonomie et de chargement. Ce test a permis d’accélérer la mise en service d’un prototype développé par Renault.

Ikea croit dans le bateau entrepôt pour livrer sur Paris de manière écologique

Des véhicules sans émission de gaz à effet de serre

Ikea France indique accompagner ses transporteurs à acquérir 17 véhicules pour livrer les clients parisiens d’ici la fin 2020. IKea est même convaincu du potentiel des livraisons via la Seine et poursuit ses travaux sur cette solution complémentaire. On note aussi qu’Ikea a lancé en septembre 2020 un service d’installation de panneaux solaires, en partenariat avec Voltalia, pour rendre l’énergie solaire plus accessible pour les particuliers.

Ikea équipe les toits de ses magasins de panneaux solaires

Ikea annonce que 100% de ses produits seront conçus à partir de matériaux renouvelables ou recyclés d’ici 2030

Ikea annonce que 100% de ses produits seront conçus à partir de matériaux renouvelables ou recyclés d’ici 2030. Les activités en magasin et dépôts consommeront zéro énergie fossile d’ici 2025. L’enseigne verra 200% de ses besoins couverts en énergie par sa production en énergie renouvelable. Tous ses points de vente et entrepôts seront équipés en bornes de recharge pour les véhicules électriques d’ici 2023.

Pour conclure, Ikea veut diversifier ses points de contact et poursuivre sa stratégie de pénétration des centres-villes avec de nouveaux formats en France. En septembre 2020, un atelier de conception a ouvert au centre-ville de Nice pour planifier les achats complexes tels que la cuisine, les rangements, etc. On prend rendez-vous pour rencontrer un vendeur. Ikea se renforce à Paris avec le magasin Ikea Décoration qui ouvrira au printemps 2021 et proposera des accessoires et des objets de décoration afin de compléter l’offre du magasin de Paris La Madeleine.

Un atelier de conception au centre-ville de Nice aide à planifier les achats complexes

Mathias Beke partage l’ « Intelligence » au cœur du Havas Village Bruxelles

La mission d’Havas est d’aider les marques à croître durablement et à tisser des liens authentiques avec leurs communautés, dans l’espoir final d’améliorer la vie de chacun. Au sein des Villages Havas, la convergence de la créativité, des médias et du divertissement est la clef de cette génération de valeur.

A Bruxelles, cette convergence s’exprime de diverses manières, la dernière en date est le déploiement d’une équipe commune « Intelligence » sous la direction de Mathias Beke

Chief Intelligence Officer Havas Village. (Promotion Ihecs 2001, Mathias a rejoint le groupe Havas en 2011 pour développer l’opération Social Media avant de prendre en 2016 la direction des équipes Conseil Media).

L’offre « Intelligence » Village se construit sur 3 piliers complémentaires : la recherche classique (Insights), les architectures de collecte de données (AdOps) et le traitement analytique des résultats (BI).

Vanessa Sanctorum (Insights), Daphné Limberopoulos (AdOps) et Julien Foucart (BI) sont les maîtres d’œuvre respectifs de ces trois piliers. Les études propriétaires du groupe ou syndiquées (Meaningful Brands, Prosumer, Brand Media Monitor, Cim TGM-CD, e.a.) associées à une nouvelle suite de solutions technologiques (Funnel.io, Power BI, Mediarithmics, Eyeota) sont quelques-uns des outils à disposition de cette cellule forte de 11 talents.

Mathias Beke  – Chief Intelligence Officer Havas Village : « Notre approche « meaningful » des activités de la communication offre aux opérations créatives et médias une grammaire commune. En matière d’  « Intelligence », cette grammaire commune multiplie les synergies entre les talents (et leurs outils) pour répondre aux besoins spécifiques de l’ensemble des clients du Village. Combiner la recherche classique aux nouveaux métiers de l’analyse de données accélèrent notre compréhension des marques, de leurs consommateurs, de leurs univers de compétition et des contextes culturelles associés. Ceci forme la base de la construction de nos stratégies, médias comme créatives. »

