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Adapting Technology

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Adapting Technology

Offering multiple payment options is integral to micro market success.

As the COVID-19 pandemic has demonstrated, technology plays a critical role in an operation’s success. In addition to enabling operators to provide superior customer service, technology solutions streamline the payments process and offer multiple methods of payments that micro market customers are comfortable with.

Automatic Merchandiser asked industry experts to identify the top trends in micro markets payment systems and technology, including the use of cash versus cashless payments, and how operators should proceed in 2020 and beyond.

Push for contactless amid COVID-19

The rise of contactless payments has soared due to the COVID-19 pandemic, as consumers want to avoid touching common surfaces in the workplace, especially when purchasing food and beverage products. 

Paresh Patel, founder and CEO of PayRange, encourages operators to eliminate the need for consumers to touch machines and payments in order to help them protect themselves from the coronavirus.

“Adoption was rising for digital payments in the unattended retail and micro markets space, but the pandemic really helped open people’s eyes to the importance of a touch-free transaction,” he said. “So many other stores and merchants have stopped touching cards and in some cases even stopped accepting cash, so the need for a touch-free payment option was made plain to those who might not have considered that type of payment solution before.”

Elyssa Steiner, vice president of marketing at USA Technologies, said the company noticed that the ratio of all cashless options had increased by about 3% over the course of the first 10 weeks of the pandemic. She anticipates the use of contactless payments in unattended retail will continue to grow.

Carly Furman, CEO of Nayax LLC, said, “We see the cashless payment trend increasing, even while the crisis is happening, with a shift towards the use of contactless transactions.”

Contactless tapping of an NFC-enabled chip card or mobile wallet app on an EMV-certified terminal, such as Nayax’s devices, does not require touching a pin pad. This has been gaining traction in the U.S. since it is an easy, fast, and safe way to pay, Furman said.

“As unattended and vending machine purchases inherently reduce person-to-person contact, vending purchases may very well increase in demand, especially when the use of credit card payments via Nayax terminals are available,” she remarked.

In addition, major credit/debit card brands are committing to deploying hundreds of millions of contactless capable cards in the U.S. by the end of 2020, she noted.

“The ability to offer cashless payment capabilities encourages consumer confidence,” she said.

Companies that provide their employees with micro markets also seek touch-free payment systems to assure their employees that the office environment is safe and in compliance with state reopening orders, while also getting them back to normalcy, said Michael Johnson, co-founder and CEO of Yoke Payments. Touch-free payment options, like the Yoke Pay mobile app, can also make checkout quicker, reducing lines in break rooms. Operators also are able to directly communicate and engage with end users.

“With the Yoke Pay mobile app, operators can accommodate their locations’ new safety guidelines while continuing to reap the significant benefits of installing micro markets instead of vending,” Johnson said. “Operators can grow markets without the need for a kiosk, reducing costs and accommodating the new social distancing norms. Our self-checkout app allows shoppers to add products to a shopping cart and check out directly from their phones. This Yoke Pay enabled grab-and-go experience gets customers through the entire checkout process without touching a shared surface or gathering around a kiosk.”

Steiner said some operators have removed bill acceptors from their vending machines as they seek to satisfy customers and protect their own employees from interacting with cash. Some operators are even encouraging their clients to stop using cash acceptors entirely.

“While it could be perceived that [removing cash options] may have a negative impact on sales, what some operators have seen is the very opposite — that sales have stayed relatively the same, and that they expect them to eventually increase over time,” Steiner said. “It’s known that consumers are less aware of price when they use cashless payments versus cash, where you typically receive exact change back each time you pay. Cashless payments also open up many additional benefits like selling higher ticket items or enabling multi-item transactions, all of which have a direct impact on consumers spending more each time they visit your machine or location.”

Johnson noted that going cashless eliminates the challenge of counting, safeguarding and keeping track of cash.

“Offering cashless is currently an absolute must,” Johnson said. “Continuing to have a cash solution on hand is not a bad idea; you may find locations that still want it. But the current conditions have just given operators a great reason to go all-in promoting markets over vending and cashless over cash. This is a rare opportunity to proactively and without objection convert your business to a higher grossing, more efficient, connected and scalable enterprise.”

The value of cash

Still, there are some benefits of having cash, as many consumers still want to use it.

“We believe that [having a bill validator] allows a micro market consumer the capability of deciding how they want to reload their card or identification, whether that be with cash or cashless,” said Chuck Reed, VP & GM, vending at Crane Payment Innovations. “We certainly think that going forward, you — as a micro market operator — would want to continue to enable the consumer to make that choice.”

He estimated that roughly half of micro markets have a bill validator. While contactless is trending, Reed cited remarks from René Gottschalk, the head of the Frankfurt am Main Health Office, who noted at a Bundesbank press briefing that European banknotes are unlikely to transmit the coronavirus. Therefore, using cash is a minimal concern, Reed said.

Telemetry

IoT telemetry can help operators gather the data to perform crucial analysis that positively impacts sales and operations, Furman said. With telemetry, operators can see which payments types are most frequently used at various locations.

