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retail et UX

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CX and Branding Exam 2022_Version Française

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Agences matrimoniales, applis de rencontres : le célibat devient un marché

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De la marieuse aux applications de rencontre, la vie amoureuse devient dès le 19ème siècle un marché économique comme les autres.

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Retailtainment

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Digital Shopper's Day 2018 - Catherine Barba, expérience client avec Lulu Lemon

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Digital Shopper's Day 2018 - Catherine Barba, expérience client avec Lulu Lemon

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Digital Shopper's Day 2018 - Catherine Barba, expérience client avec Lulu Lemon

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Tork - A global professional hygiene brand

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Using eye-tracking technology to investigate guest experience at restaurant

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Vidéo assez longue mais avec des exemples pertinents

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Gilles N Goala - Partir de l'expérience client pour définir sa propositon de valeur

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L'expérience client : les moyens d'action sur le point de vente [Jean-François Lemoine]

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https://youtu.be/gOLnHmWvcgo?feature=shared

Duolingo - humour

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Publicité - PRINGLES - Apéritif - Juillet 2023

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Lidl Livraison "on est mal patron!" Pub 30s

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How packaging can make food more flavorful.

Sitting in a pub one night a dozen years ago, Charles Spence realized that he was in the presence of the ideal experimental model: the Pringles potato chip. Spence, a professor of experimental psychology at Oxford University, runs the Crossmodal Research Lab there, which studies how the brain integrates information from the five human senses to produce a coherent impression of reality. Very often, these modes of perception influence one another on the way to becoming conscious thought. For instance, scientists have long known that whether a strawberry tastes sweet or bland depends in no small part on the kinds of organic molecule detected by olfactory receptors in the nose. Spence had been wondering whether taste might be similarly shaped by sound: Would a potato chip taste different if the sound of its crunch was altered? To explore that question, he needed a chip with a reliably uniform crunch. The Pringle-that thin, homogeneous, stackable paraboloid-was perfect.

Over the next few weeks, Spence invited twenty research subjects to his basement lab and sat them in front of a microphone in a soundproof booth. There they were handed a pair of headphones and instructed to bite, one by one, into nearly two hundred Pringles original-flavor chips. After a single crunch, each subject spat out the chip and gave it a rating: crisper or less crisp, fresh or less fresh. The subjects could hear each crunch as it looped from the mike into the headphones. But, without letting the participants know, Spence funnelled the crunching noises through an amplifier and an equalizer, allowing him to boost or muffle particular frequencies or the over-all volume. About an hour later, released from the booth, each subject was asked whether he or she thought all the chips were the same.

The chips were identical, of course, but nearly all the volunteers reported that they were different-that some had come from cans that had been sitting open awhile and others were fresh. When Spence analyzed his results, he saw that the Pringles that made a louder, higher-pitched crunch were perceived to be a full fifteen per cent fresher than the softer-sounding chips. The experiment was the first to successfully demonstrate that food could be made to taste different through the addition or subtraction of sound alone. Spence published his results in the Journal of Sensory Studies, in 2004. The paper, written with a post-doc, Massimiliano Zampini, was titled "The Role of Auditory Cues in Modulating the Perceived Crispness and Staleness of Potato Chips."

Within the small group of scientists interested in multisensory integration, the paper heralded a new direction for the field, a shift from teasing out the mechanics of audio-visual interaction to what Paul Breslin, an experimental psychologist at Rutgers University, described as "the new frontier" of oral perception. Outside the academy, the paper failed to generate any interest until 2008, when its authors were awarded the Ig Nobel Prize for Nutrition. The Ig Nobels are intended to "honor achievements that make people laugh, and then think," but media coverage of Spence's win focussed mostly on the former, with headlines that ranged from " BOFFIN GIVES EATERS SOUND ADVICE" to "WHY RESEARCH THAT?!" At first glance, the "sonic chip" experiment, as Spence fondly refers to it, does seem trivial. In reality, it was an elegant psychological trick, offering insight into the way the brain combines two separate sensory inputs-the crunching sound and the tactile oral sensation of a potato chip-into one multisensory perception. Spence lists the honor at the top of his curriculum vitae.

Before the sonic-chip breakthrough, Spence had worked almost exclusively on how an understanding of the neuroscience of audio and visual stimuli could help design better warning signals for drivers. (One of his insights-that sounds originating from behind a driver's head will direct attention forward more quickly than sounds that come from the side-has found its way to market with the introduction of headrest-mounted speakers in 2015 Volvo FH trucks.) Afterward, Spence's lab began studying the crunch of apples, the fizz of carbonated water, and the rustle of potato-chip bags. The vast majority of research into human sensory perception has been unimodal-focussed on understanding how each sense operates in isolation. Alongside sex, eating is one of the most multisensory of our activities; scientists have long claimed that much of what is perceived as flavor is actually filtered through the olfactory receptors, with taste buds playing a much smaller role. Spence goes further, arguing that in most cases at least half of our experience of food and drink is determined by the forgotten flavor senses of vision, sound, and touch.

Over the past decade, Spence has conducted a series of experiments that illustrate exactly that. Other researchers have joined him in exploring this new territory, but "Charles is a pioneer," Francis McGlone, a neuroscientist at Liverpool John Moores University, told me. "His contribution to the field of cognitive psychology is seminal." Breslin said, "He's pushing the frontier in all kinds of ways that I wouldn't have predicted." In 1997, at the age of twenty-eight, Spence was invited to set up his own research lab at Oxford, and his Ig Nobel is just one in a long list of accolades, including a 2003 award from the European Society for Cognitive Psychology, in recognition of his "outstanding contribution to cognitive psychology in Europe."

Along the way, Spence has found that a strawberry-flavored mousse tastes ten per cent sweeter when served from a white container rather than a black one; that coffee tastes nearly twice as intense but only two-thirds as sweet when it is drunk from a white mug rather than a clear glass one; that adding two and a half ounces to the weight of a plastic yogurt container makes the yogurt seem about twenty-five per cent more filling, and that bittersweet toffee tastes ten per cent more bitter if it is eaten while you're listening to low-pitched music. This year alone, Spence has submitted papers showing that a cookie seems harder and crunchier when served from a surface that has been sandpapered to a rough finish, and that Colombian and British shoppers are twice as willing to choose a juice whose label features a concave, smile-like line rather than a convex, frown-like one.

