One of the reasons is that the phones themselves are too advanced for anyone else’s infrastructures and capabilities. I knew they were years ahead of the rest of the world, but didn’t realize just how much:

[Japan's] cellphones set the pace in almost every industry innovation: e-mail capabilities in 1999, camera phones in 2000, third-generation networks in 2001, full music downloads in 2002, electronic payments in 2004 and digital TV in 2005.

E-mail in 1999? That is bonkers. Apparently this conundrum has a name – Galápagos symdrome. Japan’s cellphones are like the endemic species that Darwin encountered on the Galápagos Islands — fantastically evolved and divergent from their mainland cousins — explains Takeshi Natsuno, who teaches at Tokyo’s Keio University. The only Japanese handset manufacturer that’s been able to significantly move into other markets is Sony, largely because of its partnership with Swedish manufacturer Ericsson.

Another big reason for this stunted global growth is that Japanese handset hardware is what seems to get the most resources and attention – bar code readers, credit card chips, electronic built-in car keys, facial recognition, etc. This puts the focus on the entire experience within the handset itself, rather than how the hardware can be used as a tool to receive information from other places.

(I realize this picture is not very scientific, and there should be more arrows going both ways & in different directions, but you get the general idea)

For instance, connecting a phone to a computer is a foreign concept to Japanese consumers, which is one of the reasons the iPhone did so poorly in its launch there. Coincidentally, this Wall Street Journal article from today talks about Apple’s and RIM’s successes over other brands because of services, software and data packages. “The two accounted for only 3% of all cellphones sold in the world last year but 35% of operating profits.” Guess they were onto something all along.

I wonder if Japanese manufacturers could find a way to merge their innovations and vision in hardware with other company’s software advancements. Can you imagine what that could mean? The result might end up being similarly jaw-dropping to that miniature robot that can make you a miniature cup of coffee. The NY Times quotes Natsuno’s recommendation: “Japan’s handset makers must focus more on software and must be more aggressive in hiring foreign talent, and the country’s cellphone carriers must also set their sights overseas.” What do you think?

Massive change has never been affected at the scale and speed at which it can be today, though. The availability and democratization of web applications has made it easier to rally around a conviction, efficiently prove a point and prompt a kind of domino word-of-mouth effect than before. One example that has been bouncing all over the place has been the heartwarming story of David Armano trying to help a family in need. I first found out about it through Faris:

David wanted to try raising $5,000. Well, in under 24 hours, donations were up to over $12,000. Wow. See what I mean? He blogged about this sweeping gesture of generosity here.

Here’s another:

This one’s personally relevant. For those who may not know, JPG is a photography magazine. It has a tightly knit online network of almost 200,000 people who submit and share their photos on JPGMag.com. The people on there favor a democratic view of photography over a pretentious one – there’s peer commenting, voting and sharing of constructive criticism. This community extends into the magazine in a cool crowd source-y way, too: members’ photographs are chosen and published in its six annual issues.

Anyway, now the bad news happens. I got an email on January 2nd from JPG with the sad news that they’d be shutting their doors – ceasing production of the paper magazine and taking down the web site. As with many arts-based things today, they had been facing some money troubles for a while. JPG thought that they had tried everything, like seeking out potential investors and buyers. What they didn’t realize at the time was that their biggest strength lay in what sourced their content in the first place: the people.

[photo from striatic]

Almost immediately upon hearing the news, those who saw a family in JPG rallied together to fight its death. Among countless blog, Twitter and Flickr posts, SaveJPG.com was born, soliciting personal stories about people’s relationship with the magazine.

And now the good news! In a few days, a single post got over 700 comments (one of my favorites had the line “JPG is my big school of photography”), including how much people would be willing to pay annually just to keep the community alive. This outpouring of support was noticed almost as quickly as it started: JPG sent a follow up email a few days later with this line in it:

Because of you, we have multiple credible buyers interested in giving JPG a home.

So, while those hundreds (thousands?) of JPG members & fans didn’t directly bring back the magazine, their (very) fast and powerful collective influence probably perked the ears of potential investors who might otherwise have overlooked a tiny arts publication before it was too late. Warm fuzzies.

One final thing: last night I read the most glorious words: Smile! Polaroid is saved. I don’t know if the THOUUUUUSANDS of people all over the world posting online, making web sites and signing petitions did anything to influence the Austrian photographer (who decided to pay for production of film for Polaroid cameras), but I sure am thrilled he decided to do it. I don’t know if this is quite related to what I’ve been talking about, because this change didn’t happen overnight, like the David Armano and JPG miracles (hell, this took nearly a year). But the scale – the fighting on our part – was the same. So, half related (and fully happy).