“Telemetry is vital to the success of an unattended retail business because you can actually monitor machines remotely and perform real-time analysis to decrease operational costs and increase sales, resulting in a bottom line lift,” Furman said. “Operators can gain insights into their business activities, understand consumer spending habits better and leverage this information to create customized loyalty programs such as punch-card campaigns, sales discount promotions and other opportunities normally associated only with in-person retail. This will help ensure repeat consumer traffic and better allow unattended operators to compete with the store next door.”

Nayax’s telemetry allows operators to set up alerts to track hundreds of data points, resulting in vital business functions like optimizing inventory and identifying whether machines are offline. Real-time alerts are set-up for machines online and allow issues in the field to be known and remediated immediately and sales trends analyzed on-demand. In a post-COVID landscape, the ability to have this transparency and instantly react to customers’ needs is crucial for a business’ long-term success, she said.

New payments devices provide solutions

In spring 2019, CPI launched a new bill validator, Talos, and a new coin changer, Gryphon. Responding to the trend toward touchless, the company is now working on a new generation of cashless technology that will have a contactless component, Reed said. The new technology, which the company plans to launch within the year, will have a screen that enables communication with consumers to provide assistance during the payment process. The screen may also be used to display advertising or messaging from the operator to influence consumer purchasing.

“It’ll be a single device that has a reader, a telemeter, a screen and the antenna in a single unit that will allow operators to quickly install the device either on or off the bill validator,” Reed said. When the reader is mounted onto the bill validator, operators aren’t forced to add a second knockout to the machine, which could increase the risk of theft or vandalism.

Rather than having to swap out the entire hardware unit, CPI’s hardware is designed for futureproofing. Updates can be done remotely.

“That will very much be the world of the vending operator when it comes to cashless hardware going forward,” Reed said. “As long as the unit is connected and as long as it won’t interrupt any sales, so the updates typically will be done during the wee hours of the morning when nobody’s around, and the operator won’t have to do anything.”

Consumer loyalty

While safety takes priority, end users still value promotions and coupons, convenience and ease-of-use. As many operators have endured tough losses due to the coronavirus, they have difficult decisions to make regarding how to invest in their businesses.

“It can be difficult to kind of pull the trigger on upgrading your cashless payment solution, but the value definitely has, time and time again, proved itself by reducing operating costs in technology,” Furman said.

Leveraging promotion and loyalty tools can increase the value of the payment solution creating a robust total technology solution, as they encourage customers to make purchases, Furman added.

Patel said that the features of mobile, digital payment options — including promotions and loyalty programs — will set them apart this year, as consumers are now “hyper-conscious” of their experiences.

“These features help to build stronger relationships between customers and operators, because when an operator makes special offers or rewards loyalty, the customer feels seen and valued by the operator – yet another way to make more personalized connections,” Patel said.

Evan Jarecki, co-founder of Gimme, said operators will also need to decide on investing in payments technology partners that consistently research how to improve the checkout process. Gimme has found that people enjoy convenient payments, like being able to deduct purchases from their payroll, and that hyper-personalization is trending.

“I think the ability to take in product requests from customers, find ways to give loyalty and promotions in a seamless way, and deliver great user experiences will be more important this year,” Jarecki said. “Everyone now has the ability to make mobile payments. And if consumers had more say in what products they’d like to see at a market/machine, or could be given promotions to them based on their history of purchases, these actions could go a long way to increase sales from the best consumers.”

Reed noted that CPI also has a closed site cashless option that enables operators to provide micro market consumers a unique key fob or identification tag that they can use at the kiosk to pay for products via the cloud after loading the payment media with funds from cash or credit sources.

Ease of use and adaptability

Furman said it is important for payment solution providers to offer operators straightforward options that support consumer habits. Having a single payment platform that offers a highly secure payment solution for both vending machines and micro markets is optimal.

“At the end of the day, we can’t think of micro markets or vending or any other unattended environment as being standalone,” she remarked. “Our operators will have a whole selection of machines and environments that they’re in.”

Patel said one of the top challenges for operators in 2020 will likely be finding a payments solution that can adapt as their company enjoys growth or suffers loss.

“If we’ve learned anything from the past few months, it’s that operators can never truly know what is coming down the line,” he said. “Some industries that have historically done really well have been hit really hard by the pandemic and others have grown at a scale they never could have predicted.

“For these businesses, the systems they use to accept payment are a huge part of that. Operators need solutions that have the ability to both be really lean and help them keep down costs when times are tough, while at the same time being able to scale up and help process unusually high volumes of payment. It can be difficult to find a solution that can do both, but they are most certainly out there.”

Consumers also want payments to be simple so they can pay quickly, using technology that provides an intuitive user experience, Patel said.

“You hire us to handle this aspect of the business so you can focus on what you do best: providing top-notch service to your clients,” Johnson added. “But being willing to help that technology partner implement these new practices as they come about is certainly key. If new technologies are developed or additional safety guidelines are put in place, there could be some maintenance required to keep existing clients up to date.”

Optimizing customer service

Communication with customers continues to be critical for operators.

“I’ve spoken to operators who had clients calling them at the start of the pandemic asking them to install card readers on their machines, when in reality there was one was already on the machine,” Steiner said regarding both vending machines and micro markets. “So it’s been a process of re-educating for some operators to ensure their clients know what they are doing or have already done to keep their machines or markets up-to-date [and] installed with the latest technology to ensure the safety of their customers.”

