October 2009

Fake it til you make it: 10 ways to make your business appear bigger than it is

“Being perceived as professional by outsiders is a common challenge for small businesses. Many startups reach a stage where meeting clients in cafes no longer cuts it. Here are 10 simple ways that your company can make itself look bigger it is.” Read on

Rowena Murray Australian Anthill

Published 27 October 2009.

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Rebooting Remo

 

His heroes are graphic designers, global thinkers and big design-driven brands like Apple and IKEA “and authentic brands like Coopers”. In the 1980s he started a cult following with a shop that went from boom to bust and back. Remo Giuffré talks with Peter Salhani about reinventing an iconic corner store as an online global community.



A missing piece of Sydney’s retail history has been resurrected. In July this year, REMO General Store opened the doors to a new ‘kiosk’ in Bondi, 14 years after the iconic Sydney store closed its doors. REMO has been back with an online Global Community General Store since 2003, but the kiosk signals the return of something special.

Like our very own Mr Magoriam, Giuffré curated a wonderful emporium in the old Gowings building on Oxford Street from 1988 to 1996 selling the classic, kooky and the everyday. From Fortune Teller Miracle Fish and Fisher Space Pens to Cuisenaire Rods and Cornishware mugs – everything had a sense of humour, nostalgia or inventiveness to it. “People didn’t really need anything we sold,” says Giuffré, “but they connected to the objects through the stories they told. They were just things that people loved. Our idea of an old General Store was a place where people would come not just to buy things – a bit of everything – but to feel connected to the shopkeeper and one another; a place where they check the noticeboard, have a cup of coffee, collect the mail, it’s got a kind of cosy community feel to it.”

Clearly there was more to it than just stuff – the store had a little beatnik café and a working photo booth. Its mail-order catalogues (designed by Giuffré and graphic designer Aivi Juske) became collectors items and won design awards. Responding to the burgeoning local design scene, Giuffré opened the Pacific Design Source for the Japanese department store Seibu, representing local crafts and design talent like Robert Foster of FINK. Between the shop and the catalogues, REMO touched tens of thousands, but in hindsight Giuffré says it was probably too much too soon. In 1995 the business went into voluntary administration and the shop was shut.

“No amount of training prepares you for the sheer terror and chaos of a fast-growing small business,” says Giuffré, who had previously worked as a lawyer in Sydney, before moving to New York to do an MBA at Columbia University. It was here that the seeds for the business had been sown. Giuffré is a compulsive doodler and likes to draw complex relationships and business models using arrows, interconnecting circles and naïve stick-figures. In New York he was drawn to the advertising artwork of Tibor Kalman, the late graphic designer and former editor in chief of Colors magazine.

“The aesthetics and intelligence and sensibility really resonated with me and I thought I had to meet him. We connected and liked each other…I remember he had this little fortune-telling miracle fish lying around in his office, so did my friend Tucker Viemesiter [co-founder of Smart design]. I realised there was like a secret society of people who find these graphic images appealing. There were a few such things and people and ideas that I felt a magnetism towards. I was struggling at the time to work out how to build a life around my affinity with those things and I wondered whether I aggregated all that stuff I was passionate about into a retail space, whether other people would like it too.” They did, and even when the business closed, there was an outpouring of support.

After that, Giuffré moved with his wife Melanie and daughter Lola to the US and reinvented himself as a brand strategist with the global innovation company Frog Design. “There weren’t really any brand strategists then. My idea was to bring a strategic focus to branding in a holistic way. Also, I was secretly thinking about how to reboot REMO General Store without any money.”

The Internet was the answer. In 1994, REMO posted its first online brochure, and this remained online, though it offered no merchandise. By 2000 it had become a gathering of people who registered and voted for products they would like to buy…if they could. “It demonstrated to us the power of the brand we’d built – here was a retail website not selling anything, but with thousands of people registering. It made me think about how we could scale that alchemy, that loyalty, to a global audience using technology.”

With renewed belief in the business, Giuffré and family (which now included youngest son, Roman) returned to Sydney in 2001. By 2003, Remo and Melanie had launched “REMO for the 21st century” as an online retail community dubbed the Global Community General Store. The old favourite merchandise is there, expanding all the time, but does it deliver the same warm fuzzies as the shop?

