tag:econsultancy.com,2008:/topics/web-design Latest Design content from Econsultancy 2017-02-16T10:00:00+00:00 tag:econsultancy.com,2008:BlogPost/68808 2017-02-16T10:00:00+00:00 2017-02-16T10:00:00+00:00 UK retailers still failing to meet web accessibility standards Chris Rourke <p>With so many barriers in store, shopping online from the comfort of your home is an attractive option. Furthermore, under the Equality Act 2010 all retailers must provide access to their goods online as well as in store. </p> <p>We decided to review the online accessibility of six well known UK retailers to identify the main barriers for online shoppers with disabilities.</p> <p>The chosen retailers were:</p> <ol> <li><a title="Accessibility Review of Online Retailers Part 1: Boots" href="http://uservision.co.uk/2017/01/accessibility-review-boots/" target="_blank">Boots</a></li> <li><a title="Accessibility Review of Online Retailers Part 2: Mothercare" href="http://uservision.co.uk/2017/01/accessibility-review-mothercare/" target="_blank">Mothercare</a></li> <li><a title="Accessibility Review of Online Retailers Part 3: House of Fraser" href="http://uservision.co.uk/2017/01/accessibility-review-house-off-fraser/" target="_blank">House of Fraser</a></li> <li><a title="Accessibility Review of Online Retailers Part 4: Joules" href="http://uservision.co.uk/2017/01/accessibility-review-joules/" target="_blank">Joules</a></li> <li><a title="Accessibility Review of Online Retailers Part 5: Tesco" href="http://uservision.co.uk/2017/01/accessibility-review-tesco/" target="_blank">Tesco</a></li> <li><a title="Accessibility Review of Online Retailers Part 6: Not on The High Street" href="http://uservision.co.uk/2017/01/accessibility-review-not-on-high-street/" target="_blank">Not on the High Street</a></li> </ol> <h3>How did we measure/review online accessibility?</h3> <p>To evaluate the accessibility of a site we audit them against the Web Consortium Accessibility Guidelines from the W3C. Also known as <a title="Web Consortium Accessibility Guidelines from the W3C" href="https://www.w3.org/WAI/intro/wcag.php" target="_blank">WCAG 2.0</a>, these guidelines help to improve web accessibility and are the best way to ensure the site serves the widest audience.</p> <p>We followed a typical shopping journey to assess how the retailers approached accessibility on their sites. This included:</p> <ul> <li>Homepage and search</li> <li>Browse (including any product category and product range pages)</li> <li>Selection (product page and basket)</li> <li>Payment (delivery and payment details)</li> </ul> <p>We focused on the major aspects of WCAG 2.0 Level AA, including important factors such as keyboard accessibility and screen reader compatibility. Items we looked out for included:</p> <ul> <li>Use of <strong>headings</strong> </li> <li>Alt text for <strong>images</strong> </li> <li>Availability of<strong> skip links</strong> </li> <li>Inclusion of a <strong>visible focus</strong> </li> <li>Access to <strong>forms</strong> </li> <li>Use of <strong>ARIA</strong> to provide greater context</li> <li>Access of <strong>pop ups / modal windows</strong> </li> <li><strong>Colour contrast</strong></li> <li>Navigating around is in a <strong>logical order</strong> </li> <li> <strong>Links</strong> are meaningful and describe their purpose</li> </ul> <h3>What were the common barriers?</h3> <p>We gained a good insight into the main barriers disabled users face when shopping online. There were several common themes and unfortunately all of the sites failed to meet the Level AA of the WCAG 2.0 guidelines.</p> <p>This means that disabled users would face difficulty in buying a product on each site, with half of the sites completely inhibiting users at certain points in their journey. The main accessibility problems are described below, with examples from across the sites.</p> <h3>Visible focus</h3> <p>This navigational technique highlights where the user is on the page visually. This is essential for sighted users who rely on visual cues to navigate with a keyboard.</p> <p>As positive examples, Tesco and House of Fraser provide clear and consistent visible focus so users can see their location as they move their focus through the site. Other retailers had a mix of custom, default or no focus at all so that they relied on the default browser focus which is not sufficient since it can be unclear and inconsistent between browsers.</p> <p>Below we can clearly see that the “Home Electrical” link has keyboard focus on the Tesco site as the text is underlined and is displayed in a blue colour which is distinguishable from the rest of the text on the page: </p> <p><img style="vertical-align: middle;" src="https://assets.econsultancy.com/images/0008/3895/VisibleFocusExample_Tesco.png" alt="Clear visible focus on the Tesco homepage enables users to see where they are on the page." width="967" height="282"></p> <h3>‘Skip to’ links</h3> <p>For non-sighted users, ‘skip to’ links provide an easy way to move through the navigation and into the main content of the page.</p> <p>Only half of the sites had implemented ‘skip to’ links meaning that keyboard users would repeatedly have to step through lengthy navigation menus, an even more tedious task for screen reader users listening to the links.</p> <p>House of Fraser was a great example of a site that had clear ‘skip to’ links:</p> <p><img style="vertical-align: middle;" src="https://assets.econsultancy.com/images/0008/3896/SkipToLinks_HOF.png" alt="Good example of clear and visible ‘Skip to main content’ link on House of Fraser site." width="891" height="128"></p> <p>Joules had more than one ‘skip to’ link but they were designed to be hidden for sighted users. Consequently, sighted keyboard users were unable to take advantage of this functionality.</p> <p><img style="vertical-align: middle;" src="https://assets.econsultancy.com/images/0008/3897/SkiptolinksBadExample_Joules.png" alt="‘Skip to content’ link on Joules.com does not become visible" width="1010" height="655"></p> <h3>Alternative text for images</h3> <p>Alternative text is read by screen readers in place of images, allowing the content and function of the images to be available to those with visual or certain cognitive disabilities. All informative images on a page should have suitable alternative text, providing all users with the same access to content.  </p> <p>Across our retailers, use of alternative text was generally good with appropriate and descriptive alt tags on product images. However, we did notice issues on both Boots and Mothercare where image descriptions were read to the screen reader more than once.</p> <p>This was due to images having both an alt tag and identical title attribute. We recommend retailers remove titles with duplicate text to make sure the image descriptions are not repeated unnecessarily.</p> <p><img style="vertical-align: middle;" src="https://assets.econsultancy.com/images/0008/3898/AltTextforImages_Mothercare.png" alt="Product descriptions on Mothercare site are read to screen reader users more than once" width="853" height="593"></p> <h3>Providing context to screen reader users</h3> <p>This is fundamental for screen reader users who are not able to visually group information together or understand meaning through visible presentation. Information and relationships must be therefore associated programmatically.</p> <p>Examples of this from our retailers included:</p> <p><strong>Form fields</strong> need to have programmatically associated labels so that screen reader users know what information is required for the form input field. When a form field receives focus the label for the field (e.g. “first name”, “surname”, “email address”) should be called out by the screen reader.</p> <p>This was a persistent issue across all retailers. Some sites such as notonthehighstreet.com frustratingly had correctly implemented this in some areas and not others, meaning inconsistent access to information for their screen reader users.</p> <p>All retailers at one point or another had <strong>links that did not make sense out of context</strong>. Common examples found were ‘show more’ and ‘edit’. As we can see below, Mothercare.com used ambiguous links such as “edit” and “remove”.</p> <p>Without the visual cues, a screen reader user would struggle to know what they are editing or attempting to remove.</p> <p><img style="vertical-align: middle;" src="https://assets.econsultancy.com/images/0008/3899/AmbiguousLinks_Mcare.png" alt="Mothercare.com uses ambiguous links such as “edit” and “remove”. Screen reader users are not provided with any more context as to what will happen if they click these links" width="409" height="445"> </p> <p>In providing important tools to select product options such as size and colour, some retailers <strong>did not provide screen reader users with all the information they need to make the purchase</strong>.</p> <p>For retailers such as House of Fraser and Joules, there was no notification that a certain size was out of stock. Visually, sizes which aren’t available are scored out and in a lighter grey colour, but these sizes still get read out to the screen reader, indicating that they are available.</p> <p>This would prevent a screen reader user from choosing a product size, and they would need to either give up or ask for assistance.</p> <p><img style="vertical-align: middle;" src="https://assets.econsultancy.com/images/0008/3900/ProgrammaticallyAssociatedInfo_Joules.png" alt="The colour and size selection/availability on the Joules site are visually clear, but not conveyed programmatically for screen reader users" width="800" height="235"></p> <h3>What we learned:</h3> <p>With physical accessibility in store being such a challenge, online retail may seem the ideal solution. Unfortunately, retailers who fail to consider the issues and barriers mentioned above will not provide the answer for many disabled people.</p> <p>Most retailers had reassuring text on their sites describing their dedication to making their online offerings accessible. Most had also implemented some accessible features on their sites – for instance alternative text for images was widely implemented – yet shortcomings were readily found.</p> <p>Since these accessibility barriers were identified through a relatively short accessibility audit, retailers need to build on these great intentions and implement WCAG 2.0 to significantly improve accessibility across their sites.