Focus by Kinneir Dufort: Digital Meets Physical

contributors

Kelly O’Connor

Craig Wightman

Rob Peart

Merle Hall

GRAPHIC DESIGNER

HEAD OF DIGITAL

CDO

CEO

FOREWoRD In a world where technology is advancing at an exponential and sometimes overwhelming rate, it brings businesses and brands new challenges as well as opportunities. Be it the rise of voice communications, getting your product direct to the consumer or staying true to your brand purpose as you embrace new technologies, there has never been a more challenging time for brands.

At KD we partner technology with compelling and intuitive consumer experiences to create the products and services of the future. In this issue of FOCUS our team explore some of the critical elements impacting brands, as our world evolves.

We hope you enjoy the read and if you want to get in touch with feedback or ideas for our next issue, we’d love to hear from you.

Merle Hall CEO merle.hall@kinneirdufort.com

2

Kate Dowler

HEAD OF RESEARCH

Kelly Dawson

HEAD OF STRATEGY

DIGITAL MEETS PHYSICAL

CONTENTS

04

Direct To You

Direct-to-Consumer Outlining challenges and considerations when designing for DTC and e-commerce platforms

07 Physical Meets Digital Design Research Techniques The role of digital tools in design research

10 What Is Design Thinking?

Business Value

16 DTC: Our Experiences Team Review

Giving you some of our opinions on popular subscription services

How can you use design thinking to add value to your business?

14

18

Smart Frictionless Experiences

Equality In Design

Digital Futures

What we’re doing at KD to ensure equality in the workplace

10 things we’re doing

Will technology eventually control us?

3

Kelly Dawson

Our online purchasing habits have changed dramatically over the past five to ten years.

Browsing online and checking out within seconds is not out of the ordinary. The growing familiarity of e-commerce is raising expectations for a seamless brand experience. It could be argued that a service which performs exceptionally well might go unnoticed. It simply works.

When consumers experience a pain point, it is remembered. Remember the time you received an order that shipped more air than product? Or the time that you had to collect your parcel from a courier depot as you were out when the delivery was attempted? A great direct-to-consumer (DTC) service alleviates these pain points, and in a ‘direct to you’ brand economy, not considering key consumer interactions can impact the experience significantly.

4

Smol

Pact Coffee

DIGITAL MEETS PHYSICAL

Tails.com © Rockett & Squash

© Tails.com

Superba! by Dollar Shave Club

Dollar Shave Club

© Dollar Shave Club

© Dollar Shave Club

What are the challenges in creating a seamless brand experience?

Designing for shelf is no longer relevant, the rules and requirements have changed in the world of DTC. Designing for variation is the crux of the challenge when delivering products direct to the consumer.

Both large companies and small start-ups are facing the ‘last mile’ challenge. Entering densely populated urban areas creates new challenges and touch points that have not been encountered before.

Variation such as climate can cause massive challenges, as now formulations or even foods must withstand a wide spectrum of temperature variations, given the stability of the retail conditions has been removed.

The mailbox poses a challenge and a potential pain point in delivering a seamless experience. BT successfully identified this as a critical pain point to their customers that they wished to overcome with their BT Home Hub, which was intentionally designed to go through UK mailboxes. Products are ordinarily designed for pallet efficiency and stability.

Now there must be consideration on how a single box can withstand unpredictable routes and conditions from couriers.

There is no longer stability to ensure that all products will stand upright or securely.

“

Replenish or customise?

There are two distinctly different propositions that DTC product services offer. Propositions offer convenience, often coupled with potential cost saving by enabling you to replenish items without even thinking about it. Dollar Shave Club, now part of Unilever, are pioneers of the DTC sector, who started out by offering something simple. One blade for one dollar. They have since expanded into oral care with Superba! by DSC. Many have followed in their tracks from new and emerging start-ups to megabrand Gillette, aiming for a piece of the DTC economy. Smol laundry capsules, new to the DTC market, are offering consumers a subscription service to replenish detergent on the frequency you require.

Alternatively, you can curate and customise a purchase.

A proposition that is personalised by you, for you or as a gift. Pact Coffee offers a personalised subscription service, enabling you to choose your preferred blend or select your preference based on a recommendation.

We are not just snapping up these customised direct deliveries for ourselves, the pet care market is also growing in the UK. Tails.com, a personalised pet food company have recently been acquired by Nestle Purina pet care.

This simple digital platform, asks owners to tell them about their dog and Tails.com creates tailor made food and delivers direct.