Hugues Rey – CEO Havas Media :  “ Mx – l’  « Operating System d’Havas Media » – nous permet d’offrir à nos clients et leurs consommateurs des « meaningful media experiences ». De la réflexion stratégique à son déploiement opérationnel, la performance est assurée au quotidien par notre solution Converged  qui lie l’ensemble des données audience qui vont du personae à l’intentionniste individuel (nourrie par les données annonceurs).  Converged, implémentée et pilotée par notre cellule « Intelligence », assure la cohérence tout au long de la démarche de la planification et de l’implémentation relevant ainsi un des défis technologiques essentiels des années à venir : croiser les données agrégées (panelistes) et individuelles (en se libérant à terme de la contrainte des cookies). En synthèse, nous alignons et intégrons les résultats d’études de marché traditionnelle et les données digitales individuelles au travers d’une nomenclature et d’une méthodologie robuste».   

Christian de La Villehuchet – Global Chief Integration Officer du groupe Havas  « Les villages ont vocations a marier l’ ensemble de nos talents créatifs ou médias au service des clients. D’autant plus dans cette période de transformation profonde du marketing drivée par la digitalisation accélérée. Je me réjouis de la création de cette offre et de la nomination de Mathias. Son parcours pluridisciplinaire, sa maitrise de toutes les problématiques de l’intelligence client et sa capacité à fédérer des talents très divers vont être un atout considérable. A Bruxelles, nous allons continuer à développer dans les semaines à venir  des offres et des  services  communs entre l’agence créative et l’agence media pour répondre de la manière la plus intégrée et compétitive aux problématiques de nos clients »


With few alternatives available during the widespread lockdowns earlier this year, e-commerce quickly became a  go-to means-to-an-end for shop-needy consumers around the globe. Six months later, that early reliance on e-commerce has expanded into a fundamental dependence on still-evolving omnichannel shopping experiences. 

The premise of omnichannel shopping certainly wasn’t borne out of the COVID-19 pandemic, but the global health crisis has dramatically elevated consumers’ use of both on- and offline channels in tandem, whether for click-and-collect, contactless delivery or an array of other fulfillment options. And across consumer groups, online channels have become the most critical shopping resources for constrained consumers—those whose income and spending have been significantly curtailed or constrained due to unemployment, furloughing or other COVID-19-related challenges. Today, these consumers have matured into online super users, even if they occasionally opt to buy in traditional brick-and-mortar stores.



Following the extended stay-at-home periods, omnichannel shopping is becoming further entrenched as the future norm, with e-commerce growth eclipsing physical stores along the way. Nielsen’s Global New Shopper Normal Study found that only 9% of global consumers were regularly shopping online before the COVID-19 pandemic. But as restricted movement orders forced consumers indoors, online adoption skyrocketed, with 27% of global consumers starting to shop online for the first time. In May 2020, 44% of global consumers said they were shopping online each week, with 23% reporting shopping online multiple times each week. For constrained consumers, these indicators are even more significant: 31% are new to online shopping and 30% are shopping online multiple times per week, versus only 18% of insulated consumers. Twenty percent of constrained consumers are now regularly using online as their most frequented channel.

COVID-19-driven online shopping and purchasing behaviors will become ingrained among consumers who opt to avoid regular travel (to stores), and frequent physical touchpoints. But digital channels serve as more than simple delivery mechanisms for constrained consumers, elevating their importance to them. 

For these consumers, online channels serve a broader purpose: They are an essential way to research, compare prices and hunt for the right deals before deciding whether to leave home to make the purchase at a physical store or buy it online. Globally, 72% of constrained consumers are omnichannel shoppers, 10 percentage points higher than insulated consumers, whose finances haven’t been impacted, or as impacted, as a result of the pandemic, and 6 percentage points above the global average.

The evolution toward online reliance among constrained consumers stands at odds with the pre-COVID-19 perception that e-commerce would gain the most traction among consumers with greater financial muscle to flex. Early hurdles to more widespread e-commerce adoption, namely delivery costs, have largely faded, with many retailers altering their online value propositions simply because it allows them to cast a much larger net.

“With more frequent search and shopping patterns, constrained consumers may be prepared to forego expedited delivery times in exchange for free delivery,” says Wingfield. “They’re also more likely to plan their purchases to coincide with free delivery days and times. E-commerce retailers could look to lock in these consumers’ loyalty with preferential pricing and promotions on essential product ties.”