</p> <p>Retailers should consult with accessibility and UX experts to fully understand the needs of disabled customers and the technical solutions to provide accessibility.</p> <p>Once the identifiable accessibility barriers have been removed, the retailers should involve people with disabilities in usability testing to ensure that the site is usable for this audience as well as compliant to WCAG standards. </p><p><em>Many thanks to my colleagues Marie Moyles and Natalie Simpson for leading the accessibility analysis of the retailer websites.</em></p> tag:econsultancy.com,2008:BlogPost/68783 2017-02-07T14:22:55+00:00 2017-02-07T14:22:55+00:00 The pros and cons of personalised packaging for FMCG brands Nikki Gilliland <p>Since 2011, a number of other FMCG brands have embraced this trend, launching personalised (or customised) versions of products, usually with a pretty noticeable mark-up.</p> <p>But is this a marketing gimmick, or a strategy that can actually increase loyalty long-term? Let’s start with a few examples, and reasons why they often resonate.</p> <h4>Connecting with core consumers</h4> <p><a href="https://econsultancy.com/blog/63175-10-inspiring-digital-marketing-campaigns-from-coca-cola/" target="_blank">Coca-Cola</a>’s Share a Coke campaign was born out of the realisation that - while many viewed the brand as iconic - young people were failing to connect with it on a relatable level. </p> <p>Consequently, the campaign was created to directly communicate with this core demographic, with the personalisation element used to heighten its impact.</p> <p>But why is using someone’s name so powerful? Apparently, it’s one of the most effective ways to instil a sense of importance in another person, as well as create a long-lasting impression. Think of it like a brand’s version of a firm handshake.</p> <p>For brands aiming to create personal and one-to-one connection with audiences, it tends to be a simple but highly effective approach. With consumers supposedly taking an average of three to seven seconds to pick a drink from a supermarket shelf, using a name is an instantaneous way of catching attention and increase sales.</p> <p><img src="https://assets.econsultancy.com/images/0008/3702/Marmite.JPG" alt="" width="690" height="472"></p> <h4>Creating value</h4> <p>By turning an everyday item into something unique or customised, brands are also able to increase the value of their products – both figuratively and literally.</p> <p>One example of this is Heinz, which sold personalised cans of soup via its ‘Get Well Soon’ campaign for over twice the price of a regular item. </p> <p>With the added incentive of £1 per can sold also going to charity, consumers appeared to be more than willing to pay the extra, with more than 96,000 people logging into Facebook to find out more.</p> <p>This opt-in element is partly why the campaign worked so well. Instead of using the concept to drive its main television ads, Heinz aimed to create a trickle effect, with consumer interest being subtly piqued, before users would have to actively seek out the service on social.</p> <h4>Meets long-term needs</h4> <p>While personalisation can be used as a straight-forward sales tactic, it can also help brands understand consumer needs for the long-term and inform future engagement. Likewise, it can also be used to emphasise a brand’s values, particularly when it comes to community.</p> <p>Take Nutella, for example, whose personalisation campaign was built around the unique ways people already use the chocolate spread as an ingredient in meals and snacks. </p> <p>Featuring these as ‘Nutella stories’ on its website and social media, it manages to foster a sense of community and increase the chances of turning customers into brand advocates. </p> <h3>The problem with personalisation</h3> <p>There is the argument that personalised packaging isn’t actually personal – how can it be when there are millions of people around the world with the same first name? </p> <p>Similarly, there is the danger that charging over the odds for something so basic could actually put consumers off rather than draw them in. Ultimately, there must be a trade-off, with customers feeling like they are getting something of real value in return for their money (and data).</p> <p>If they don’t, brands run the risk of appearing outdated or blatantly chasing sales, simultaneously alienating consumers through overly friendly or personal messaging.</p> <h3>In conclusion...</h3> <p>While personalised packaging has proven to be a success for brands like Marmite and Coke, the concept certainly has its limitations. Perhaps the next step will be true personalisation in terms of tailored ingredients or recipes.</p> <p>We’ve already seen some experimentation with this concept. Kit-Kat’s pop-up chocolatory built on Coke’s naming trend with the added incentive of customised toppings and flavours. </p> <p>While <a href="https://econsultancy.com/blog/68400-the-kitkat-chocolatory-is-nestle-s-london-pop-up-store-any-good/" target="_blank">my own review</a> was that it was somewhat underwhelming – with the concept coming off as overhyped and overpriced – it is still an interesting example of how to take personalisation to the next level. </p> tag:econsultancy.com,2008:BlogPost/68778 2017-02-07T11:55:00+00:00 2017-02-07T11:55:00+00:00 Four ways travel & hospitality brands are targeting younger consumers Nikki Gilliland <p>Younger generations aren’t just looking for shareable experiences, of course, and with an increasing percentage of ‘<a href="https://econsultancy.com/blog/67327-six-ways-brands-can-relate-to-generation-z/" target="_blank">Generation Z</a>’ influencing travel decisions, millennials aren’t the only demographic worth engaging.</p> <p>As brands tap into a desire for authenticity, digital convenience and customisation, here are a few examples of how many are tailoring travel experiences to the young.</p> <h3>Utilising design and technology</h3> <p>While companies like <a href="https://econsultancy.com/blog/68375-airbnb-how-its-customer-experience-is-revolutionising-the-travel-industry/" target="_blank">Airbnb</a> have capitalised on millennial travel sensibilities - promoting a sense of local authenticity and flexibility – hotels are beginning to figure out how to do the same.</p> <p>Aloft, part of the Starwood group, is one example of this. Described as a hotel for ‘global travellers who love open spaces, open thinking and open expression’ – everything is designed to appeal to younger generations. </p> <p>Communal pool tables and live music encourage social interaction, while free Wi-Fi and keyless entry cater to a desire for seamless and sophisticated technology. </p> <p>In turn, this encourages visitors to take photographs of all their surroundings, with the hope that they will then post about it on social media.</p> <p><iframe src="https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Falofthotels%2Fvideos%2F10155043087562728%2F&amp;show_text=0&amp;width=560" width="560" height="315"></iframe></p> <h3>Appealing to ‘experience-based’ interests</h3> <p>Hilton is another hotel chain that has been targeting younger people, partnering with Live Nation to run a series of live music events in various hotels in both the UK and US.</p> <p>Hilton@Play wasn’t just a marketing ploy, however, but an initiative to foster loyalty. The idea was that only HHonors members with 30,000 to 80,000 points could attend the concerts, creating an exclusive incentive specifically for regular guests.</p> <p>Featuring popular artists such as Jess Glynne and Nick Jonas, interest from a specific age-bracket was guaranteed.</p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr">RT if you streamed the Hilton@Play concert featuring <a href="https://twitter.com/nickjonas">@NickJonas</a> last night thru <a href="https://twitter.com/periscopeco">@Periscopeco</a>! <a href="http://t.co/y51en6tIky">http://t.co/y51en6tIky</a></p> — Hilton (@HiltonNewsroom) <a href="https://twitter.com/HiltonNewsroom/status/591310866081062912">April 23, 2015</a> </blockquote> <p>Meanwhile, the hotel chain also live-streamed the event on Periscope, ensuring that non-attendees would also be able to participate in the fun.</p> <h3>Working with social influencers</h3> <p>When it comes to picking a destination, both millennials and Generation Z are said to place greater trust in online peers rather than travel advertising.</p> <p>Consequently, brands are able to target potential travellers through collaboration with <a href="https://econsultancy.com/reports/the-rise-of-influencers/">social influencers</a>.</p> <p>Just one example of this is Turkish Airlines’ campaign with 10 high-profile YouTubers. With a collective audience of over 40m – over 6m belonging to Casey Neistat alone – the brand was able to reach a large and highly engaged audience.</p> <p><iframe src="https://www.youtube.com/embed/_5Q93Z8LAxA?wmode=transparent" width="854" height="480"></iframe></p> <p>Similarly, Marriott’s chain of Moxy Hotels (which is a similar concept to the aforementioned Aloft) has also made use of influencers, creating an online series hosted by comedian Taryn Southern and featuring a number of influencers like Mamrie Hart.</p> <h3>Promoting travel as a lifestyle</h3> <p>Lastly, we can also see how travel companies are turning into lifestyle brands, using inspirational content to evoke concepts of exploration and adventure, and capitalising on interest from young travellers.</p> <p>Take Generator Hostels, for example, whose Instagram account is solely made up of location and experience-based imagery.</p> <p>There is not a photo of a bed or breakfast table in sight, meaning the company sells itself on the travelling experience above and beyond the actual product (i.e. a place to sleep).</p> <p><img src="https://assets.econsultancy.com/images/0008/3681/Generator_Hostels.JPG" alt="" width="750" height="649"></p> <p>In a twist on this trend, camera brand Leica recently began trying to capitalize on people’s taste for experiences by <a href="https://econsultancy.com/blog/68737-why-brands-are-increasingly-creating-experiences-adventures-to-woo-consumers/">launching a holiday adventure for photography enthusiasts</a>.</p> <p>The pricey adventure is limited to 15 participants, offering a chance to be guided around exotic locations by professional photographers. It seems everyone is trying to get in on the craze for unique adventures.