Reverse Innovation

There’s a phenomenon that everyone in business needs to be aware of: reverse innovation. In fact, as authors Vijay Govindarajan and Chris Trimble write in their new book Reverse Innovation: Create Far From Home, Win Everywhere: “Whether you are a CEO, financier, strategist, marketer, scientist, engineer, national policymaker, or even a student forming your career aspirations, reverse innovation is a phenomenon you need to understand.”

After reading Reverse Innovation, one must conclude that they are right. The dynamics of the world market are indeed changing. It used to be that innovations flowed from developed nations to developing ones. That’s no longer the case–they increasingly flow in the opposite direction.

The big idea is this: Innovation is more and more flowing uphill, and the future of innovation lies in emerging markets. Today’s poor countries are being tapped for breakthrough innovations that can unlock new markets in the rich world.

So what does this mean?

It means that if you’re planning to prosper in business now and in the future, the enormous opportunity that lies in innovating for emerging markets is something you simply can’t ignore. If you think that poorer countries are irrelevant, that it’s okay to just sit tight and wait for them to develop, or that customizing your products and services is sufficient, Reverse Innovation suggests you may wake up one day in the not so distant future to find yourself too far behind the curve to recover. Buh-bye!

Consider Reverse Innovation to be your go-to guide to an important trend in progress. The authors, both of the Tuck School of Business at Dartmouth, explain where, when, and why reverse innovation is on the rise, and why the implications are so profound–for nations, for companies, and for individuals. They demonstrate through eight compelling case studies how to achieve explosive growth in emerging economies, and detail both the rules of the game and tricks of the trade.

The first step, though, is to change your thinking. While most business professionalsin the U.S. recognize that emerging markets have become today’s last source of growth, most simply modify and export products that they developed for and in America, essentially relegating emerging markets to a second tier priority. To exploit the full potential of emerging markets, though, you must head in the opposite direction. You must innovate specifically for and in developing countries to create breakthroughs that will then be adopted here at home.

That’s a mind shift for most. But luckily, Reverse Innovation illustrates what works and what doesn’t. We get to learn from both wins and the missteps of others.

We learn, for example, how Pepsico drew upon local teams and global resources to develop a new savory cracker created by Indians for the Indian market, but with high global potential.

We learn how, before employing reverse innovation, Logitech almost lost leadership of computer accessories in China to an unexpected Chinese rival with a better understanding of local needs.

We learn how P&G developed a globally successful feminine hygiene product in Mexico after discovering why its American product was losing market share to rivals there.

We learn how, in China and India, Harman designed from scratch a completely new infotainment system for emerging markets with functionality similar to their high-end products at half the price and one-third the cost, and generated more than $3 billion in new business.

These examples show, though, that the biggest hurdles to reverse innovation are not scientific, technical, or budgetary. They are not company size-oriented. They are managerial and organizational, and with the right mindset and tools, they can be overcome by any manager or owner.

Better yet, the evidence in Reverse Innovation shows that companies can earn the same or even better margins and return on investment for a low-cost product designed for, say, China or India, than for a higher cost current product at home.

The result is a win-win at home and abroad.

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Sparking The Startup Spirit, Stanford-style

Henry Ford once said famously: “Whether you think you can or you can’t, you’re right.”

As Tina Seelig, executive director of Stanford University’s Technology Ventures points out in her new book inGenius, this simple quote illustrates the difference between two kinds of fear, only one which drives the the entrepreneurial spirit.

“There are two distinct mindsets related to taking on challenges,” she says. “Some people are driven by their strong fear of failure and therefore are unwilling to take on challenges that have a chance of not turning out well. Others are driven by their strong fear of missing an opportunity.”

It’s the latter group that displays the kind of entrepreneurial spirit needed to succeed in today’s economic environment, because they’re “willing to take on projects that might not turn out as expected, because they don’t want to miss the chance that it will succeed.”

The question for many business owners and leaders, especially those that have achieved a certain level of size and success is: what do you do when the entrepreneurial spirit is M.I.A. in your company?

One answer is to pare back the resources, and recreate the kinds of limitations that drive new thinking, the kinds of constraints that were in place at the beginning.

Tina shares an exercise she conducts in her famous course on creativity at Stanford, to point out how managing resources and how constraints, intelligently set, can spark creativity and rekindle the entrepreneurial spirit.

“I decided to use a game to demonstrate that changing the constraints has a significant effect on creativity,” she says. “I started with a standard Scrabble game, which nearly everyone in the U.S. knows how to play.”

In Scrabble, players randomly pick seven letters from a bag and have to create words using those letters by placing them on a board, building on another word that has already been placed. You build out from the center, stretching toward the edges of the board so you reach the squares that earn a triple letter or, ultimately, a triple-word score along the edges. Along the way, players are rewarded with smaller, but still valuable, bonuses, such as double letter and double word scores. And there is a big fifty-point bonus for using all seven letters.

“The Scrabble board is very structured, and there are clear incentives,” explains Tina. “I brought eight Scrabble boards to class and let the students play. Once they settled in, though, I changed the rules of the game on them every ten minutes. Some of the new rules removed constraints, and others increased them.”

For example, to reduce constraints, she allowed players to pick nine letters instead of seven, to use proper names, or to use foreign words. To increase constraints, she required players to add only four-letter words, to build each new word onto the prior word only, or to add a word to the board within a certain time limit.

“The results were wonderfully surprising,” according to Tina. “Whenever I loosened the rules, there was an audible cheer, and when I tightened the rules the students groaned. But the cheers were misleading. You would think that the players would score more points and be more creative when the rules were looser.”

That wasn’t the case.

“The students were more creative—and earned more points—when there were tighter constraints. For example, when the rules were loosened to include proper names, one student put down a jumble of letters and claimed this was the name of her future child. Although it was funny, all agreed that this was a sloppy response rather than a creative solution.”