“To me, the Internet can be far less impersonal than a shop, because there, people walk in, put their money down and leave, and you don’t know who they are (unless it’s a country town). Online you digitally know who everybody is – and you can program warmth and personality into the system.” Key to building loyalty online is communication: “Just be direct and human with your customers. Customer profiles, feedback loops, open forums and blogging are some of the tactics for that, but it comes down to respect. The higher level thing is to engage customers in a peer to peer dialogue that’s a collaborative conversation.”

Those customer conversations are now the major source of new REMO product: “We have a very involved global network of customers and that’s the development engine for the business.” And the engine is ticking along nicely. The new kiosk – a corner store on Bondi Road – is set to expand into the shop next door, though it won’t replicate the REMO of old. “We learnt not be so literal about what we were doing – we were sending ourselves broke selling things that were ubiquitously available – trying to fill product lines we thought a general store should sell. Now we just look at unique products and then figure out where they fit into the mix. It’s not so much a ‘general store’, but a store that sells general things, more of a metaphor for a general store. Curation this way is a lot more rewarding.”

As well as enjoying bringing REMO back to life, Giuffré is also bringing TED talks to Australia. He was first invited to TED (ideas worth spreading) in 1993 by founder Richard Saul Wurman, on the proviso that he supply all the speakers with Remo T-Shirts and attendees with a copy of the award-winning 1991 REMO mail-order catalogue. The search for talent has begun and TEDxSydney is scheduled for May 2010 at Sydney’s Carriageworks. Just as this pied piper has conscripted customers to help expand the product range, Giuffré has assembled a team to help collect inspirational speakers. “I’m very naturally a curator of things, but curating people of this calibre is quite another thing. It’s a huge challenge, but I’ve got great people helping – so it’s going to be fantastic – and that’s the joy of it.”

What advice does he have for designers or those in the business of design? “Persist and be passionate about what you do. Financial rewards are a byproduct, but you need to be enjoying the process for the whole endeavour to be worthwhile.” On our last meeting Giuffré is cutting giant decals into digital numbers for the Bondi window display – a count-down to REMO’s 21st birthday sale. Happy birthday and welcome back.

By Peter Salhani

Images courtesy of REMO General Store.

© Peter Salhani, 2009. All rights reserved.

Published 26 October 2009.

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Artsbridge

Arts Tasmania offers Artsbridge – a grant for out-of-round funding travel that is designed to allow Tasmanian artists and designers to take up exceptional opportunities to perform, present or showcase their work interstate or overseas.

Opportunities must be proven to be strategically important to an applicant’s career development. Applications are only accepted from applicants who have received a written invitation from a host organisation.

Notification will take up to six weeks (30 working days) from the submission of the application and projects may not be undertaken prior to that advice. As the program is becoming increasingly competitive and funds are limited, it is advisable to submit applications as early as practicable. The fund may be fully expended towards the latter part of the year.

Applications for interstate travel may be made at any time. Applications for grants for international travel are due the 1st of each month.

This is an ongoing opportunity.

For more information, please visit www.arts.tas.gov.au/artsbridge

Published 21 October 2009.

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Ezio Manzini on design, sustainability and social innovation

Ezio Manzini presenting at The Deakins 09: Alfred Deakin Eco-Innovation LecturesEzio Manzini presenting at The Deakins 09: Alfred Deakin Eco-Innovation Lectures

Ezio Manzini, the Milan-based advocate of design and sustainability, recently visited Australia to speak at the Alfred Deakin Eco-Innovation Lectures about the projects designers should be turning their attention to for the future – socially innovative projects including cooperative childcare models and communal home based restaurants. Here, Ewan McEoin looks at the growing role for designers beyond the object.



More than 30 years ago, during an interview with Charles Leadbeater for the Eames’ film series Design Q&A, Charles Eames, the American multidisciplinary designer was asked, ‘What are the boundaries of design?’. Eames replied, ‘What are the boundaries of problems?’*

On a recent visit to Melbourne, Milanese academic and prolific author on design and sustainability, Ezio Manzini, offered a range of examples he believes typify the kind of projects designers should be turning their attention to today, as both a social imperative and an intelligent business decision. Some of the projects put forward by Manzini include the development of networks and frameworks for urban farmers markets, share systems for household appliances, cooperative childcare models, and communal home based restaurants.

