Co-Creation and Managing What Matters

Co-creation has become a central theme for brands and innovators over the last decade, and rightfully so. The idea of collaboration in a postmodern world where information and opinions reach millions in the blink of an eye is a necessity. But what do we mean when we talk about co-creation and is it the panacea it’s made out to be?

Co-creation views products, brands and markets as forums for companies and customers to share, combine and renew each other’s resources and capabilities.  This creates value through new forms of interaction, service and learning mechanisms. In other words, it ideally establishes a dialog between all actors involved in the company’s offerings.  Co-creation is about collaboration. It’s about working together to solve problems, uniting a range of perspectives and approaches to an issue. Very often this collaboration involves consumers working directly with professionals from inside and outside a client organization, to define and create a range of outputs, from strategy to communications, from products to experiences.

Value is co-created with customers if and when a customer is able to personalize his or her experience using a firm’s brand promise and product/service proposition to a level that is best suited to get his or her tasks done or need fulfilled. This, in turn, allows the company to derive greater value from its product-service investment in the form of new knowledge, higher profitability and/or increased brand loyalty.  The interaction established through co-creation produces a sort of community where the company and the user/buyer engage in an ongoing, continuously evolving relationship, defined by and defining a shared set of actions and beliefs.

A key element in all of this is the notion of personalization on the part of the customer.  But what does personalization mean? Personalization is about the customer becoming a co-creator of the content of their experiences.  This doesn’t mean providing products and content that can then be tweaked to meet their needs, because that is still largely a passive process – the company makes it, the consumer buys it and then reconstructs it in something of a vacuum. There is no feedback loop.  In a true co-creation model, customers and actors inside the company are taking active roles in developing and sharing new ideas. Competencies of the consumer and stakeholders within the company come to interact and harness a range of ideas, functional and symbolic.

This is done along four axes: engage in dialogue with customers, mobilize communities, manage customer diversity and co-create experiences with customers. Ultimately, the goal is to leverage customers for a shared creative experience, going beyond insights and creating a constant interaction that produces brand experiences and better products and services. The increase in the number of collaborators and the numerous interactions among them, across each stage of development, leads to products and services that better meet customer needs.  We see a greater diversity of individuals, functions across organizations and stakeholders across the product/service/brand ecosystem getting involved.

While I am a proponent of co-creation, there are problems with a co-creative model. A customer who believes he or she has the expertise and chooses to co-produce may be more likely to make self-attributions for success and failure than a customer who lacks the expertise. A customer who lacks the expertise but feels forced to co-produce may make more negative attributions about co-production. The dialog can backfire.

The second pitfall is that co-creation assumes customers can readily articulate what they want and need. Customers take on roles, which means what they tell the stakeholders inside the organization may not reflect anything more than a whim. Think of cars with 17 cup holders and fins a mile high. What we can articulate is often a manifestation of something else, something we can’t articulate well, which may lead to creating the absurd. Rather than taking suggestions at face value, ideas need to be analyzed through the lens of detachment and we need to tease out meaning and innovation from the unsaid as well as the said.

Finally, co-creation often assumes a fixed identity for the customer, meaning that the person with whom we’re working and the person for whom we’re building changes according to context. If the co-creating customer is in the role of “mom” in one instance, she may be in the role of “artist” later in the day. The dramaturgical shift in identity will shape what he or she says and does as it relates to a brand, product or service at any given point in time. So even though the idea is well developed and well thought out in the co-creation process, whether that be an ideation session or an online forum, it may have little relevance once that stage is abandoned and the customer moves on with the rest of his or her day.

Co-creation can help break the yo-yo effect of research and development, where clients go back and forward between creative agencies, research agencies and their audience. By working with your consumers, rather than directing stuff at them, companies get a real sense of what works and what doesn’t as the ideation takes place. But it is not without risk. As co-creation becomes a mainstay at companies, we will need to figure out how to keep a diverse set of participants engaged, how to share the risks and value of innovation, how to manage the complexity of the system without laying out too many constraints. We will need to learn how to tease out what is actually needed and what are simply flights of fancy. We will need to learn to balance the said and the unsaid. But in the end, the payoffs can and will be tremendous.

