Snap Makes a Run at Affluent Millennials

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As soon as Snap Inc. announced the launch of its Spectacles video recording shades, the digerati began comparing Spectacles to Google Glass and pondering whether Spectacles would capture consumers’ imagination in ways Google Glass failed to do. But I don’t believe Snap CEO Evan Spiegel cares whether Spectacles finds a widespread audience. I think he’s trying to target a smaller audience of affluent millennials, the kind who can afford to drop a bundle at Coachella each year.

Whether you’re Facebook, Instagram, Snap, or Twitter, the name of the game is to create a brand that stands apart and builds a loyal audience. Facebook already owns the social media category. Every business that describes itself as social media will forever operate in Facebook’s shadow. Spiegel has kept Snapchat from becoming just another social media also-ran by positioning the app as a visual storytelling experience for millennials, who now constitute the largest age cohort in the United States, bigger than baby boomers.

By changing the name of his company from Snapchat to Snap Inc., Spiegel is trying to position Snap as a bigger millennial lifestyle brand beyond the app, which is where Spectacles come into play. (I like the way Brian Solis characterizes Snap as a digital lifestyle company.) The colorful shades, which will cost $130 when they hit the market, look playful and fun, and therefore millennial-friendly. They won’t make anyone look like a dreaded Glasshole.

But being millennial-friendly doesn’t mean being friendly to all millennials. The millennial generation is large enough and diverse enough to accommodate products and services targeted to smaller segments of their population. The 92 million millennials (born roughly between 1980 and 2000) who live in the United States are a diverse generation in many ways, including economically and culturally. Ranging in age from roughly 16 to 36, they include digital natives in high school, millions who are just starting out at the bottom rungs of their careers, and millions more who are achieving affluent status as they approach middle age (the median age in the U.S. is 36.8). As a whole, millennials’ median college loan debt is rising. They are more likely to be living in their parents’ home than with a spouse our partner in their own household.

In other words, many millennials don’t have $130 sitting around to spend on shades that you can use only to record 10-second videos on Snapchat, but they’ll continue using Snapchat because it’s free. But Snap does not need all millennials to buy Spectacles — just a chunk of the 44 million millennials aged 25-36 who are actually generating more sizable disposable incomes. (According to FutureCast 6.2 million millennial households in the U.S. earn $100,000 or more each year.)

I believe Evan Spiegel wants Snap Inc. to be something like Alphabet, rolling out different products and services that will make Snap indispensible to millennials. Some will be more broadly applicable than others. Spectacles represent Spiegel dipping his toes in the water with a very targeted market.

As Spiegel told The Wall Street Journal, “We’re going to take a slow approach to rolling them out. It’s about us figuring out if it fits into people’s lives and seeing how they like it.”

But not all people’s lives — rather, his people’s lives. And Evan Spiegel understands affluent millennials. After all, he is one.

 

Introducing “20/20,” a Film Shot with Google Glass by Clark Kokich

Clark Kokich has built a career helping brands master digital technology. So it’s only fitting that Kokich, the chief strategy officer at Marchex, former Razorfish CEO, and author of Do or Die, has created 20/20, the world’s first narrative live-action short film shot with Google Glass. The five-minute movie, which follows a day in the life of a young man through his Google Glass, makes a powerful statement about personal privacy and the power that technology assumes in our everyday lives. For as long as I’ve known him, Clark Kokich has always been fascinated with the way that digital technology can both disrupt and shape the way we live and do business.

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20/20: romance competes with technology. Which will win?

In the following interview, he discusses the themes of 20/20 (a product of his film company, Perché No?) what it was like to make a movie with Google Glass, and his views on technology and privacy (including his opinion of Edward Snowden). Check out what’s on his mind — but more importantly, take five minutes to watch the provocative 20/20. This movie will make you think.

What inspired you to make this movie?

Last spring I was having coffee with Margaret Czeisler, global vice president of the Razorfish xLab. She pulled out a Google Glass for me to try. It was the first time I fully understood the power of the technology. Then, as I was driving home, the idea for the film just popped into my head. I more or less wrote it in my mind in the car and typed it up when I got home.

In the movie, Google Glass is omnipresent, and not always for the best. Where do you think Google Glass is headed in the next few years?

It’s hard to say. I used to work at Code-A-Phone, a company that made telephone answering machines. Remember those? Our biggest issue was confronting the backlash from people who became pissed off when they had to leave a recorded message.

In the 1990s, I worked for Cellular One. At that time, cell phones were regarded as a smug status symbol. “What kind of an asshole takes a call in their car?” We’re seeing that kind of backlash right now with Google Glass. And I suppose this film doesn’t help, does it? But who knows what will happen.

Becky

In the end, if the technology solves a real problem, people will get over it. Right now, I don’t think Google Glass solves an obvious problem in the same way answering machines and cell phones did.

The movie’s subtext about spying is obviously quite timely, with Edward Snowden recently speaking at the 2014 SXSW Interactive festival. What’s your view of Snowden? Hero or a traitor?

I do think he broke the law, and there should be consequences for that. But I don’t consider him a traitor. If I had to guess, 50 years from now he’ll be regarded as an important historical figure; someone who took a huge risk – and sacrificed everything – so that the rest of us could know what the hell is really going on.

I could relate to the scene where the protagonist is multi-tasking too much with technology at the expense of the people in the room with them. How do you avoid that happening in your own life?

I’m actually pretty good about that. I’ve never used technology just because it’s new and cool. I can admire it, and want to learn more, but I’m not an automatic adopter. I also think it’s important to be doing the things that are important to you, not that are important to others. For instance, if I’m on the road, I don’t answer emails on my phone just because they came in. My fingers are too big for that kind of nonsense. If something’s critically important, maybe. But for the most part, I decide what’s important to get done right now, and I only concentrate on that. Just ignore everything else.

What was it like shooting a movie in Google Glass? What did the experience teach you?

It was a pain in the ass. We tried to monitor the shooting in real time through an iPhone, but doing so was too clumsy. So we ended up shooting a scene with no idea what we were really getting. Then we had to wait to download the file and check it on the computer. If there was a problem, you had to start over. It took forever.

What’s next for your filmmaking?

We’re going to shoot another short this summer. This one is more serious. No more Google Glass fun and games.