It does not require an enormous leap of imagination to see how these kinds of cognitive insights could be incorporated into commercial packaging design, and, gradually, this is exactly what is happening. Americans derive a sizable proportion of their daily calories from food or drinks that are consumed directly from the package, and that is only expected to rise in tandem with the "snackification" of the Western diet. Marketing departments and product-design agencies have an extra incentive to enlist Spence's findings in the cans, packets, tubs, and squeeze tubes that populate grocery-store shelves. We are accustomed to thinking of food and its packaging as distinct phenomena, but to a brain seeking flavor they seem to be one and the same.

"Dad always says, 'Not the crisps again!' " Spence groaned, when I mentioned the Pringles experiment. We were walking back to his lab after lunch, during which he had criticized everything from the color of the rubber O-ring on the sparkling-water bottle to the sound of the Nespresso maker. Spence gives his family background the credit for his focus on finding practical applications for his research. "My parents never went to any school," he said. "They always want to know, 'What's it for?' "

Spence's mother and father both come from generations of showmen who travelled around northern Britain all year with the fair. "My great-grandfather was Randall Williams, King of Showmen," Spence said, proudly. Williams is a legendary figure in British fairground history, known for his ghost show, a mirror-based illusion still used today in haunted houses, and for being among the first people to show moving pictures at a fair, in the eighteen-nineties. But Spence's parents wanted a different life for their children, and although members of his extended family still work the fairgrounds of the North, he's no longer in touch with them. By coincidence, one of the streets on our route was closed for the annual St. Giles's Fair, a sensory riot of cotton candy, carrousel music, and flashing lights. "Too far south," Spence said, before I could ask whether we might encounter members of the Spence clan manning the bumper cars or the coconut shy. "As soon as you become a flattie"-fairground slang for non-showmen-"that's it, anyway."

Spence favors research avenues that present themselves by happenstance and experiments that are built around mundane, domestic objects rather than lab rats. "When people ask what sort of research are you going to do next, I say, 'I haven't the faintest idea, because it depends who walks through the door,' " Spence said. Many of the entrants have been major food and beverage companies: Spence estimates that seventy-five per cent of his work is industry-funded. For a decade, he was a beneficiary of Unilever's Cognitive Neuroscience Group, a short-lived corporate research department, led by Francis McGlone from 1995 to 2009. Since then, Spence has partnered with chefs such as Ferran Adrià and Heston Blumenthal, as well as with brands, museums, and culinary institutes-anyone who can offer him the chance to test a new hypothesis or attempt to replicate lab findings under more realistic conditions.

Back in the dingy chaos of his lab, Spence pointed out a boxful of unlabelled beverage cans, of all different sizes and shapes. A graduate student had spent the morning in the soundproof booth, recording the slightly different whoosh that each can made as she pulled the tab and popped it open. The cans had been supplied by Crown Holdings, an American company that produces one of every five beverage cans in the world; the recordings are to be used in a series of pre-trials to determine whether altering the particular pitch and tonal quality of a can's opening hiss can make its contents seem fizzier or flatter, warmer or colder. If the student finds an effect, then the experiment will move to in-person testing, and then, if possible, to a large-scale proof under "ecologically valid" conditions, such as a bar or a restaurant.

"It's looking at how auditory aspects of packaging can subliminally affect our perception of the product," Cormac Neeson, the director of external affairs at Crown, told me. "And how then, we hope, we'd be able to maybe engineer those to give people an enhanced, improved experience through the packaging." An all-new fizz-enhancing can is at least two years away, Neeson estimated, but he hopes that some of the study's initial insights can be used sooner, to help his clients make more brand-appropriate choices-such as, say, a more forceful, "masculine"-sounding can for an energy drink. This draws directly on perhaps the most ubiquitous and tangible example of Spence's research into sensory experience. In 2006, with funding from Unilever, Spence conducted a study to see whether altering the volume and pitch of the sound from an aerosol can would affect how a person perceives the pleasantness or forcefulness of a deodorant. Based on Spence's findings, the company invested in a packaging redesign for Axe deodorant, complete with new nozzle technology. The underarm spray, which is targeted at young men, now sounds noticeably louder than the company's gentler, female-targeted Dove brand.

"Basically, before it was pss and after it was ktsch-h-h-h-h," Christophe Cauvy said. In 2013, Cauvy, then in charge of innovation for Europe at the advertising agency JWT (he now works independently), hired Spence as head of sensory marketing. "Charles's research is immensely powerful and, I think, underused," Cauvy told me. He quickly added, "I don't want to sound too grand and say it's the beginning of a revolution."

Cauvy noted that the science of packaging has long sought to engage all the senses. As early as the nineteen-twenties, the product designer W. A. Dwiggins claimed that not only was the box more important than the thing inside it but our "digestive organs are trained to exude their juices, not at the sight of food, but at the sight of a rectangular pasteboard prism striped with alternating diagonal bands of white and red." Later, Louis Cheskin, one of the great marketers of the twentieth century, coined the expression "sensation transference" to describe how making the hue of a 7UP can more yellow made the soda inside taste more lemony. By the nineteen-fifties, as Vance Packard recounted in "The Hidden Persuaders," his exposé of the manipulative tricks used by marketers, the height of packaging sophistication was "a box that, when the entranced shopper picked it up and began fingering it, would give a soft sales talk, or stress the brand name. The talk is on a strip that starts broadcasting when a shopper's finger rubs it."

Of course, much of this marketing science was itself little more than sizzle. "Charles is different," Cauvy told me. "Charles uses neuroscience to come up with what could be the ultimate sensory palette for packaging." Still, marketers and packaging designers have arrived at many of Spence's insights intuitively. "What Charles does," Cauvy continued, "is minimize the risk of having the wrong intuition prevail."