</p> tag:econsultancy.com,2008:BlogPost/68772 2017-02-03T09:20:11+00:00 2017-02-03T09:20:11+00:00 Four key CX charts from our Digital Trends 2017 Report Nikki Gilliland <p>Customer experience is now the biggest priority for 63% of marketers, with 49% currently citing it as the most important of all. Of course, ‘customer experience’ is somewhat of an umbrella term, involving multiple areas of focus. </p> <p>With this in mind, here’s a bit of insight into how marketers are honing in on the customer experience, as well as a few key challenges they face. And for further insight, you can download the Adobe <a href="https://econsultancy.com/reports/digital-intelligence-briefing-2017-digital-trends">2017 Digital Trends Report</a>.</p> <h3>Greater focus on CX</h3> <p>First, why has customer experience overtaken data-driven marketing?</p> <p>On one hand, this could be because data is also considered as part of the customer experience, meaning that there is in fact just as much of a focus as before. </p> <p>Alternatively, last year’s concentration (and investment) in the area means it has naturally slipped down the list of pressing priorities.</p> <p><img src="https://assets.econsultancy.com/images/0008/3632/Figure_8.JPG" alt="" width="780" height="565"></p> <h3>Driving perceptions of value</h3> <p>Drilling down into what ‘customer experience’ actually means for marketers, we can see that there is a bigger focus on overall ‘value’ rather than individual customer touchpoints.</p> <p>This means that instead of one aspect, such as diligent customer service or next day delivery, the experience in itself is considered to be of over-arching importance.</p> <p>While 23% of companies place the highest emphasis on creating that valuable experience, it is a natural that other elements within this remit – such as personalisation and consistency – are also ranked highly.</p> <p><img src="https://assets.econsultancy.com/images/0008/3633/Figure_9.JPG" alt="" width="780" height="600"></p> <h3>Importance of internal factors</h3> <p>The below chart supports the notion that data-analysis is part and parcel of the customer experience, with 96% of marketing executives saying it is fundamental to improving it. </p> <p><img src="https://assets.econsultancy.com/images/0008/3634/Figure_10.JPG" alt="" width="780" height="561"></p> <p>Similarly, internal collaboration is also key, with 53% of client-side respondents agreeing that this is ‘very important’.</p> <p>Despite this notion, it is clear that organisational silos continue to be one of the biggest barriers to improving CX. Findings from <a href="https://econsultancy.com/reports/quarterly-digital-intelligence-briefing-the-cx-challenge/">Econsultancy’s CX Challenge Report</a> prove this, with companies that are highly advanced in customer experience sharing the responsibility across departments.</p> <h3>Striving for a design advantage</h3> <p>In this year's survey, culture and strategy were ranked as the most important elements for CX success, with UX design cited as the third most important driver to success.</p> <p>In actual fact, client-side marketers deemed UX design's importance in delivering customer experience success lower in 2017 than they did in 2016.</p> <p><img src="https://assets.econsultancy.com/images/0008/3636/Figure_13.JPG" alt="" width="780" height="581"></p> <p>Design impacts every part of the customer experience, meaning this perspective could prove to be a big limitation. Meanwhile, with 44% of respondents not having the processes and collaborative workflows to achieve a design advantage, this goes back to the problem of internal barriers getting in the way of success.</p> <p>Ultimately, with poor customer experience often relating to a lack of consistency across all channels – be it in terms of content, data insights <em>or</em> design – organisations need to start considering these elements in conjunction to faciliatate progress.</p> <p><em><strong>For further insight, you can download the <a href="https://econsultancy.com/reports/digital-intelligence-briefing-2017-digital-trends">2017 Digital Trends Report</a>.</strong></em></p> tag:econsultancy.com,2008:BlogPost/68680 2017-01-17T14:41:07+00:00 2017-01-17T14:41:07+00:00 23 examples of duotones and colour filters in web design Ben Davis <p>Duotones can establish a colour theme for an agency website, for example, and help to liven up what can sometimes be quite basic website designs.</p> <p>Before you scan through these examples for inspiration, why not bookmark the rest of our <a href="https://econsultancy.com/blog/68600-10-sensible-web-design-trends-for-2017/">web design trends for 2017</a>, including <a href="https://econsultancy.com/blog/68674-four-websites-that-have-reduced-their-primary-navigation-options/">reduced primary navigation</a>, <a href="https://econsultancy.com/blog/68673-five-apps-websites-that-ditched-the-hamburger-menu/">ditching the hamburger menu</a>, and <a href="https://econsultancy.com/blog/68675-five-examples-of-meaningful-motion-in-web-design/">meaningful motion</a>.</p> <h3>Chris Redshaw</h3> <p>Look at Chris Redshaw! What does he do? Presumably something with design and direction. Whatever he does, I'm convinced he does it well, given how beautiful he looks under this yellow filter.</p> <p><a href="http://chrisredshaw.co.uk/"><img src="https://assets.econsultancy.com/images/0008/3075/Screen_Shot_2017-01-16_at_10.35.27.jpg" alt="chris redshaw" width="615" height="336"></a> </p> <h3>Evoluir</h3> <p style="font-weight: normal;">Evoluir's website isn't exactly to my taste, as it uses some tricksy scrolling and 'floaty' geometric shapes.</p> <p style="font-weight: normal;">However, the duotone backgrounds used are certainly impactful, conveying plenty of humanity without being too busy.</p> <p style="font-weight: normal;"><a href="http://evoluir.com.br/"><img src="https://assets.econsultancy.com/images/0008/3094/Screen_Shot_2017-01-16_at_10.01.48.jpg" alt="evoluir" width="615" height="336"></a></p> <p style="font-weight: normal;"><img src="https://assets.econsultancy.com/images/0008/3095/Screen_Shot_2017-01-16_at_10.01.55.jpg" alt="evoluir" width="615" height="335"></p> <p style="font-weight: normal;"><img src="https://assets.econsultancy.com/images/0008/3092/Screen_Shot_2017-01-16_at_10.02.03.jpg" alt="evoluir" width="615" height="334"> </p> <h3>LPK</h3> <p>Showcasing agency work can lead to slightly messy web design, as different logos and creative clash, whether on the same page or on a slider.</p> <p>LPK mitigates this effect by applying colour gradients, duotones and filters to its slider. I think it creates a high quality aesthetic with photography that might otherwise underwhelm.</p> <p><a href="https://www.lpk.com/"><img src="https://assets.econsultancy.com/images/0008/3085/Screen_Shot_2017-01-16_at_10.16.41.jpg" alt="lpk" width="615" height="336"></a></p> <p><img src="https://assets.econsultancy.com/images/0008/3084/Screen_Shot_2017-01-16_at_10.16.44.jpg" alt="lpk" width="615" height="341"></p> <p><img src="https://assets.econsultancy.com/images/0008/3083/Screen_Shot_2017-01-16_at_10.16.51.jpg" alt="lpk" width="615" height="341"> </p> <h3>Social Chain</h3> <p>Social Chain is a great example of an agency using simple duotone background images to give that 'print' feel to a basic hamburger and scroll website.</p> <p>The website's homepage goes further and uses duotone video of agency staff larking about, helping to paint the picture of a social agency that has fun.</p> <p><a href="https://www.socialchain.com/"><img src="https://assets.econsultancy.com/images/0008/3019/Screen_Shot_2017-01-12_at_12.27.16.png" alt="social chain" width="600" height="328"></a> </p> <h3>Host</h3> <p>A simple grid of squares makes a very cool navigational aid, especially painted in apple red with alternate squares carrying colour-filtered photographs of each city.</p> <p><a href="https://host-students.com/"><img src="https://assets.econsultancy.com/images/0008/3070/Screen_Shot_2017-01-16_at_10.49.46.jpg" alt="host students" width="615" height="341"></a></p> <p><img src="https://assets.econsultancy.com/images/0008/3069/Screen_Shot_2017-01-16_at_10.50.04.jpg" alt="host students" width="615" height="338"> </p> <h3>Andover Fork Truck Services</h3> <p>Who doesn't love a fork truck? And who doesn't love a splash of mint green?</p> <p>Andover Fork Truck Services livens up a perfectly serviceable black and white background image with some on-brand colouring.</p> <p><a href="http://www.andoverforktruckservices.co.uk/"><img src="https://assets.econsultancy.com/images/0008/3081/Screen_Shot_2017-01-16_at_10.29.51.jpg" alt="andover trucks" width="615" height="318"></a> </p> <h3>Coup de Coeur</h3> <p>A pink and red duotone used on homepage and across artist images perfectly complements the Coup de Coeur brand (which I think means 'crush').</p> <p><img src="https://assets.econsultancy.com/images/0008/3087/Screen_Shot_2017-01-16_at_10.08.45.jpg" alt="coup de coeur" width="615" height="340"> </p> <p><img src="https://assets.econsultancy.com/images/0008/3088/Screen_Shot_2017-01-16_at_10.08.19.jpg" alt="coup de coeur" width="615" height="342"></p> <h3>Internetum</h3> <p>An agency once again using a duotone to give an instant impression of mythic creativity.</p> <p><a href="https://www.internetum.com/"><img src="https://assets.econsultancy.com/images/0008/3080/Screen_Shot_2017-01-16_at_10.30.37.jpg" alt="internetum" width="615" height="319"></a> </p> <h3>Jargon Free Fridays</h3> <p>Duotone-tastic, these backgrounds give full force to the central message on the page.</p> <p><a href="http://jargonfreefridays.com/"><img src="https://assets.econsultancy.com/images/0008/3077/Screen_Shot_2017-01-16_at_10.32.46.jpg" alt="jargon free fridays" width="615" height="336"></a></p> <p><img src="https://assets.econsultancy.com/images/0008/3076/Screen_Shot_2017-01-16_at_10.32.48.jpg" alt="jargon free fridays" width="615" height="336"> </p> <h3>Das Bevo</h3> <p>With its jaunty autoplay sound and animated sails, this website for a windmill events venue is not everyone's cup of tea.</p> <p>I loved it, and not just for the colour filter applied to both windmill and moustachioed fella.</p> <p>Venue websites can often seem a little anaemic, failing to give a sense of fun - none such accusation here.