DESIGNING FOR SHELF IS NO LONGER RELEVANT-THE RULES AND REQUIREMENTS HAVE CHANGED IN THE WORLD 5

TOP FIVE 01

Consider the implications of changing technology and ordering methods.

Mobile ready is well established, but how prepared is your brand to become invisible with screenless interactions and shopping on the rise?

02

Envisage the total experience and consider the potential variations in conditions of the journey.

An experience map should be the backbone of the project as your product and packaging is developed.

You can visually pin point the high and lows of the journey, to prioritise the next iterations before or post launch.

03

One size (probably) won’t fit all.

Consider and understand how attractive your product is if it can’t reach your consumer first time. Subscription services have become more and more sophisticated, ironing out the barriers to creating frictionless experiences. Failing at the first physical hurdle with your consumers could be costly.

6

Considerations in creating a seamless product experience in direct-to-consumer or e-commerce.

04

Packaging is an integrated part of your product experience (not a separate entity).

Your product will be judged by consumers as a total product experience. Designing all components together as a total offer is vitally important.

05

Act responsibly, sustainability is on everyone’s agenda.

Consider how you might encourage consumers to recycle or reuse packaging materials at the end of the life. End on a high, not a low.

In conclusion, creating and developing a coherent digital and physical brand experience is challenging and poses potential pitfalls if not intentionally orchestrated as a total end to end journey. It requires a design thinking approach to successfully discover, define, create, prototype and iterate to ensure you win the hearts and minds of your consumers. kelly.dawson@kinneirdufort.com

DIGITAL MEETS PHYSICAL

Kate Dowler

Physical ts e e m

Involving users in the creative process has many benefits, from inspiring new ideas to helping to ensure there is a genuine market opportunity for your products or services. As a design researcher, there are a wealth of tools and techniques that you can use to engage with users, and with the growth of digital, this toolbox is rapidly expanding further.

Digital

With this expansion of possibilities, one of the biggest challenges can be deciding which research approach will work best for the project you’re working on. I’ve always been a great believer in taking a method-neutral approach to interpreting a brief: understanding the core objectives first and then deciding on the right blend of research tools and techniques, rather than being tied to a particular method or way of working.

For many of the briefs we work on, being face to face with users is invaluable in order to explore reactions to, and interactions with, physical products and packaging. However, we believe that blending digital research tools with more traditional, “physical” methods can add depth and different perspectives to a challenge.

7

CONTEXTUAL INSIGHT Many of our front-end, insight led innovation programmes see our teams conducting contextual or ethnographic research with users: observing how people use products and packaging in their everyday lives. There is a huge amount of value in observing this first-hand, however, with tight timelines and budgets, our first hand presence is sometimes limited to a 2-3 hour snapshot of that user’s life.

Mobile apps like Crowdlab offer a great way of supplementing our understanding through running short mobile diary studies with users over the course of several weeks. During this time, we ask respondents to capture key moments in their day such as product usage occasions and shopping missions or conduct short tasks to introduce us to their life and home. Use of photos and videos in addition to text responses, provides contextual richness and is an engaging way to “meet” users virtually.

One of the key benefits is the real-time nature of this approach. It allows us to capture real moments in consumers’ lives that would be difficult to observe directly, and access this in real-time via an online dashboard. It’s also a great way of getting respondents and the project team immersed in the challenge before meeting in person at a more in-depth research session or creative workshop.

CO-CREATION During ideation sessions, we often look to involve users in some way, either to help inspire the creative process or to explore early stage ideas. Many of the projects we work on are global in scope, so getting involvement from multiple geographic markets can be vital in order to understand different perspectives and local challenges. We regularly run face to face creative sessions with users in different markets, but digital research opens up new and more nimble ways of working, which allow us to involve users as and when we need input.

Digital platforms like Toluna’s QuickCommunities allow us to recruit users in real-time to form a virtual community that we can tap into for the duration of a creative workshop or Sprint. Users are screened to reflect the target geographic market and specific profile (demographic, attitudes, lifestyle etc.) needed. We then engage with them throughout the project to share and get feedback on creative content.

This approach works particularly well when we take an iterative Sprint-based approach to innovation, as it allows us to be more responsive and nimble in terms of how and when we involve users depending on the creative direction the project takes.

8

DIGITAL MEETS PHYSICAL

CONCEPT EXPLORATION When exploring early design concepts with consumers, one of the aspects we are often keen to understand early on is the likely impact from a “shopper” perspective, particularly in the FMCG space. The product and packaging briefs we work on in this space are often disruptive in terms of their intent: introducing a new product format or type of packaging. It’s important for our clients that we can assess potential shelf stand out, fit with category (codes), fit with intended brand positioning as well as identify any key barriers and motivators to purchase early on.

