Quick Read: There are ads that try and communicate a message of ‘contrast’ and there are those that communicate ‘similarity’. While the former type of ads ride on a diverse set of story telling devices, there seems to be an interesting trend in the story telling devices deployed by the latter set. It’s the ‘Split Screen’.
A lot of advertising is meant to tease out / explain / amplify an element of a brand that is supposedly in contrast w.r.t the competition. Think about it for a moment and think of the core narratives behind most of the ads that you see around.
A lot of advertising narratives tend to fall into this camp, where they try to land a message through a narrative that is designed to communicate a contrast – sometimes in a straightforward manner or sometimes in perhaps a tongue in cheek style.
And oh, btw just for fun, see this one and it’s hard to not think that the Jeep’s creative team didn’t have this in mind while conceptualizing the above work.
As you can see, ads that have ‘contrast’ as the core message, ride on a diverse set of story telling devices.
Interestingly, this is in contrast with ads where ‘similarity’ is the core message.
When similarity is the core message..
.. there seems to be an interesting trend in the story telling devices that most of them seem to draw upon. Most of such narratives are rooted in a singular story telling device – the split screen.
Sample the following examples.
1. The Day Before
(Agency: Leo Burnett Chicago)
2. McDonald’s
(Agency: Agency: Leo Burnett Chicago)
3. John Lewis
(Agency: DDB Worldwide)
4. Coca Cola UK
(Agency: David The Agency, Buenos Aires)
For the record, the split screen as a story telling device has also been used in ads that seek to communicate a contrast.
Like this one from Apple.
In fact this entire campaign for iPhone (in May 2017) had creatives that all used the split screen.
What other story telling devices have caught your eye in the recent past?
Quick Read: We have all seen those ads that start with “what if…”? But did you know that behind the facade of their deliberate wacky-ness there is a method to their madness.
In a world where Rhinoceros are domesticated pets who wins the second world war?
Or sample this..
In a world where a piano is a weapon, not a musical instrument, on what does Scott Joplin play the Maple Leaf Rag?
Counterfactuals. That’s what Amy and Sheldon call them.
First the definition.
Counterfactual thinking is a concept in psychology that involves the human tendency to create possible alternatives to life events that have already occurred; something that is contrary to what actually happened. (source)
It turns out that counterfactual thinking can have a huge influence over us.
In one experiment referenced in the book, researchers had asked participants to think about a turning point event in their lives – be it positive/ negative /or neutral.
Subsequently these participants were segregated into three groups.
Group 1 (counter factual thinking): these participants were asked to describe how their life would look if the turning point event had never happened
Group 2 (factual thinking): these participants were simply asked to recount the turning point event in detail
Group 3 (meaning association): these participants were asked to reflect on why the turning point event was meaningful.
The researchers then asked these participants to respond to two statements about their turning point event: “It made me who I am today” and “It gave meaning to my life.”
Results showed that that participants in group 1 perceived the turning point events as more meaningful than those in group 2 (those primed towards factual thinking) or even those in group 3 (those primed towards meaning association)!
As Esfahani Smith points out in the book, research suggests that counterfactual thinking helps us find meaning in our lives for two reasons:
We’re able to attribute greater benefits to significant past events. Participants in the study mostly imagined that their lives would be worse if the event hadn’t happened.
It helps us tell more coherent stories about our lives – as though everything we have experienced has happened for a reason.
Influence on advertising response
As per (1) and (2) above, if counterfactual thinking indeed makes us better story tellers and helps us become more cognizant and appreciative of our own narratives, could it also have an impact on how we assess and internalize the narratives and stories that we are exposed to on a daily basis a.k.a advertising and marketing?
In a nutshell their research proved that invoking counterfactual thinking before an exposure to the advertising message can prime us up to be more receptive to and become more critical of the (key persuasive) message that follows.
No wonder many NGO marketing messages are structured around counterfactuals.