In his office, Spence maintains a rogues' gallery of failed products-he had no part in their creation-and he gleefully demonstrated their sensory miscues. Sitting atop the filing cabinet was a special-edition white-colored can of Coke, introduced in 2011 to raise funds for endangered polar bears. It was withdrawn when consumers complained that Coca-Cola had also changed its secret formula. For Spence, the can is evidence of the power of a package's color to alter the taste of the contents. His lab has repeatedly shown that red, the usual color of a Coke can, is associated with sweetness; in one experiment, participants perceived salty popcorn as tasting sweet when it was served in a red bowl. Next to the unlucky can sat an empty packet of Cadbury's discontinued Koko-brand milk-chocolate truffles. As Spence has demonstrated, subjects associate a hard k sound with bitterness, while a softer b can make products seem sweeter. While the name "Koko" may not have single-handedly doomed the brand to failure, Spence argued that it might well have helped seal its fate.

In 2012, the snack company Mondelez, the owner of Cadbury's, made another misstep. When it changed the classic rectangular chunks of Cadbury's Dairy Milk into curved segments, customers complained that the chocolate tasted "too sugary" and "sickly." Spence and other researchers have found that curved shapes can enhance sweetness. In one experiment, diners reported that a cheesecake tasted twenty per cent sweeter when it was eaten from a round white plate rather than a square one. In any case, Spence said, consumers are constantly, if unwittingly, proving his point that taste can be altered through color, shape, or sound alone. "These effects do exist," he said. "The only question is whether and how we will use them."

On a recent, unseasonably warm Friday, I met Spence at the Ace Hotel in Shoreditch, where a group of senior executives from Tesco, the biggest supermarket chain in the U.K., had gathered for a day of forecasting the future. Spence, who has the build of a former rugby player and a preference for coral-colored jeans, rocked back and forth on his toes as he introduced the group to the concept of multisensory design and its implications for retail. He described Axe's aerosol rebrand, the mistaken Coke can, and flavor-boosting soundtracks he has worked on for Courvoisier and British Airways. He ended by focussing on the growing number of consumers older than seventy, whose senses of taste and smell have dulled. "They live in a very different taste world," Spence said. But, he added, older people can still appreciate color, shapes, and sounds. "How can we optimize the sensory design of food for these silver palates?" he asked.

He noted that other researchers have shown that the elderly, when eating tomato soup, must add more than twice as much salt as a young person does in order to achieve the same taste. Why not mitigate that increased salt consumption, and its attendant health hazards, by presenting the soup in a blue container, a color that Spence has shown can make food seem significantly saltier? Similarly, experts estimate that sixty per cent of eighty-year-olds have an impaired sense of smell, sharply reducing their enjoyment-and thus, often, their intake-of food. In a live demonstration conducted in 2006 with the celebrity chef Heston Blumenthal, Spence found that when people were served a scoop of bacon-and-egg ice cream accompanied by the sound of sizzling bacon they described the taste of the ice cream as much more "bacony" than subjects whose consumption was accompanied by the clucking of chickens. This insight-that the appropriate soundtrack can intensify the flavor of a food-inspired Blumenthal's iconic "Sound of the Sea" dish, for which diners at his restaurant, the Fat Duck, in Bray, are presented with an iPod loaded with a recording of crashing waves and screeching gulls to listen to while enjoying an artfully presented plate of seafood. The effect could be used similarly, Spence said, to design soundtracks that replace some of the lost flavor of food for the elderly.

Of course, a food company that uses visual or sonic cues to alter consumer experience could readily be accused of manipulation. In "The Hidden Persuaders," Packard describes sinister marketing men trying to hypnotize the helpless housewife with carefully designed packages and cartons, as if "waving a flashlight in front of her eyes." In "Packaged Pleasures: How Technology and Marketing Revolutionized Desire," the historians Gary S. Cross and Robert N. Proctor point out that the evolution of food packaging is "at once a tale of sensorial enrichment and nutritional impoverishment," in which products have been shaped to maximize sales and profits at the expense of health and well-being.

"It's not about cheating," Cauvy insisted. "This is really about a superior experience." If Spence's insights help to enhance the intensity of the eating experience, the argument goes, they will provide more enjoyable and more satisfying consumption, rather than simply increase it. Spence himself seems agnostic about the uses to which his research is put-he just wants it to be used.

Spence admits to being driven primarily by what he describes as the "drug-like thrill" of discovery. Nonetheless, he also believes that his research might change certain things, if not the world, for the better. He has met with the U.K. government's Behavioural Insights Team to explain how his research might help in the fight against obesity by encouraging companies to use sensory seasoning to replace some of the salt and sugar in packaged foods. This year, he began working with a children's cancer center in Spain, to experiment with plating, lighting, and acoustic tweaks that could counter the pervasive metallic taste and nausea that are common side effects of chemotherapy.

If there's a criticism of Spence's work, it's that it is "atheoretical, trivial, and epiphenomenal," Neil Martin, a psychologist at Regent's University London, and a specialist in human olfaction and taste, told me. Spence proceeds by accretion rather than by explanation. He publishes at a rate that Francis McGlone described as pathological, co-authoring between fifty and a hundred papers a year, most of which describe a seemingly minor association without offering any causal mechanism. Recently, Spence, partly in response to his work's perceived lack of depth, has started to work with philosophers on a series of experiments, workshops, and papers that aim at reconciling his research into crossmodal interaction with their theories of consciousness and reality. Eating, after all, is not just one of our most multisensory activities; it is also one of the most important activities for our continued survival. The obvious corollary of this, as the biologist J. Z. Young wrote, in 1968, is that "food is about the most important influence in determining the organization of the brain and the behavior that the brain organization dictates."

"These things might seem trivial or esoteric," Spence said. "But they do exist, and most of us share them, so they must be pretty fundamental." Scientists-Spence included-do not yet fully understand exactly why these sensory interactions occur, or even where in the brain most take place. In a review paper published earlier this year, Spence listed the most common explanations that have been offered. Some correspondences may be universal. The connection between high-pitched sounds and sweet tastes is likely based on their shared oral configuration: an infant's tongue moves outward and upward in response to sweet foods, as does an adult's when he is singing falsetto. In other cases, the relationship might be culturally dependent, based on similar words being used across sensory modes-edges can look and feel sharp, but Cheddar can be described that way, too. The account that Spence frequently offers in his public lectures and media appearances is, at heart, a statistical one: cross-sensory correspondences can be attributed to the internalization of environmental patterns. Sweet, ripe fruit is often red; fresh foods usually make a louder crunch; and spiky salad leaves are frequently more bitter than their rounded counterparts.