Taking actions like asking at least 10 customers at every micro market location about their purchase experience would be the most helpful feedback, Jarecki said. It’s important to survey customers, since preferences may vary by account. He recommends operators also test the speed of making a payment from each kiosk provider and understand which providers offer mobile payments to ensure all micro markets are set up to provide the best customer service by taking on the role of the customer.

“If everyone at an operation hasn’t experienced purchasing a product from their own micro market, they’re missing out,” Jarecki said. “If they make five different purchases from the same account, they’ll start to get a good feel for what it’s like to be in their customer’s shoes, which goes a long way in delivering the best customer experience.”

Entertainment

Dune Shows WB Learned Nothing From Zack Snyder’s DCEU

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Dune Shows WB Learned Nothing From Zack Snyder's DCEU

The handling of Dune and its necessary sequel shows Warner Bros. failed to learn its lesson from Justice League and their original DCEU plans with Zack Snyder. Despite the fallout of Snyder’s departure from the DC franchise, the studio handed another epic, bug budget sci-fi project to an auteur director without fully committing to the creative vision.

After Man of Steel, Warner Bros. announced a slate of director-driven DCEU projects surrounding Zack Snyder’s planned Justice League arc, seemingly committing to Snyder’s vision for the DC universe, but after a rocky start, the Snyderverse was abandoned, leaving the future of the DCEU in the lurch. While there was a specific plan in place for a grand culmination of Snyder’s 5-part Justice League story, including a number of spin-offs from other directors, Warner Bros. says there’s no plans to see this original plan to completion, meaning the story set up by the original slate of DCEU films will never be fully realized.


Related: The Snyder Cut Proves WB Killed Their Best Chance to Compete With Marvel

While WB gave auteur director Denis Villeneuve $165 million to adapt the first half of the epic sci-fi novel Dune, the studio decided not to approve the sequel until after they could see how the initial installment, only half the story, performed at the box office. This continues WB’s history of embarking on big director-driven projects without fully committing to the vision, an approach that is virtually guaranteed to ensure the resulting product will be less than its original conception, even if a Dune sequel still happens.

WB’s Failed Director-Driven DCEU Plan

Justice League Snyder cut snyderverse

After the success of Christopher Nolan’s The Dark Knight trilogy, Warner Bros. had Nolan develop a modern adaptation for Superman, and Nolan selected Zack Snyder as the director due to his approach with his adaptation of Watchmen. Man of Steel became the highest-grossing Superman movie, so Warner Bros. had Snyder develop a larger DCEU plan, which became Snyder’s 5-part Justice League saga. The story would center on Superman but would bring in the rest of the Justice League members, and a full slate of movies was planned, including Wonder Woman, Suicide Squad, Aquaman, The Flash, Cyborg, Green Lantern Corps., and a solo Batman movie. Warner Bros.’original DCEU plan was to follow the model established by Nolan with The Dark Knight trilogy and Man of Steel by bringing in directors with distinct styles to head each project, including David Ayer, Patty Jenkins, Rick Famuyiwa, James Wan, and Ben Affleck.

Batman v Superman: Dawn of Justice and Suicide Squad were among 2016’s top-grossing movies, but their polarizing reviews resulted in notoriously low Rotten Tomatoes scores, resulting in Warners taking drastic action to change plans for the rest of the franchise. The changes immediately impacted Justice League the most even though it was already in production, resulting in conflict with Snyder that eventually resulted in him exiting the project following a family tragedy, allowing WB to bring in Joss Whedon to drastically reshape the project in reshoots, abandoning most of the sequel set-up and erasing as much of Snyder’s distinctive style as possible. The fallout impacted almost all the remaining movies in the slate. Aquaman was already in production, but both Famuyiwa and Affleck left their respective movies. Versions of The Flash and The Batman are coming out next year, but both are drastically different versions than originally planned (and The Batman isn’t even part of DCEU canon)

Snyder’s plan was very clearly leading to a big culmination, with Batman v Superman: Dawn of Justice teasing a post-apocalyptic “Knightmare” future that had been conquered by Superman who was under the control of DC ultra-baddie, Darkseid. Snyder would eventually get the chance to release his intended version of the movie, the 4-hour long Zack Snyder’s Justice League, spurring excitement for what would have been, but with no plans for Snyder to return and the current slate servicing a different plan, Warner Bros. seems content to leave this epic set-up forever unresolved.

Related: The Latest Restore The SnyderVerse Trend Proves It’s Not Going Away

The odd part is Warner Bros.’ biggest successes with DC movies have always come from the bold visions of distinct directors like Richard Donner, Tim Burton, Christopher Nolan, and even Zack Snyder, while attempts to make more broadly appealing crowd-pleasers didn’t work, like Batman & Robin, Superman Returns, and Green Lantern. As if to double down on the point, Snyder’s Watchmen, Batman v Superman, and Justice League saw significant changes for their theatrical releases, only for Snyder’s director’s cuts to be nearly universally regarded as the superior product. Despite the problems caused by their decision to abandon the original DCEU plans, Warner Bros. didn’t learn their lesson and made similar decisions with Villeneuve’s Dune.

