WINTER | THE COLUMNISTS
Access’ regular
columnists talk
experience, export
and evolution...
Creating a global language
Jonathan Emmins, founder,
Amplify
The ‘experience economy’ boom
means we’re moving toward a more
thoughtful and globally integrated
approach where marketers across
the world are embracing and re-
inventing the traditional idea of
brand experience. They are striving
to evolve beyond the simplistic
notions of ‘event’ or ‘experiential’;
and are pushing different
countries into developing a more
sophisticated, immersive and novel
approach.
The 2017 Freeman Global Brand
Experience Study found 9/10
marketers agree brand experience
delivers more compelling
engagement. Why? Because
it creates real behaviour and
perception change from the ground
up, using social media and content
to amplify wider. This strategy
resonates particularly well with
younger adults. So youth-heavy
markets like Australia, where 15
to 35-year-olds spend $67bn every
year and will make up 75% of the
workforce by 2028, are most in need
of sophisticated experience strategy
and creative.
Wherever they are in the world,
brands now need trend-relevant,
tech-driven solutions.
They are adapting their business
models to be flexible and more
responsive to their customers’
needs. And so, therefore, should we.
Examining exports
Josephine Burns, chair, Without
Walls Almost famous
Simeon Aldred, group creative
director, Vibration Group
Our sector is a weird business,
mixing public good and commercial
enterprise. Export beckons,
promising new audiences and
customers – a win-win situation?
In truth, many festivals are
rooted in particular spaces and
don’t necessarily travel well.
People-centred knowledge needs
nurturing to become rooted – a
big investment. And it’s also
about the ties between the festival
and its city/landscape - not only
understanding the social-cultural-
historical map of a place but that
intimate knowledge of venues,
spaces, footfall and where the
good pubs are. That’s crucial to
programming - not simply the
event but its locale, finding itself in
the right place at the right time.
It’s not impossible though:
SpareParts festivals happen in
Fleetwood, Crewe and Sandbach,
and Just So have festivals in New
Zealand and Brazil. These places
share a heritage with where they
began - a common ground to build
on. You can copy business models,
but putting down roots takes time.
Then again, Without Walls is
about commissioning great new
work, its core a tryst between
artists and festivals. Seems we’re
unique, there’s lots of interest in
copying our model - imitation is
the sincerest form of flattery. We’re
flattered and delighted… ‘What are you famous for’? This
is a question we ask our property
and venue clients all the time. In
a world of copycat creative and
generic places we challenge our
clients, local authorities, developers
and destinations to be clear on what
they are.
Not every location can be a
street food market, rooftop pop
up, makers’ space, or shared
working environment. Our fear
of missing the latest trend and
rushing to be part of it is creating
generic ‘Pinterest’ places that are
competing for smaller and smaller
audiences.
It’s crucial for a successful
location, venue, or leisure
destination to be true to core
creative value. Truly good places
stick to their core offering;
Colombia Road Flower Market,
Brick Lane, Borough Market –
all are led by a single or strong
narrative and experience.
So when you’re developing
your place or experience, don’t be
tempted to add a lido, or beer hall
or makers’ space. If that’s not what
you do as a place, don’t just diversify
to reach everyone. Don’t over-layer
your offering. Keep it simple. Be
famous for one thing or it won’t
work. Be truthful about what you do
and in the long run your destination
will stick.
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