Agency: Droga5 New York
Or even those ads like the following recent ones from Amtrak that are made with the objective to persuade the viewers and drive a behavioral change.
Can you think of any other advertising examples that ride on counterfactuals?
Quick Read: The idea of breaking free and getting lost has always fascinated us. Interestingly this idea manifests itself not just outdoors but also indoors.
Ajatashatru the fakir, renowned conjurer and trickster, lands in Paris.
His mission? To acquire a splendid new bed of nails. His destination? IKEA.
And there he decides to stay, finding an obliging wardrobe in which to lay his head. Only when he emerges from his slumber does he discover that he is locked in, unable to free himself and heading for England in the back of a truck.
Or let’s take Allan Karlsson who’s sitting quietly in his room in an old people’s home, as his one-hundredth birthday party is to begin. The Mayor and even the press will soon be there. But for some reason he doesn’t want to attend his own party. So what does he do?
He climbs out of his bedroom window and disappears. And embarks on an unlikely journey involving criminals, murders, police and a suitcase full of cash.
The idea of breaking free and getting lost seemed to have always fascinated us as a species. Call it our natural state of entropy or a throw back to our primal tendencies of being a nomad, we seem to have always nursed a flame for throwing everything away and becoming a nomad.
Naturally, the SUV category lends itself to both literal and metaphorical articulations of this yearning of breaking free.
Time to get out there
While typical ads for such ideas tend to showcase the spectre of seduction of the wild vs the boredom of getting chained amongst sterile urban landscapes, the recent Volkswagen campaign by DDB Berlin pushes the creative envelope by taking inspiration from the most unexpected – yet very apt – sources.
The idea: The great majority of us are not as adventurous and well-traveled as we might think we are. In fact, if we think about it, we are surrounded by ordinary objects that have traveled way more than us. Based on this insight, DDB Berlin created a series of print ads that tell the exciting stories of a paper clip, a disposable lighter, a coin, and a pencil, in a way that pokes fun at our own sedentary lives.
Volkswagen SUV range, SourceVolkswagen SUV range, SourceVolkswagen SUV range, Source
Each one is a copy writing gem on its own!
While driving off in an SUV is a natural expression of our innate nomadic tendencies, recent times have seen this philosophy seep even into the confines of our bedrooms or drawing rooms!
Nomadism within our homes
Lidewij Edelkoort, a Dutch trend forecaster, believes that nomadism is a key trend that can be seen playing even within our homes. We no longer adhere to strict borders or rules even within homes: a formal drawing room to entertain guests, a bedroom to sleep in, a study to work. That’s not how the urban citizen lives, so there’s a need to design for a fluid home.
IKEA India’s creative director Mia Lundström in one of her recent interviews echoes this insight around nomadism and says “People live, eat, work, sleep a little bit everywhere in the home. So we make products that don’t have a specific destination but fit in many different contexts around the home. We don’t tell people this cushion is for the sofa. It could be for that or the Rattan chair on the terrace.”
It will be interesting to see how ideas and products across categories adopt this philosophy of nomadism, i.e., those that are designed for fluidity – so they don’t necessarily adhere to categories but contexts.
Quick Read: Our future selves are strangers to us. For any brand marketer that wants to drive a habit change among people, this could be a million dollar insight.
The answers are always wise, instructive and helpful. As they ought to be. For the exercise of looking back and reflecting upon one’s journey so far, tends to be a highly visual and (thereby) a pretty straightforward affair in our minds.
Brands like Tine – a Norwegian Dairy brand – have even used it as a construct to tell one of their stories. (more on this in my older blog post)
The idea of looking into a younger version of oneself was also the central theme of a fascinating photography project called Reflections by Tom Hussey.
Each photograph features a person looking into a mirror and seeing a reflection of his/her significantly younger self. Result – a powerful and a poignant means to communicate the story of someone whose mind has gotten stripped of its more recent memories.
Novartis – the pharma giant, used these photographs towards a campaign for their Exelon Patch – a prescription medicine for Alzheimer’s. (more here)
Think about it for a moment. Is it as easy as envisioning our past selves?
