Nº1 / April 2006

2. Nº1 / April 2006 • SUMMARY OF CONTENTS • What is ? • The ten trends: a starting point • inmotion: • The transition towards the “nouveau” man • The magic of storytelling • Some examples of customisation • Some examples of Brand Extension inthe bazaar

3. is a periodical magazine which attempts to collect information on news and trends in our society. What is ? For this reason, a group has been trained to continuously gather all the information they can on main news appearing in the general media or other sources of information: news in the press, ads, etc. (social, marketing,…) and their constant observations. • Further, with a view to “order” and not lose sight of relevant aspects, the information will be collected as follows: • We set out from 10 mega-trends about which information will be collected and its validity, new-ness and/or adaptation to current reality will be verified • We include a section - inthe bazaar – which attempts to collate all those articles, news stories, observations, comments, etc. that have caught our eye, independently of the trend it links to • The idea is to collect the information here as a kind of “trinket box”, so as not to hinder or lose an idea or observation which we feel is of interest.

4. The 10 megatrends A starting point • Below we reveal the 10 “megatrends” which will be taken as an initial reference in order for us to be able to follow them, include news on each of them, observe the way they evolve etc.* • These trends started in 3 ways: • Data Monitor: Global consumer Trends, 2004 • Faith Popcorn • Our own collection of material through observation, market knowledge from recent studies etc. • We know that trends don’t always represent something new, but we should pay attention to what’s new in order to see if it follows these trends, changes them or whether it should simply be seen as something temporary.

5. 10megatrends EMOTIONAL SCAPES: modifying daily routines, returning to the “”child” you never stopped being, hedonism… 1º BRAND EXTENSIONS: brands stepping outside their traditional boundaries, creating styles, spaces, etc. 2º SENSORY: recapturing the sensory world from all sides and in every environment, the connection of the inner and outer selves… 3º BACK TO THE PAST: returning to styles, lifestyles, cooking, personal care… from the past 4º 5º GENDER COMPLEXITY: the feminisation of society, the unisex universe, the nouveau man… FAMILY COMPLEXITY: restructuring of the traditional family unit, singles, gays, ‘DINKs’… 6º CONSUMPTION EXPERIENCE: multi-spaces, services that go beyond shopping; leisure within shopping; social marketing… 7º AGE COMPLEXITY: kids who want to be grown-up and grown-ups who want to be younger; the third generation and its second wind… 8º EGONOMY / CUSTOMIZATION: personalisation within globalisation, the margin between what’s culturally acceptable and personally differentiating… 9º INCOME COMPLEXITY: targets with high purchasing power who defend anti-luxury standpoints; those with a lesser purchasing power but are seduced by luxury… 10º

6. “…to determine a metrosexual, all you have to do is look at them. In fact, if you’re looking at them, they’re almost certainly metrosexual. The typical metrosexual is a young man with money to spend, living in or within easy reach of a metropolis – because that’s where all the best shops, clubs and gyms and hairdressersare. He might be officially gay, straight or bisexual, but this is utterly immaterial because he has clearly taken himself as his own love object and pleasure as his sexual preference” The transition towards the “nouveau” man: FROM METROSEXUAL TO ÜBERSEXUAL T he phenomenon of “metrosexuality” opens the door to a new age for “The 21st Century Man” This term was first coined by Mark Simpson in his article “Meet the metrosexual” where – taking David Beckham as a starting point – he defined this new type of man… TREND nº5 GENDER COMPLEXITY

7. TREND nº5 GENDER COMPLEXITY FROM METROSEXUAL TO ÜBERSEXUAL W ¿ hat exactly is a “metrosexual” 3 features: narcissistic, urban and sensitive Etymology: “metro”, meaning urban An urban man with an important sense of the aesthetic, to which he dedicates a significant proportion of his time and money, following guidelines traditionally associated with the feminine world (cosmetics, careful choice of accessories…) Definition: Celebrity examples: David Beckham as ultimate icon, Enrique Iglesias, Ricky Martin H owever, as this term has become popularised – reaching its peak last year – a wide consumer field has opened up for this nouveau man (and his “followers”). For example, in 2005 numerous cosmetic brands launched their masculine or unisex lines (Clinique, Shiseido, Loewe, Biotherm, Lancôme…and even other less exclusive brands such as L’Oréal and Nivea), and today others are following suit, like Hugo Boss, the most recent to “sign up” to the trend, launching its facial skincare range, ‘SKIN’.