</p> <p><a href="http://dasbevo.com/"><img src="https://assets.econsultancy.com/images/0008/3078/Screen_Shot_2017-01-16_at_10.31.50.jpg" alt="das bevo" width="615" height="338"></a> </p> <p><img src="https://assets.econsultancy.com/images/0008/3079/Screen_Shot_2017-01-16_at_10.31.38.jpg" alt="das bevo" width="615" height="333"></p> <h3>Daniel Marshall Architects</h3> <p style="font-weight: normal;">I love this website. DMA's projects scroll by in elegant grayscale, with a mouse rollover revealing them in vivid colours.</p> <p style="font-weight: normal;">Forgive me for not making a GIF, just click through and have a play yourself. A wonderful way to use an elegant restrained pallette whilst livening up browsing.</p> <p style="font-weight: normal;"><a href="http://dma.nz/"><img src="https://assets.econsultancy.com/images/0008/3090/Screen_Shot_2017-01-16_at_10.05.56.jpg" alt="dma" width="615" height="338"></a></p> <p style="font-weight: normal;"><img src="https://assets.econsultancy.com/images/0008/3089/Screen_Shot_2017-01-16_at_10.05.58.jpg" alt="dma" width="615" height="336"> </p> <h3>Adison Partners</h3> <p style="font-weight: normal;">Another slider given some pep with a blue-purple filter.</p> <p><a href="http://www.adisonpartners.com/"><img src="https://assets.econsultancy.com/images/0008/3074/Screen_Shot_2017-01-16_at_10.44.28.jpg" alt="adison partners" width="615" height="334"></a></p> <p><img src="https://assets.econsultancy.com/images/0008/3073/Screen_Shot_2017-01-16_at_10.44.39.jpg" alt="adison partners" width="615" height="334"> </p> <h3>Transmeet</h3> <p>No colour here, but an interesting example of a video background in low-fi black and white.</p> <p>Though <a href="https://econsultancy.com/blog/67030-10-successful-homepages-that-show-the-trend-for-video-backgrounds/">video backgrounds are a divisive element</a> of homepage design, in this case the company is a video production company, and therefore this compromise makes a lot of sense.</p> <p>A quicker loadtime and less intrusive movement come from this stripped back video style. Clickthrough to view.</p> <p><a href="http://transmeet.tv/production/"><img src="https://assets.econsultancy.com/images/0008/3093/Screen_Shot_2017-01-16_at_09.59.23.jpg" alt="transmeet" width="615" height="337"></a> </p> <h3>Chunk</h3> <p>This Dutch agency uses neon colour gradients, giving the bold black header copy maximum punch.</p> <p><a href="http://chunk.nl/#!intro"><img src="https://assets.econsultancy.com/images/0008/3072/Screen_Shot_2017-01-16_at_10.45.31.jpg" alt="chunk" width="615" height="341"></a></p> <p><img src="https://assets.econsultancy.com/images/0008/3071/Screen_Shot_2017-01-16_at_10.45.38.jpg" alt="chunk" width="615" height="340"> </p> <h3>One Republic</h3> <p>I think this is some kind of band that the kids like. And why wouldn't they, given the band's website and its use of colour filters and gradients?</p> <p><a href="http://www.ohmymyexperience.com/"><img src="https://assets.econsultancy.com/images/0008/3067/Screen_Shot_2017-01-16_at_10.57.53.jpg" alt="one republic" width="615" height="338"></a> </p> <h3>Winter Capital</h3> <p>Winter Capital is another professional website that confers status with the use of black and white background images, this time using a subtle split-screen filter.</p> <p><a href="http://wintercapital.com/"><img src="https://assets.econsultancy.com/images/0008/3086/Screen_Shot_2017-01-16_at_10.12.34.jpg" alt="winter capital" width="615" height="340"></a> </p> <h3>Adaptable</h3> <p>Adaptive uses a dark blue filter on its header, with white text and white button sharply picked out.</p> <p><a href="http://weareadaptable.com/"><img src="https://assets.econsultancy.com/images/0008/3068/Screen_Shot_2017-01-16_at_10.50.24.jpg" alt="adaptable" width="615" height="338"></a> </p> <h3>Semu Design</h3> <p>Grey sophistication.</p> <p><a href="https://semu-design.at/"><img src="https://assets.econsultancy.com/images/0008/3066/Screen_Shot_2017-01-16_at_10.58.14.jpg" alt="semu design" width="615" height="336"></a> </p> <h3>Lipman Burgon</h3> <p>A simple black and white image gives Lipman Burgon &amp; Partners' website a veneer of gravitas.</p> <p><a href="http://lipmanburgon.com.au/"><img src="https://assets.econsultancy.com/images/0008/3091/Screen_Shot_2017-01-16_at_10.03.50.jpg" alt="lipman" width="615" height="339"></a>  </p> <h3>Motome</h3> <p>Another very subtle and simple way of jazzing up a page with one primary use and search field. The image doesn't have to be all-singing, all-dancing to make a difference.</p> <p><a href="https://www.motome.com.au/"><img src="https://assets.econsultancy.com/images/0008/3063/Screen_Shot_2017-01-16_at_11.02.33.jpg" alt="motome" width="615" height="339"></a></p> <h3>Owen O'Donell</h3> <p>Owen's site has one big call to action and a hamburger menu. The chunky text says it all, 'developer', and the black and white background lends some personality.</p> <p><a href="http://www.owenod.com/"><img src="https://assets.econsultancy.com/images/0008/3064/Screen_Shot_2017-01-16_at_11.01.29.jpg" alt="owenod" width="615" height="341"></a> </p> <h3>Chinatown London</h3> <p>The last of our black and white examples. A big header like this sets the tone before the user delves into detail, further down the scrolling homepage or in the header menu.</p> <p><a href="http://chinatown.co.uk/en/"><img src="https://assets.econsultancy.com/images/0008/3082/Screen_Shot_2017-01-16_at_10.17.59.jpg" alt="chinatown london" width="615" height="340"></a> </p> <h3>inherQuests</h3> <p>Pink for the win.</p> <p><a href="http://inherquests.com/"><img src="https://assets.econsultancy.com/images/0008/3065/Screen_Shot_2017-01-16_at_10.59.52.jpg" alt="inherquests" width="615" height="329"></a></p> tag:econsultancy.com,2008:BlogPost/68655 2017-01-10T14:23:00+00:00 2017-01-10T14:23:00+00:00 Cart abandonment emails: Creating content that maximises conversions Greg Randall <p>To drive revenue, the construction of cart abandonment emails requires more thought and planning in three key areas:</p> <ol> <li>Email layout</li> <li>The ideal content recipe</li> <li>Content hierarchy</li> </ol> <p>Before delving into the above let’s first understand the size of the problem.</p> <h3>Cart abandonment rates</h3> <p><a href="https://blog.salecycle.com/stats/infographic-remarketing-report-q3-2016/" target="_blank">SaleCycle produced a report in Q3 2016</a> which found the average abandonment rate from 500 leading global brands to be 74.4%:</p> <p><img style="vertical-align: middle;" src="https://assets.econsultancy.com/images/resized/0008/2559/screen_shot_2016-12-20_at_10.20.23_am-blog-flyer.png" alt="" width="470" height="250"> </p> <p>And for lots more stats, see this post: <a href="https://econsultancy.com/blog/63466-nine-case-studies-and-infographics-on-cart-abandonment-and-email-retargeting/">Nine case studies and infographics on cart abandonment and email retargeting</a>.</p> <h3>Consumer behaviour trends </h3> <p>Part of building more effective cart abandonment emails comes in a retailer’s better understanding and appreciation of today’s consumer, their behaviours, and what’s motivating him/her to take action.</p> <p>In the context of cart abandonment, there are two consumer shifts retailers should take notice of:</p> <ol> <li>How consumers engage with email content </li> <li>Behavioural shifts because of too much choice </li> </ol> <h3>How consumers engage with email content</h3> <p>In a <a href="https://econsultancy.com/blog/68437-10-of-the-best-digital-marketing-stats-we-ve-seen-this-week-2" target="_blank">recent survey of US consumers,</a> Mapp Digital found 72% of respondents regularly check their emails using a smartphone instead of a desktop or tablet. This figure rises to 91% for 18-24 year olds.</p> <p>Regardless of content relevancy, consumers are unlikely to engage with email content if it’s hard to read, has a poor layout, and the actions are unclear.  </p> <p>Here are some tips on what to consider when planning the layout for emails for smartphone screens:</p> <ol> <li>As a guideline, stick with a wide single column format.  </li> <li>Respect the “smartphone” fold. Be strategic in your content hierarchy. If the content above the fold is relevant, consumers are more likely to scroll down the page.</li> <li>Apply a large font.</li> <li>Ensure the images are large enough to be recognisable.</li> <li>Deliver white space to set off images and copy blocks.</li> <li>Ensure all calls-to-action are large “finger targets”.</li> <li>Ensure font and calls-to-action have strong contrast against the background. Email content will be viewed in environments with inconsistent and varied lighting. </li> </ol> <p>The detail behind this guidance can be found in Econsultancy's <a href="https://econsultancy.com/reports/the-fundamentals-of-email-marketing" target="_blank">The Fundamentals of Email Marketing 2016</a> report.</p> <h3>Consumer behavioural shifts from too much choice </h3> <p>Consumers can struggle to make decisions due to there being too much to choose from. <a href="https://www.thinkwithgoogle.com/articles/comparison-shopping-mobile.html" target="_blank">Two examples of what consumers face today</a> and how it affects their decisions: </p> <ol> <li>If a consumer wishes to purchase a scarf, they now have over 200,000 to choose from in Amazon.  </li> <li>In Christmas 2015, 7 out of 10 people received a Gift Card because of this inability to make a decision.</li> </ol> <p>Retailers can capitalise on the effort required to make a choice by <a href="http://www.marketingprofs.com/articles/2015/28858/how-to-use-heuristics-to-your-marketing-advantage" target="_blank">leveraging consumer “heuristics”</a>.   </p> <p>A “heuristic” is the consumer’s approach to problem solving that employs a practical method to help make a decision to assist in achieving a goal.  </p> <p>Essentially, heuristics are mental shortcuts consumers use to ease the cognitive load of making a decision.  </p> <h3>What is the “Best”?</h3> <p>The influence of too much choice combined with this development of “mental short cuts” can be seen in consumer search behaviours.  </p> <p>Consumers are now searching for “the best” of things - searches with “best” in the keyword phrase <a href="https://www.thinkwithgoogle.com/articles/comparison-shopping-mobile.html" target="_blank">have risen by 50% year on year</a>.  </p> <p>The question then becomes; what digital content, presented to consumers, contributes to having him/her think a product is "the best" amongst a large selection.