“This whole crisis is like a big spring housecleaning — both moral and physical,” Karl Lagerfeld, the designer for Chanel, said in an interview. “There is no creative evolution if you don’t have dramatic moments like this. Bling is over. Red carpety covered with rhinestones is out. I call it ‘the new modesty.’ ”

This is an interesting juxtaposition to see alongside the “bright” trends and predictions for 2009. A month or two ago, I read about Pantone selecting Mimosa for their color of 2009. The economy was also the inspiration for that – “In a time of economic uncertainty and political change, optimism is paramount and no other color expresses hope and reassurance more than yellow.”

So, maybe the Louis Vuitton x Stephen Sprouse thing will be an anomaly in terms of bright and chaotic for the coming year. Bright spins on classic styles seem to make more sense, each element balanced and keeping the other in check.

…Um, I didn’t even realize until just now that I was describing American Apparel. Honest. Perhaps aside from clever merchandising, that’s unconsciously been another reason why they’re one of the only retailers profiting in this climate.

To ground the conversation, I briefly discussed some interesting facts related to packaging (particularly in the supermarket environment). At the risk of sounding overly simplistic, I’ll mention those facts here (Source: Ensure your package survives the real world):

• A pack on a shelf has approximately 3 seconds to grab the audience’s attention.
• For most new products, the store shelf is the first, last, and potentially only time to facilitate a purchase decision.
• Packaging generates impulse purchases – POPAI shows that consumers enter a grocery store planning to buy about 10 items and they leave the store having purchased nearly 20
• A typical package generates 570 million impressions each year.

It’s amazing, and perhaps extremely unfortunate that despite the importance of packaging, it can veer so far off course from the core brand experience. As marketers and strategists, we have an opportunity to encourage our clients to bring packaging closer in to the brand communications. In addition, we need to avoid the temptation of overloading the package with marketing messages, making it ineffective (a great illustration is the ‘Microsoft designs the iPod Package’ video).

What I found most interesting about the talk was the need/desire to better educate clients and one another as agency partners, on the importance of the final package design. Packaging should be representative of the brand experience. It should inform people, but also evoke feelings and communicate emotions, as it will likely be the last chance to impact a sale.

I think that it is an important conversation to keep having. After all, by working together, we can impact the role that packaging plays in communications.

This display was in the lobby of the Berkshire South Community Center in Great Barrington, MA. On top of it is a small sign which reads “Over its lifetime one reusable bag eliminates for 1000 plastic bags. This bin holds 500 bags, half that amount.” And goes on to invite you to a local reusable bag making event.

It’s a bad picture, but I thought it was worth taking/sharing because it was a great example of how a picture is worth a thousand words. The text alone, while important, is relatively banal and could easily get lost amidst the other pitches and announcements. But you can’t miss the display. Always worth remembering the power of demonstrating the problem rather than explaining it.

This difficulty is compounded by the fact that in the United States, consumption remains a crucial site for constructing identities and shared meanings. For example, my choice to buy a Mac as opposed to a PC tells you something about me, true or untrue – as evidenced by the I’m a Mac and I’m a PC commercials.

Issues of consumption seem to be ubiquitous today. The increased dependence on goods as a communication vehicle, coupled with a desire for convenience items, continues to promote the mass production of disposable products and packaging. Perhaps my background in packaging design can explain my enthusiasm for the development of consumer goods that are functional, stylish and aesthetically appealing (enter Method). I truly believe that this can impact the notion of the throw-away culture in which we now live. By attributing more value to these low interest items, people are encouraged to conserve rather than dispose. The functional benefits of plastic packaging and the cultural meaning infused through design, deepen the relationship between consumer good and consumer. I would love to hear your thoughts on this article!

It is no secret that I have a thing about window displays in stores and have gone on record as criticizing our near neighbors Jon Varvatos for lamely using rock and roll cues, and pointing out that nothing says rock and roll like a $1500 suit.

This month, it is Diesel’s turn to glibly deck their windows with the trappings of music iconography. However, in this case, I actually think they got it right.*

They did so, not by going down the predictable route of leather trousers and cheap Stratocasters, but instead by celebrating the seminal, experimental, techno minimalism of Kraftwerk. Yup, the cheeky Eurotrash clothiers have enlisted the trappings of pioneering synth-kings Ralf, Florian et al.

Their window display is resplendent with neon signs, primitive computers, home made percussion pads tape loops and ENORMOUS headphones. Its original and its cool.

Whereas I have always wanted to hate Diesel for not making jeans that cater for gentlemen of a fuller figure, I applaud them for using Kratwerk respectfully and cleverly.

[ * They got it right to a point as the clothing is wrong. The outfits suck. Kraftwerk were always impeccably dressed...]