Warner Bros. Repeated Their DCEU Mistakes With Dune

Why WB betting big on Dune Villeneuve

Denis Villeneuve’s Blade Runner 2049 was lauded by critics, but bombed at the box office, bringing in less than $260 million from a $150 million budget, failing to hit the typical twice-budget break-even point. Blade Runner 2049 was Villeneuve’s highest-grossing movie, despite its box office failure, but his ability to adapt stunning high-concept sci-fi convinced Warner Bros. to hand him the reins to Dune, although they didn’t opt to film it back-to-back with a sequel, or even greenlight a sequel at all, despite knowing Villeneuve was only adapting half the book in the first movie.

While WB’s caution is understandable due to Villeneuve’s box office history, the willingness to begin work on the $165 Dune part 1 without committing to part 2 upfront immediately shortchanges the franchise’s potential. Under this strategy, the absolute best-case scenario was Villeneuve produces a monster hit with an incomplete story and WB has to start the sequel from scratch and can’t capitalize on Dune‘s performance for three years. In addition to the time delay, they also miss out on the massive cost savings of shooting back-to-back, reducing the overall profitability of both movies. The worst-case scenario would be the movie flops and the whole thing looks like a massive, ill-conceived blunder on the part of WB, who would have a massive bomb on their hands after entrusting a big-budget sci-fi epic to an auteur director whose last big-budget sci-fi epic also flopped. While Villeneuve and WB escaped harsh criticism for Blade Runner 2049 due to the movie’s quality, that likely wouldn’t be the case if Dune flopped, since the movie is only half the story of the Dune book, and adapting it would likely burn a chance for another director to take a swing at the property in the near future.

Meanwhile, committing to the whole vision up-front would have been better all-around, even if WB’s concerns came true and Dune flopped.  The cost-savings of back-to-back production would at least partially offset box office losses, audiences wouldn’t be deprived of the second half of the story, and there’s always the chance the sequel could be a bigger hit, salvaging the hypothetical losses from part 1. Like with Blade Runner 2049, the quality of the film would offset a lot of the criticism over the box office losses.

Dune had a solid box office opening and seems to have fair chances of getting a sequel, but it won’t be soon enough for audiences hungry for a sequel and may see a reduced budget, ironically missing out on the cost savings that could have accompanied a back-to-back sequel production. If Warner Bros. was willing to take the risk of the first installment, why not commit to the whole vision?

Warner Bros. Needs To Follow Through On Director Driven Visions

New Warner Bros. Logo

Warner Bros. has a history of being a studio that takes big swings on grand director visions, but changes in leadership in recent years, such as the departure of former Warner Bros. Pictures Group president Jeff Robinov (who brought iconic directors like Nolan, Affleck, Snyder, the Wachowskis, and others to the studio) has seen a rise in situations like Justice League and Dune. As if to punctuate the severity of the decline, Nolan decided to make his next movie at Universal after working with Warner Bros. exclusively for nearly 20 years.

Related: Nolan’s Massive Universal Deal Could Reinvent Blockbusters Post-Pandemic

The problem isn’t that the days of bold director-driven projects are in the rearview mirror at Warner Bros., those still exist, there’s even a new Matrix movie coming out December, but there is a concerning pattern of self-sabotage of big projects brought on by a lack of trust in their directors. Situations like Justice League and Dune make the studio’s decision-making suspect and erode consumer confidence in their projects, particularly for big IP adaptations.

The whole thing is also incredibly short-sighted. It’s common for a franchise to overcome early stumbles only for those movies to be well regarded after the franchise finds its footing. The Marvel Cinematic Universe had several films in Phase 1 that were considered underwhelming at the time and Fast and Furious powered through several films with a mediocre reception to become one of the biggest franchises in film. Even films like the original Blade Runner got poor reviews and underperformed at the box office and are now considered required viewing. In the case of the DCEU, Warner Bros. was scared away from Zack Snyder’s plan because of reviews for Batman v Superman: Dawn of Justice, but that movie was so impactful in the zeitgeist that WB’s attempts to pivot away from Snyder couldn’t outpace their momentum, and they eventually had to cave to demands for the Snyder Cut when simply committing to the plan and finishing the plan they started would have seen Zack Snyder’s arc completed by now, allowing them to start fresh without having to deal with the unending reminders of the incomplete Snyderverse.

Fortunately, Dune is well received and performing well at the box office, which bodes well for sequel potential, but the lost time, momentum, and wasted money will ultimately hold back the complete vision from what it could have been if they’d produced the movies back-to-back. If WB wants to retain (or regain) its reputation for being the studio that produces this kind of movie, they need to gain some confidence and stop with the half measures and deliver on the director visions they sell to audiences.

Next: Why Warner Bros Losing Christopher Nolan Is Such A Big Deal

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Fashion

Fashion Briefing: Fashion’s emerging founder-investors are mega-influencers – Glossy

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Fashion Briefing: Fashion’s emerging founder-investors are mega-influencers – Glossy

Fashion’s OG Instagrammers are building empires and, at the same time, growing their influence beyond the industry.