“When the constraints were increased,” she continues, “the students had to be more creative. In addition, the competition around the board broke down. Those playing each game had to work together to reach their individual goals, and they collectively earned more points.”

In the end, the students all felt that the original Scrabble rules have the perfect constraints, and that’s why the game has thrived so long. But they also realized that adding and subtracting constraints drastically changed their experience.

“They walked away with a new appreciation for the sensitive levers they have at their disposal when they manage or are part of creative teams,” Tina concludes. “They realized that they should fully appreciate the goals they have in mind and put constraints in place to inspire others to reach them.”

Maybe you didn’t start in the garage or attic, but nearly every successful startup begins with little of everything: money, space, manpower. You had a goal, and a passion for reaching it.

It’s those limits that made you more creative and resourceful, more entrepreneurial. So to spark the startup spirit, recreate the constraints of the startup environment.

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Artistry at Work: Through the Storm (series finale)

Thousands of people have talent. I might as well congratulate you for having eyes in your head. The one and only thing that counts is: do you have staying power? –Noel Coward

Eventually, a storm will hit even our best-laid plans. We must welcome these tests, for they often force us in directions we might not have discovered on our own. Some of us will hunker down and wage war on anything that might undermine our diminished stability. Some will cope and cry out for reassurance. Others will react emotionally, retreat, and spread anxiety throughout their daily existence. And still others will demand justice as anxiety turns to anger.

The question remains: what to do?

Foresight, insight, and hindsight are the three creative tools we need to stay our course.

Foresight. The territory ahead of us is unclear, uncertain. We can’t predict the future, but we can easily take the steps necessary to ensure that we aren’t drastically mistaken about it. We must make every effort to identify the potential impact of various powerful external forces beyond our control, so that we are not taken completely off guard and miss key opportunities. Since we generally see what we look for, if we can sketch out various scenarios of what may loom on the horizon, we will be better able to recognize and capitalize on developing situations.

Insight. Many of our hardest battles are fought not externally, but within ourselves as we struggle against the deeper, darker, often unseen and unknown enemy of our own internal fear. More often than not, we will discover during an honest inward look that we have strayed from our path of authenticity.

Last night I watched as young and enormously talented Colton Dixon was, given his immense potential, wrongly voted off American Idol by his audience. Were they indeed wrong? When asked “What do you think happened?” by host Ryan Seacrest, he replied in an amazingly insightful moment of both maturity and clarity: “You know, I need to apologize. I wasn’t myself last night. And I get it. [to the judges] I appreciate what you told me last night. And I’ll take that, and when I’m making a record, I’ll choose songs right for me.”  He then proceeded to deliver a stunning, authentic parting performance.

Hindsight. Inevitably, we will need to know what to do when we don’t know what to do. Eventually, we will gain our composure and do something we don’t do enough of – mindfully reflect. And then, ever so slowly, we will decode the meaning in the crucible, discovering that we almost always learn more from our trials than from our triumphs.

Moments of crisis harbor life-changing experiences that can strengthen our resolve and deepen our resilience. Even in the most turbulent of times, while our ambition may undergo radical redirection, we retain our artistry through the clarity we have around our authenticity and audience.

Our greatest creativity may occur through the action we take in the midst of adversity, as we redirect our energy to stay our course.

Thank you for reading the Artistry at Work series. This concludes the run.

 Working is art. –Andy Warhol

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A Virtual Peek Inside Stanford’s Creativity Course

Many people believe creativity cannot be taught. If that’s true, then why is Dr. Tina Seelig’s course on creativity and innovation one of the most popular classes at Stanford University’s Hasso Plattner Institute of Design, aka the “d.school”? It’s incredibly difficult to get in: not only do you have first be admitted to Stanford, but once in, you’ve got less than one chance in three of getting in to the course itself: over 150 apply, only 40 are accepted.

Now, though, everyone can take the course, through Ms. Seelig’s terrific new book, inGenius: A Crash Course in Creativity.

Continue reading

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Artistry At Work: Managing Creative Cycles

“An artist revolves in a cycle of masterpieces, the first of which is no less perfect than the last.” Oscar Wilde

Last week’s post (Reaching for Greatness) concerned the first half of the creative achievement cycle. The second half of the cycle concerns translating those goals into key projects that contribute to our overall ambition and strategically build our portfolio of work. Completing well-aligned projects generates the creative energy required to drive one’s ambition toward the envisioned end, because parts of the vision now become tangible.

It is here that ideas get converted into action.

Business artists select projects that meet five key criteria: passion, impact, visibility, value, and innovation. It is then a matter of execution. The well-defined starts and stops of project work almost automatically move us forward. The inability to implement the appropriate logistics required to manage and complete a project, though, can derail visible progress and rob the momentum needed to maintain high levels of creativity.

What often separates the accomplished artist from the also-ran is the ability to declare victory. Our natural inclination is to “keep at it” when we see that a project may fall short of original expectation. We claim we’re not done, convincing ourselves that the work will somehow magically morph into the perfect solution.

But nothing ever goes as planned, and the most successful projects do not simply end on their own. Regardless of whether the outcome is different from the original intent, and irrespective of any shortfall in results, an ending must be proclaimed.

We must be willing to pronounce even the most disappointing projects concluded!

We may never be completely satisfied (what artist is?) for perfection is indeed elusive. Nay, unachievable. But to get mired down in the bog of flawlessness is to realize diminishing returns. The pursuit of perfection must be balanced with the mandate to advance.

The reason is clear and simple: Declaring a project’s end charges the next cycle of goals and projects, preventing stalls and stagnation.

Bottom line: Iterative, well-executed projects renew energy and maintain momentum.

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