8. FROM METROSEXUAL TO ÜBERSEXUAL TREND nº5 GENDER COMPLEXITY O ut of the repercussions this new male ‘typology’ has had, it is worth mentioning the way in which the initial “metrosexual” is split into many distinct typologies. Since then, we have heard retrosexual, metroemotional, technosexual, and lately there is even a fashion of talking about “übersexual”. Some typologies emerge in line with metrosexual – promoting certain features, as in the case of the technosexual and metro-cowboy – or even construct themselves in opposition with metrosexual. However, in all cases metrosexual is the reference point that has opened this transition dialogue towards the nouveau 21st Century man In opposition… METROSEXUAL Retrosexual In line with… Metroemotional Beta Male Technosexual Übersexual Metro-cowboy

9. FROM METROSEXUAL TO ÜBERSEXUAL S PECIFICATIONS: THE TECHNOSEXUAL 3 features: Sophisticated, narcissistic, technological Etymology: “techno” of technology A term coined by Ricky Montalvo, who defines the technosexual as a sporty man who loves computers and new technologies, with a high quality of life and who, like the metrosexual, is narcissistic and urban. But in contrast to the metrosexual, he dedicates his time to being “connected” to his laptop, listening to his iPod… Definition:

10. FROM METROSEXUAL TO ÜBERSEXUAL S PECIFICATIONS: THE "METRO-COWBOY" 3 features: Fetishistic, sensitive, urban Etymology: “metro” = urban / “cowboy”= their style A newly-invented term, coined after the success of the Oscar-winning film Brokeback Mountain. Definition: Mark Simpson again coined this term, based on criticism of the film, sensing a backdrop of a new type of metrosexual, more than a defence against homophobia Trend nº5

11. FROM METROSEXUAL TO ÜBERSEXUAL S PECIFICATIONS: THE "RETROSEXUAL" 2 features: “macho” and passionate Etymology: Refers to the past Someone proud to be a man, and even enhancing his most masculine side Characterised by affecting little sense of the aesthetic and not spending time grooming himself Definition: Benicio del Toro, Javier Bardem, Russell Crowe, Sean Penn… Celebrity examples:

12. FROM METROSEXUAL TO ÜBERSEXUAL S PECIFICATIONS: THE "METROEMOTIONAL" 2 features: Sensitivity, sincerity Etymology: A term centred on emotion Typology created by Rosetta Former – publicist – which responds to a type of man described in ‘ideal’ terms by women: sincere men, capable of loving and being emotional and opening their hearts And above all, a man capable of focussing his attention more on women than himself Definition:

13. FROM METROSEXUAL TO ÜBERSEXUAL S PECIFICATIONS: THE BETA MALE 3 features: Simple, experienced, perfectionist Etymology: As the second letter of the Greek alphabet, coined in opposition to the “alpha male” or metrosexual Similar to the metroemotional: profile sought out by women (emotional value). They leave behind the prototype of the man concerned only for his appearance, and are characterised by enjoying the present in terms of experiences, simplicity and ‘going with the flow’ Definition: Celebrity examples: Johnny Depp, Bruce Willis Trend nº5

14. FROM METROSEXUAL TO ÜBERSEXUAL S PECIFICATIONS: El "ÜBERSEXUAL" 3 features: Masculine, “authentic”, socially engaged Etymology: “über” means “super” in German Term coined by the American publicist Marian Salzman (JWT) “The type of guy that loves to seduce women, feels at home flirting with them, and at the same time is sensitive…but not sickly sweet” (Elena Mandacen, Glamour Magazine) In contrast to the metrosexuals, they don’t affect being so concerned about the world of cosmetics or the latest clothing fashions; they highlight their masculine side (without playing on “ambiguity”) and are more accessible Definition: CURRENTLY, it is the most “successful” term, and seems to encompass the three previous typologies Celebrity examples: George Clooney as idol or icon

15. FROM METROSEXUAL TO ÜBERSEXUAL W hat is really happening underneath this rash of definitions and “labels” for the noueveau man of the 21st Century ¿ With the appearance of the “metrosexual”, deeply-rooted stereotypes which were attributed as features of masculinity have been broken, opening up a new field in the definition of men: From this point on, we can no longer talk about a single type / stereotype of the heterosexual, “masculine”, “macho” male. Setting out from the “metrosexual”, a man “can” (if they want) show his more feminine, more vain, more emotive side Furthermore, based on this “theoretical construct”, a wider consumer field has been opened for men, towards products and categories that used to not be “legitimate” (cosmetics, accessories, fashion…) ,