In Australia as part of the Alfred Deakin Eco-Innovation Lectures, curated by Professor Chris Ryan at VEIL, Manzini’s lecture and workshop responded to the theme ‘Climate and Innovation – Embracing the Low Carbon Economy Now’. Having traversed a lifelong investigation of design and sustainability – from green products to product service systems – Ezio Manzini believes that it is design for social innovation that is particularly suited to deliver the new social resources for a sustainable society.

As designers beaver away, applying their many skills to an ever expanding catalogue of products and places – from the necessary to the absurd – it’s easy for us all to get preoccupied with the never-ending exploration of the next great product idea, the next device, system, space or interface. Design responds and reacts in a uniquely servile guise to the needs, wants and desires of the market – yet by nature it remains flexible, adaptable and above all constantly reconfigurable for new circumstances and conditions. How this capability is enacted for the future is really up to designers and who they choose to work for, and what they choose to design.

The time has come for more designers to be encouraged to redirect their skills to social innovation that responds to the shifting strata of business and community, addressing social needs and the replacement of old systems that no longer work. Unlike the traditional design development process, which is only responsive to either a commission or a market gap, social innovations are not activated by consumer demand, but by an active decision on the part of a ‘social entrepreneur’ to prototype a new way of being and doing.

Focusing design thinking and skill towards social innovation projects that may not have a tangible physical product outcome is a shift many designers are starting to make – both philosophically and literally. Placed somewhere between the not-for-profit, government and for-profit sectors, social innovation is perhaps the new paradigm that deep down we knew we really wanted. The situation remains that even with better products, places, and systems, many of the most compelling issues facing our communities and broader society cannot be addressed – because we are not applying our most creative minds to them.

While Manzini concludes that it is not explicitly necessary for designers to participate for the social innovation process to occur, it is designers who are perfectly resourced to be in the vanguard of the social entrepreneurs. As part of ADU’s exploration of creative entrepreneurship, we can see the challenge this puts forward to entrepreneurial Australian designers well equipped with the tools for searching out problems or opportunities, and implementing and testing the solutions to address them.

With healthcare and education set to be the boom industries of the next generations, designers who can shift beyond the traditional physicality of the end-product and move to a world of design that enables socially responsible systems and networks are well placed. Inevitably we are realising that neither government nor business is going to deliver the world we all want to live in, so we need a good crop of social innovators to make it happen.

Ezio Manzini’s four steps for social innovation:

1. Create the brief (understand and frame)
A way of ‘stopping before you start’. This step asks designers to focus on the problem from the perspective of those that experience it. What is the root cause underlying the need, and what outcomes do people themselves want to achieve?

2. Design development (generate solutions)
Innovative and divergent thinking is the currency of social innovation. Many techniques for design exist – but Manzini focuses on user-centred co-creation – working closely with the end users in a cycle of design development that is facilitated and not imposed by designers.

3. Prototyping (develop and test)
As with the world of product design – social innovation requires small-scale, rapid prototyping and experimentation, this part of the social innovation process requires a clear focus on social outcomes.

4. Mass Production (Scale up)
Through an open source system or a collaborative network – creating the structures and support to facilitate the diffusion and dissemination of a successful innovation to a point where it can effect significant social change.

By Ewan McEoin.

Some Rights Reserved. View ADU Creative Commons license here.

Watch part 1 and 2 of the video recording of the Deakins 09 lecture by Ezio Manzini here.