Nonetheless, Spence's own contributions as a scientist undoubtedly lie more in designing experiments than in analyzing the neuroscience behind his findings. One reason that the senses have almost always been studied in isolation is that it is remarkably difficult to disentangle them sufficiently to observe the effect that one might be having on another. Spence has managed to study them together by, as McGlone put it, "slipping in through the perceptual windows" created by sensory illusions.

His Pringles experiment is a telling example of this methodology. In designing it, Spence drew on an audio-tactile phenomenon known as the "parchment-skin illusion." Described, in 1998, by the Finnish neuroscientist Veikko Jousmäki, the illusion can be experienced if you write on a chalkboard or rub sandpaper on wood, first with earplugs and then without. As the brain glues together the acoustic input and the tactile input from the hand holding the chalk or the sandpaper, it gives priority to the information from the ear. As a result, the same chalkboard or wood surface feels smoother when you wear earplugs to muffle the sound. By transposing illusions from one sense to another, Spence has begun to trace the hidden rules governing the interactions between them.

The evening after the Tesco meeting, Spence returned to London. He was due to give a talk at a beer festival behind King's Cross station. In the previous seventy-two hours alone, he had spoken about his research with a branding agency, a group of Australian tourist-board representatives, a creative "salon," two different museums, and a social-dining startup, not to mention the roomful of supermarket executives. Spence's enthusiasm seemed undiminished, but he confessed that he was frustrated by the slow pace of corporate adoption. As he navigated his way across London, using a printout from Google Maps (he has no cell phone), he said that he had begun to fantasize about "chucking it all in" in order to set up an experimental restaurant-a space in which he could collaborate with chefs and designers to bring his vision of crossmodal dining to life, while conducting experiments on the public. A handful of lab members had started calling themselves the Crossmodalists, he said, and were in the process of drafting a manifesto.

Spence arrived five minutes before he was due onstage. In an unmarked tent opposite a long line of porta-potties, Spence plugged in his laptop and looked out over the empty folding chairs arrayed in front of him. Tipsy twentysomethings slowly drifted in, until, half an hour after the event was scheduled to start, Spence decided to begin. The microphone did not work, and the event organizers were nowhere to be found. Spence plowed on, making jokes and calling on his audience to guess the difference between Krug and cheap Cava from the sound that their respective bubbles made when bursting. Gradually, the tent filled up, and the drunken buzz decreased. Randall Williams, King of Showmen, would have been proud.

Having secured the audience's attention, Spence asked people to sample a dark Welsh ale: one sip while listening to a light, tinkling xylophone composition, and the second to the sound of a deep, mellifluous organ. When the second piece of music stopped, the audience had fallen silent.

"Wow," a girl near me in a vintage houndstooth dress said. I knew this particular trick of Spence's-I had watched him perform it multiple times-but it still worked on me. With only a change in the background music, the deep-brown beer had gone from creamy and sweet to mouth-dryingly bitter.

As I watched the audience respond, it was hard not to conclude that Spence's crossmodal correspondences were more than mere illusions. I was struck, too, by the contrast between the rest of the beer festival, which featured British youths in all their drunken glory-dancing on tables, fighting one another, throwing up-and the attention and thoughtful discussion that accompanied Spence's presentation. For all his psychological insights, his real contribution may lie in allowing people to appreciate anew the rich, multisensory experience of eating.

Spence, meanwhile, was moving on to his next event, a Skype presentation that he was to give to a conference in New Zealand in a couple of hours. Unnoticed on the stage, he unplugged his laptop, finished his beer, and headed off to catch the last train to Oxford. ♦

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How packaging can make food more flavorful. Sitting in a pub one night a dozen years ago, Charles Spence realized that he was in the presence of the ideal experimental model: the Pringles potato chip.

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As Americans protested police brutality and the killing of George Floyd over the past week, they were met with tear gas and law-enforcement batons. The whole ghastly spectacle- eyesight lost to rubber bullets, people beaten and sometimes killed in the streets, journalists arrested on television -was broadcast live on platforms like Twitter and Instagram.

Behind the scenes, brand managers worked quickly to create sensitive, aesthetically pleasing responses to the protests. Nike, a company more practiced than most at associating itself with social movements, was among the first brands to pivot its messaging. On Friday, Nike posted a text video in black and white, tracked to somber piano music, on its social-media accounts. "For once, don't do it," the minute-long video implores, invoking the brand's famous "Just do it" slogan. In the next frame, the command gets only slightly more specific: "Don't pretend there's not a problem in America." Eventually, the "problem" is named as racism. Black Americans and police brutality are never mentioned directly.

In the following days, hundreds of companies, sports teams, and celebrities followed suit with posts of their own, many of them nearly identical in their vague phrasing and awkward execution. Facebook and Citibank weighed in, as did the gay dating app Grindr and even the cartoon cat Garfield.
Read: Brands are not out friends
This template that brands use to respond to a national crisis has become standard in recent years, as people experience collective trauma on the internet in real time. Images of police violence, school shootings, or racist attacks appear on the same social-media platforms where companies sell mascaras or sneakers or delivery services, often side by side. Contemporary marketing theory implores brands to show up where people naturally congregate online and engage with the topics they care about. That means riding the wave of memes and random topics that sustain social-media chatter, posting in the same formats as everyone else, often acting more like a friend than a company-even in times of tragedy.

But it has never been clearer than right now that brands aren't your friend, when social media is awash in videos of riots and humans being assaulted, in the middle of a global pandemic, all while the president of the United States threatens to unleash the country's military on its own populace. American brands have rushed to show where they stand, but it's still uncertain what they intend to offer-what they can offer-beyond greater awareness of their existence and a vague sense of virtue.