16. FROM METROSEXUAL TO ÜBERSEXUAL Did not allow general identification on the part of many men …nor was it considered entirely desirable on the part of many women HOWEVER… The “metrosexual prototype”, due to its greater “superficial”, “narcissistic” and egocentric content… In fact, we have detected these two “problems” with the “metrosexual prototype” from our own experience, since: In groups carried out with men who matched the metrosexual stereotype (in terms of personal grooming habits and lifestyle), we found very different profiles based on: A style more purely centred on the aesthetic, on exterior appearance, very close to the feminine stereotype (without necessarily translating to homosexual profiles) And a style which, while concerned about exterior appearance, with similar aesthetic care habits (anti-wrinkle, anti-cellulite, depilation…), recovered features of the masculinity “lost” in the metrosexual, in terms of sport, the “art” world, etc.

17. FROM METROSEXUAL TO ÜBERSEXUAL This second type of man – initially integrated into metrosexuality due to certain attitudinal features – is now partiallywithdrawing from this through other terms such as “übersexuality”. But the appearance of new terminology – such as the currently most popular “übersexual” - to talk about the 21st Century man is not only the fruit of men’s own demands: women also have a great influence In fact, returning to our own experiences, here we put together some women’s complaints, not only about metrosexuality and the excessive narcissism of many “modern” men… “Nowadays you can’t find a boyfriend for love nor money…if they’re not gay, they only think of themselves. It’s awful” “You’ll excuse me if I say I’ve had a very bad day today, but I don’t know what’s going on – there’s no decent men. Most of them are gay or only look out for themselves” … but they even feel as though they are in “competition” with these new models of men: “These guys are worse than girls. I don’t look after myself as well as they do. It must be uncomfortable to go out with someone like that” “I don’t look after myself as much as these guys…”

18. FROM METROSEXUAL TO ÜBERSEXUAL Male/MACHO Stereotype Female/feminine Stereotype The “metrosexual” has not ceased to exist, but rather co-exists with the other types and is undergoing constant evolution because, above all, it has opened the doors to the new man of the 21st Century in transition: Today übersexual, but tomorrow…? Übersexual Metroemotional Retrosexual Beta Male METROSEXUAL Therefore, the need to create a new model of the übersexual (retrosexual or metroemotional) man – which recovers more “typically masculine” values – seems to respond both to the needs of the woman and the man himself, who needs to feel more comfortable in a definition with which he can identify, at the same time as “adjusting to new times and changes”. "Approximate" graph of the transition • SOURCES OF INFORMATION: • EPS Hombre, Sunday 12 March 2006 • Glamour Magazine, February 2006 • Internal sources (observations, groups …) • Websites: • www.marksimpson.com (“Meet the metrosexual”) • www.laflecha.net/canales/curiosidades • http://archivo.elnuevodiario.com.ni/2005/julio • www.soloellas.com/2006

19. THE “MAGIC” OF STORYTELLING Self-help books have been aroundfor a long time, and are becoming increasingly popular. Authors such as Jorge Bucay, who has just launched his own magazine and has become very famous through his self-help books and his stories are particularly successful. We have witnessed spontaneous conversations between buyers of his books and the bookshop sales assistants, talking about the “goodness” of Bucay’s books. Or books like The Knight in rusty armour, The princess who believed in fairy tales… tell stories, using old morals that many people (adults) NEED TO HEAR AGAIN, and FEEL to be part of the current world. Stories have become the ideal format for self help books TRENDS nº1 + Nº8 EMOTIONAL SCAPES GENDER COMPLEXITY The Knight in rusty armour: A book about self knowledge in the shape of a fable full of fantasy and packed with values and teachings. The princess who believed in fairy tales: Allegorical story in the true fairytale style. Tells the story of a princess who must learn to confront life’s problems and difficulties.

20. The “magic” of storytelling TRENDS nº1 + Nº8 We are part of a trend characterised by refuge in a fantasy, unreal world where we can take refuge from a reality often considered oppressive. Stories as well as transporting us to another reality have been seen as an efficient way to teach us how to improve our lives and achieve happiness, firstly by looking inside us to find peace that cannot be found outside (something that comes up in the large majority of these self help books). In the same way, booksprimarily aimed at children, such as Harry Potter, are “forced” to “change their covers and publish adult versions in order to conform to their actual target* (as in the well known case of “Aquarius”). People were reading Harry Potter on buses and trains but with the covers covered in order to camouflage their interest in a book supposedly for children. Nota *: este aspecto tiene que ver con la tendencia de AGE COMPLEXITY

21. The “magic” of storytelling TRENDS nº1 + Nº8 • Another case has to do with the ever-expanding comic dealers, whose offer is increasingly expansive: • Miniature film star figures • Video games and accessories • DVDs (cult films, Manga…) • Comics and fantasy • Manga • Card games, board games • Role play games • Strategy and model building • I.T., • T-shirts • Sudoku, etc. A whole universe of objects, magazines, games…. All enable adults to return to PLAYING in the most childish sense of the word, although completely LEGITIMATE for an adult.