After being schooled for years on the workings of the fashion industry, mega-influencers including Danielle Bernstein (2.7 million Instagram followers) and Rocky Barnes (2.5 million Instagram followers) are graduating to careers less reliant on brands. To take it to the next level, they’re leveraging their prowess and communities, driving deals with effective business partners, and evolving their focus, based on the industry’s direction and their own passions. The emerging results, for both Bernstein and Barnes, are personally-backed brands and investment portfolios set to expand based on early successes.

“The plan is to grow, in a big way,” said Bernstein. “I’m a serial entrepreneur, so I’ll always want to introduce new businesses and categories to my brand. And I’m angel investing and joining the board of advisors for so many companies. That’s the future of the creator economy: harnessing and creating community around your existing followers and then figuring out how to monetize that.”

In 2019, upon inking a licensing deal with New York-based clothing company Onia, Bernstein launched the Shop We Wore What e-commerce site, populated with her expanding We Wore What fashion collection. The collection has been at the center of much recent controversy, due to allegedly including copycat designs. According to Bernstein, she turns to vintage pieces, editorials and travel for inspiration. Bernstein’s also become an investor and advisor for hair supplement company Wellbel and CBD brand Highline Wellness. In May, she became active on Patreon, offering exclusive video content to paying members of her community.

In addition, Bernstein heads up We Gave What, a charitable arm of her company. In 2019, she launched tech company Moe Assist with a project management tool for influencers, though its social accounts have been inactive for two-plus months. When asked for comment, a spokesperson said Moe Assist is in a new fundraising stage and “should have news to share shortly.”

Barnes, meanwhile, partnered with Reunited Clothing to come out with her apparel company, The Bright Side, in December. And she recently became a first-time investor-advisor, for 6-month-old SMS shopping platform Qatch. She announced the partnership in an Instagram post on Monday.

“I feel like a grown-up,” she told me, before confirming that she’s interested in investing in more companies. “Diversifying my business has been a really big [focus] for me. I interact with so many different brands and companies on a daily basis. Using my market knowledge in ways that can help other people is fulfilling and exciting for me. And I especially love when I can be involved with a company from the beginning.”

Building on their content creator role in fashion is a natural progression, both said. And it plays into many industry shifts: On its way out is fashion’s DTC era, largely fueled by Harvard Business School and Wharton graduates using a plug-and-play, marketing-heavy business model to launch brands. More consumers are prioritizing quality, differentiated products, making industry experience and style expertise greater virtues among insiders. At the same time, consumers are increasingly taking shopping cues from relatable, platform-native celebrities, moving on from authoritative editors and more closed-off celebrities.

The school of collaborations
The collaborator-to-founder shift isn’t the newest thing. Other longtime influencers that have made the pivot include Arielle Charnas, with Something Navy; Aimee Song, with Song of Style; Rumi Neely, with Are You Am I; the list goes on. Most often, the names behind these brands don’t have formal design and business training — for her part, Bernstein said she “went to FIT for two years, but didn’t study design and production.” But, for years, they’ve worked hand-in-hand with companies to bring their visions to life. And along the way, they’ve come to know what resonates best with their vast communities, from marketing to merchandising to product.

“My most successful collaborations have led to the largest share of my business,” said Bernstein.

Bernstein’s partnership with Onia came out of her swimwear collaboration with its Onia brand, in May 2019. On the collab’s launch day, it drove $2 million in sales, and an included style was the brand’s best-selling swimsuit of the summer. Also in 2019, Bernstein collaborated with Joe’s Jeans on multiple denim collections. The launch day of the first, in March 2019, marked Joe Jeans’ best sales day to date, said Jennifer Hawkins, the brand’s svp of marketing and innovation on a Glossy Podcast in October.

Both served as learning opportunities for Bernstein, who said — as with all of her collaborations — she took full advantage: “It was never just [uploading] a post, and then I went away,” she said. “I always wanted to know how the performance was, in terms of sales, and asked questions: ‘Can you share the analytics?’ ‘What did you see on your end?’ ‘What worked and what didn’t work?’”

She added, “They provided a ton of data, in terms of what I could sell and what the market was missing.”

Likewise, she said, she always followed and shared with partner brands the Instagram Insights and Google Analytics numbers around her corresponding posts. Doing so gave all parties a 360-degree view of a collaboration’s success.

“I’ve learned what works for brands so they get the largest return on their investment,” she said.

For example, she’s learned to lean on her audience’s tastes, versus rely on her own, by allowing them to offer feedback throughout the design process through Instagram. That’s included the selection of fabrics and colors and the fit sessions with models. She only spotlights her favorite styles and what she wears in her own social posts, as a play for authenticity.

According to Bernstein, the collaborations with brands allowing her to play an advisor role — by guiding them on influencer partnerships, marketing and messaging — are always more successful. And they often turn into longer-term investment or advising partnerships.

Bernstein chose to work with Onia on the We Wore What collection based on its prioritization of quality and fit, and ability to keep to affordable retail prices. Currently, prices on the We Wore What site range from $20, for a scrunchie, to $228, for a vegan leather jumpsuit.

