“Known for its beverages, Pepsi is now moving into the restaurant business,” The New York Times reports. “The 5,000-square-foot space — on the same block as Milk Studios in Chelsea … will become Kola House, a restaurant-bar-event space that the company hopes will be both social hub and testing ground for new products.”
Kola House “will not be plastered with the Pepsi logo or filled with Pepsi products. Everything at Kola House will be centered on the kola nut, a bitter fruit that contains caffeine and gives cola beverages their name. Essentially, Pepsi is trying to market its product without marketing its product.”
Pepsi design chief Mauro Porcini: “Consumers will love your brand because your brand enables you to have the experience, but they don’t want to have the brand in their face. It needs to be very subtle, elegant, sophisticated.”
Pepsi marketing chief Seth Kaufman: “We are in a time where we have to transform how we connect with and engage consumers. If brands don’t do that today, they will be irrelevant tomorrow, whatever tomorrow is.”
Wired: “A new typeface called Memoire is designed to reflect the ever-shifting shapes memories take as we replay them in our minds. Designers Ryan Bugden and Michelle Wainer created the custom typeface for La Petite Mort, a biannual magazine produced by New York creative agency Sub Rosa. The font, used as the headline typeface for each of the magazine’s 16 stories, evolves from page to page. ‘The core idea was that it would change over time—similar to how every time you revisit a memory, it in fact changes based on the current context you’re in,’ Wainer says.
“It’s hard to see the changes at first. The sharpness of the serifs softens almost imperceptibly with every use. On the first page, edges are knife-like; by the last, they are almost friendly in their roundness.”
“Memoire was designed for print, though it lives beautifully as a digital file, where you can see the transformation in hyper speed. Reading it in print is more of an exercise in perception, and in many ways, the typeface is a metaphor for memory layered upon yet another metaphor: By its very nature, the print page blurs and fades, each time it’s touched.”
The Wall Street Journal: “More than nine of 10 shoppers said they considered ‘same day,’ ‘next day’ and ‘two day’ delivery to be ‘fast,’ according to consulting firm Deloitte’s 2015 holiday survey of some 4,000 shoppers. At three to four days, only 63% called it ‘fast,’ and just 18% of shoppers considered five to seven days ‘fast’.”
“And customers for the most part are no longer willing to pay extra for expedited delivery. Shoppers on average said they would pay at most just $5.10 for same-day service, in the Deloitte survey. A quarter of shoppers said they wouldn’t expect to pay anything at all.”
However, absorbing the shipping may be worth it to some online retailers because it can reduce the return rate: “When you go to a store, you have that wonderful delight of carrying the bag down the street,” says David Maddocks, chief marketing officer of Cole Haan. “Online, after you click, you have to wait. And during that time you can fall out of love.”
The Wall Street Journal: “In some ways, the soda industry is returning to its early 20th century roots, when bottles were typically about 6 ounces and pop was a treat saved for a special occasion. It wasn’t until 1976 that 7-Eleven Inc. launched the 32-ounce Big Gulp at its convenience stores.”
“Now, once again, American soda drinkers ‘want to consume less but they still enjoy their favorite brands,’ said Marty Ellen, Dr Pepper’s chief financial officer. Dr Pepper is rolling out 7.5-ounce cans nationally this year, replacing 8-ounce cans it launched as an alternative to 12-ounce cans. Each 7.5-ounce can holds about 95 calories, compared with 150 calories for a 12-ounce can.”
This works out well for soda companies, which have stemmed losses by charging more for less: “At a Publix supermarket in Atlanta recently, a 12-pack of 12-ounce Coke cans was priced at $5.29, or 3.67 cents per ounce. An 8-pack of 7.5-ounce cans was priced at $3.99, or 6.65 cents per ounce.”
Mr. Ellen says the higher cost per-ounce aligns with consumer behavior because soda is still a “cheap treat.”
Those who are slower to adopt new products or services tend to be more loyal to their choices, reports The Wall Street Journal.
Typically, a late adopter is “a person who buys a product or service after half of a population has done so. Late adopters tend to share certain characteristics: They are skeptical of marketing and tend to point out differences between advertised claims and the actual product. They often value a product’s core attributes, ignoring the bells and whistles intended to upsell the latest model. They may not try something new until weeks, months or even years after the crowd has moved on.”
“It takes a long time to change late adopters, but once they’ve done all that research, and once they are convinced about a product, they are going to stay for a long time,” says Sara Jahanmir of the Nova School of Business and Economics in Lisbon.
Late adopters are also believed to have “important things to tell companies about the role new products should play. Because they tend to be highly critical, late adopters can be useful to companies perfecting their wares … By listening to late adopters of the old version of a product, developers can create a new version that is quicker to be adopted.”
Hyperallergic: “In plain terms, across the field, in museums, art institutions, performance forums, and even historical societies, the visitor’s experience is now being personalized. This means that not only is the visit marked by enhanced, interactive, and ‘dialogic’ engagement, but also there is an institutional recognition of the visitor as an independent maker of meaning who uses the museum in a variety of ways to fulfill particular, individual needs and desires.”
“Three key means of accomplishing this is first, recognizing visitors’ capacity to make meaning for themselves; two, partnering with them to discover what they personally want from the museum; and lastly, mobilizing the museum’s resources to meet these needs. These tasks can be met by, among other things, new curatorial strategies through which museums partner with visitors to develop activities and events: co-curation projects, and crowdsourcing exhibition content.”
“Visitors are no longer passive receptacles for the curator’s knowledge, but rather active, engaged participants.”