Historically, companies hoping to sell you cleaning products or sweatpants didn't feel the need to share their thoughts on racism, disaster, and national tragedy. Wading into divisive topics was considered needlessly risky-as Michael Jordan once joked about his own reticence to comment on politics, " Republicans buy sneakers, too." That apolitical approach changed as social media took off and marketing molded to fit it. Conventional advertising just isn't that effective online, where people quickly learn to tune it out, use simple programs to block it, or sign up for paid services where they avoid ads entirely. That encourages a different kind of ad: one that social-media users want to share themselves, often because it appeals to their ideals or beliefs. The earliest proof that this tactic could be remunerative was the monstrously successful Dove Campaign for Real Beauty, which started in 2004. Over the next decade and a half, the company chided those who buy into beauty standards, set up self-esteem workshops and antidiscrimination campaigns, and made billions selling body wash and deodorant.
Read: The risky business of branding black pain
In the years after Dove's success, market research began to support the concept its campaign had proved: People, and especially those under 40, want brands to be responsible to their customers and sensitive to the conditions of life in America. What that means in practice, though, is less clear. Instead of taking concrete actions, many companies interpret consumers' push for social responsibility as a strong desire for them to make vague statements about even vaguer values, such as "equality" and "community," when something racist dominates the news. Sometimes, these gestures include donations to well-funded and well-known nonprofit organizations, or an indeterminate promise to make such a donation, in some amount, to some kind of charity that is "doing the work."

Even with the risk of alienating some existing customers or the cost of a donation that will impress people, the reward for sticking with the right cause can be high: Many of the posts are shared and discussed far more widely than those about actual products or services, and they allow brands to associate themselves with the zeitgeist in a fast, low-effort way during periods when their typical advertising efforts might need to be paused.

As more and more companies follow Dove's lead and jump on the bandwagon of social consciousness, it creates a sort of peer pressure. On top of the incentive of attention, companies feel the need to weigh in so that they don't come across as apathetic. At the same time, they know how fraught strong political statements can be. That's when you get language so bland, it borders on inanity-the blight of "inequality of all kinds" and the need for " meaningful change." Companies who have no business associating themselves with anti-racism movements are trying to say the right thing without upsetting anyone, walking right up to the line of politics without stepping one toe over it.

In the case of the recent protests, which come at a confluence of tragedies, it's not clear that such vague paeans to progress will do the trick. A new survey conducted by the data company Morning Consult found that most people want companies to commit resources to help communities recover from unrest and make their own workplaces less racist. Messages expressing support on social media were the least likely to satisfy respondents.

What the companies that play this game don't seem to be contemplating-and often obscure-is that their businesses frequently don't pay back nearly as much as they gain from their associations with black Americans. Nike owes much of its success not just to the mostly black athletes who lend their name to shoe lines and their face to ad campaigns, but to black Americans in general, who made sneakers and sportswear trendy parts of the country's casual wardrobe. To its credit, Nike is more active than most brands in its creation and participation in charitable programs, many of which benefit nonwhite kids who want to play sports. But Nike's senior-leadership structure -the primary internal beneficiaries of the company's enormous profits-is overwhelmingly white. According to the company's internal data, about 10 percent of its vice presidents were black in 2019, and another 11 percent came from other underrepresented groups, which the brand says represents a 2 percent increase over the previous year. When asked to comment, a Nike spokesperson provided a statement that read, in part, "We continue to sharpen our focus on hiring more black leaders across all levels at the company."

Twitter, a website whose most beloved members are unpaid black creators writing jokes and making memes that undergird the whole platform's culture, added the #blacklivesmatter hashtag to its official Twitter bio. The company, which didn't immediately respond to a request for comment, has been notoriously resistant to years of pleas to remove the accounts of virulent neo-Nazis, but has recently shown a willingness to respond to political leaders glorifying violence by hiding their tweets behind warning labels, including one from President Donald Trump.

Other companies that released statements on social media have more directly reaped the spoils of racism. Amazon, which provides data and video surveillance to law-enforcement agencies, released a statement saying, in part, that the company stood in solidarity "in the fight against systemic racism and injustice." Nextdoor, a neighborhood-watch app with a reputation as a place for local busybodies to conduct group surveillance of their black neighbors, tweeted that "black lives matter." Reddit, long a hub for racist organizing and coordinated harassment of black people online, posted a long letter from its CEO, Steve Huffman, that encouraged listening and empathy. His heart, he said, was heavy. In 2018, Huffman made explicit that racists were welcome to share their beliefs on his platform. He backtracked a day later, saying racism was allowed but not exactly welcomed.

(Amazon did not return requests for comment, and Reddit declined the request. A spokesperson for Nextdoor provided a statement that read, in part, "We explicitly prohibit racial profiling and take this issue extraordinarily seriously. We overhauled our safety post flow to help educate members around bias and force people to slow down and think before they post," which the company says has reduced those posts by 75 percent.)

Still others have sought to align themselves with anti-racism while actively quelling dissent against racial injustice. In 2017, the makeup conglomerate L'Oréal terminated its endorsement contract with the model Munroe Bergdorf, a black trans woman, after she spoke out on Facebook against racism following the white-supremacist rally in Charlottesville, Virginia. At the time, L'Oréal justified the move by saying that the company "supports diversity and tolerance towards all people irrespective of their race, background, gender and religion," and that Bergdorf's comments on white racism were at odds with those values. Yesterday, L'Oréal's U.S. division tweeted a graphic that read "Speaking out is worth it," along with a caption decrying "injustice of all kinds."

The NFL might be the most visibly anti-protest brand to nonetheless attempt to link itself sympathetically to the state violence perpetrated against black Americans. Since the San Francisco 49ers quarterback Colin Kaepernick kneeled during the national anthem in silent protest of police brutality in 2016, he has been unable to get a job in the league even as teams scrounge for competent players at his position. The NFL has repeatedly insisted that its teams did not collude against Kaepernick, and the league settled a lawsuit brought by him and his teammate Eric Reid in 2019. "The protesters' reactions to these incidents reflect the pain, anger, and frustration that so many of us feel," the NFL wrote on Twitter this weekend. The league promised that it was "committed to continuing the important work to address these systemic issues together with our players, clubs, and partners."
Jemele Hill: The NFL is suddenly worried about black lives
At L'Oréal and in the NFL, black people were punished for doing what these brands have all declined to do in their responses to this crisis: Name a bad actor. Bergdorf identified white people as the chief architects of American racism. Kaepernick was responding to the catastrophic violence of police brutality. (Neither brand responded to requests for comment.)