The answer tends to be in the negative. Well, mostly.
Many studies establish our biological truth that one’s future self is a stranger within each of us. For example, Jason Mitchell – Professor of Psychology at Harvard – has found that when we picture ourselves experiencing something pleasurable a year from now, many of us use the brain areas involved in imagining a stranger.
He says that it is this lack of relationship between our present self and our future self that is at the core of many of our behavioural problems — from not saving enough for our retirement to unhealthy lifestyle practices and many more.
This is such a compelling insight that I am tempted to go out on a limb and wager that this lack of a more intuitive relationship between our present and our future selves could actually be the key to solving for classic marketing challenges like low levels of penetration prevalent across several future focussed categories like BFSI (Mutual Funds, Insurance) or Beauty (Anti Ageing) or other FMCG categories (like Oats, Sugar free F&B variants) etc.
The solution to this lies in getting our present self to be more aware of, relate to and empathise with our future self.
It is known that the feeling of empathy between two persons diminishes as the physical and temporal distance between them increases. So how do we get our present selves to build empathy with a self that is 20 or 30 years ahead in future?
Now that could be a great problem worth solving for, with creative possibilities in marketing communications.
Biju Dominic’s article even provides thought starters for possible approaches. He writes..
Hal Hershfield, a social psychologist at UCLA Anderson found that people who spend a few minutes getting acquainted with a computer-generated simulation of what they might look like in the future were motivated to make better decisions about retirement planning.
Now that’s a spring board of an idea – using computer generated simulation to show what one might look like in the future.
Now hold on to that thought and juxtapose that with this famous Dove Sketches execution.
Tickets for the Fyre Festival were sold for up to $12,000 with promises of VIP chartered flights, luxury eco-friendly villas and gourmet food. The reality as it turned out over the last few days was very very different. And the Internet has been going crazy over this. (read here, here for more on this)
For me it’s the (above) video that fascinates the most. Composed of what looks like glamorous stock footage and some fancy copy (like, “..on the boundaries of the impossible..”) and made to look more like a video for a bikini fest than that for a music fest, it had all the clippings (pun intended) of an inflated bubble of pseudo reality.
Speaking of stock footage you should read this short poem by Kendra Eash called ..
This is a generic brand video.
It begins with these lines..
We think first Of vague words that are synonyms for progress And pair them with footage of a high-speed train.
And goes on to poke fun at the stock language and footage that is often used by brands in their advertising campaigns.
The interesting thing is what Dissolve did with this poem.
With a stroke of marketing genius, Dissolve – a stock footage company went ahead and made a video of this poem using (surprise, surprise) its own stock footage and turned it into an ad for itself!
The result – work that is in equal parts parody and ad that went on to win the 2015 Shorty Award for Best in B2B. See the video here.
Extending this thought over the years, Dissolve brilliantly leveraged the US Presidential elections campaign and made This Is a Generic Presidential Campaign Ad on very similar lines. This again won them a Shorty Award for 2017.
Now with the ‘Fyre Festival Fiasco’ I really hope they go ahead and make a ‘This Is a Generic Music Festival Video Ad’.
Can stock footage say anything about us as a society?
Mindshare in Denmark tapped into an insight around how the advertising industry has been perpetuating stereotypes around beauty over the years (knowingly or otherwise).
So they turned to one of the largest stock footage sites – Shutterstock and devised what they call as Image_Hack as an initiative for the Dove Real Beauty campaign.
Though it arguably feels a bit ‘case study-isque’ (you know what I mean) it is definitely an insightful, novel and a refreshing approach to give more wings to the conversation around “Real Beauty”.
One stock photo at a time.
(Bonus Link: Speaking of stock footage, check out this new music video from Cassius, featuring Pharrell Williams and Cat Power. The amount of stock footage the director Alexandre Courtes went through to find all these corresponding split screen images must have been staggering!)
