From groceries to placemaking, a wide-ranging exploration of the retail industry
As esports’ explosive growth shows, the audiences that gather to watch an experience are as valuable as those participating.
Without doubt, the world’s new generation of consumers don’t want stuff – they want experiences. But rather than these experiences posing a threat to physical retailers, this seismic shift presents a huge opportunity.
Bricks-and-mortar retailers are well placed to serve the 49% of Millennial and Generation Z consumers for whom in-store entertainment is a big draw. Why? Because they have precious access to physical space and footfall. So it’s no wonder that 55% of retail executives will invest in in-store experiences by 2020. But do retailers really know how to nail them?
The biggest barrier is, of course, that old marketing bête noire: competing for customers’ short attention spans. In a crowded landscape, middle-of-the-road experiences become invisible. Which is why high-tech, with its immediate kudos, is often seen as the saviour. But there is a risk that with high-tech experiences comes high complexity.
To resonate, experiences need to reach into shoppers’ brains via the stairway of their souls. The user interface (UI) must be pure voodoo. The audience must be utterly mystified. And this means doing away with unnecessary complexities to build something completely intuitive.
But how? The answer, in my opinion, lies in the new universal language of gaming. With the global number of active gamers estimated by Newzoo to be over 2.3bn in 2018 – nearly a third of the world – we are, by proxy, developing a new macro-level way of interacting with both technology and each other. Not only does this give us a deeply intuitive UI, its universal nature is also perfect for brands that have to operate in different markets and languages.
Subconscious gamer instincts can be met by a brand-themed set design that instantly transports people into fantastical landscapes.
In a retail experience context, subconscious gamer instincts can be met by combining a camera and motorised motion rig within a brand-themed set design to instantly transport people into fantastical landscapes, while generating highly shareable content.
It’s a principle that we have used for global Nike stores. In China, UNIT9 created an experience that puts Nike fans inside a video game. On an immersive screen they can see themselves play – in real time – alongside avatars with old-school styling. A green screen, meanwhile, captures images of players and turns them into avatars that look just like them. Then they don a pair of Nikes and run on a treadmill to control their movements in the game. Naturally, it all ends in a highly shareable video clip.
A brand like Nike is bold when it comes to in-store experiences. But other brands are wising up. Samsung, for example, has embraced gaming’s universal nature and appeal with its 837 flagship store in New York. More games arcade than sales-driven retail space, here shoppers can play with the brand’s latest technology, like AR and VR. The focus is on marketing over sales: using the retail space to generate socially shareable content, rather than sell inventory – because e-commerce can take care of that.
We can give flagship stores a new lease of life by turning them into immersive theatres – or better still, a new breed of gaming arcade.
What unites Nike and Samsung is using their flagship stores as living, breathing microsites with real audiences. And, as esports’ explosive growth shows, the audiences that gather to watch are as valuable as those participating.
With physical retail facing multiple challenges, many brands think flagship stores face an existential threat. But if we reframe retail spaces to be more about marketing and less about sales, we can give flagship stores a new lease of life by turning them into immersive theatres – or better still, a new breed of gaming arcade that gives consumers a reason to get out of the house and get into a brand.
Gilles Boisselet is a creative partner at UNIT9, a global advertising production house and content experimenter.