Barnes was also ready to go out on her own after finding the right partners. Her Reunited Clothing partnership came after working with the company to create her Express product collaboration, in early 2019. On its first-quarter 2019 earnings call, interim CEO Matthew C. Moullering said the company had seen “a strong start to [the] collection both in-stores and online and [believed] it [was] helping to introduce the brand to a new audience.”

“Having your own brand is terrifying,” Barnes said. “But I like that I’m in control and not so dependent on doing the day-to-day posts promoting other companies.”

But, she added, “One of the huge benefits of working with all these different brands on all these different projects is that we’re constantly getting introduced to new people and seeing who we like working with.”

Barnes’ internal team consists of her husband, who’s the “business brains” of the company, she said, and an assistant.

Like Bernstein, Barnes stressed the need for outside support in the production process: “I love such quirky, crazy things, but I also understand what is realistic for a buyer and a normal girl buying clothes,” she said. “The experience of taking ideas and making them work for a bigger group of people was my learning curve going into a business. It’s important to have a good, diverse team around you who can make your idea something that’s marketable.”

For its part, We Wore What has seen “200x growth in the last year,” as it’s expanded to new categories, Bernstein said. Its ready-to-wear, swimwear, resort wear, and activewear are now sold in “dozens and dozens of retailers around the world,” many of which offer style exclusives; they include Revolve, Bloomingdale’s and Intermix.

“Launching my own brand was putting the proof in the pudding for the power of influencers, when it comes to selling product,” she said.

As with her Joe’s and Onia collaborations, Bernstein sees a rush-to-buy with We Wore What product drops. “The first 10 minutes is when we see the biggest portion of our sales for the entire collection,” she said.

To build buzz, Shop We Wore What’s Instagram account (213,000 followers) features in its Stories the line sheets of the soon-to-launch styles, allowing customers to thoughtfully plan their buy. Doing so has led to lower return rates, Bernstein said. The company’s marketing mix also includes text messages and emails, VIP discounts and user-generated content.

Bernstein has a staff of four people, which include a chief operating officer and a brand coordinator. She said she prioritizes establishing partners with skills and expertise she doesn’t have, so she can learn from them along the way. Ideally, she’d have learned about tech packs, fittings and production logistics in school, but she’s training as she goes.

Moving forward, Bernstein said she plans to extend the size range of We What What styles, which are currently available in sizes XS-XXL, and launch collections with collaborators to sell exclusively on her brand’s DTC site. In addition, she aims to eventually open “experimental” physical retail, starting with pop-ups.

As for her investment-advisor portfolio, she’s currently in talks with companies centered on the concepts of “being able to sell your closet and even rent your closet.”

As for Barnes’ Bright Side, she said it will hit “a bunch of new retailers this year.”

Moving beyond fashion
Up next for Shop We Wore What is a new product category that will hit before the holiday season. Considering her passion for home furnishings and decor — based on her @homeworewhat Instagram account (7,500 followers) and recent press coverage of her new SoHo loft — it’s a safe bet that a home-related category is in the cards.

Likewise, Barnes hinted at a future Bright Side home collection, following her recent, two-year home remodel, which she’s getting set to debut on social media.

Lifestyle brands are the clear goal.

“I would love to be a combination of Rachel Zoe and Martha Stewart, just having my hands in everything and creating this really beautiful lifestyle where you can entertain and be fashionable,” Barnes said. “That’s kind of the dream.”

She added, “Fashion is where my heart has always been, but I’m growing as a person and there’s so much more in my life right now: my family, my home — and I’m getting older, so beauty [and skin care] makes sense now. Sharing all of that with everyone seems so natural; it would be weird if I only did fashion.”

As for future investments, though Quatch fits perfectly into Barnes’ world, with its fashion-tech focus, she said she’s open to investing in any company where she sees opportunity.

What’s more, she has no plans to retire from social media, though she has yet to tackle TikTok.

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South African bowler Tabraiz Shamsi: Amateur magician; professional tweaker-trickster

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Harry Potter fans would know this as the Room of Requirement; muggle cricketers dub it backend operations. Tabraiz Shamsi is an amateur magician. He is also a professional worrier of why some googlies don’t turn as much as he’d want, in cricket.

For the Proteas chinaman bowler, the room of requirement from where he could pull out any game data, used to be the dependable ‘P Dawgg’, former South Africa analyst Prasanna Agoram combining his ken and nous and fast processing laptop. Prasanna enviably would be privy to the trial (and error) runs of Magician Shamsi’s classical Tourniquet coin-drops with the cricket ball. Which was the unglamorous, quirk-in-progress of his left-arm leg spin.

At the stroke of 1 a.m, oftener than not, Shamsi would come looking for what he called ‘shit balls’, in what Prasanna reckoned were otherwise impressive, less-than-run-a-ball bowling spells. This was that one specific delivery that went for a six to sully Shamsi’s 4-0-22-3 T20 match figures. It was the bugs, not the features, that the 29-year-old would cussedly fixate on.

“I’d never point out that he’s missing his length or the back foot was collapsing, at 12.30 in the night. Because Shamo, you see, would then take me to the nets at 1 a.m! He’s capable of calling the manager and telling him at that hour that I have to practice NOW. You had to be careful about what you told him at 1 a.m,” Prasanna laughs, underlining ungrudging admiration for the Proteas spinner’s dedication.