(Featured Image Source: Image_Hack, Photograher: Magnus Ekstrøm)
Quick Read: Think Contextual Codes, not Category Codes. Sometimes it could make a massive difference.
Fifty years ago, in the fictional world of Mad Men, Don Draper pitched a bold ad campaign to Heinz.
The ads showed close-ups of food that go great with ketchup— a cheeseburger, french fries, a slice of steak—but without any ketchup in sight.
The tagline: “Pass the Heinz.”
But the Heinz clients in the Mad Men episode called it “half an ad”. They wanted to see the bottle.
No wonder Don didn’t get the account.
But now, in March 2017, in a meta union of advertising’s real and fictional worlds, Heinz green lighted the ads.
The best thing: Heinz is slated to run these ads almost exactly as Draper intended, in print and in OOH executions in the New York City. Read more here.
These are all camera brands trying their hand at the “live action category”.
But seeing these, you could say that Garmin and Nikon have failed to understand a crucial distinction between a camera in the ‘live action category’ and that from the photographic category. Sure, they both involve a lens to capture the action, but fundamentally the rules, values and the culture around these categories are very different.
GoPro’s success is not just because they were one of the first to exploit this market, but because they were part of the culture that created this market.
They understood these people. What they do. What they want. What they feel.
This knowledge influenced everything, from their positioning through to the style of advertising they created.
The fact that Nikon’s (or Garmin’s) ads show an image that comes from the perspective of watching others do something, highlights how they have failed to understand the audience they are talking to.
So now my question again – what do these ads have going for them?
The New Range Rover Velar’s ad is another case in point.
From the very first second of the ad you are living it.
Thanks to the brilliant sound design, you feel the jungle cruising by you and the night looming over you.
The car almost becomes your sensory vehicle for this experience.
Now, if you look at them all, don’t these great ads have one thing in common?
The Insight
Don Draper’s ‘Pass the Heinz’ creatives or GoPro’s ads or The New Range Rover Velar’s ad stand out because their executions are not about conforming to any of their respective ‘category codes’ but are about staying true to their respective ‘contextual codes’.
That’s perhaps why you don’t need to show the bottle.
As Don Draper said in his Heinz pitch..
“The greatest thing you have working for you is not the photo you take or the picture you paint. It’s the imagination of a consumer. They have no budget, they have no time limit. And if you can get into that space, your ad can run all day.”
Quick Read: A world fleeting by giga bytes per every nano second lends itself to the emergence of a paced down, nuanced and a deeper notion of travel as an experience – of the body or the mind or the soul.
Google ‘wandering’ and it says the following:
What if there were to be an aim for wandering?
Speaking of which, what if a sign post says ‘Please Trespass’.
That’s literally one of the unique joys of living in Sweden.
Called allemansrätten, or the Right of Public Access, it means as long as the land is not cultivated, and as long as no damage is caused, most of Sweden’s nature is yours to explore. This right of public access allows anyone to roam freely in the countryside, swim and travel by boat in someone else’s waters or even to camp or park a motor home on another person’s land.
Because it has existed for generations, allemansrätten is a part of the national identity of Sweden. School groups explore the forests from an early age and families often fish, pick berries or go for walks in the woods together.
No wonder, many people in Sweden can identify a surprising number of birds, fish and trees by name. (source)
What if we could all go to the woods to live deliberately.
What if we willfully subject ourselves to the challenge of stillness and get away from the tyranny of the screens to appreciate solitude and seek inspiration from the nature?
‘Walden, a Game‘ is an upcoming video game that challenges the player with this very question. See its trailer here.
A game that has apparently been in development for nearly a decade, ‘Walden..” takes takes six hours to play. It starts in the summer and ends a year later — offering players tasks like building a cabin, planting beans or chatting with Ralph Waldo Emerson.
