Mostrar mensagens com a etiqueta artesanato. Mostrar todas as mensagens
Mostrar mensagens com a etiqueta artesanato. Mostrar todas as mensagens

sábado, agosto 22, 2020

Estórias que alegram a travessia do deserto

Um dos livros que herdei da biblioteca do meu pai foi “Small Is Beautiful” de E.F. Schumacher. Acho que nunca o li, o que é estranho para alguém que escreve sobre a democratização da produção e sobre Mongo.

Esta semana comecei a ler "When More Is Not Better" de Roger Martin (claro que irei escrever mais do que uma vez sobre um livro que ataca a paranóia do eficientismo). Ao ler a longa introdução dei comigo a discordar das razões do autor para a origem da deriva de desigualdade que afecta a economia americana a partir de 1972. O empobrecimento da classe trabalhadora americana e europeia se calhar tem muito mais a ver com o enriquecimento das classes trabalhadoras no chamado Terceiro Mundo. O capital existe para apoiar empreendedores e muitos deles sofrem da doença anglo-saxónica. Se existem trabalhadores mais baratos noutra parte do mundo... porque não deslocalizar a produção para essa outra parte do mundo e obter um maior retorno?

Por isso, sonho com Mongo, sonho com a democratização da produção, sonho com a salvação pela arte.
Por isso, sonho com uma economia que não aspira ao crescimento desmesurado, mas à paixão.
Por isso, sonho com uma economia de makers recheada de ateliês e cooperativas.

Por isso, aprecio estórias como esta "Want to Make It Big in Fashion? Think Small Like, Evan Kinori":
"Evan Kinori, 32, operates a one-man clothing label. Here — or rather in an adjacent garage — he creates garments that are manufactured mostly within a one-mile radius of his workshop in small hand-numbered batches, in patterns and fabrics that change by subtle degrees from one season to the next and that, as GQ recently noted, “sell fast and never reappear.”
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Mr. Kinori does not call himself a tailor or even a designer. Rather, he is a craftsman, somewhat in the tradition of people like the great Bay Area architect Joseph Esherick, who throughout his career concerned himself less with creating branded monuments to himself than with making harmonious, humane spaces.
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Mr. Kinori’s clothes bring to mind those houses — careful, deliberate, free of ostentation, handmade. They are cut from patterns he devises himself and sewn with French seams on single-needle machines. They are pieced together from cloth sourced from dead stock or traditional Irish tweed makers like Molloy & Sons in County Donegal or Belgian linen manufactories or kimono cotton mills in far-off Japanese prefectures. When he works, he thinks less about the demands of the industrial fashion machine than a desire to create durable objects."
Não sou ingénuo ao ponto de pensar que operários transformam-se em criadores-fazedores com um golpe de mágica.
Não sou ingénuo ao ponto de pensar que se fica rico, mas ganha-se a vida de cabeça erguida, é-se independente e livre.

Tenho de ter a paciência de viver os 47 dias incipentes, a travessia do deserto, antes da transformação.

BTW, a direita política não aprecia Mongo porque retira poder às so-called elites rentistas. A esquerda política também não aprecia Mongo porque lhe retira peões.

terça-feira, agosto 18, 2020

Acerca do modelo de produção do século XX

"In his forthcoming book, Craft: An American History, scholar Glenn Adamson traces the relentless erosion of craftsmanship that occurred as the U.S. transitioned from a nation of artisans to an industrialized economy. In it, he retells a familiar story about Henry Ford and his newfangled assembly line with an interesting twist, which is worth quoting at length:
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In the first year of the assembly line, so many workers walked out of the Ford plant in disgust that more than 52,000 had to be hired just to maintain a constant labor force of 14,000. Though the company had massively deskilled the process of assembly, each new employee still had to be trained. This was an inefficiency Ford had not counted on. Famously, he raised wages to five dollars per day, far above the industry norm, just to keep workers on the job. Later this was spun as a brilliant maneuver to help his own employees afford Model Ts, turning them into consumers. Actually, it was a means of coping with a self-inflicted management crisis. In any case, Ford did not have to pay these high wages for long. As the entire industry shifted to the assembly line—and then other sectors of the economy followed suit—workers had little choice but to submit to the new manufacturing techniques."
Os humanos gostam de variedade, gostam de se diferenciar, não apreciam a uniformidade da produção em massa. No entanto, no século XX, tiveram de se submeter a ela para ter acesso a bens baratos. Há muito que escrevo aqui que praticamente toda a gente acha que o modelo de produção do século XX é o modelo definitivo e que qualquer desvio face a esse modelo é um ataque aos trabalhadores.