However, when exploring concepts at this early stage, we’re typically also looking to assess the user experience. Hence, face to face sessions often remain our favoured approach overall as this allows users to handle and interact with early physical models or prototypes. In this face-to-face setting, simple VR/AR digital tools offer a great way of providing a more realistic and contextual representation of how ideas might appear in a retail context. Different design concepts can be brought to life in a 3D retail environment side by side with competitor products, providing an immersive way of assessing shopper impact.

THE BENEFIT BEING...

With all of these examples, what we end up with is a blend of digital and physical approaches that are tailored to meet the certain objectives of each brief. Understanding when best to use specific techniques, but without being tied to any fixed approach allows us to be creative and responsive in the way we work with users throughout the design process and deliver great results for our clients.

kate.dowler@kinneirdufort.com

9

WHAT IS DESIGN THINKING?

Craig Wightman

and how can you use it to add value to your business?

10

DIGITAL MEETS PHYSICAL

In recent years, Design Thinking has increasingly gained traction as an approach to tackling complex business challenges.

It features in thought leading publications such as the Harvard Business Review, it’s adopted and applied by the management consultancy sector and has been woven into the culture and practice of some of the world’s largest organisations, such as IBM and Google.

Before we examine what the Design Thinking process is, and how to use it, let’s first consider the term itself. Design Thinking has become a buzzword, and like all buzzwords, has been over-used. This has triggered debates about whether it over-simplifies or devalues the professional practice of design. Part of the issue is the understanding of the word Design.

When applied to fields such as fashion, Design is all about creativity and making a statement – almost as a work of art.

Usually we describe what we do as UserCentred Innovation, Design and Product Development, but one thing that happens a lot during our process, is thinking – so we’re more than happy to welcome the adoption of the term Design Thinking, as acknowledgement that our design process encompasses complex critical thought and analysis, as well as creative inspiration and craft – equally important in bringing solutions to realisation.

programme to meet the needs of any given brief and executing this process to achieve the objectives.

At Kinneir Dufort, we develop bespoke programmes to meet the demands of a challenge, but they always include some consistently important elements.

Most definitions of the Design Thinking process include 5 steps. Whilst this framework is certainly valid, it is not a simple “design by numbers” exercise and there is expertise required in shaping a

11

“ Design Thinking

(The Kinneir Dufort way)

Explained

Deep User Understanding and Definition of Opportunity Areas Great design starts with an understanding of the people we are designing for – their context, environment, abilities, attitudes and needs. How best to gain that empathy and understanding is the subject of careful, and often creative, consideration and planning. Equally important is to define who your users are - they will certainly include your consumers, but they may also include other stakeholders such as distributors, service engineers and retailers. Our Research and Human Factors team use a range of methods to allow us to get close to users to unearth valuable insights that will identify problems, or, to borrow from Strategyn founder Tony Ulwick’s outcomedriven innovation theory, to define the “jobs to be done”. This can take the form of a mapping of opportunity areas and “how might we” starting point statements, in preparation for ideation. It is also important, at this stage, to define success criteria with key business stakeholders to provide a basis for idea evaluation.

12

Great design starts with an understanding of the people we are designing for - their context,, environment, abilities, attitudes and needs Ideation, Filtering and Evaluation This is the exciting part, but the magic won’t happen without skilful planning and execution.

It’s important to have the right process, the right stimulus, including insights gathered, the right environment, and the right mix of people. Whilst having trained and experienced designers will help fuel the creative process, cross-fertilisation of different perspectives is vital, so the ideation group should include a variety of stakeholders from the client teams, and, potentially, from end customers. You can’t simply get your customers to define their perfect product, but this 3-way co-creation, involving designers, clients and consumers, can be extremely powerful in rapidly generating and evaluating seed ideas. The role of the designers in this part of the process is not essential (the crafting of winning products and experiences that will stand out from the competition is something that can come later), but involving trained designers can certainly help maintain pace and momentum during ideation.

To quote Paula Scher’s famous words: “It took me a few seconds to draw it, but it took me 34 years to learn how to draw it in a few seconds”.

Having generated a wide range of ideas, the task is then to switch hats from creative to rational, to filter and evaluate against a clear set of criteria, and identify the most compelling ideas to prototype and test.