Should you not leave sufficient time for contemplation, or work too hard, the game cautions: “Your inspiration has become low, but can be regained by reading, attending to sounds of life in the distance, enjoying solitude and interacting with visitors, animal and human.” (source)
Costing $19.99, the game is billed as the world’s most improbable video game for obvious reasons. Nevertheless it signals the mainstream arrival of the phenomenon of people seeking a sense of calm, a modicum of mindfulness and a pinch of presence amidst a world fleeting by giga bytes per every nano second.
So let the world wait
Perhaps as a reflection of such times that we live in today, we also have brands that have positioned themselves around this emerging need of the individual to seek these moments of peace and calm.
In its recent set of commercials, Black Dog encourages one to pause to unwind and relax. It asks one to take the time to savor all the things that truly matter – “because life is in the pause”.
In his recent annual book of ideas and insights titled Non Obvious-2017 edition, Rohit Bhargava references some interesting trends in this space (of ‘willful wandering’ and its adjacencies) to watch out for in 2017. He calls them “desperate detox”,“deep diving” and “mainstream mindfulness”. (check out his insightful commentary around these trends and much more in his must read book)
Putting it all together, the industry that is rife with disruption due to this trend is obviously travel. And an emerging category of travelers in this space is called the ‘Post Tourist’.
The Post Tourist
The term ‘post-tourist’ is commonly used to refer to a new breed of travellers, those who eschew common tourist hotspots and opt for a more unconventional experience, immersing themselves in local culture for an extended period of time.
No wonder, Airbnb tells us “Don’t go there, live there”
As Rohit says in his book..
“In a world filled with quick burst experiences, the future of travel seems to be something more meaningful, far deeper, and involving much more willful wandering.”
Given this, what’s my insight?
If travel is nothing but a state of mind, I have a feeling we are just fastening our seat belts before the category takes off.
A category called, willful wandering – of the body or the mind or the soul.
Quick read: Overview Effect – a phenomenon from space travel can have some great creative parallels in the arts.
There’s a strange phenomenon that happens to astronauts when they see Earth from space. Most astronauts describe this as a cognitive shift in awareness, a state of mental clarity or a sense of deep connection.
This state called the “overview effect,” occurs when you are flung so far away from Earth that you become totally overwhelmed and awed by the fragility and unity of life on our planet. It’s the uncanny sense of understanding the ‘big picture’ and a humbling appreciation of our infinitesimalness in comparison – all at the same time.
Recently, two creative technologists have created an oddly mesmerizing website that provides something approximating the ‘Overview Effect’ for the rest of us.
Andrew Wong and James Thompson created an algorithm that picks YouTube videos fitting specific criteria: uploaded within the past week, with generic file names (IMG, MOV WMV) as titles, and zero views. And juxtaposed this seemingly endless stream of random videos against a view of our planet from low Earth orbit. (source)
The result is a fascinating glimpse at the mundane, perplexing, and oftentimes sweet events of everyday life juxtaposed against the monumental, mystical and often times sublime views of the planet earth.
The insight here could be about the possibilities that can be achieved w.r.t driving a shift in the viewers’ perspective when an object is made to interact with a meta object. E.g., what if a character in a story interacts with someone that typically exists in a dimension higher to that of the character, like the author?
Let’s take two examples.
The Gunfighter
Think of an actor in a film as an object.
Now think of the narrator of this film. A narrator is conceptually meant to be at a degree higher in dimension or abstraction vs an actor in that film, in order for him to be able to narrate the story to us. Right?
But what if the actor in the film is made to interact with its narrator?
Directed by Eric Kissack, The Gunfighter has won several awards across categories like best narrative, best short film, best comedy etc and was the official selection for various film festivals.
Old Mout Cider even commissioned him to shoot a film with the same narrative device for their ad. (see here)
The Museum’s Ghosts
This eponymous photography project by Andrés Wertheim is an experiment on similar lines.
Photograph from The Museum’s Ghosts – Andrés Wertheim
It is assumed that when people go to a museum, they carefully observe the paintings and sculptures and thoroughly read the explanatory panels.