Many large companies in the U.S. might feel comfortable invoking the Black Lives Matter movement when there's little else appropriate for them to say, or acknowledging that racism exists when it's all anyone's talking about. But in describing those things as mysterious, intractable phenomena, they pull a neat little sleight of hand. These brands set themselves outside the systems they serve, marveling at the country's racism as though it's an invisible pathogen for which no one is responsible, and therefore one that no one can meaningfully address. If they caught a little bit of it themselves, it's through no obvious fault of their own. They're just trying to listen to their communities, as long as those communities don't hold up a mirror right back at them.

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Brands Have Nothing Real to Say About Racism

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As Americans protested police brutality and the killing of George Floyd over the past week, they were met with tear gas and law-enforcement batons. The whole ghastly spectacle- eyesight lost to rubber bullets, people beaten and sometimes killed in the streets, journalists arrested on television -was broadcast live on platforms like Twitter and Instagram.

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Pardon pour le filigrane en bas à droite de la vidéo. Le site qui m'a permis de réduire la vidéo l'impose. Veuillez considérer qu'il n'est pas sensé être là.

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Vidéo groupe Tinder DatePlace (WeTransfer)

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Vidéo groupe Tinder DatePlace (WeTransfer)

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The simple, quick and secure way to send your files around the world without an account. Share your files, photos, and videos today for free.

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Peur et dégout

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Pub Adidas Alors ces F50 M  | Dembele x Malik Bentalha

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https://m.youtube.com/watch?v=z4OgmzR6wdQ&pp=ygUHcHViIHNwYQ%3D%3D

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UVU® on Instagram: "‘A COMMON LANGUAGE’. Full Running and Training core collection back online this Sunday at 8pm BST. 

EARLY ACCESS AT 7:30PM FOR ALL EMAIL SUBSCRIBERS.

@adi.gillespie 
@tom.r.black 
@marie.burchard 
@clement_laguardia1 
@gillespiealex 
@300ver 
@louistopham 
@elliot.clements.hill 
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@l__macrae 
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@ainesweeneyb 
@hyld 
@arkatexture 
@mattrodwell 
@alexanderfares09
@____________mac____________"

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8,480 likes, 143 comments - uvu on July 23, 2025: "‘A COMMON LANGUAGE’. Full Running and Training core collection back online this Sunday at 8pm BST. 

EARLY ACCESS AT 7:30PM FOR ALL EMAIL SUBSCRIBERS.

@adi.gillespie 
@tom.r.black 
@marie.burchard 
@clement_laguardia1 
@gillespiealex 
@300ver 
@louistopham 
@elliot.clements.hill 
@kylekothari 
@colekbuxton 
@samrascals_ 
@l__macrae 
@juliakglinka 
@sehanism 
@peter_john 
@zackmwilkens 
@andres.sanjuan 
@jonhjelholt 
@razoralii 
@hectortrend 
@ainesweeneyb 
@hyld 
@arkatexture 
@mattrodwell 
@alexanderfares09
@____________mac____________". 

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View this post on Instagram

A post shared by UVU® (@uvu)

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Nostalgie

https://youtu.be/GKtdCqgw7do?si=as7rv5802xzGn723

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The Footballverse : le dernier spot NIKE

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Pistarde Renault Sport CLIO 2 RS  SimiliCup

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Nouvelle Pub EVIAN Bébés Danseurs - New Adv EVIAN Babies Dancers

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Publicité Citroën C3 Selection - Bip bip

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Compilation Culture Pub - 2 spots "percutants" pour la Sécurité Routière suisse

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Le Noël inoubliable de Bouygues Telecom | 2018 | Artbox Production House

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Sydney Sweeney Has Great Jeans | American Eagle

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https://www.youtube.com/watch?v=EQZ8ZWAnDrk&t=77s

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Le Code | Projet Dove pour l'Estime de Soi

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Pub Chocosui's de Nestlé - Maurice le poisson rouge

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Groupama – Les Gestes Qui Sauvent https://t.co/G5gQe87ytA via @YouTube

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Groupama – Les Gestes Qui Sauvent https://t.co/G5gQe87ytA via @YouTube

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Groupama – Les Gestes Qui Sauvent https://t.co/G5gQe87ytA via @YouTube
— APSPA (@APSPA1) September 9, 2022

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Groupama – Les Gestes Qui Sauvent https://t.co/G5gQe87ytA via @YouTube

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Groupama – Les Gestes Qui Sauvent https://t.co/G5gQe87ytA via @YouTube

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Groupama – Les Gestes Qui Sauvent https://t.co/G5gQe87ytA via @YouTube

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S3 - Un cadre pour la conceptualisation 

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Nike inspire les athlètes du monde entier avec des produits, des expériences et des services innovants. Livraison et retours gratuits.

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Projet Strava Running Club - Groupe Aymeric de Rodellec, Maxence de Rolland, Maxence Parmentelot, Charles de Chaumont, Pierre Huryn

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Victor, ava, romain louise, emile, vagbonda

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Join the LEGO® Ideas community! Support the ideas you want to see become LEGO sets, or get creative and submit your own design! Explore, vote, and get inspired by fellow LEGO fans

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Découvrir les projets de
conception de vos sports préférés

Rejoindre une ou plusieurs
communautés de sportifs
engagés dans les projets

Échanger avec les membres
de la communauté et les
équipes de conception DECATHLON

1 / Pour les projets de produits qui vous intéressent, vous pouvez commencer par partager vos expériences sportives, raconter vos envies, vos rêves, proposer des idées et commenter celles des autres membres de la communauté.

2 / Nous nous mettons ensuite au travail pour imaginer et vous proposer des premiers concepts de produits. Il s'agira alors de donner votre avis.

3 / Si cela vous tente, vous pouvez ensuite tester les premiers prototypes sur le terrain, partager vos ressentis aux équipes de conception pour les améliorer et finalement les valider.