A series of self-recriminations in staccato would follow the ‘Bhai, can you please put on the shit-ball that went for a six.’ “He’d curse himself watching replays: ‘no good, not international class, garbage ball.’ If you try telling him it is ‘well-played’ from Jos Butler and not exactly a poor ball, he’d be hard on himself and say, ‘This is nonsense from Shamo’,” Prasanna recalls of his exacting standards.

For, the South African World No 1 spinner – who lends mystery to the Saffer bowling attack if not entirely upstaging their thunderbolt battery of pacers – knows that all sleights of hand, can come with uncontrollable twists of fate. Both in magic, and cricket.

A young boy of 15 at Paarl who tried to bowl quick like Wasim Akram and Chaminda Vaas, had wound up as a left arm leg spin all-sorts, after years of compulsive fine-tuning. And taken failures and omissions into his run-up’s five-strides.

***
Born in Johannesburg, Shamsi wanted to be a super quick in the land of bolting pacers. His progress though didn’t follow the regular route of being identified early for First teams at schools and playing age-groups. Also, he was told he wasn’t quick enough.

Speaking to the podcast ‘Pavilion conversations with C.S’ recently, Shamsi recalls his earliest break at age 15, bowling alone in the school nets, with the cricket coach’s office nearby. The coach would stop by and ask him what he was upto. “I said, ‘Sir, the U15 trials are coming up. I want to make the Paarl team wanna progress’. He told me – you are not gonna make it. But even there I thought he realised the type of character I am. That was just his way to push me even harder. He said ‘Don’t waste your time practicing coz you won’t get selected. And i was even more driven,” he told the host Mr. Chiwanza.

Shamsi would end up with most wickets that tournament, make the B team (“Still not A”), followed by U17 and U19s for the local side. “I didn’t get selected for SA U19s or invited to camps. My past was little different. In fact I got my opportunity at semi-pro cricket because one player got selected for U19s and went to the World Cup. A spot opened up because of him. I just knew that was my chance I had to make it work. And fortunately I performed. When he came back from the World Cup, he couldn’t get into the team,” Shamsi recalled.

It was around 2015-6 after he had zeroed in on Chinaman as his chosen bag of assorted tricks in franchise, provincial cricket, that he first sought out Prasanna, while closely following senior leggie and his ‘bruv’ Imran Tahir. Prasanna promised to compile a list of outstanding T20 spinners of that year for comparison, when Shamsi asked him: ‘Why just T20? I want to play all formats.’

Prasanna promised to revert after two days on Friday, and on Monday, he had a message from the hotel lobby at 10.30 am that Shamsi was waiting. “Normally, cricketers will turn up at 11.30, if the analyst time is 10.30. This guy made me abandon my breakfast and was ready with a list of questions. I’d prepared a presentation earlier on bowlers like Warne, Ajmal and Herath and how they bowled on unhelpful tracks, what lengths to bowl at what stage, and offered to email it to him. He tells me: “No. I’ll write it down in my own words. I don’t want shortcuts.”

Shamsi would sit and plan for every batsman – his notes diary in tow, even on matchdays when he wasn’t in Playing XI. And once he would spill the beans on why brainwaves struck him at 1 a.m – his preferred time to brainstorm with the analyst. “He once told me he eats my brain at that hour, so that he gets dreams of how to get a Kohli or Sharma out, so he can wake up next day he can execute the training plans.”

Once he came angsty about his googlies not spinning as much as Kuldeep Yadav or Brad Hogg. “When he said it’s not spinning, I told him Shamo’ you didn’t bowl any googly. That’s it. He hit the nets and bowled 1000 googlies non-stop and then said, he’s now hitting the groove.”

But nothing had prepared Prasanna for Shamsi’s mic-drop in the pink ball Test against Australia where the Chinaman was fancied as it’s tougher to spot the wrist in the Adelaidian twilight. Shamsi was instructed to block for 20 balls and support Faf as Proteas were hanging on at 210-9. Shamsi would announce he would score a 50 – against Pat Cummins, Hazlewood and Starc. Finally he was unbeaten on 18. “He came back and blustered ‘If someone had suported me, I’d have hit that 50’.”

***

This constant state of ‘upbeat’ – talking up his own abilities to score a 50 coming at No 11 against Cummins & Starc – might well be the sort of swag and sizzle that the staid South African teams need at ICC tournaments. For a large part of the last 30 years, the Proteas have entered tournaments with burdensome tags of ‘talented’ and ‘favourites’ and come up short. The tasteless mocking glee of choke-jokes has run its course, and being light-weights might well prove liberating.

For all their botched run chases in 50 overs, South Africa can stake claim to the historic highest run-rally to 438. And the innings-interval remark of Jacques Kallis, the most expensive bowler in Australia’s 434, who had quipped “Guys, I think we’ve done a good job. They’re 15 runs short.”

Shamsi likes his boisterous one-liners too. And his showboating and noisy over-the-top pantomime aggression.