Driven by frugality, constrained consumers are now the most active omnichannel shoppers: Compared with insulated consumers, they search more online, browse more frequently, pay closer attention to pricing, and they have more time to do so. And the savvy retailers that see this activity will remove or minimize previous adoption hurdles to ensure that any and all consumers stay online and make a purchase once they find it.

With constrained consumers viewing online channels as a key resource for managing their spending, it’s critical for brands and retailers to understand the intentions, actions and attributes that will influence shopping habits across missions, frequencies, repertoires and the search for value. Importantly, discounters have historically been a key resource for shoppers with limited funds. The discount channel, however, is among the least present online. Aldi, for example, just kicked off a click-and-collect trial in the U.K., its first foray outside of the brick-and-mortar realm. The grocery chain also recently launched a rapid delivery service. 

The opportunity, however, isn’t just for discounters. Understanding how consumers use online, whether as a resource or an actual purchasing channel, is critical for all manufacturers and retailers. The arrival and duration of the pandemic has proven just how dominant omnichannel shopping has become. As of May 2020, 66% of global consumers were omnichannel shoppers, with the rates higher in Asia-Pacific (78%) and Africa-Middle East (75%). Those rates speak to the importance of seamless experiences across on- and offline environments—experiences that will either keep consumers coming back for more or headed elsewhere to find something better.


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Havas Creative crée Havas CX, un nouveau réseau international dédié à l’expérience client. Un lancement au sein de dix-huit Havas Villages à travers le monde, articulé autour de quatre hubs à Paris, Londres, New York et Mumbai. Le réseau rassemblera les expertises des globales comme ekino (transformation digitale), Betc FullSix (expérience client) ou Havas helia (engagement client) ainsi que celles d’acteurs locaux comme Plastic Havas, Langoor, Boondoggle, Gate One, Think Design, Host/Havas ou encore Project House. Olivier Vigneaux, CEO de Betc Fullsix nous aide à y voir plus clair.

source: https://www.cbnews.fr/conseil/image-havas-cx-decrypte-olivier-vigneaux-ceo-betc-fullsix-55476


Olivier Vigneaux : Oui, bien sûr. Nous sommes résolument entrés dans l’ère de l’expérience. La valeur des marques se construit désormais de manière continue à travers l’ensemble des touchpoints des parcours clients, et en particulier les touchpoints digitaux. Nous devons pouvoir accompagner nos clients à une échelle globale sur ces problématiques devenues centrales.


Olivier Vigneaux : C’est le système classique d’Havas à l’échelle mondiale. Des agences qui travaillent avec des outils identiques -comme notre framework commun pour donner du sens aux expériences de marque- et qui montent des équipes multi-locales pour aborder ensemble pitchs et clients. Nous nous sommes également dotés d’outils d’études communs, à l’échelle mondiale, comme le X Index, baromètre propriétaire de mesure de la qualité de l’expérience client, déjà mené en Chine, aux USA et en France.


Olivier Vigneaux : Absolument. Betc Fullsix, qui pèse aujourd’hui la moitié du business du réseau, incarne parfaitement notre vision globale de la nécessaire convergence entre les disciplines de la tech, de la data et notre ambition de créer des expériences créatives et “positionnantes” pour les marques. Nous croyons à un modèle d’organisation que respecte un équilibre entre ces disciplines. C’est ce qui nous permet de faire la différence. Nous sommes en train de créer un nouveau modèle d’agence.


Olivier Vigneaux :  Un comité exécutif réunissant Mercedes Erra, Chris Hirst, Donna Murphy et Peter Mears et les rênes opérationnelles sont confiées à Yann Doussot, directeur des opérations.


Olivier Vigneaux : Canal+ est un bon exemple. Betc Fullsix est impliquée dans plusieurs pans déterminants de l’expérience. De la plate-forme technique de MyCanal aux assets de contenus et de communication de la marque. Une approche complète de l’expérience. Je peux préciser ces chiffres . Nombre de visiteurs uniques quotidiens pour l’app myCanal: 2,3 millions (source vivendi, +36% depuis Octobre 2019). Plateforme TV n°1 en France et 3e plateforme SVOD en France. Et of course comme vous le savez, ils ont eu deux Awards pour My Canal, décerné par vous pour le Grand Prix des Médias 2020.