Putting Dramaturgy to Work

A couple of years ago I was at the opening day of the Wizarding World of Harry Potter at Universal Studios, Orlando.  As one might expect, the buildings, the sets, everything was designed to reflect the sets used in the movies with a level of detail that defies description. But the real genius of the experience doesn’t set in until you actually begin to interact with the various themed spaces. It all begins when you enter the wand shop. After waiting in line for a very, very long time, 15 or so people are ushered into a small mock shop and the scene from the original movie is acted out word for word with a member of the shopping audience.  Ollivander’s Wand Shop springs to life.  You’re then ushered through a door into the retail space, crowded with delighted fans happily handing over a small fortune to buy the same products they can buy online for a fraction of the price.

The store is indicative of a theater.  Not only is the environment an exact duplicate of the movie set, but the interactions themselves draw the buyer directly into the story line. By the time one leaves The Wizarding World of Harry Potter, loaded down with bags of magical souvenirs, they’re already making plans for the next visit.  And this is the sort of reaction every retailer wants.  Even without the direct associations with the movies the retail space would still conform to some very basic principles.  Namely, escape, fantasy, and inclusion. The total experience speaks to cultural and psychological archetypes.

Human actions are dependent upon time, place, and audience. In other words, the self is a sense of who one is, a dramatic effect emerging from the immediate scene being presented. What a person “really is” is not only undiscoverable, but also arbitrary in its nature insofar as it is shaped by context rather than some fixed, innate sense of being.  The individual’s identity is performed through role(s), and consensus between the actor and the audience. A person’s identity is constantly remade as the person interacts with others and the stage on which they collectively engage. People are actors who must convey their personal characteristics and their intentions to others through performances. As on the stage, people in their everyday lives manage settings, clothing, words, and nonverbal actions to give a particular impression to others.  The more a setting helps facilitate this, the more engrossed in the storyline they become.

So what does it mean in the context of shopping? Customers need experiences, not just things. More people are shopping online for convenience and deals, which means that the in-store experience becomes an incredibly important differentiator.  People are more satisfied by unique experiences than they are by commoditized objects.

 

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Entertaining the Customer

Shopping is not simply a matter of getting “stuff.” Whether you’re looking for a bank, a shirt, or a bottle of beer it has become more than a function. Shopping becomes entertainment depending upon the function, need, and desire for the object being shopped. For example, shopping for bras can sometimes be a pain in the butt if it is “needed” for a “utilitarian function” (a “work bra”), but it can become entertainment if the bra is “desired” for other cultural functions. People can also use shopping at second hand stores as a form of entertainment if there is a piece of clothing that is “desired” (a cheap pair of designer jeans), yet if one “needs” to shop for work attire at second hand shops because of a limited budget, it can cease to be entertainment and fall into the world of “errand.”

What this means for shopper marketing is that the best retail experiences, those with the highest degrees of loyalty and sales, are those that project a story and invite the shopper into the narrative. According to the Richard Ellis Group, 92% of retailers plan to increase store openings in 2011. More stores means more opportunity win or lose customers. In such a highly competitive, highly demanding landscape, there is little margin for error and a short time to market. Increasing sales revolves around more than getting people in the store, it involves getting them to think of the store as a destination and thinking of it as a “Place” rather than a “Space.”

Language:

In the past, language emphasized the skill and mastery involved in shopping. There were very real, practical results stemming from skill as a home manager. With time, the primal need to “hunt” has changed. Hunting and production are no longer about survival, but about the challenge and the social capital it brings. Lines between work and leisure are blurred. Language used in advertising and inside the retail space needs to speak to the romanticized view of the hunt as much as it does the material benefits of the products. Rather than speaking about functional benefits, the focus needs to reflect on the social capital gained by the shopper and the storyline of the shopper’s life (or desired, projected life).

Create a Stage:

The store is indicative of a theater. Even without the direct associations with a specific story line a retail space should still conform to some very basic principles. Namely, escape, fantasy, and inclusion. The total experience speaks to cultural and psychological triggers of enjoyment and participation. People create memories within places if storylines develop and form personal connections. The stronger the connection, the more likely they are to frequent the space and to buy. A good retail space needs to be create a shared identity, connecting the company and the shopper by developing clear imagery and displays that create the sense that there is a narrative behind the facade.

 

Gavin