22. The “magic” of storytelling TRENDS nº1 + Nº8 In fact, the world of fantasy has been wreaking havoc in our society for years, with examples to be seen in the rise of Manga and role play games. However this influence is now becoming increasingly present with the production of fictional film star figures. A special section for these figures is widely available and it is linked to the cinema and seemingly justified as being “for film buffs”.

23. The “magic” of storytelling TRENDS nº1 + Nº8 Also, with the spread of films not specifically aimed at a young audience that are based on comics (Sin City, Fantastic Four, Spiderman…), cartoons (Nightmare before Christmas, Corpse Bride) or traditional stories (Grimm Brothers) The comic_ The film The director Terry Gilliam (Fisher King, Twelve monkeys) grabs our attention with The Brothers Grimm, the adventure of the legendary children’s writers, Will and Jake Grimm (Matt Damon and Heath Ledger), with traditional tales such as Little Red Riding Hood.

24. TRENDS nº1 + Nº8 The “magic” of storytelling And the latest development within this trend – halfway between AGE COMPLEXITY + EMOTIONAL ESCAPES – has to do with an explosion of ads and displays which recycle magic and children's dreams through classic stories such as Cinderella, Sleeping Beauty and Snow White (stories that are already part of the “collective consciousness”). Beautiful, envied women, but who suffer great injustice. They share the same happy ending: the PRINCE who rescues and adores them.

25. The “magic” of storytelling TRENDS nº1 + Nº8 Brands have been able to take a foothold in the world of fantasy with a knowing nod to the consumer, reminding them of two values: dreams we should never lose and ingenuity. Levi’s even manages to run a promotion with FLESH & BONE PRINCES

26. The “magic” of storytelling TRENDS nº1 + Nº8 Copies adopt the style of the classic children’s tale:

27. The “magic” of storytelling TRENDS nº1 + Nº8

28. The “magic” of storytelling TRENDS nº1 + Nº8 Also, we see Ausonia daring to bring out…. Stories in advertising and concept design: AUSONIA Lingerie A spot that reuses the story of Cinderella in which the girl – who’s at a party – relives the story: she loses a shoe, runs to her house where her party dress begins to change into jeans and a shirt, and at the end, she tries to cling to her Ausonia Lingerie which disappears after the last bell of the clock.

29. The “magic” of storytelling TRENDS nº1 + Nº8 More examples of other tales… Example of the trend in window displays: “A suggestion of the 101 Dalmatians?”

30. The “magic” of storytelling TRENDS nº1 + Nº8 Advertising for Lee reminds us of a fantasy world

31. The “magic” of storytelling TRENDS nº1 + Nº8 In conclusion, In times of crisis, natural disasters, work vulnerability, and impossibility of buying a home, the one solution remaining is to go back to the happy world of our childhood… In story form, the brands go back to connect with the consumer.

32. CUSTOMIZATION: Some examples Within an “anomic”society, with mass-produced products, it’s no surprise that people try to take part in the production process, customising and personalising goods to express their individuality over the masses (although within them). St Tom Ford (ex Gucci) said: “The company that can adapt and customise will be the success of the decade” What has Apple done? Apple is one of the brands which has been known to make the most of this trend with its i-pod.

33. CUSTOMIZATION What has Adidas done? With adicolor, Adidas allows the consumer to personalise their pair of trainers. And… Who hasn’t asked their classmates to sign their pencil case? (never mind their cast)

34. CUSTOMIZATION As well as letting the consumer take part in the process of furniture assembly, another of Ikea’s successes is that it allows the assembly of wardrobe parts according to the needs and preferences of each consumer. As such, it allows for something which is otherwise at “risk” of being “huge and impersonal” to become the opposite because YOU PUT IT TOGETHER

35. CUSTOMIZATION And in fourth place, music, as with consumption, is also an exponent of this trend: has been successful “remixing” the most commercial pop songs And on the David Bowie website, fans can enjoy mixing the themes in his latest record “Reality”

36. BRAND EXTENSIONS A few examples A few examples of brands that throw themselves into other fields far-removed from their original “field”… Keeps a few signs of the original sector in terms of style as a “hint”, and also manages to transmit greater modernity and positions itself in a premium segment of the show market.