But what if the characters portrayed in nearby paintings looked upon visitors while they aren’t paying attention, what unusual scenes would we find ?
Through double exposures made in camera, Andrés Wertheim merged in a single photoframe, both planes of the visible reality – the audience in a museum’s room and the portrayed characters on the same room’s walls – trying to create a dialogue between them.
The Museum’s Ghosts as a photography project, has also been featured in National Geographic for its creation of such surreal scenes that place art and its observers together in a new imagined dimension.
The bottomline
Whether it’s art walking off the walls to interact with the visitors of a museum, or the characters in a film being able to interact with its’ narrator, or a micro level human narrative getting juxtaposed against the macro level perspective of the planet earth, they all have one thing in common.
They are all examples of objects interacting with meta objects, compelling us to re-evaluate and reconsider our perspectives of the world within and around us – perhaps just like in the ‘Overview Effect’ as experienced by a space walker when looking back at our planet earth.
(Featured Image: Photos being shot from International Space station. Source)
Quick Read: No matter what we do, we tend to express ourselves. And these expressions can lend themselves to interesting insights.
A very popular class of Kenneth Goldsmith at the University of Pennsylvania is called “Uncreative Writing”. As part of this course, students are forced to plagiarize, appropriate, and steal texts. In fact, they are said to be penalized for originality, sincerity, and creativity.
What they’ve been surreptitiously doing throughout their academic career—patchwriting, cutting-and-pasting, lifting—must now be done in the open, where they are accountable for their decisions.
Suddenly, new questions arise: What is it that I’m lifting? And why? What do my choices about what to appropriate tell me about myself? My emotions? My history? My biases and passions? The critiques turn toward formal improvement: Could I have swiped better material? Could my methods in constructing these texts have been better?
Not surprisingly, they thrive. What I’ve learned from these years in the classroom is that no matter what we do, we can’t help but express ourselves.
No matter what we do, he says (and I repeat), we cannot help but express ourselves. And this forms of expression if interpreted and analyzed could lend themselves for some valuable insights.
Let us take a few examples from the most unlikeliest of the sources of expression.
The link between crime and ink
People choose to draw stuff on their bodies because of what that specific tattoo means to them. With one of the hotbeds of tattooing being the American prisons, The Economist set about to investigate what inferences it could possibly draw about a life of crime from different types of tattoos.
Source: Robert Gumpert
Their question: If people’s ethnicity and sex determines their tattoos, can the same be said of their types of crime?
Using data from the Florida Department of Corrections (FDOC) – a downloadable database featuring records for all the 100,000 inmates currently incarcerated in the Florida state prison system – The Economistbuilt a series of statistical models to predict the likelihood of criminals committing specific crimes based on their demographic traits and choices of tattoos. (see table below)
For example, their analysis had found that inmates convicted of property crimes and weapons-possession offences have the most tattoos, while sex offenders, particularly those convicted of paedophilia, tend to have the fewest. For a full commentary on this revealing analysis read the full article here.
One big insight based on this analysis is that tattoos tend to be supremely effective in predicting recidivism – the tendency of an ex convict to relapse into criminal behavior. (Of the inmates who have been re-incarcerated, 75% percent had tattoos!)
So non profits like Homeboy Industries – one of America’s largest gang rehabs – have free tattoo removal services. For, the act of removing tattoos reflects a genuine investment in ones change and thereby almost guarantees a step change in how you see yourself.
Bespoke fashion: an investment in self expression
Getting a pair of bespoke shoes is considered an epitome in luxury grooming for men.
One, because of its obscene cost. And two because it requires a considerable investment of time—typically, you fly off to Europe to get your feet measured and place the order (or the shoemaker flies in to your city), there may be two-three more visits for fittings, and then you wait anything from 9-12 months for the final shoe.
These connotations of luxury don’t still capture the essence of the bespoke fashion movement, until one begins to see it as an investment in self expression.