Como não sorrir ao comparar essa crença a estes picos:

Daqui a 100 anos os humanos vão olhar para trás e horrorizar-se com o modelo de produção do século XX.

Venha Mongo!

Trecho retirado de "Restoring craft to work"


quinta-feira, dezembro 12, 2019

"we must redefine art"


Em "A alternativa", um postal de maio de 2016, e em "A ascensão do artesão e da arte na produção, um postal de Abril de 2017, voltei à arte como a alternativa para fugir às estratégias cancerosas que nunca serão sustentáveis num país pequeno e pouco habituado a rigor e planeamento.


Como diria MacGyver:

That's our edge!

É afinal o twist na estória de David vs Golias, enquanto Saúl pensava que o puto David ia combater de igual para igual, David tira um seixo branco de um saco só com seixos pretos (parte I e parte II).

Ontem, apanhei este texto de Esko Kilpi, "Art, entrepreneurship and the future of work":
"Art creates suggestions for fresh ways of defining the world we live in.
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Artists are like entrepreneurs, and entrepreneurs are like artists. They turn nothings into somethings. Thus, artists give a form to ideas that for some other people might be nothing more than vague notions or emotional impulses. But it is often not easy.
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Fostering creativity is a genuine goal for all in the post-industrial society. A creative economy needs individuals with the freedom, courage and capacity to think, learn and live imaginatively. We need people who can conceive ideas and who can realize them. Maybe all schools in the future are going to be art schools and all offices creative studios.[Moi ici: Mas não com a Nomenklatura que por lá anda agora]
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But we must redefine art. Art today often stands apart from everyday life. It is a pastime and an indulgence, admired in a gallery, museum or a concert hall from a contemplative distance.
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In the future art are not only objects we contemplate, but also experiences we possess and create
."[Moi ici: Relacionar com o tema dos artesãos, dos nichos e Mongo]

segunda-feira, dezembro 17, 2018

"transparency created value"

A propósito de "Cooks Make Tastier Food When They Can See Their Customers":
"The results showed that when the cooks could see their patrons, the food quality got higher ratings.
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The results were pretty compelling: Customer satisfaction with the food shot up 10% when the cooks could see the customers, even though the customers couldn’t see the cooks. In the opposite situation, there was no improvement in satisfaction from the baseline condition in which neither group could see the other. But even more striking, when customers and cooks both could see one another, satisfaction went up 17.3%, and service was 13.2% faster. Transparency between customers and providers seems to really improve service. [Moi ici: De pessoas para pessoas. O poder da interacção. A força de Mongo]
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We consistently found that transparency created value.
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Being appreciated makes work meaningful. People feel what they do matters. Human connections seem to trigger that.
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What’s exciting is that these are often subtle alterations. It’s not expensive or difficult to create transparency between consumers and producers. Just by opening up the work environment, you could improve value and quality. Transparency becomes a low-cost strategic advantage."
Ao ler isto recordei-me do que escrevi sobre a Eureka em 2015 e 2018.

domingo, setembro 02, 2018

Fugir do anonimato

Temas abordados aqui ao longo dos anos: transparência, autenticidade, artesanato em vez de vómito industrial.

Em Março de 2015, escrevi "Outra forma de David bater Golias" onde publiquei:


Há dias descobri este exemplo de batota, de aposta na imperfeição dos mercados, de criação de relação e de distinção:
"There will be a little card with a photo of one of the Italian artisans who made your new leather shoes, bag, or jacket. You’ll also find a pre-stamped postcard with a hand-drawn map on it of all the places in Tuscany where Arno makes its products. You can send the card to whomever you choose, but if you’d like to send a thank-you note to the man or woman who made the item you just purchased, you can send the postcard back to Arno’s founders, who will deliver it to the right person.
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“We’ve been surprised by how many of our customers actually choose to send the cards back to us,”
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Not only do their customers know where their shoes were made, they can see a picture of the shoemaker who crafted it by hand. It’s a level of visibility into the supply chain that we don’t see very often in the world of fashion.
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Arno sells products directly to the consumer, bypassing traditional retailers–and their price markups–allowing it to sell products at a fraction of the cost of traditional luxury brands, with sandals starting at $198. The brand collaborates with family-owned factories in a small region just outside Florence, Italy. Products are made by a small team of artisans, who each have extensive experience making leather goods. One of these factories has chosen to invest in Arno, which is unusual since it is usually fashion brands that invest in manufacturing facilities.
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Arno wants to take this approach a step further, by humanizing the manufacturing process even more and giving customers a glimpse of the person who actually made the item they purchased. Besides the photograph that comes in their package, they can go to the Arno website, which offers bios of each artisan full of details about their families and interests. For instance, Laura, Arno’s head of quality control, was born on the island of Sardinia, and went into an artisan apprenticeship program immediately after middle school. Since she lives two streets away from the factory, she goes home for lunch every day, and returns to her village every summer for a vacation.
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“We really believe this is the future of luxury,” says Crowe. “People want to know how their products were made, and the natural extension of that is to connect with the human beings who made their new shoes or bag.”"
Como é que a sua empresa pode adaptar algumas destas ideias, para fugir do anonimato?
No mercado, provavelmente a sua empresa é como o Willy nesta figura. quem vai ter paciência para a procurar? E como sabem que ela existe?



Trechos retirados de "The future of luxury fashion? Getting to know your shoemaker"

quarta-feira, agosto 22, 2018

Curiosidade do dia

Hoje, aproveitei o dia nublado para uma caminhada ao longo da marginal de Gaia desde o Cabedelo até para lá do Cais do Cavaco. No regresso, em frente ao Mercado da Afurada, a minha atenção foi capturada por isto:
Olhem para a imagem e vejam se algum coisa vos chama a atenção.





Sabem o quanto valorizo uma proposta de valor baseada na autenticidade, sabem o quanto associo Mongo a artesãos e artesanato.

Então, pergunto, qual o efeito desta mensagem:
"SENRAS DAIRY - Fabrico Artesanal de Queijo"
Para mim não faz sentido juntar o inglesismo "DAIRY" com a conotação "Artesanal". A primeira palavra retira qualquer força de autenticidade à segunda.

Mas eu só sou um engenheiro anónimo da província sem conhecimentos de marketing.

terça-feira, julho 03, 2018

Mais outro exemplo: Provinciano, mas muito à frente (parte II)

Parte I.

Vai continuar a aumentar a frequência com que o tema vai ser objecto de conversa. O retorno do artesão e da arte casados com a tecnologia.

BTW, reparar nesta foto no final da página:


Fez-me regressar a Julho de 2016 e a uma pergunta que coloquei a empresários do calçado: "Não receiam que um dia um par de sapatos possa ser feito e vendido por um trabalhador a partir de casa?" É o que está a acontecer cada vez mais (recordar o lago de nenúfares)
"Craftsmen like Grasso, who is now in his 80s, have remained out of the limelight for decades, as globalisation has put the emphasis firmly on brand names and industrialised manufacturing. But an exhibition opening in Venice in September, at the Fondazione Giorgio Cini on the island of San Giorgio Maggiore, seeks to turn the spotlight back on European craftsmanship and its tradition of master craftsmen.
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he believes the robotics revolution has a silver lining for traditional manufacturing. “There will be a premium on the human eye and hand. And Europe has got that,” he says."
Um sério risco da nata do online não ser para a fábrica, mas para o operário-artesão contratado directamente pelo vendedor online.

Trecho retirado de "Homo Faber: the master craftsman versus the machine"

quarta-feira, dezembro 27, 2017

Mais um "Mongo é isto"

Depois do recente "Mongo é isto" mais uma história, mais um exemplo da sedução do artesanato, do que é feito por um humano de forma pouco eficiente, "How to Make a Surfboard":
"This last part is important to LaVecchia, not just because of the environmental implications, but because the wood itself—mostly northern white cedar—is milled by a single shop in Maine. Each board is a study in hyper-localism. “The material is grown here, milled here, built, shaped, sanded, and polished by hand, right here,”"

terça-feira, abril 25, 2017

A ascensão do artesão e da arte na produção (parte II)

Ontem publicámos "A ascensão do artesão e da arte na produção". Depois, ao princípio da tarde fui brindado com:

Entretanto, ao fim da tarde de ontem ainda deparei com:


"Several things happen in this conversation but one of them is that we begin to see into the history, we might even say the “intentions,” of the objects on the shelves. We begin to see that these things come from someone, that they were crafted to a purpose that begins with “coffee mug” and then scales up to include the lifestyle, the community, the economy, the culture that might be loosely designed artisanal.
Ah, now we get it. That’s why things cost more. That object on the shelf of Wal-mart doesn’t have a story. It was made by a stranger in a factory in Chengdu, shipped across an ocean, and banged around in the distribution system until it just happened to roll to a stop here on a shelf. It doesn’t mean very much because capitalism was so busy giving it value, it forgot to give it meaning.
And that’s what Sofi is for, to gently help you see what the mug means. Yes, we can buy a cheaper mug somewhere. But ,by this standard, cheaper doesn’t feel better, it feels poorer. As if everyone in the production – consumption chain as been diminished by the effort.
So, we could say, if we were rushing to conclusions (and that is what we do here), that retail is not merely the last moment in the distribution chain. It completes the meaning making process. And more to the point, it helps consumers understand and grasp the “artisanal premium” they are required to pay. It’s always true to say “we get what we pay for.” The very point of Olives and Grace is to help us see what we’re paying for. It helps solve the problem of cheap food."


segunda-feira, abril 24, 2017

A ascensão do artesão e da arte na produção

"Craft skills have been embraced by the fashion world in recent years as the boundaries between art and fashion blur. Today, artists collaborate on designer collections, while fashion brands sponsor art fairs. Increasingly, labels are exploring artisanal craft through clothes
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And designers are creating artisanal-minded homeware
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 the old notion of faceless, mechanised luxury is dead. He believes fashion brands today must be borne out of craftsmanship skills that recognise the value of the human hand. “Craft is our bread and butter at Loewe,” says the 32-year-old designer."
Em alinhamento completo com o que escrevemos aqui há milhares de anos sobre Mongo (Estranhistão), sobre a importância da arte na democratização da produção contra o vómito industrial, sobre a ascensão do artesão. E a reforçar o que penso será o futuro da impressão 3D, não na casa de cada um mas no artesão dos ciber-bairros que frequentaremos.
"Sildávia!!!
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Não arrisquei escrever Albânia como símbolo de país pobre e atrasado, porque desconfio que nos hão-de ultrapassar enquanto tivermos estas políticas chavistas-de-gravata-à-europeia.
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Qual a alternativa?
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Ainda e sempre a ARTE!!!
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Mentes algemadas olham para a fotografia da realidade e desesperam... e enterram a cabeça entre as mãos e prolongam a espiral viciada que há-de levar ao fim "at some stage".
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Quem aposta na arte, faz como os artistas, em vez de ver nos obstáculos algo a derrubar, tenta tirar partido da situação, procurando uma pedra angular de onde possa começar a construir uma diferença.
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Se o pintor usa uma tela, usa pincéis, tintas e luz para criar a obra de arte, o que as empresas devem fazer é reunir o equivalente a esses materiais:"
E recordo este slide daqui (12:36):

Trechos retirados de "Why fashion is turning to craft"

Já depois de escrever o texto acima encontrei "The Crafting Organisation":
"What if we were to evolve craftsmanship as a true practice for all of us? What if we talked about the ‘Crafting Organisation’, a business operating from a position of deep self-belief, always in beta, curious and confident to face the future? The Crafting Organisation is elegant in everything it does. Seeing the potential of creating beautiful outcomes in the most unusual ways.
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Is this not a more beautiful way to describe business which not only embraces our humanity, but celebrates it? Tim Smit founder of the Eden Project likes to say that beauty will be the most important word we use over the next 15 years. I would also argue that craft is not far behind."

sábado, junho 27, 2015

Acerca do poder da autenticidade

Um artigo, "Where Your Favorite Imported Beer Is Really Made" com material interessante para reflectir acerca do poder da autenticidade:
"What is the advantage of claiming foreign roots? One advantage is the association in consumer's minds between "import" and artisan-like quality--the aura of handmade authenticity. Marketing professors call this the concept of "contagion." The general idea is that a consumer is more likely to infer "quality" about a product, if she believes it was made in its original manufacturing location.
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It is well established that differences in manufacturing location can impact consumer preferences through lay inferences about production quality... Specifically, we find that due to a belief in contagion, products from a company's original manufacturing location are seen as containing the essence of the brand. In turn, this belief in transferred essence leads consumers to view products from the original factory as more authentic and valuable than identical products made elsewhere.
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The main takeaway here is that consumers place a higher value on products they believe contain the aura of authenticity."