</p> <p>There are <a href="https://www.thinkwithgoogle.com/articles/comparison-shopping-mobile.html" target="_blank">three primary content types:</a></p> <ol> <li> <strong>Customer reviews</strong>. In Christmas 2015, reading customer review content was one of the most popular actions consumers took while shopping online.  </li> <li> <strong>Highlighting best sellers.</strong> This is another influencer, which comes from the roots of peer review. If other people purchased a product, the inference is it must be good.  </li> <li> <strong>Presenting products in context</strong>. This is part of a merchandising strategy where retailers are helping consumers visualise the product adding value to him/her based on their need. 64% of women who shop for apparel agree seeing product images in context influences their purchase decision. </li> </ol> <p>While retailers work hard to apply these above content types on their site, there is a clear absence of this content in cart abandonment emails.  </p> <h3>Context: Why are consumers leaving? </h3> <p>Gaining an appreciation of why consumers are leaving assists in the planning to build effective cart abandonment emails.  </p> <p>The previously mentioned SaleCycle research analysed the most recent reasons consumers abandoned a purchase based on those same 500 global retailers:</p> <p><img style="vertical-align: middle;" src="https://assets.econsultancy.com/images/resized/0008/2560/screen_shot_2016-12-20_at_10.23.27_am-blog-flyer.png" alt="" width="470" height="306">  </p> <p>One key point to make on the above graphic is about the 23% leaving due to issues with shipping (cost/time).</p> <p>Don’t automatically assume this is a consumer leaving because the delivery time is too long, or the cost is too high. Many consumers leave because this content is not visible on the shopping cart page!</p> <p>For more on this topic, see this post on <a href="https://econsultancy.com/blog/64943-12-excellent-ways-to-present-ecommerce-shipping-information/">12 excellent ways to present ecommerce shipping information</a>.</p> <h3>The ideal content recipe</h3> <p>Now that we have a better understanding of behaviours and there is context as to why consumers are leaving, the focus turns to the content required to meet these varied needs.</p> <p>The content recipe can be broken down into two types: content that targets heuristics and content communicating support promises.</p> <h4>Take advantage of the heuristics: </h4> <p>This content helps persuade those consumers who are “just looking” or “researching”:</p> <ol> <li>Email subject title. Deliver a title that catches the attention of the consumer and presents a sense of urgency.</li> <li>Present a customer review (or multiple reviews) of the product. If the consumer is still in research mode, this content will help.   </li> <li>Present other content to help merchandise the product.  </li> <li>Emphasise the product is a best seller (only if it's true).</li> </ol> <h4>Delivering on a promise: </h4> <p>This content helps to de-risk the purchase and deals with the other reasons consumers may have abandoned the cart:</p> <ol> <li>Present delivery times, delivery options, and shipping costs.  </li> <li>Present <a href="https://econsultancy.com/blog/68677-how-10-ecommerce-sites-present-returns-policies/">returns content</a>. This content is highly sought after and contributes to online purchases.  </li> <li>Security symbol/message. Present a security symbol or message (“safe and secure shopping”) to deliver confidence.</li> <li>Support content. Offer contact information to the support team. Some consumers simply will not purchase online no matter how persuasive you may be. This content helps facilitate a purchase for this consumer type.</li> </ol> <h3>The email content hierarchy</h3> <p>It’s great to have a content recipe to facilitate the right actions, but the ordering of this content is crucial.  </p> <p>Once there is clarity on the right ranking of content, the email can be built and translated across all screen types.</p> <p>Below is an ordering of content based on importance and impact, and when it should be presented. This ordering is less important for desktop but crucial for smartphone screens:</p> <ol> <li>Brand – logo</li> <li>Header – main navigation</li> <li>Intro – in brand voice</li> <li>Call to action (above the fold)</li> <li>The product thumbnail and title </li> <li>Heuristic content (whatever form this takes)</li> <li>Delivery/returns/support content</li> <li>Security statement</li> </ol> <p>This ordering favours the heuristic content to persuade and satisfy the pain point of too much choice. Once satisfied, the support promises provide the assurances of getting the product in a reliable timely manner.</p> <p>Here are some great examples of real cart abandonment emails in action:</p> <h4>ASOS</h4> <p> <img style="vertical-align: middle;" src="https://assets.econsultancy.com/images/0008/2561/email_asos.png" alt="" width="373" height="540"></p> <p>The ASOS email is very simple with messaging in the brand's voice ("Don't Forget About Me..") and clear messaging around free delivery and easy returns.</p> <h4>JOY</h4> <p><img style="vertical-align: middle;" src="https://assets.econsultancy.com/images/0008/2562/email_joy.png" alt="" width="341" height="573"> </p> <p>JOY introduces alternatives to the product not purchased. This is a different approach to merchandising the feature product in a cart abandonment email and may have come from testing.</p> <h4>Doggyloot</h4> <p><img style="vertical-align: middle;" src="https://assets.econsultancy.com/images/resized/0008/2563/email_doggyloot-blog-flyer.png" alt="" width="470" height="585"></p> <p>Doggyloot does a fantastic job of tugging at the emotional heart-strings of pet owners with this email.  </p> <p>It introduces urgency and uses great language to keep in brand, "Lots of licks, Your friends at doogyloot".</p> <h4>FAB</h4> <p><img style="vertical-align: middle;" src="https://assets.econsultancy.com/images/resized/0008/2564/email_fab-blog-flyer.png" alt="" width="470" height="452"></p> <p>FAB is an example of multiple content recipe elements working together to prompt action:</p> <ol> <li>Great email title.</li> <li>"Free Shipping" and "Free Returns" content.</li> <li>A guarantee to further de-risk the purchase.</li> <li>Content reassuring the consumer the product in their cart is still on sale:  "Smile, it's still for sale".</li> <li>A contact phone number which immediately activates when on smartphone screens.</li> </ol> <p>These emails have their own reasons as to why they are great, but imagine the impact if there were customer reviews intermingled within the above examples. There is opportunity to do more.</p> <h3>In conclusion...</h3> <p>When considering putting more effort into cart abandonment emails, don't think about it as “capturing a sale”. Think about it from the perspective of the consumer and force yourself to ask the following questions:</p> <ol> <li>What information can I provide to help a potential customer feel confident enough this product is right for him/her?</li> <li>And if I can achieve this, is the action clear and obvious enough on the email for him/her to act?</li> <li>And, if I am fortunate in that the consumer is going to make the effort of coming back to my site, is the process to complete the purchase simple and obvious?</li> </ol> <p>Think like this and you can't go wrong. </p> tag:econsultancy.com,2008:BlogPost/68675 2017-01-05T13:51:48+00:00 2017-01-05T13:51:48+00:00 Five examples of meaningful motion in web design Ben Davis <p>I thought it would be useful to round up some examples of meaningful motion, so below are five examples which I've taken from Google's <a href="https://material.io/guidelines/motion/material-motion.html">Material Design guidelines</a>, as well as the Material Design Awards 2015 and 2016.</p> <p>There is a whole bunch of information in Google's guidelines - on duration and easing, movement, transforming material, choreography and creative customization - so do go and check it out. The following simply serves as a taster.</p> <p><em>And for more on this topic, check out these Econsultancy resources:</em></p> <ul> <li><a href="https://econsultancy.com/training/courses/mobile-user-experience-mobile-marketing/"><em>Mobile UX (User Experience) &amp; Marketing Training</em></a></li> <li><a href="https://econsultancy.com/reports/user-experience-and-interaction-design-for-mobile-and-web/"><em>User Experience and Interaction Design for Mobile and Web</em></a></li> </ul> <h3>First, what is motion in web design?</h3> <p>Google gives us <a href="https://design.google.com/articles/making-motion-meaningful/">a very poetic definition</a>, as it happens, stating that 'something as simple as tapping a card to expand and reveal more information is made better by fluid animation'. Some other salient points: </p> <ul> <li>'..the user is given guidance with a clear focal point.'</li> <li>'[Motion] conveys energy, drawing inspiration from forces like gravity and friction.'</li> <li>'..material design aims for motion to feel natural..'</li> <li>'..motion should above all else help guide users, providing them with the right information at the right time.'</li> </ul> <p>The following video from Google demonstrates some of the principles of Material motion. </p> <p><iframe src="https://www.youtube.com/embed/cQzien5H2Do?wmode=transparent" width="560" height="315"></iframe></p> <p>Now for the examples...</p> <h3>1. Google Photos</h3> <p>The animation when you delete photos feels incredible natural, but Google has not taken the literal approach here, as it points out in its guidelines.</p> <p>If every photo had slid along into the next position, 'overlapping motion paths' would have made the experience too messy. However, Google slides the whole grid to the left, for a smooth and simple transition.</p> <p><iframe src="https://www.youtube.com/embed/FXUW8qbbcHw?wmode=transparent" width="560" height="315"></iframe></p> <h3>2. Tumblr app</h3> <p>Tumblr's app was the recipient of a 2015 Google Design Award for the way in which it uses motion to unite users with content.</p> <p>There are smooth transitions, with 'layers of detail loading progressively' and pacing is determined by context.</p> <p>One design feature is the transformation of a button's icon when selected, with 'create post' icons transforming into a cancel action. The same technique is used in some Google services to transform menu icons into a back button, so users can return to a home screen.