Bespoke, thereby, is a journey where you typically start with shirts, move to suits, and then some men take the logical next step to shoes as a final expression of their overall style and look. So next time you see someone with a bespoke suit you know where they are in their journey of self expression.
Now, given that there’s greater variety in women’s body shapes than men’s, one would expect a greater choice for women’s bespoke fashion. Interestingly it’s the other way round.
Cost is one challenge – more curves mean more measurements, more places a garment might need to be adjusted and more time getting the fit just right, making the whole process more expensive.
But the key challenge could be in being able to support for the underlying vocabulary of self expression dormant in women’s custom clothing. After all, bespoke fashion for women is an ocean of choice for personal expression that goes beyond just body fit, spanning attributes like apparel, color, fabric, style, occasion and perhaps even mood.
Now that’s one heavily under served segment in the super lucrative world of bespoke fashion – if only one could demystify the method to the madness of the infinite variations of expressions that constitute women’s custom clothing.
Earlier this year, the Art Institute of Chicago was to throw open an exhibition called Van Gogh’s Bedrooms containing 36 of his works including paintings, drawings, illustrated letters as well as a selection of books and other ephemera known to have been in his possession.
As part of the promotional campaign for this exhibit, the institute did something innovative.
It recreated his famous bedroom in Chicago’s River North neighborhood and threw it open for rent on Airbnb.
Result: the first block of nights sold out in 5 mins on Airbnb. It helped generate massive buzz about the exhibition that saw 200,000+ visitors in just a few weeks making it the highest attended exhibit in 15 years.
See this video for a sneak view into this initiative.
Commissioning 3D replicas to drive awareness and trial of a product is nothing new. Examples like the above show that they can also make for a killer demo in the realm of experience marketing.
For these are professional grade art works at the intersection of consumer psychology, complex 3D modeling, con art and story telling.
Or take the world of shokuhin samples – the hypnotic world of fake Japanese food.
In Japan, fake food can look very, very real. It’s called “shokuhin sample” (食品サンプル) or “food sample”, and it appears outside restaurants so customers can know what they are ordering.
And it is a damn big deal.
Shokuhin samples have become such an intricate part of the Japanese dining experience that many people stop in front of glass cases filled with fake food, decide what they want, and then enter the restaurant. Some Japanese even complain about the lack of fake food when dinning abroad—that they don’t get to see what they are ordering beforehand!
Most shokuhin samples are still hand made by highly skilled artisans whose painstaking craft – honed over several years of training – results in textures and colors that are so precise that it’s often difficult to tell real food from the samples.
Today shokuhin sample manufacturers fiercely guard their trade secrets as business is lucrative; the plastic food industry in Japan, by conservative estimates, has revenues of over 10 billion yen per year.
Unsurprisingly there are also stores that sell this fake food. Ganso Shokuhin Sample-ya is one such shrine dedicated to all things fake food. It has been producing plastic replicas for display in restaurant windows since 1932, but in recent years it’s even wisened up to the tourist trade by selling fake food keyrings, magnets and phone straps as souvenirs.
Journalist Yasunobu Nose has a theory that links the plastic replicas to the visual aesthetic of Japanese food appreciation. In his book titled “Me de taberu Nihonjin (Japanese People Eat With Their Eyes),” Nose writes that food samples are part of the Japanese tendency to “first ‘taste’ dishes by sight, then eat with their mouths and stomachs.” (source)
With such a strong visual aesthetic underpinning the Japanese way of food appreciation, it would be a massive opportunity lost if the food brands (all kinds from ingredient brands to ready to eat brands) in the Japanese supermarkets do not leverage the power of shokuhin samples in their visual merchandising on the shelves.
After all, this is serious performance art that seeks expressiveness of deliciousness and a sincere pursuit of reality as its objectives. While being rooted in local culture.
Can you think of any other multi sensory experiences that can be brought to life with the help of 3D replicas?
Other than sex dolls, I mean 🙂
(Featured Image: Van Gogh’s bedroom replica as listed on Airbnb)
Riffs on technology, marketing & culture 