1. The store is like a museum – The “look, don’t touch” atmosphere created by the glass barrier between yourself and the cleverly designed plastic creatures worsens your natural desire to feel the smoothly textured toys. The museum feel is what elevates these creators off the toy shelf and into the category of ‘designer.’ Each piece in its case appearing more like a work of sculpture that tourists and other unworthy admirers can stare and drool at.

2. The power is in the hands of the card holder – Kid Robot is toys for adults and who ever really grows out of toys? Now that we are adults shopping for toys we are finally have the power to buy the toys we desire. No whining or begging, just card swiping!

3. Premium pricing! Truly the best strategy in play here. Putting the brand just out of reach for the common man, it creates the “Christmas-Effect.” Just as you held out all year for that one special gift (that you bought, wrapped and put under the tree for yourself) you appreciate it soo much more. Kid Robot, being as expensive as it is, makes buying one of the items a special event. Were their Dunnies or Star Wars styled creatures $20, they would get thrown aside a month after purchase. But no, if you shell out $200 for a Luke Skywalker Dunny, you will create your own museum-like atmosphere on the shelves in your office where only true fans and lovers will be privileged enough to touch the toy.

Congrats Kid Robot, you have managed to elevate your brand above any Toys R’ Us shelf. Go forth toy fans and spend $600 on a plastic toy that looks like something you’d see on a bad acid trip, after all we were all deprived of enough toys as kids.

Today being National Underwear Day, it is only appropriate that underwear be celebrated and handed out for free in the streets. The lovely pair that James Woods was graciously given is designed in such a way as to amaze. Check out the pouch and no hole look. Clearly the next trend. Someone tell Calvin before he falls behind (no pun intended).

Happy celebrating folks!

At 10:00 a.m. this morning I attempted to fix this mess up by going to FTD.com. Their, and their competitor’s same day cutoff for Sunday delivery is noon in the timezone of the recipient. After viewing some truly awful mug-based arrangements I settled on the Bountiful Beauty Bouquet.

I even paid the extra few dollars for it to be “premium” despite believing there to be no difference between what they deliver. Customers rarely see the flowers they send and recipients aren’t going to say “wow it looks like you got me the regular”. Ogers don’t get flowers.

At 1:00p.m., almost 3 hours after my transaction had finished I receive a call from FTD customer service. They were going to be unable to fulfill my order today. If they had called me an hour or even and hour and forty-five minutes after I placed the order with this information I could have used their competitors. At 1:00p.m. though everyone had closed up shop for the day. After politely (always throws of customer service when you say thank you and please) escalating this argument 3 rungs up the ladder of Customer Service to speak to the manager’s manger’s manager I was given a final offer “Sir if anyone could have delivered flowers today it would have been FTD. All I can give you is a discount on the same flowers delivered tomorrow.”

If USAA sold flowers they would have found a way to get my mom something even if they had to build a time machine, go back to Thursday and remind me to order it earlier.

Shame I didn’t write down who said it.

While there, I’ve been asked to deliver a Master class as a part of their “Young Lions” program, on Tuesday, June 17, 10AM local time. See the full schedule of classes here.

The topic of the class is “Living Naked.” I plan to discuss how Naked is born of the idea that brands now stand naked before consumers. But what does this mean for those of us in the communications, marketing and advertising industry? How does this challenge not only traditional agency models but also the very way we go about creating solutions? We approach our clients’ communications issues by “Living Naked,” a combination of our core beliefs and our unique culture.

In the spirit of Living Naked, I wanted to open the discussion here on house of Naked, with the hopes of continuing it at Cannes and beyond.

If you have any questions to suggest that will help shape the debate, please share them here. For example:

Our industry today is still built around distinct centers of expertise, how do we break down these silos and better manage turf, ego, and greed?

If your livelihood and revenue are dependent on a manufacturing output, can you be objective on the best business solution?

How can we facilitate creativity beyond ideas tied to specific channels, media or executions?

What do you think about the shift from brand messaging to brand behavior?

What is an idea without form?

Is an industry that has grown up informing messaging best suited to advise behavior?

Vicky and Pak both del.icio.us an exhibit at the Brooklyn Museum that takes its inspiration from The Wisdom of Crowds.

Pak reflects on his two year Naked-versary (we also celebrated the occasion; congratulations to Pak & Kacy!)

Joe expresses what most of us have probably been thinking re: the new $5 bill.

Pak spies an episode of 30 Rock being filmed out his window in the UWS.

Several of us write about our recent photo shoot (including test shots & video).

Thomas and Joe have a rather amusing conversation about a VW ad.

uh, oh…

what?