quinta-feira, fevereiro 12, 2015

De volta à velha Atenas, a minha previsão


Nem de propósito. Ontem à noite, já depois de ter escrito "Cuidado com as previsões", encontrei "Learning to Become Athenians":
"After two or three centuries during which manufacturing consolidated into larger and larger enterprises, technology is now restoring opportunities for the lone craftsman making things at home—with extraordinary consequences for careers and lifestyles.
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In classical Athens, with no industrial machinery and much of the work done by slaves whose maintenance costs were identical and whose capital costs reflected their skills, it was not possible to get an advantage in costs or in capital utilization. To compete successfully, you had to differentiate your product to make it worth more than your competitors’.
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The nature of a society in which most households participate, at least occasionally, in making goods is radically different from the world we are used to.
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The industrial revolution changed the economics of manufacturing by creating new forms of advantage based upon operating costs and capital investment. Starting in the eighteenth century, the lower costs offered by mechanization, mass production, and shared information drove production into fewer and larger units, and the amateur craftsman in the family workshop was squeezed almost out of existence.
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The nature of a society in which most households participate, at least occasionally, in making goods is radically different from the world we are used to. For citizens in ancient Athens, casual manufacturing was a vital income-earning component in a portfolio of activity. The industrial revolution changed the economics of manufacturing by creating new forms of advantage based upon operating costs and capital investment. Now, though, the information revolution is reversing the consolidating effect of the industrial revolution.
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After two or three centuries during which manufacturing consolidated into larger and larger enterprises, technology is now restoring opportunities for the lone craftsman making things at home—with extraordinary consequences for careers and lifestyles. The powerful trends toward making things oneself and choosing freelance careers over full-time employment recreate some of the economic and social dynamics of Athens between 500 and 300 B.C.—and pose important challenges to businesses and society. If we understand the forces behind the changes in industry structure since those times, we will have a better sense of how and why the dynamics of that structure are reversing and what that might mean for our daily lives.
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To build a large business, you have to win more volume than others in a competitive marketplace; this means having an advantage your competitors cannot match. For a competitive advantage to be of value, it must be manifested in one of the elements of return on capital: revenues, costs, or capital employed. In classical Athens, with no industrial machinery and much of the work done by slaves whose maintenance costs were identical and whose capital costs reflected their skills, it was not possible to get an advantage in costs or in capital utilization. To compete successfully, you had to differentiate your product to make it worth more than your competitors’.
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For a huge range of other products, which made up most of consumption—such as everyday clothes, basic ceramics, simple metalwork, and carpentry—there was no basis for differentiation. Almost all Athenian citizen households would have family members or slaves who made clothes. Some might make a surplus to sell; other households would have to buy some clothing. Many would have made simple wooden, ceramic, or metal objects for their own use and sometimes to exchange with neighbors or sell in the marketplace.
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The nature of a society in which most households participate, at least occasionally, in making goods is radically different from the world we are used to. ... By reducing their expenditures and bringing in some income through making simple household products, Athenian citizens managed to enjoy a rich and varied life. They had time to go to the theater and games, and some evidently had time to philosophize.
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The implications for the individual, for society, and for manufacturing companies are significant. For the individual, the restoration of competitive equality between the home craftsperson and the large factory creates real opportunities for the freelance lifestyle that many young people aspire to. As Forbes reported last year, 60 percent of Millennials in the U.S. stay fewer than three years in a job and 45 percent would prefer more flexibility to more pay.  In a recent survey, 87 percent of UK graduates with first- or second-class degrees saw freelancing as highly attractive, and 85 percent believe freelancing will become the norm.
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Some manufacturing businesses will face a completely new challenge, one in which the stock weapons of increasing efficiency and reducing costs will be of little use. Few makers will recognize the opportunity cost of their time in a very businesslike way, given the psychic rewards they find in exercising their craft. Now that the other components of cost (procurement of raw materials, training and product development expenses, marketing investment, and energy) are available at rates not much different from those achieved by large enterprises, would-be makers will not be deterred by price cuts from established players."
Parece que o BCG andou a ler este blogue!!!
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Está aqui tudo!!!
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Amostra:

Conseguem imaginar as implicações desta mudança? Na educação, na cobrança de impostos, no retalho, nos transportes, nas comunidades, na humanização do mercado, no cálculo e interpretação das estatísticas, na circulação do dinheiro, ...