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La co-création chez Decathlon | Decathlon Cocréation

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C'est un lieu d'échanges qui vous est dédié, à vous sportifs passionnés, qui souhaitez vous impliquer avec nous dans la conception des produits DECATHLON.

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Nous ? Nidéco : la marque de cosmétique qui fait tout avec toi

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La cosmétique clean pensée par sa communauté. Convaincus que c’est vous qui avez les meilleures idées pour votre peau, nous avons créé un modèle de co-création cosmétique. Le principe : écouter votre besoin pour co-créer avec vous, et toute la communauté, le produit qui y répondra enfin. Simple non ?

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hyper personnalisation chez Nike

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À propos de Starbucks
Cela se produit des millions de fois chaque semaine chez Starbucks, un barista Starbucks sert une boisson à un client - Chaque contact reste pour autant unique.
Cela n'est qu'un instant donné, juste une main au-dessus d'un comptoir qui présente une tasse à une autre main.

Pourtant il s'agit bien là de relations humaines.

Nous faisons en sorte que tout ce que nous faisons respecte cette relation et ce de notre engagement pour la meilleure qualité de café au monde, à notre comportement vis à vis de nos clients et des communautés où nous sommes implantés.

Dès nos débuts, il y a près de quarante ans, alors que nous n'avions qu'un seul salon de café, nous avons toujours essayé d'améliorer ne serait-ce qu'un peu les endroits où nous sommes allés et les lieux où nous sommes installés.

Notre histoire
Chaque jour, nous allons travailler avec deux objectifs en tête : partager un café de qualité avec nos amis et participer à rendre le monde un peu meilleur. C'était vrai lorsque le premier Starbucks ouvrit ses portes en 1971 et c'est tout aussi vrai aujourd'hui.
En 1971, la société se limitait à un seul salon de café à Seattle dans l'historique Pike Place Market. Depuis ce petit salon de café, Starbucks offrait quelques-uns des meilleurs cafés au monde, fraichement torréfiés à partir de grains entiers. Le nom de Starbucks, tiré du roman Moby Dick, évoque une haute mer de légende et la tradition maritime des premiers négociants en café.

En 1981, Howard Schultz (président-directeur général de Starbucks) entre pour la première fois dans un salon Starbucks et dès sa première tasse de " Sumatra ", il se sent immédiatement attiré par Starbucks qu'il rejoint un an plus tard.

En 1983, lors d'un voyage en Italie, Howard Schultz tombe sous le charme des bars à espresso italiens et de leur rituel autour du café. Il a alors l'idée de transposer aux États-Unis la tradition des cafés italiens, des lieux de conversation et d'échanges, un troisième lieu en quelques sortes à mi-chemin entre la maison et le travail. Il quittera Starbucks brièvement pour fonder sa propre chaîne de cafés " Il Giornale ", et reviendra en août 1987, date à laquelle il rachète Starbucks avec l'aide de plusieurs investisseurs locaux.

Dès ces débuts, Starbucks choisit d'être une entreprise différente qui non seulement célébrait le café et sa riche tradition mais aussi favorisait les rapports humains.

Notre mission : inspirer et enrichir l'esprit au gré des rencontres, café après café, dans chacun des quartiers où nous sommes implantés.

Aujourd'hui, avec plus de 15 000 salons de café dans 50 pays, Starbucks est devenu le premier torréfacteur et revendeur de cafés sélectionnés au monde. Et nous nous efforçons que chaque tasse reflète notre patrimoine et soit une expérience exceptionnelle.

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Cela se produit des millions de fois chaque semaine chez Starbucks, un barista Starbucks sert une boisson à un client - Chaque contact reste pour autant unique. Cela n'est qu'un instant donné, juste une main au-dessus d'un comptoir qui présente une tasse à une autre main. Pourtant il s'agit bien là de relations humaines.

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Galimard

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Rejoignez la communauté des éditeurs de carte pour mettre à jour la carte de Waze près de chez vous, de votre travail, partout où vous conduisez.

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Léa, Maela, Candice

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Grouep : Maxence, Maxence, Aymeric Charles

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Our team focuses on « extreme design », that is design that redefines its traditional limits and explores new territories and unconventional practices and collaborations in: science, society, politics, and art.
Find more on our team, or more on our projects. We also have a website dedicated to publications and conferences: vademecumdesign.

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Des produits cosmétiques naturels co-créés ensemble et made in France

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Des produits cosmétiques naturels pensés par et pour la communauté Nidéco. Découvre nos soins de beauté clean & safe, 100% français et éco-responsables.

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Ethan, Quentin, Jean, Pierre-Louis et Paul

https://www.canva.com/design/DAG5Jer2nEA/_EKXmRB2VpTN-GC9h26WHw/edit?utm_content=DAG5Jer2nEA&utm_campaign=designshare&utm_medium=link2&utm_source=sharebutton

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Louison, Romain, Quentin, Matthieu et Paul.D

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Orange and White Modern Sports Presentation

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Coaching 2 - SNCF - Victor Senaneuch Emile Petit Ava Djen Romain Haberkorn Vagbonga Cisse Louise Delorme

https://www.canva.com/design/DAG1NGGHliY/7ooinvVvvSCu9q1olkRbUA/edit?utm_content=DAG1NGGHliY&utm_campaign=designshare&utm_medium=link2&utm_source=sharebutton

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Coaching 2 - SNCF -Victor Emile Louise Ava Vagbonga Romain

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Expositions immersives à Paris | Atelier des Lumières

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Découvrez les expositions immersives en cours et à venir au sein de votre centre d’Art Numérique à Paris. Des expériences artistiques uniques.

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Le flagship store Zara des Champs-Elysées : ultra digital

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Le flasghip store Zara des Champs-Elysées a ouvert ses portes le 21 Avril 2023. Il propose une expérience client très digitale.

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Klarna’s AI assistant does the work of 700 full-time agents

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Klarna is using AI to revolutionize personal shopping, customer service, and employee productivity.