DIGITAL MEETS PHYSICAL

The Lean Startup Eric Ries

Prototyping, Testing and Iteration (failing fast and learning quickly) Nothing communicates an idea better than a prototype, so realising your idea in prototype form and testing it with users are vital next steps. In the Design Thinking mindset, the objective here is to learn from the building and testing of the prototype and, as will often be the case, to embrace failure as part of an iterative learning process. In this, Design Thinking shares a principle with another much-followed methodology, Eric Ries’ Lean Startup. In this, Ries promotes the creation of a Minimum Viable Product (MVP), defined as “a version of a new product which allows a team to collect the maximum amount of validated learning about customers with the least effort.” The goal at this stage is to define the most important aspect of the new product idea to test, and to create the cheapest, fastest way of prototyping that puts experience in the hands of potential users.

For digital products which use currently available hardware and ecosystems, this can be fairly easy to realise in a familiar and convincing way, but for ideas which include complex devices, or infrastructures and production processes not yet in place, finding a way to prototype the experience can require a good deal of clever and creative thought. At KD, we’ve used a variety of techniques, from a “vanilla” digital prototyping framework, which we can adapt to the needs of the new product, to creating simplified versions of products containing only the key functions we wish to test. One interesting approach to consider is creation of a “Wizard of Oz” prototype where an experience is produced by an unseen person creating a realistic illusion of the experience for the user in the test. This method was famously used by a team at IBM on their “listening typewriter” experiment in the 1980s to test user acceptance of voice recognition software before the software was developed.

What you get Design Thinking is not a guaranteed silver bullet to achieving new product innovation and business success, but it is a valuable tool which can encourage new ways to connect with your consumers, engage with a wide range of stakeholders in your organisation, and create, build and test new concepts in a time and cost-effective way. More broadly adopted, it can also foster a powerful culture of creativity and learning within your organisation, which can be applied to a wide range of business challenges. craig.wightman@kinneirdufort.com

13

SmArt Frictionless Experiences Back in May, at Google’s annual I/O conference, Sundar Pichai revealed Google’s new AI voice assistant, Duplex. Pichai played an audio recording of a salon appointment being made. On one end of the phone was the salon manager, and on the other end was Duplex, conversing just like a human would, including ‘ums’ and ‘ahs’ in all the right places for slick, if not slightly uncanny effect. The booking was made successfully, and a notification sent to the customers phone. A mind-blowing demonstration.

14

Rob Peart Pichai framed the demo as a time-saver, outlining a few examples of the kinds of repetitive daily interactions we have with people over the phone that could become a thing of the past when Duplex is out in the wild—booking restaurants, calling a plumber, ordering a hit on your neighbour that plays loud music on a Sunday night. But, apart from a prison sentence, at what cost does convenience come?

It’s clear from the demonstration that the salon manager has no idea they’re conversing with a bot. Does it matter? In the case of small, one off bookings like this you could argue that the benefit outweighs the cost. But when we consider this as the beginnings of a behavioural pattern-shift, the scenario begins to echo some other situations in which we’re just beginning to become enlightened to connectivity’s ability to disconnect us – or even push us apart.

DIGITAL MEETS PHYSICAL

For most of us reading this, up until now we may feel that we have been the agents in our relationships with technology. We are the ones that push buttons on phones to send messages or emails to each other, or use the self-checkout at the supermarket, or even let Spotify pick our songs for us. We make conscious choices about when to use technology to abstract our daily interactions with one another, or when to just pick up the phone to talk to another person. But as starkly illustrated in the impressive Google demonstration, in some scenarios we don’t have that choice, and we often don’t even realise it’s being denied to us. Convenience 1, agency nil.

Google assistant

But what do these small connectivity-powered agencyinfractions have to do with disconnection, or division, and as designers what might we do about it? Social media offers us the clearest and most powerful of examples for the link between inscrutability and intent. By now, given the revelations surrounding the US elections and Cambridge Analytica, we must all be aware of the concept of a filter-bubble—the idea that we insulate ourselves from opposing viewpoints by only listening to those we already agree with. In recent months, it’s become increasingly apparent that those voices we feel we have most affinity with, or conflict with, may not exist at all. Such is the opaque nature of how content ends up in our feeds, it’s impossible to know whether voices are honest expressions of opinion, or cynical attempts at manipulation.

How can we make informed decisions when deciding to act out our online lives if that information is being deliberately distorted or denied to us?

As designers we often talk about seamless experiences— interactions in which tasks are executed almost without friction or inconvenience. The idea is that seamless experiences limit frustration, lead to increased and enjoyable usage, and a better bottom line for the client.