sexta-feira, fevereiro 06, 2015

Não mudar de produto, mudar de mercado. Um exemplo

Em "Toino Abel: as cestas da aldeia que já apareceram na Vogue inglesa" julgo encontrar a aplicação prática do conselho dado à artesã de Bragança com as suas colchas de linho.
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Não mudar de produto, mudar de mercado.
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Lembro-me, na minha infância, destes cestos serem usados para se ir à feira, para se levar a palamenta toda para os piqueniques. Entretanto, porque a vida mudou eles deixaram de estar na moda ou perderam o seu mercado principal, serem burros de carga. Imagino que a actividade terá decaído.
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Sim, houve algumas alterações no produto.
Mas as mudanças fundamentais estão:

  • nos clientes-alvo;
  • na proposta de valor;
  • nos canais, nas prateleiras onde estão expostos;
  • no desenvolvimento da relação com os clientes.
É quase tudo a mudar para um novo modelo de negócio.
"Dos teares da Castanheira, as malas têm chegado a países tão remotos como a Nova Zelândia e a Austrália, através da loja online alojada na Etsy, e estão também em espaços físicos de cidades como Barcelona, Berlim, Londres e Porto, para além de já terem sido sugeridas na edição inglesa da revista Vogue. Há modelos tradicionais mas também em cores fortes ou com alças, para usar à tiracolo ou prender documentos"

segunda-feira, janeiro 26, 2015

Interessante, nestes tempos de Amazon, Mongo cresce

Interessante, nestes tempos de Amazon:
"nationwide, [Moi ici: Nos Estados Unidos] independent bookstores have grown by about twenty per cent since 2009; meanwhile, American craft breweries collectively now sell more than 16.1 million barrels of beer annually, outpacing, for the first time, Budweiser. This isn’t the only evidence that small-scale businesses are making a comeback. Over the last ten years, the long-running decline of small farms has levelled out, and more than three billion dollars was spent last year on more than four thousand independent feature films. Over all, since 1990, small businesses (with, generally, fewer than five hundred employees or less than $7.5 million in annual receipts) have added millions of employees, while big businesses have shed millions."
As previsões e metáforas deste blogue, em grande:
  • Mongo;
  • Estranhistão;
  • artesanato e artesãos;
  • nichos;
  • tribos;
  • PME;
  • interacção
  • fim de Metropolis ou de Magnitogrado
  • século XXI vs século XX
"Once upon a time, or in the last century, to be precise, it was an article of faith that most sectors of the economy faced unavoidable domination by a few big players.
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The true-differentiation strategy seems to work best when scale, despite its efficiencies, also introduces blind spots in areas such as customer service, flavor, curation, or other intangibles not entirely consistent with mass production and standardization. Where getting big begins to hurt the product, small can be bountiful. [Moi ici: Como Tom Peters escreveu no Twitter uma vez "They are to big to care"]
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The economic wedge created by true differentiation is a cause for great optimism, .... It helps to realize the true promise of a free market, in which people have dozens of genuine choices among products that differ in more than just their marketing."

Trechos retirados de "Why Small Businesses Are Starting to Win Again"

domingo, março 09, 2014

Anything goes!

Anything goes!
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O "anything goes", o não haver receitas garantidas, é uma das características mais atraentes da micro-economia.
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Por exemplo, recordar as palavras de Braga da Cruz sobre a importância do conhecimento científico e sobre a tecnologia e comparar com "Jovem apostou na Internet e já exporta para vários países":
""Aqui não entram máquinas. É tudo manual, não são utilizados computadores ou 'software' de 'design'", destacou, enquanto apontava para o trabalho moroso e de minúcia que as bordadeiras executam em toalhas de linho."
Lembram-se do tal conselho que dei à artesã? Mudaram de mercado, de clientes-alvo, e de modelo de negócio, de marketing e de pricing:
"Em 2011, criaram um blogue para promover os produtos internacionalmente. O sucesso foi tanto que rapidamente evoluíram para um 'site', com um vasto portefólio de produtos, através do qual são realizados quase todos os contactos e negócios.[Moi ici: Marketing e modelo de negócio]
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Mais de 90% dos bordados, que incluem atoalhados de mesa, roupas e acessórios de moda que saem diariamente do seu ateliê destinam-se à exportação para França, Suíça, Estados Unidos e Austrália. [Moi ici: Outros mercados, outros clientes-alvo, outra proposta de valor]
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"Criámos peças aliando a tradição à modernidade", afirmou, explicando que o sucesso do negócio também se deve à aposta em mercados com elevado poder de compra, [Moi ici: Clientes-alvo e proposta de valor] com produtos inovadores, incluindo acessórios de moda, como lenços de seda e carteiras de senhora.
"Temos de fazer uma análise de cada mercado. [Moi ici: Também customizam o produto a cada mercado] Para cada um adaptamos o nosso produto. Ao fazê-lo, os clientes ficam satisfeitos e reconhecem o nosso trabalho" assinalou.
Algumas peças podem custar mais de 3.000 euros, o que reflete, observou, o tempo que demoram a fazer (em alguns casos mais de um mês) e o caráter exclusivamente manual e original de cada bordado." [Moi ici: IMHO há ainda aqui algum trabalho de pricing a fazer. Preço e custo não devem estar relacionados]