</p> <p><iframe src="https://www.youtube.com/embed/vYrBrbPVtMs?wmode=transparent" width="560" height="315"></iframe></p> <h3>3. 'Pesto'</h3> <p>This is actually <a href="https://material-adaptive.firebaseapp.com/pesto/app/index.html#/home">a demo</a> created by Google, which I've taken from its guidelines. It's a really clear example of how content blocks can simply transition when tapped.</p> <p><img src="https://assets.econsultancy.com/images/0008/2827/pesto_app.gif" alt="pesto" width="293" height="517"></p> <h3>4. Google Duo</h3> <p>Google Duo is a video-calling app that launched in August 2016. It was updated in December 2016, to improve video quality and allow easier signup, and could well challenge established video calling services in 2017.</p> <p>The video below shows a number of examples of motion, which Google says 'proved harder than expected' due to the spare nature of the interface, or what it calls 'the lack of connective tissue within the interface'.</p> <p>Durations are longer here, to ensure that transitions are meaningful, that the user knows what action they have performed.</p> <p><iframe src="https://www.youtube.com/embed/ydZEMOK2sIE?wmode=transparent" width="560" height="315"></iframe></p> <h3>5. Fabulous - Motivate Me</h3> <p>This app was awarded a 2016 Google Design Award with the judges praising 'crisp state transitions and pleasing goal completion animations'.</p> <p>There's a video of the app in action on its app store page. I can't embed it here, but you can <a href="https://youtu.be/zTRianAhsjE">watch it on YouTube</a>.</p> <p><img src="https://assets.econsultancy.com/images/0008/2822/fab.png" alt="fabulous app" width="615" height="335"></p> <p>Note that all these examples are apps, but that doesn't mean these principles aren't relevant to website design.</p> <p>With mobile data input now arguably more important than desktop, marketers should be discussing motion with their tech teams.</p> tag:econsultancy.com,2008:BlogPost/68659 2017-01-03T11:05:19+00:00 2017-01-03T11:05:19+00:00 Three reasons behind The White Company’s boost in profits Nikki Gilliland <p>So, in a year that saw the demise of BHS and American Apparel – what’s behind the White Company’s success?</p> <p>Here’s a bit of insight into what I think the business is doing right.</p> <h3>Knowing the customer</h3> <p>The White Company began when founder, Chrissie Rucker, was unable to find high quality and affordable white homewares on the high street.</p> <p>With the launch of The White Company, she aimed to give fellow interior lovers a slice of ‘affordable luxury’. Since then the brand has gone on to expand its range to clothing, home accessories, gifts and furniture.</p> <p>Unsurprisingly, given the motivation of its founder, The White Company prides itself on knowing exactly what its customers want.</p> <p>It has never wavered from its ‘white’ theme, only veering into cream or other ivory-like hues. And while its clean, crisp and elegant designs are far removed from the likes of <a href="https://econsultancy.com/blog/68372-how-cath-kidston-used-a-disney-tie-up-to-increase-its-customer-database/">Cath Kidston</a>, it shares a similar reputation for selling a lifestyle - not just a product.</p> <p>While a candle might just be a candle to some, to others the idea of a calm and peaceful home is also part of the appeal. Using storytelling to engage its consumers, everything from its slippers to its range of cashmere robes come with irresistible promises such as “before-bed bliss”.</p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr">Don't get them just any socks, get them our extra-cosy Cashmere Bed Socks -&gt; <a href="https://t.co/FEdW24O0SK">https://t.co/FEdW24O0SK</a> <a href="https://t.co/6xs5AgrheN">pic.twitter.com/6xs5AgrheN</a></p> — The White Company (@thewhitecompany) <a href="https://twitter.com/thewhitecompany/status/810500181192044548">December 18, 2016</a> </blockquote> <h3>Fusing online and offline</h3> <p>The White Company’s chief executive Will Kernan recently commented that the company plans to "invest in enhancing our customers' experience through world-class new stores across the UK."</p> <p>It is this focus on the physical shopping experience which sets the brand apart, especially among fellow homeware giants like Ikea and Home Sense. In comparison to these other brands, its retail outlets are like an oasis of calm, designed to provide the kind of atmosphere you'd generally expect in a luxury or high-end store.</p> <p>Speaking about the visual nature of The White Company's stores, Chrissie herself has said that "some customers actually tell us they love it so much they often pop in just to calm down if they are having a bad day. We want it to be somewhere you love to spend time in, a bit like home really and somewhere you know you can trust the quality, advice and service."</p> <p>With this is mind, it might not be a surprise to hear that The White Company has opened seven more retail outlets in the past year. By translating its recognisable brand values into a physical experience, it has become one of the most inviting spaces on the high street.</p> <p><img src="https://assets.econsultancy.com/images/0008/2613/White_Company_store.JPG" alt="" width="760" height="473"></p> <h3>Tapping into demand</h3> <p>That being said, The White Company hasn't sidelined its ecommerce business.</p> <p>Another big reason behind its recent success has been in its expansion - not only in terms of physical stores in the UK, but also into the US online market. Seeing 'significant growth' in this area in the second half of the year, it has clearly been a shrewd move from the brand.</p> <p>Again going back to the customer experience, the brand has also been smart in how it has expanded its categories, introducing childrenswear and a line of fragrances into the mix.</p> <p>The White Company hasn't strayed too far from its origins, or its brand values for that matter. Starting life as a 12-page catalogue, it now runs at an impressive 130-pages, circulating an average of 10m copies in the UK alone each year.</p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr">Thanks, The White Company for my Christmas brochure - so excited to receive it this morning! <a href="https://twitter.com/thewhitecompany">@thewhitecompany</a> <a href="https://twitter.com/hashtag/thewhitecompany?src=hash">#thewhitecompany</a> <a href="https://t.co/hEsfkMYy4e">pic.twitter.com/hEsfkMYy4e</a></p> — Coolcookingteacher (@Clueduponfood) <a href="https://twitter.com/Clueduponfood/status/789136310510424064">October 20, 2016</a> </blockquote> <p>With a dedication to giving consumers exactly what they want, it's easy to see why The White Company has generated such success.</p> <p><em><strong>Related reading:</strong></em></p> <ul> <li><strong><em><a href="https://econsultancy.com/admin/blog_posts/68659-three-reasons-behind-the-white-company-s-boost-in-profits/edit/Three%20reasons%20behind%20WHSmith%E2%80%99s%20boost%20in%20profits">Three reasons behind WHSmith’s boost in profits</a></em></strong></li> <li><strong><em><a href="https://econsultancy.com/blog/68568-three-reasons-behind-dominos-digital-sales-boost" target="_blank">Three reasons behind Dominos’ digital sales boost</a></em></strong></li> </ul> tag:econsultancy.com,2008:BlogPost/68660 2017-01-03T10:11:28+00:00 2017-01-03T10:11:28+00:00 A day in the life of... a full stack designer Ben Davis <p>Andrew comes from Pennsylvania, studied commercial art in high school, and graduated with a B.F.A. in Graphic Design from Montclair State University.</p> <p>Let's find out what he does every day (and remember to check out the <a href="https://jobs.econsultancy.com/">Econsultancy jobs board</a> if you are looking for new opportunities).</p> <h3>Please describe your job: What do you do?</h3> <p>To put it simply, I design, photograph, and develop content for the web, social media, and email.</p> <p>More broadly, the role of full stack designer indicates that I am capable of designing media for print and web, understand good UI/UX principles, know front-end development, and a whole lot in between.</p> <h3>Whereabouts do you sit within the organization? Who do you report to?</h3> <p>I work on the creative team at DX, along with other designers and developers. My boss is the head of design and development for the agency.</p> <h3>What kind of skills do you need to be effective in your role? </h3> <p>I work with a lot of software in my role, and it is always an advantage to know programs from Adobe Creative Cloud (Photoshop, Illustrator, etc). But in my experience, an even more invaluable skill is to be an agile learner.</p> <p>Technology and practices on the web change on a nearly daily basis, and one cannot hope to know every program and language out there.</p> <p>The best I can hope to do is remain flexible and able to grasp new ideas quickly.</p> <p><img src="https://assets.econsultancy.com/images/0008/2690/andrew_clark.jpg" alt="andrew clark" width="350"></p> <p><em>Andrew Clark</em></p> <h3>Tell us about a typical working day…</h3> <p>My schedule varies pretty widely from project to project.</p> <p>Typically I start a day by grabbing a cup of coffee and taking a seat at my computer to find out what lies in wait for me.</p> <p>I spend most days in Photoshop and Sublime Text. There’s also a lot of collaboration in my role. I spend a good deal of time in conversation with my creative team as well as the accounts team brainstorming content and execution strategies for various clients. </p> <h3>What do you love about your job? What sucks?</h3> <p>It is a blessing and a curse that my role covers so much creative territory. One minute I will be developing an email blast, then switch over to design a Facebook post, and then jump down to the studio for a photo-shoot.</p> <p>The blessing my job provides is that I can come to work and learn a new skill almost every day. There is always a new framework, code library, or photography secret that I can apply to what I make.</p> <p>The curse is that I have to rapidly switch my role (and mindset) from designer to developer to photographer and have to juggle it all, sometimes at once. That part requires some real focus and discipline. </p> <h3>What kind of goals do you have? What are the most useful metrics and KPIs for measuring success?  </h3> <p>The underlying goal that motivates all of my work is to produce the most beautiful, usable experiences the web has to offer. Everything I learn and practice is a means to achieving this goal. The more I learn, the more means I have to create the best work possible.</p> <p>For social media I find it most useful to follow the engagement generated from post content.</p> <p>There is a lot of noise on platforms like Facebook, Instagram, and Twitter, so finding a way to cut through that noise and engage those interested in a client’s brand can be tricky. It is the most difficult part of my job, but also the most rewarding.</p> <p><img src="https://assets.econsultancy.com/images/0008/2691/dx.png" alt="dx agency" width="615" height="290"></p> <p><em>DXAgency website</em></p> <h3>What are your favorite tools to help you to get the job done?</h3> <p>A lot of my work of late has been utilizing After Effects and it is quickly becoming my favorite program Adobe CC has to offer. Also, nothing beats a good, simple code editor and for that reason Sublime Text will always be a go-to standard. </p> <p>But software only takes you so far. Perhaps the largest unsung hero of my repertoire is a humble pen and notebook. It’s where I sketch all of my ideas, jot down to-dos, and make notes to aid my faulty memory. Without it I’d be lost. </p> <h3>How did you get started in the digital industry, and where might you go from here? </h3> <p>I fell in love with digital media and the web in college. I owe a debt of gratitude to one of my professors. He introduced me to designing and developing for the web, as well as giving me my first job in the industry at his studio.</p> <p>Moving forward I will strive to improve my design and development skills. That is and will always be a constant. As my multi-disciplinary experience turns into wisdom, I want to move into an all-encompassing role as a creative director.</p> <h3>Which brands do you think are doing digital well?</h3> <p>Bleacher Report quickly comes to mind. They create some dynamite content and have managed to tailor it to each social platform. They may have one of the best Twitter accounts on the web. </p> <p>Spotify is also another brand killing it in the digital space. I am constantly listening to music, and they have created a seamless multi-platform experience that works across my computer, phone, and television. That’s quite admirable. </p> <h3>Do you have any advice for people who want to work in the digital industry? </h3> <p>Google a lot.</p> <p><em><strong>Now read:</strong></em></p> <ul> <li><em><a href="https://econsultancy.com/blog/68600-10-sensible-web-design-trends-for-2017/">10 sensible web design trends for 2017</a></em></li> <li><em><a href="https://econsultancy.com/blog/68506-10-inspiring-examples-of-design-led-brands/">10 inspiring examples of design-led brands</a></em></li> </ul> tag:econsultancy.com,2008:BlogPost/68506 2016-12-19T11:00:00+00:00 2016-12-19T11:00:00+00:00 10 inspiring examples of design-led brands Ben Davis <p>Of course, there are plenty of design-led brands that don't interact with their customers via an interface, only through a product. The famous ones are easy to call to mind - Dyson, for example.</p> <p>Then, most interestingly, there are brands that are trying to digitally transform their businesses, such as in financial services. In many of these rapidly changing businesses design is starting to gain greater influence over business strategy.</p> <p>Having already tried to get the bottom of the theory around design thinking (<a href="https://econsultancy.com/search/?only=BlogPost&amp;q=design%20thinking">see previous articles</a>), I thought I'd round up some examples of brands that employ <a href="https://econsultancy.com/blog/68503-what-is-design-thinking/">design thinking</a>. Here are 10 of them...</p> <h3>1. Capital One</h3> <p style="font-weight: normal;">Capital One raised eyebrows back in 2014 when it acquired San Francisco design and UX consultancy Adaptive Path. This was (fairly obviously) Capital One's attempt to quickly bolster an internal <em>digital</em> design consultancy.</p> <p style="font-weight: normal;">Adaptive Path co-founder Jesse James Garrett wrote of the buyout, "You can see where this is going, right? Somebody came along who finally, truly, seemed to get it."</p> <p style="font-weight: normal;">He continued, "A company with a great culture that shares and values our intellectual curiosity and design sensibilities, that wants us to continue doing great work inside their organization, but also continue helping others do great work too, by fostering dialogue and teaching what we have learned."</p> <p style="font-weight: normal;">The following year, Capital One acquired another digital design firm, Monsoon, which specialises in product development. <a href="https://techcrunch.com/2015/07/08/capital-one-acquires-oakland-based-design-and-development-firm-monsoon/">Techcrunch reported</a> that this was partly an attempt at influencing culture.</p> <p style="font-weight: normal;">Sandeep Sood, co-founder of Monsoon, describes the company as an intentionally small team where individual ownership is the norm. “There’s very little centralized management…we let developers make design decisions on a daily basis. We expect it from them, in fact."</p> <p style="font-weight: normal;">So, over the past few years, Capital One has invested considerably in its design chops. View the company's <a href="http://www.capitalonelabs.com/#welcome">Labs website</a> and you'll see plenty of evidence of design-led culture, including the <a href="https://medium.com/@honkbopsax/design-fiction-that-is-not-yet-fact-de5e0288b45d#.lmx442d7p">obligatory Medium blog posts</a> that transparently discuss the brands appraoch to design and development.</p> <p style="font-weight: normal;">In 2013, Capital One appointed Scott Zimmer as its first head of design, and in 2016 <a href="http://www.capitalone.co.uk/media/press-releases/2016/capital-one-appoints-head-of-design.jsf">the brand appointed a head of design</a> in the UK team, Aline Baeck, who moved from eBay's design team.</p> <p style="font-weight: normal;">We can get a good idea of Capital One's burgeoning design culture through InVision's <a href="https://econsultancy.com/blog/68501-a-day-in-the-life-of-vp-marketing-of-a-product-design-platform/">Clair Byrd</a> and her <a href="http://blog.invisionapp.com/inside-design-capital-one/">interview with </a><a href="http://blog.invisionapp.com/inside-design-capital-one/">Ryan Page,</a> Capital One's head of design for card partnerships.</p> <p style="font-weight: normal;">Ryan says "Designing with a human perspective is key to developing a human strategy. To develop a strategy in the absence of a strong human need or a perspective on how real people see the world, well, that’s a strategy that won’t be as powerful as it might be if it’s created in collaboration with design."</p> <p style="font-weight: normal;">He continues, "We’re not saying design should create strategy by itself—we think design should be a co-creation between design, engineering, and the business. You can’t move forward without business value, but if the business value doesn’t prioritize human desirability, then we’d certainly feel like that strategy isn’t going to be as successful as it could long term."</p> <p><img src="https://assets.econsultancy.com/images/0008/1629/Screen_Shot_2016-11-18_at_14.00.20.png" alt="capitalone labs" width="615" height="340"></p> <h3>2. Airbnb</h3> <p>Airbnb was founded by two designers (Joe Gebbia and Brian Chesky) and there has been lots of coverage of its community focused approach.</p> <p><a href="https://ageofdesign.designweek.co.uk/">Age of Design</a>, a recent series by Design Week, includes a documentary shot in the Airbnb offices in which Joe Gebbia discusses the creation of a design-led business (watch below).</p> <p>Each project team at Airbnb incudes a project manager whose explicit role is to represent the customer.</p> <p>Though customer focus may seem like a banality, its value has been proven by digital unicorns. Writing eloquently for the Age of Design series, <a href="https://ageofdesign.designweek.co.uk/data-and-design-transforming-the-travel-industry/">Amanda Gosling</a> describes how digital disruption has provided 'the digital capability to match an individual who needs a service with another individual who can provide one.'</p> <p>This means, she continues, that 'organisations are shifting away from focusing on products and services to instead focus on the what the consumer needs holistically'. This is why design must now impact on business strategy.</p> <p><iframe src="https://player.vimeo.com/video/162992287?byline=0&amp;portrait=0" width="640" height="360"></iframe></p> <h3>3. Square</h3> <p>Square offers products that are easy to use and understand; this focus on simplified functionality comes squarely (ahem) from design thinking.</p> <p>In a talk at Stanford on the role of CEO as editor, Square founder and CEO Jack Dorsey puts it thus: “We have all these inputs, we have all these places that we could go…but we need to present one cohesive story to the world.”</p> <p>Square has improved the hardware and software that small businesses use for payment processing, as well as the entire user experience.</p> <p>Predictably, other companies followed, producing similarly focused products that better satisfy user needs.</p> <p><em>Square Cash app</em></p> <p><img src="https://assets.econsultancy.com/images/0008/1632/cash1.jpeg" alt="square cash" width="300">  <img src="https://assets.econsultancy.com/images/0008/1633/cash2.jpeg" alt="square cash" width="300"></p> <h3>4. GE</h3> <p>GE has been <a href="https://econsultancy.com/blog/68350-digital-transformation-in-a-b2b-giant-jp-morgan-ge/">transforming into a digital industrial company</a> for the past four to five years.</p> <p>There's a slide in <a href="http://www.slideshare.net/GrowConf/2-greg-petroff">a 2013 presentation</a> by Greg Petroff, chief experience officer at GE, that neatly encapsulates the role of design for any company that brings products to market.</p> <p><img src="https://assets.econsultancy.com/images/0008/1634/design_slide.png" alt="design" width="615" height="505"></p> <p>GE's transformation has seen it move from selling industrial engineering to packaging it together with wraparound services, using its Predix data platform.</p> <p>This transition to services means the company has had to focus more on customer needs than ever. To that end, GE set up its own design and UX studio.