The Google Duplex voice assistant is a good example of the future benchmarks of seamless experiences, and further advances in machine learning are accelerating us towards zero-friction experiences, and not just in interactions, but in services as a whole. But seamlessness often camouflages the links between technology, people and data and renders the workings behind the service invisible to the users at both ends.

To take one example, insurance companies are using machine learning to augment their risk-assessment techniques in insurance underwriting. Insurers are able to take multiple and disparate datasets into account in addition to the submitted application and make decisions based on patterns identified by the computer.

© Google

When it comes to communicating the outcome decision to a client, it may not always be possible to articulate why an application has been refused, or even which data sets have been used. As a customer, this can give a sense of distrust, disempowerment and frustration. Where a company can describe how and why a decision was reached, the customer is in a better position to appeal the decision or be informed of how to make positive steps to improve their situation.

When designing new connected experiences that are powered by long service-chains, multiple data points, opaque processes and impact various people or groups, we must remember that friction-free experiences are only enjoyable when they work in our favour. Giving some thought to the idea of illustrating the provenance of an interaction or service can help to empower customers to find the information they need to take a positive next step – completing a transaction or application for example. This is especially true when the service is of a new type or uses a service-chain that customers may not be aware of or familiar with. Without appropriate signposting and accountability, we may find ourselves in Kafka-esque corridors of bots, hunting for a way out.

rob.peart@kinneirdufort.com

15

ery service

Gousto food deliv

James Darios

DESIGN RESEARCHER

Gousto I’ve been really impressed with Gousto’s service over the past few months of using it. The extra few quid it costs to have ingredients boxed and delivered to my door is well worth it. Our fridge and cupboards are optimised, meaning less food waste, and the benefit of not needing to shop in big supermarkets means I’m not tempted by cheap junk food.

A reduction in the single use packaging (be it less than our typical big shop equivalent) would be a nice improvement as the portions are small and consumed relatively quickly. It’d be great if you had the opportunity to clean out and send back/ leave for collection your used pots etc. However, I’m happy for now, hoping that this might be a feature that Gousto will offer in time.

© Gousto

DTC Kelly O’Connor

GRAPHIC DESIGNER

Friction Free Shaving I’d been familiar with The Dollar Shave Club for some time but had never occured to me to use it as it was heavily marketed towards men. I then heard about Friction Free Shaving (FSS) and my ears pricked up on the mention of a rose gold, metal razor, engraved with my name. Naturally, I had to have it! Your first pack comes with the razor and four blades. Sequential packs just contain four blades. Previously, I had been known to over use a blade because firstly, They’re expensive and secondly, I always forget to buy new ones, So, having a pack of four through my door every month without having to lift a finger, felt very indulgent! I also felt almost frivolous each week as I discarded a blade that wasn’t beyond disrepair.

The positives of this service speak for themselves. No cuts from blunt blades, no last-minute panics when I want to wear a skirt but forgot to buy razors, my name engraved in rose gold. What more could a girl want? On top of all this the price is very reasonable and the service is convenient with options to change the frequency of deliveries (handy for those winter months when hair removal is less of a priority) and easy to cancel the subscription with no quibbles. Ten out of ten!

16

cription

ery subs

liv Razor de

having

n Free S

© Frictio

©B

DIGITAL MEETS PHYSICAL

Beauty and mak

eup delivery su

bscription

Hayley Maynard

INDUSTRIAL DESIGNER

Birchbox I received a Birchbox subscription as a gift, I really enjoyed seeing some surprise goodies turn up on my doorstep every month. The variety and calibre of brands and products was impressive, especially when you occasionally received something fully sized, like a new contouring brush. The items located inside each box are small, but a great tester for a couple days to decide if you like the product. The boxes are meant to be tailored to you, by simply using some of the information you entered online. Although my items didn’t feel that tailored when I received them, like when they kept sending me anti-ageing items and I am 23!

The packaging was beautiful, although a little unnecessary. Each box has a bag inside with the products. And then each box is located inside a corrugated box for posting. Overall, I enjoyed it for a few months, as it allowed me to try and buy a few new products. Long term, considering the price and the size of the items you receive, I am not sure I will continue.