37. BRAND EXTENSIONS MARLBOROand CAMEL… It’s been a while since they launched their clothing line: Values of a lifestyle with a brand that goes beyond its original product. MARLBORO CLASSICS.- Address Claudio Coello, 33. Telephone: 91 575 42 06. “The shop sells jeans, jackets, shirts or coats for men who tend to like putting gel in their hair. Their clientele at the moment ranges from 30 to 50 year olds, but they want to reach a younger public, used to similar companies.” Source: http://www.elmundo.es/metropoli/2004/11/26/compras/1101423675.html CAMEL TROPHY Reinforces the image of an adventurer brand  brings real tangible elements helping to give the brand content

38. BRAND EXTENSIONS MINI… They are taking advantage of the strength of their brand and the aesthetics of their design to take on other terrains.

39. …we will finish with these brand extensions mind BRAND EXTENSIONS One more example of brand extension: car brands designing clothing and accessories.

40. Section inthe bazaar

41. inthe bazaar Integration of "new" targets in advertising We’ve collected a number of adverts that caught our eye as they show that they are aware of the fact that there are special targets to which we must pay attention. Through this, these brands manage to not only catch our eye but also to carry with them a “halo” of positive emotions and values.

42. inthe bazaar Fetichism & Technology Fetishism is a devotion to a material item, which is known as a fetish. Fetishism is a type of belief or religion whereby it certain objects are considered to have magic or supernatural powers that protect the carrier or people from natural phenomena. Lucky charms are also considered fetishes. Source: http://es.wikipedia.org/wiki/Fetichismo Why fetishism and technology? Let us reflect on… Mobile phone designs and their constant evolution … The “revolution” of the iPod… and MP3s The progressive application of minimalist design trends to technological products … The growing appearance of accessories for mobiles, iPods, etc The statements made by a few manufacturers of technological products: “We want to create a product which the consumer will be excited to have ".

43. inthe bazaar Nowadays, electronic items – particularly the most “wearable” – are becoming power indicators of status, to say something about oneself. Through mobiles we can venture to think about whether one is “old-fashioned” or “up-to-date” , through the way one listens to the radio or music we can intuit we are aware of new trends, if one is in love with design, etc. But currently it goes beyond the practical functions of the items, and what takes on importance is their design and aesthetic value. Mobiles are an obvious example, as because almost everyone has their own mobile nowadays, the design is what allows you to “differentiate” it at first glance.

44. inthe bazaar Needless to mention the case of theiPod which, on top of being a good product, is supported by a great design that go with the minimalist trends of the moment, but that at the same time is projected as a modern trendin itself, its design applying to fields so far removed as teeth whiteners (which have also been “ipodisised” being given a certain amount of modernity and appeal). It’s with this still growing boom of the aesthetic value of items that brings us to reflect on the new fetishes in technology at the moment. Fetishes that also share our daily lives with us, that help us in good and bad times: symbols with practical, physical and emotional uses. We talk through them, laugh, cry, confess, let off steam, relax and entertain ourselves. Let’s think about all the things that accompany us, particularly mobiles and Mp3s.

45. inthe bazaar Thus, and looking back on the initial definition of the conceptual term of fetishism, what these electronic items manage to do is to generate a certain attitude of “devotion”, bring values of “security” to the carrier and thus, create links of greater emotion with the “protagonists” / “creator” brands. And we say brands because with these trends it’s the BRAND that must continue and the PRODUCT that has to CHANGE to adapt to constant trends: Be it with complements / applications  to “care for” the fetish and not lose the personalised emotional connection with the product ( the affection, by “sharing” moments) or be it with new designs / models to show that they evolve

46. CARMELO Abuelo, que en paz descanses …tu nieto que no te olvida nunca* (Graffiti close to the old Mataró Cemetery) *[Grandpa, rest in peace … your grandson who will never forget you] inthe bazaar The power of EMOTIONS: An intense need to express private emotion... Including Graffiti

47. inthe bazaar A few of the items to be developed in the next issue of

48. Integration of the same fucntions in different electronic items Mini DVD player Laptop Video iPods Camera mobile phones If I want to take photos, do I buy a camera? And if I want to listen to music...? PSP 2 Digital cameras with film recording Videocameras with MP3

49. The purchase channels: lthe experience of purchase through "other spaces"