Further Links:

Ezio Manzini, Alfred Deakin Eco-Innovation Lecture 2009 (audio available, video available soon)
http://www.climateandinnovation.com.au/program-09/social-innovation-and-sustainable-living-global-perspectives

Sustainable Everyday (Ezio Manzini’s international website)
www.sustainable-everyday.net

DESIS – Design for Social Innovation and Sustainability (International)
www.desis-network.org

Geoff Mulgan:Post-crash, investing in a better world
Geoff Mulgan is the Director of the Young Foundation –  a centre for social innovation, social enterprise and public policy that pioneers ideas in fields such as aging, education and poverty.
www.ted.com/talks/geoff_mulgan_post_crash_investing_in_a_better_world_1.html

Social Innovation Camp (International)
www.sicamp.org

Participle (Leading UK social innovation practice)
www.participle.net

Centre for Social Innovation (NZ)
www.nzcsi.org

Centre for Social Innovation (Canada)
www.socialinnovation.ca

Centre for Social Impact, University of New South Wales (Sydney, Australia)
www.csi.edu.au

*Interview by Charles Leadbeater with Charles Eames documented in “Design Q&A (1972, 5 min.)”, The Films of Charles and Ray Eames – Volume 4. Los Angeles, California: Image Entertainment, 2000.


Published 21 October 2009.

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Don’t put all your eggs in one basket

“In its infancy, most business owners will reinvest all their cash back into their own enterprise to maintain control of their own destiny. But diversification is the key to any great entrepreneur and it is important to avoid putting all your eggs in the one basket in case it goes belly-up.” Read on

Alex Tilbury News.com.au

Published 20 October 2009.

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Ezio Manzini: Deakins 09 lecture, part 1 & 2


Part 1 duration: 32m 51s

 


Part 2 duration: 30m 51s

 

During the Deakins 09 lecture, renowned international design thinker, Ezio Manzini explored the growing global wave of social innovation. Above is a video recording of the lecture including the accompanying slide presentation. In it Manzini describes social innovation as a fundamental shift towards a new paradigm of business and lifestyle underpinned by sustainable values. Manzini will describe how institutions, enterprises, non-profit organisations, and individuals, driven by creativity and entrepeneurship, can be made capable of moving outside mainstream models of living and producing, in an effort to invent new and far more sustainable ones.

Alfred Deakin Eco-Innovation lectures, BMW Edge, October 2009

Source: Deakins 09 

Published 20 October 2009.

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University of Tasmania: Artist-in-residence program

The School of Visual and Performing Arts, Academy of the Arts in Launceston Tasmania offers an artist‐in‐residence program for visual artists, designers and theatre and curatorial/arts management practitioners. Standard residencies are for seven weeks, however shorter residencies can be negotiated.

Residents carry on their practice in addition to participating in a variety of activities at the Academy. Housing, studio space and access to workshops and laboratories on a 24 hour basis, use of the University library and other general amenities is provided.

Applications are welcome throughout the year.

This is an ongoing opportunity.

For further information on applying visit here.

Published 07 October 2009.

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Selling to new Japan

“With a trade relationship with Australia stretching back more than half a century, Japan shouldn’t be dismissed as an export market, despite economic woes and the rise of its neighbour China. Read the headlines about Japan’s economy over the past year and you’d be forgiven for believing it was the land of the setting sun. If you think Japan is entering its twilight years as one of the world’s great economies, however, you’d be underestimating its intrinsic power.” Read on

Adeline Teoh Dynamic Export

Published 06 October 2009.

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Transform your design business

“Design Victoria has launched Transform Your Design Business, an online guide that equips Victorian designers with the know-how to successfully navigate the grants space and write strong grant applications. It seeks to ensure designers can take full advantage of grants and assistance available to them, to help fund new design initiatives for local and international markets and kick-start growth and success.” Read on

Design Victoria

Published 06 October 2009.

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About ADU
Part magazine, part bulletin, part business resource, ADU is a publication and archive about design and creativity published monthly to encourage and support designers. ADU is an independent and strongly collaborative voice within the design sector with a broad network that connects designers from across the country to the resources they need. ADU is also a vehicle for workshops, forums and exhibitions produced to encourage discourse and develop skills around design, creativity, entrepreneurship and ideas. ADU collaborates with design institutions and existing initiatives to enable designers to develop new markets at home and abroad. ADU is a joint venture between Parcel and Studio Propeller.
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Publishers/editorial direction
Heidi Dokulil & Ewan McEoin
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Madeleine Hinchy
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Peter Salhani
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Graeme Smith
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Lee Wong
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Sam James, Elliat Rich, Alexi Freeman
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