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Design inspiré pour les espaces de vie, sur appli ou sur le web - IKEA Kreativ

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Trouvez des idées et de l’inspiration avec nos pièces déjà équipées et modifiez les selon votre style, scannez vos pièces et concevez votre propre espace en 3D. C’est une façon amusante et facile de de visualiser vos futurs meubles et décorations avant de les acheter. Essayez IKEA Kreativ !

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DisneyBand+ Coming To Disney Cruise Line

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Renault City: un format de showroom au plus près des zones de passage du public | Constructeurs - LaTribuneAuto.com

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Renault ouvre un premier « Renault City » implanté au cœur du centre commercial de Val d’Europe (groupe Sofibrie).Avec ce nouveau format de showroo…

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Quelles sont les conséquences négatives potentielles de la priorité donnée à l’efficacité de l’IA, comme l’a vécu Klarna ?

Lorsque Klarna a fortement misé sur l’IA pour accroître son efficacité — notamment en automatisant une partie importante de son service client — plusieurs risques et effets négatifs ont émergé ou été soulignés :

Perte d’emplois et insécurité professionnelle

L’introduction rapide de l’IA a entraîné une réduction significative du personnel dans certains services.

Cela crée un climat d’incertitude : les employés restants se demandent quelles fonctions seront automatisées ensuite.

Dégradation ou déshumanisation de l’expérience client

Même si l’IA peut traiter des demandes simples, elle peut échouer dans :

des situations émotionnellement sensibles

des problèmes complexes nécessitant du jugement humain

Certains utilisateurs rapportent une frustration lorsque l’IA ne comprend pas bien leur demande ou tourne en boucle.

Impact sur la culture interne

La transition vers une logique « efficacité d'abord » peut affaiblir :

le sentiment d’appartenance

la motivation

la confiance entre employés et dirigeants

Les employés peuvent se sentir remplacés plutôt que soutenus par la technologie.

Risques de biais et d’erreurs automatisées

Si l’IA prend plus de décisions à la place des humains (crédit, risque, support), des erreurs systématiques ou biaisées peuvent se propager très rapidement.

Une erreur humaine touche une personne ; une erreur algorithmique peut toucher des milliers de clients en quelques minutes.

Dépendance technologique accrue

Miser massivement sur l’IA peut rendre l’entreprise vulnérable :

incidents techniques

mauvaise qualité ou dérive des données

difficultés à maintenir les modèles

Une panne ou un bug peut paralyser tout un pan de l’organisation.

Perte de compétences humaines

À mesure que l’IA prend en charge des tâches clés, les employés risquent de perdre des compétences essentielles :

résolution humaine des problèmes

communication

prise de décision complexe

À long terme, cela rend l’entreprise moins résiliente.

Perception publique et réputation

Lorsqu’une entreprise met en avant qu’elle « remplace » des travailleurs par l’IA, cela peut provoquer :

des critiques médiatiques

une baisse de confiance des consommateurs

des réactions négatives sur les réseaux sociaux

Cela renforce l’image d’une entreprise cherchant à réduire les coûts plutôt qu’à investir dans les personnes.

En résumé

Prioriser l’efficacité de l’IA peut générer des gains rapides, mais aussi créer des déséquilibres humains, sociaux et organisationnels : licenciements, perte de confiance, erreurs algorithmique, expériences client dégradées et fragilité technologique.

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Call of Duty storytelling: The past, present and future of Black Ops

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L'Oréal Paris "Make Up Genius Virtual Mirror" Campaign Case Study

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Paris, le 22 Juin 2023

Dans une ambiance ensoleillée et empreinte de style, le designer de renommée mondiale Simon Porte Jacquemus a ouvert un pop-up store exclusif à Saint-Tropez.

Niché au cœur de cette station balnéaire emblématique de la Côte d'Azur, le magasin éphémère offre aux amateurs de mode une expérience unique, imprégnée de l'esthétique ensoleillée et moderne qui définit la marque JACQUEMUS.

Situé dans un emplacement privilégié de Saint-Tropez, le pop-up store Jacquemus offre un refuge de style pour les amoureux de la mode en quête de pièces tendance et de créations originales.

Dès l'instant où vous franchissez les portes, vous êtes accueilli par un décor qui reflète parfaitement l'esprit ensoleillé et vibrant de la marque.

Des couleurs douces et des tons pastel se fondent harmonieusement avec l'environnement balnéaire, permettant une atmosphère chic et décontractée.

Le pop-up store met en valeur la collection Été de Jacquemus, offrant aux visiteurs une sélection sélectionnée d'articles qui capturent l'esprit de la saison estivale.

Des vêtements aux accessoires, chaque pièce est imprégnée de la vision artistique de Simon Porte Jacquemus.

Des robes légères aux coupes élégantes, des maillots de bain audacieux aux chapeaux de paille stylés, l'article incarne l'élégance décontractée et le raffinement qui caractérisent la marque.

Au-delà des vêtements, le pop-up store Jacquemus propose également une gamme d'essentiels pour l'été.

Des lunettes de soleil aux sacs de plage en passant par les serviettes de plage, chaque article est conçu avec une attention particulière aux détails et à la qualité.

Les visiteurs peuvent ainsi se préparer pour leurs journées au bord de la mer avec style, ajoutant une touche de sophistication à leur expérience estivale.

En plus de présenter la collection Été, le pop-up store Jacquemus offre une expérience immersive aux visiteurs.

Chaque recoin du magasin a été méticuleusement conçu pour capturer l'essence de la marque.

Des installations artistiques créatives, des mises en scène saisissantes et une atmosphère immersive invitent les clients à plonger dans l'univers Jacquemus et à vivre une expérience shopping inoubliable

Le Pop-Up store Jacquemus est ouvert jusqu'au 10 octobre 2023

Crédits Photographies : Jacquemus

Pour découvrir les opportunités de carrières les plus lumineuses du marché du luxe, nous vous invitons à consulter notre page Talents.

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Jacquemus ouvre un Pop-Up Store exclusif à Saint-Tropez - Meet & Match

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Paris, le 22 Juin 2023 Dans une ambiance ensoleillée et empreinte de style, le designer de renommée mondiale Simon Porte Jacquemus a ouvert un pop-up