After starring in a T20 win against Ireland earlier, he would tell South African journalist Telford Vice, “In my young age, I started as a seamer but was told I’m not quick enough to be a fast bowler so became a spinner. Grew up watching Andre Nel, Dayle Steyn, Allan Donald, that’s where aggression comes from.”

He knows it’s a double-edged sword and a bowler can be packed off, but it can disrupt batters too. “Whatever it takes to win. I’m in charge of making our presence felt on the ground and ensure the team never backs down from opponents,” he added.

Shamsi recently responded to Darren Sammy’s tweet on who would win the T20 World: “Come on skipper, you know the answer to this already…. South Africa of course.” Scroll down the thread, and some mocker mangles his grammar: “are you comedy me”. A good laugh was had by all. Pressure punctured.

“He’ll say things like ‘I’ll single-handedly win this,” Prasanna says, “Whether it happens or not, it gives confidence to people close to you – your team.”

***

Shamsi’s made it to the top of rankings, taking 49 wickets from 42 T20Is, at a strike-rate of 14.8 and averaging 6.6. There’s been a bucketful of wickets in franchise cricket and The Hundred. He’s 31 and has bidden his time to make it to the national team, and another 4 years into the Playing XI. The Wicket then, is an ocassion to celebrate, he reckons.

“I’m a human being and not a robot and want to make long-lasting happy memories that will live with me forever long after my career is done and that is the reason behind my celebrations,” he wrote in a social media post once. “My celebrations mean no disrespect to the opponents. They help me enjoy myself, switch on and off during the game to release some pressure, and put some smiles on people’s faces too.”

There’s the “Shoe” that got going in the West Indies, where within seconds of a wicket, he’d shrug his ankle open from the left shoe and pretend to speak on a landline receiver. Then there’s the bus driver-celebration with Carlos Braithwaite and something about a birdie’s chirp. A flying kiss to the wife and a mock punch to a fielder like a streets hip hopper. Though the untold back-stories raise anticipation of what he’ll whip up next.

Prasanna says there can be new hairdos before every game, sometimes “thrice a week”, and that magic tricks and celebrations are practiced as diligently as the googlies and top-spinners. “Not only will he say, ‘Tomorrow I’ll get Ben Stokes out.’ He’ll also ask you to watch the celebration.”

Amongst his most famous on-field triumph-trumpetings after snaring a batter is pulling a wand out of a hankey – a magician’s staple. But never in cricket, where magic’s glossary is slathered on the slow bowlers and their guiles.

T20 commentators love his name, lending it a South American football match caller’s vroom: “Shaaa-mzzziii”. But it’s the celebrations that can befuddle the most trained of raconteurs. When Shamsi got Wihan Lubbe in the Mzansi Super League, the commentator would build up to the expected celebration. “Is the shoe coming off? No. Look at that…it’s magic,” he would chortle. Cricket was momentarily put to the side, before he resumed confused: “That was a legspinner…… Beg your pardon… Offspinner… That did the trick..” Shamsi’s delivery had jagged away from the leftie and the post-celebration left the commentator’s mind in knots.

Appearing on the Dan Nicholl Show in SA, Shamsi had pulled one of those ‘I can guess the card pulled out of the deck after being shuffled’ tricks. It was ace of spades.

Magic had been his fallback option till age 16, he’d say. “So if cricket doesn’t work out… I ll practice magic for 10 years… But naa… It’s gonna work out.. I’ll bamboozle you all,” he would say, charming the audience.

At the start of the magic gig, Shamsi had handed a sealed envelope to the host. “Sealed with Proteas saliva” Nicholl had joked with whispered reverence. The distracting envelope had briefly become the centrepiece, and Shamsi would explain later:
“You satisfied you made me stop shuffling when u wanted me to? Funny thing is…You thought you were in charge of the trick… Telling me when to stop. Even though it’s your show, I’m running this party… I was controlling you and I actually made you stop at a specific point. …And to prove that I had written down something in this envelope before starting the trick..” It read Ace of Spades.

Shamsi’s assortment of Chinaman, is a bit like that: planned spontaneity. Allan Donald in a video while introducing him to RCB few seasons ago, said: “Left arm, tweaks it this way, tweaks it that way, then tweaks it the other way.” Offering attacking options in the middle overs, with his ability to turn ball both ways, and variations of top spinner, the side spinner and googly, makes him effective against both lefties and righties. The constant explosion of activity – before, right after when appealing (he once did a spot of bhangra jumps, then sat down altogether while pleading a decision) and when celebrating, is in fact the sealed envelope distraction.

Yet, bad days are not unfamiliar to Shamsi, and his role can be flexible like the magician’s wand, like in the West Indies, to keep things quiet, contain against the big power hitters. “There’s two ways to skin a cat… Not really fussed about not getting wickets in WI. That was a different role,” he told the media later.

Sometimes the magic is in not believing the flimflam and sleight. Like rankings. “I don’t lose sleep over being No 1. Obviously it’s a nice feeling to be on top. But I’ve said it before and I truly mean it. I don’t even think I’m the best bowler in our team. We have some great bowlers in the unit. Rankings don’t mean anything if a batsman gets hold of you. I don’t even know how those rankings work honestly.”

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