Um bom exemplo para mostrar a tanta gente como o tradicional se pode aliar à estratégia e à tecnologia mais elementar e já disponível, para criar Mongo.

sexta-feira, janeiro 24, 2014

Curiosidade do dia

Ontem ao final da tarde, a caminho de uma francesinha, tive oportunidade de ouvir uma entrevista de Fernando Alves na TSF aos criadores da cerveja artesanal "Letra".
"A fábrica de cerveja artesanal "FermentUm", em Vila Verde, criada por dois jovens investigadores da Universidade do Minho (UMinho), ganhou o prémio de "start-up do ano" no setor agroindustrial, foi hoje anunciado.
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Francisco Pereira e Filipe Macieira, investigadores de doutoramento em Engenharia Biológica na UMinho, idealizaram o projeto em 2008, na sequência do mestrado naquela área e da participação em projetos no ramo cervejeiro.
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Materializaram o plano de negócios no laboratório IdeaLab/TecMinho, começaram a produzir à escala na UMinho e tiveram apoio comunitário para criar uma fábrica em Vila Verde, estudar novas receitas e testar variedades de matéria-prima, como o lúpulo ou maltes, de forma a desenvolver cervejas "distintas e com boa aceitação".
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Aquela cerveja artesanal foi lançada no mercado a 12 de outubro de 2013, com a marca "Letra"."
Gostei do que ouvi, sobretudo daquelas ideias assentes:

  • não apostamos na produção de grandes quantidades;
  • não somos mais pequenos que os incumbentes, somos diferentes.

Trecho retirado de "Fábrica de cerveja artesanal de Vila Verde eleita start-up agroindustrial do ano"

domingo, outubro 06, 2013

Sonhar com Mongo

Basta ler "small, independent and traditional", por tradicional traduzo, artesanal, autêntico, proximidade... fico logo a sonhar com a possibilidade de o mesmo acontecer noutros sectores.
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E este trecho, "To ensure that the craft brewery distinction stands for quality - and not merely market share - breweries cannot cut costs by relying on cheaper ingredients", 100% Mongo!!!

  • "The Craft Beer Movement" (interessante também a referência aos 3 modelos de negócio associados. Off-topic, é difícil perceber como os estados, dentro dos Estados Unidos, podem ser tão diferentes, pelos vistos, em alguns, é o Estado, como na Suécia, que distribui as bebidas alcoólicas)
  • "Craft beer movement comes to a head"
"Sales are up 15 percent, and nearly 1 million more barrels than last year were sold by small and independent craft brewers, from 6.4 million to 7.3 million barrels, the report says. The number for 2009 was 4.4 million.
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This comes at a time when the association reports that the overall sale of beer in America is down 2 percent."

Isto, para já não falar desta cena:

terça-feira, fevereiro 19, 2013

Outro sintoma positivo

Mais uma peça para o puzzle que comporá uma economia mais sustentável "Artesanato minhoto reinventa-se para sair da crise":
"Em estado terminal há poucos anos, o artesanato "made in Minho" operou uma transformação milagrosa. A chegada de novos profissionais e a aposta no design explicam o inesperado ressurgimento.
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A meaçado pela importação de produtos chineses e quase esquecido pelos próprios municípios, o artesanato do Minho encontrava-se exangue há menos de uma década.
...
"Todos teremos a ganhar se apostarmos num produto diferenciador","