I get to visit our Tokyo office while on vacation.

Our views on style in Midtown vs. our views on style in SoHo.

I’m not sure to be happy or sad that I missed this while in Tokyo (linked by Kacy and Twittered by Satish).

Something exploded on the aggregator, citing both me AND Lauren as taking some beautiful photos (hint: the photos aren’t mine).

Amy Twitters a video of Faris @ the PSFK Conference.

A few of us del.icio.us this piece on why New Yorkers seem rude.

That’s all for now, guys. See you (hopefully) in two weeks!

We are a culture that praises original thought and fresh ideas. America is the place where you make something of yourself, and the ideal of self-resiliency is pervasive.

But the thing is, everyone steals. All of our ideas inevitably come from someplace else.

We can’t help it. It’s just how the mind works. Our brains absorb massive amounts of information automatically every day, mostly without consciously processing it. (For more on this, look up Robert Heath’s theory of low involvement processing. Definition of the theory here, and here’s an interview with Heath on the subject.)

There was a funny little video from a couple years ago that illustrates the point, from an advertising point of view:

This isn’t a new phenomenon — I’m sure our brains have worked like this forever. But technology has made information more accessible, perhaps, and thus made it more apparent. Blogging in particular creates a more tangible record of our sources of inspiration. (If we are diligent about sticking links in there.)

Let’s just all acknowledge that we’re bound to steal or plagiarize, for pretty much everything we do. (There’s a reason that Faris’s blog is called “Talent Imitates, Genius Steals.”) Let it go. We just have to be more diligent about attributing sources — if we can think of them.

Taking it one step further, Bob Garfield on his show On the Media suggested recently that maybe it’s more about time and place than it is about content.  He gives the “I have a dream” speech as an example:

Martin Luther King’s “I Have a Dream” speech for the 1963 March on Washington made no splash whatsoever when he delivered it in Detroit two months earlier. Yet on the steps of the Lincoln Memorial, he held the crowd – and the world – in his thrall, a quarter of a million mesmerized marchers blissfully uninterested in who wrote what when.

In the end, I’m not trying to make a political statement here — the Clinton/Obama dispute just set my brain in motion.  But let the plagiarism thing drop, will you?  We all do it.  Let’s just admit it and move on.  Instead, why don’t take a page from Garfield and concentrate a little more on giving the right context to the pilfered words coming out of our mouths.

Steven Johnson says in Emergence that our brains are essentially massively parallel processors. They’re built to seek metaphors and find connections between seemingly unrelated events. So bumping into random things and letting your head draw connections is, more or less, the only way to get good ideas. And I haven’t had all that many good ideas recently; my ideas are breeding in a cesspool.

Here are three recent things I ran across that have contributed to my sense of paranoia. (Most from the usual sources I always tend to quote… sorry.)

First, an article in the New Yorker interviewing a fellow named Nico Muhly, who is helping to reimagine classical music. (Listen to some of his music here.) Check out how one piece of stimulus triggers another and another:

Muhly has an associative intelligence that is facilitated by Google and iTunes. The image from Digges reminded him of an anthem by William Harris that sets part of a poem by Edmund Spenser (“Fair is the heaven where happy souls have place / In full enjoyment of felicity”), and that prompted him to listen again to a recording of Elizabethan minstrel songs by the countertenor Alfred Deller. Looking at a series of images of the sun marked by sunspots—which reminded him of a computer screen cluttered with icons—he thought of a passage from Roland Barthes’s “The Empire of Signs,” in which Barthes says that a chopstick “introduces into the use of food not an order but a caprice, a certain indolence.” Muhly decided that “a certain indolence” might be a good characterization of the mood with which he wanted his violin concerto to conclude.

Second, Satish and some other folks from Naked went to McNeil Nutritionals’ Digital Day. The keynote there was given by Frans Johansson, who wrote a book (The Medici Effect). His description of the book is a bit hyperbolic, but the point is dead on:

What do termites and architecture have in common? Music records and airlines? And what does any of this have to do with health-care, card-games or cooking? Most of us would assume nothing. But out of each of these seemingly random combinations have come groundbreaking ideas that have created whole new fields.

According to Satish, examples include the original candy-colored Apple iMacs, tire treads of a Hummer inspired by Nike soles, and the MLK speech transposed over techno music and circulated digitally.

Kind of like that Obama video by Will.i.am that’s making the rounds?

Lastly, a video found on PSFK. It shows Shepard Fairey and WK getting ready for a collaborative show. It doesn’t directly build on the other examples above, but my brain says it fits too, and maybe that’s the point. It’s about how two of them draw inspiration from one another. And how their work is layer upon layer of different images, all building and contributing to a bigger, amazing whole.