</p> <p>“The demand for user experience (UX) and design within GE is growing,” says Greg Petroff.</p> <p>“UX is a profession that’s really about understanding how people work – understanding their context and finding out what they’re trying to accomplish. Gaining this empathy for our users helps us develop novel solutions that enable them to accomplish their goals more quickly.”</p> <p>Designers and developers work side-by-side, building and testing to help bring clarity to the data and analytics now available to customers.</p> <p><iframe src="https://www.youtube.com/embed/WPdP95yAggY?wmode=transparent" width="560" height="315"></iframe></p> <h3>5. Netflix</h3> <p><a href="http://www.forbes.com/sites/chunkamui/2011/03/17/how-netflix-innovates-and-wins/#4a586578b69a">According to Forbes</a>, even as far back as 2001, Netflix founder Reed Hastings was spending $10m a year on research into streaming.</p> <p>That is as good a fact as any to show just how design driven and customer driven Netflix is. The same article puts Netflix's design-led approach down to four rules:</p> <ul> <li>Think Big - Netflix wasn't afraid of disrupting its existing DVD delivery business</li> <li>Start Small - The company didn't rush headlong into a new product, until the time was right</li> <li>Fail Quickly - Early attempts at streaming were abandoned. Know when to fold your hand</li> <li>Scale Fast - Netflix has done this by quickyl moving into original content, putting pressure on networks</li> </ul> <p>We're all familiar with <a href="https://econsultancy.com/blog/68457-how-netflix-became-the-most-loved-brand-in-the-uk/">the excellence of Netflix's platform</a> - card design, AI-led recommendations, great UX - but Netflix's design-led approach is more than digital design. It encompasses partnerships across the entire customer audio-visual journey.</p> <p><a href="https://www.linkedin.com/pulse/design-thinking-find-your-netflix-moment-haydn-sallmann">A post on LinkedIn</a> by Haydn Sallmann demonstrates this, highlighting the way a friend was turned from DVDs to Netflix after discovering the Netflix button on the remote for his new internet-enabled DVD player.</p> <p>There is even evidence of Netflix's focus on customer experience in their more fun and gimmicky marcomms. For the release of the new Gilmore Girls series, Netflix produced a binge candle, which releases a different scent every 90 minutes to coincide with each episode.</p> <p><iframe src="https://www.youtube.com/embed/-Kz86WpTM60?wmode=transparent" width="560" height="315"></iframe></p> <h3>6. Virgin Atlantic </h3> <p>Virgin Atlantic has a reputation for value and for a brand that comes with a certain nod and a wink, a vibrancy that you don't see from other airlines.</p> <p>As <a href="http://www.digitalartsonline.co.uk/features/creative-business/why-design-led-companies-do-better-in-business/">Lee Coomber puts it</a>, 'a committment to having fun and absolutely knowing its customer.'</p> <p>'This can be seen in the end-to-end customer experience: from the way the cabin crew chats with customers to the on-board bar, designed purely to facilitate that conversation; or from seat design and the edgy safety film to advertising and airline lounges.'</p> <p>Luke Miles is head of design, leading a multidisciplinary team that covers service design, industrial design and brand design.</p> <p>Back in 2012, <a href="https://www.designweek.co.uk/issues/may-2012/how-to-build-a-design-led-brand/">he told Design Week</a> "The team has two critical roles. The first is to finely craft the customers’ end-to-end experience through the physical, digital and service realms. This spans multiple touch-points, from the experience of one of our global clubhouses to a glass on-board."</p> <p>"The design team are not only responsible for all project work, but are also tasked with ensuring the overall experience is joined up and well-curated. This involves taking projects right from inception, through to final launch and also to review the product life cycle."</p> <p>"The second concerns brand guardianship. Importantly this element is both internal and externally facing and focuses on the culture of the organisation and how this links to the external experience of our customers."</p> <p>A pretty succinct definition of the function of a design team, I think you'll agree.</p> <p>Another Virgin airline, Virgin America produced arguably <a href="https://econsultancy.com/blog/65065-30-little-things-i-love-about-the-new-virgin-america-website/">the most noteworthy website and booking service of 2014</a>. The site included fun imagery and animation, streamlined user experience, and a bold look - this made booking tickets not only easier (fewer mistakes) but also less painful.</p> <p><em>Virgin America</em></p> <p><img src="https://assets.econsultancy.com/images/resized/0004/9535/cards-blog-full.png" alt="virgin america" width="615" height="351"></p> <h3>7. O2</h3> <p style="font-weight: normal;">O2 has a Customer Centred Design (CCD) team, set up in 2013 to provide a structure and process for service design.</p> <p style="font-weight: normal;">The CCD team brings together different departments in visioning, crystallising and prove-it stages, before full product development is embarked upon.</p> <p style="font-weight: normal;">As described by O2's CMO (in the Design Council's <a href="http://www.designcouncil.org.uk/resources/report/leading-business-design">Leading by Design</a> report), design at the company “is not about the look and feel. It is about being deliberate.”</p> <p style="font-weight: normal;">Collaboration and iteration are important tenets of the CCD approach, which extends to finding the simplest commercial models for new products and services.</p> <p style="font-weight: normal;">Fruit borne by the CCD includes the My O2 app, shown below.</p> <p style="font-weight: normal;"><img src="https://assets.econsultancy.com/images/0008/2167/myo2.jpeg" alt="my o2 app" width="350"></p> <h3>8. IBM</h3> <p>“There’s no longer any real distinction between business strategy and the design of the user experience.”</p> <p>That's what Bridget van Kralingen, senior vice president of IBM Global Business Services, has previously stated in the press and it's a fantastic quote.</p> <p>As IBM has a history of design ('good design is good business'), provides design services, and is investing $100m in building a design-led organisation, you'd expect it to be eating its own dog food, and indeed it is.</p> <p>Phil Gilbert, general manager of design at IBM, has discussed the company's approach on his blog, saying that 'Design is everyone’s job. Not everyone is a designer, but everybody has to have the user as their north star.'</p> <p>This focus is evident in IBM's training of its staff, with 100,000 taking part by the end of 2016. Designers have been tripled since 2013, now numbering 1,300.</p> <p>As <a href="http://qz.com/755741/ibm-is-becoming-the-worlds-largest-design-company/">Quartz points out </a>in an article on the brand's restructuring, IBM now also employs design researchers - 'formally trained ethnographers with MFA degrees to probe how their solutions are working in the real world'.</p> <p>A collaborative and group meeting-based culture has been forged, with an emphasis on transparency. Gilbert has also stated that IBM had to revamp its internal systems, moving to collaborative platforms such as GitHub, Slack, and MURAL.</p> <p><img src="https://assets.econsultancy.com/images/resized/0008/2183/ibm-blog-flyer.jpg" alt="ibm" width="470" height="264"></p> <h3>9. Barclays</h3> <p>Though banks haven't traditionally been associated with design culture, they have adapted quickly to changes in the media habits of their customers.</p> <p>Barclays, alongside some digital-first startup banks like Mint, is arguably recognised as one of the leaders of digital transformation in retail banking.</p> <p>Barclays mobile banking has a net promoter score of +62, with a banking app and a transfer app (Pingit) that have garnered considerable praise.</p> <p>For some time now, the bank has had a chief design officer and an in-house design department that brings together business, technology and control to focus on customer needs. <a href="https://medium.com/digital-experience-design/what-s-the-value-of-design-for-businesses-here-are-hard-facts-3c6b2d93b730#.sifjg7mxu">In a post on Medium,</a> Daniel Santos highlights how circumstances have dictated this focus:</p> <p>"The financial crisis and the increased tight regulation keep challenging the banking sector. This forced banks to think more out of the box and being more creative about their services and products."</p> <p>"Barclays reframed these circumstances as opportunities to connect with customers and their needs."</p> <p><em>Pingit</em></p> <p><img src="https://assets.econsultancy.com/images/0008/2199/pay.jpeg" alt="pingit" width="340"></p> <h3>10. PepsiCo</h3> <p>In 2012, PepsiCo CEO Indra Nooyi appointed Mauro Porcini (formerly 3M) as Pepsi’s first chief design officer, with a growing team based in Soho, New York.</p> <p>Nooyi <a href="https://hbr.org/2015/09/how-indra-nooyi-turned-design-thinking-into-strategy">told the Harvard Business Review last year</a> that design thinking is now driving innovation within the company and is ensuring that "products look like they’re tailored to the right cohort groups."</p> <p>This means rethinking snacks for women, for example, including a stacked crisp that comes in a plastic tray so they can be eaten easily and cleanly and don't have to be consumed in one visit. They're also less noisy to eat.</p> <p>Pepsico has also been pushing a test and learn approach in the Japanese and Chinese markets. In Japan, the Pepsi brand has introduced new versions and flavours (such as cucumber), which, if they don't sell well, can be withdrawn after three months - an approach that may be brough to the US market.</p> <p>Nooyi speaks to HBR about the challenge of creating a culture of design across such a large organisation:</p> <p>"In the past, being decentralized was our strength, but also our weakness. It’s a fine approach when the whole world is growing and life is peachy. But it doesn’t work when things are volatile globally and you need coordination."</p> <p>"We’ve given our people 24 to 36 months to adapt. I told everyone that if they don’t change, I’d be happy to attend their retirement parties."</p>