Birchbox

s e c n e i r e p x E Our

n

Flower delivery subscriptio

Merle Hall CEO

© Freddie’s Flowers

Freddie’s Flowers We’ve been using Freddie’s Flowers for around 2 years now and they have a clear USP as a result of being direct-to-consumer (DTC). Their claim is that their flowers are fresher (and cheaper) as they’re direct from the fields, rather than field to market to shop to home. In my experience, that’s true. The flowers mainly arrive in bud and it’s not uncommon for the bouquet (or elements of it) to last 2 weeks, not bad for cut flowers.

Every box comes with beautifully illustrated step by step instructions as to how to arrange, and even suggestions of the right shape of vase. It’s easy to postpone a delivery if you’re not at home and the sight of their distinctive boxes is always a welcome sight of my doorstep!

17

10

Things we’re doing...

Equality in Design

At the beginning of 2017, following the frustration of being shut down by a moderator at a Design Industry conference when trying to highlight the issues around equality in Design and Product Development, I wrote 10 Things I know about Equality in Design.

A busy year later, with the realization that we could pontificate away but action is what is needed, I wrote the

1

We hosted the first Kerning the Gap event outside of London, promoting women in design leadership. In 2018 we're hoping to see that roll out to Liverpool and Dublin (in addition to Bristol).

3

We increased the number of female engineers in the business threefold, as part of our hiring strategy.

18

Merle Hall

sequel, 10 things we’re doing about Equality in Design.

These initiatives and others we’ve kicked off this year, including the pro bono for Frank Water’s on-the-go festival refill stations, lead me to the inevitable conclusion that never have I been so proud of the incredible and inspiring team we have around us. Long may it continue. #DesigningABetterWorld.

2

We brought design to The Big Bang, our team organised and managed it brilliantly, receiving inspiring feedback from the kids they met.

4

We introduced enhanced maternity (and paternity) pay.

DIGITAL MEETS PHYSICAL

5

We asked our team what they valued through a staff survey. Answer: Flexible Working. So we celebrated by publishing articles on making flexible working work.

7

We researched equality and diversity within organisations, with friends such as Creative Equals, and built it into our business strategy.

9

We created a bespoke event for Ladies who UX.

6

We went out into schools, primary and secondary, invited them to us and forged links with Babbasa, a youth empowerment project.

8

We spoke out in the press: Design Week - International Women's Day and Design that fights sexism.

10

We built a library of inspiration in our cafe featuring titles by Laura Bates, Otegha Uwagba, Chimamanda Ngozi Adichie to name a few, including our Top Ten Books for Women and Girls (and everyone else).

19

Dates in our diary Capturing the Action at London Tech Week 11th - 17th June 2018

Still fresh in our minds, the UK’s capital has recovered from the annual takeover of London Tech Week. With over 55,000 attendees and 300 crowd-sourced events, companies and individuals all showcased the very best of tech across the City and further afield. This year, our team captured their experience to give a true snapshot of what this week is like. Check out the action on our news page and social channels. www.londontechweek.com/

Cannes Lions Festival of Creativity 18th - 22nd June 2018

Championing creativity since 1954, Cannes Lions is the world’s biggest festival for the creative industry. If you didn’t get a chance to attend this year, keep an eye out for all the latest updates and what happened. www.canneslions.com/

London Design Festival 15th - 23rd September 2018

This week-long celebration celebrates London as the design capital of the world, showcasing landmark projects and a host of events, talks and programmes. We’ll certainly be returning this year to feel inspired, see you there! www.londondesignfestival.com/

Let’s Talk Sustainability 2nd October 2018

KD’s Head of Strategy, Kelly Dawson, will be discussing ‘Closing the Loop’ at the 7th Packaging Innovations show. Her talk will include how brands can start the process of thinking outside the box, with clear steps on how to improve sustainability through innovative packaging.

Read more about the event here: www.pgsolx.com/supplychain/PIP/

Global Innovation Forum 14th - 15th November 2018

A highlight in the KD calendar is this fantastic event in London, bringing together senior leaders from the likes of Google, Airbus, Nike and many more. On the 14th November, Merle Hall will be discussing how to design meaningful and memorable physical and digital brand experiences, find out more here: www.giflondon.com/#schedule

Web Summit 5th - 8th November 2018

Noted as the largest tech conference in the world, we are excited to attend this year. With over 1,200 speakers and 70,000 attendees, there promises not to be a dull moment. See the line up here: www.websummit.com/speakers

hello@kinneirdufort.com 0117 901 4000

If you no longer wish to receive our FOCUS publication or would prefer to receive future editions via email, please write or email us and let us know: Marketing Team, Kinneir Dufort Design ltd, 5 Host Street, Bristol, BS1 5BU marketing@kinneirdufort.com