SPECIAL REPORT

rP P&G studied theart of cleaning in search of

something better than a wet mop,which spreads as much dirt

as it picks up.

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'PHOTONICA; (SWIFFER) JOE CALVT

NewSWIFFER P&G came up with a

whole new way to clean-using electrostatic attraction.

A revolutionary dry mopwas born.

Howto BuildInnovativeCompaniesBY BRUCE NUSSBAUM

August 1, 2005 I BusinessWeek I 61

SPECIAL REPORT GET CREATIVE!

OldCIRCUS Traditionalanimal acts, painted

clowns, and high-wirestunts make for

a very tired form ofentertainment.

/à.

BIRKENSTOCK The'60s icon of theergonomie and

eco-friendly lifestyleneeded a

modern update.

LISTEN CLOSELY. THERE'S Anew conversadon under wayacross America that may wellchange your future. If youwork for Procter Sf GambleCo. or General Electric Co.,you already know what's go-

ing on. If you don't, you might want tostop what you're doing and consider this:

The Knowledge Economy as we know itis being eclipsed by something new—call itthe Creadvity Economy. Even as policy-makers and pundits wring their handsover the outsourcing of engineering, soft-ware writing, accoundng, and myriadother high-tech, high-end service jobs—not to mendon the move of manufacturingto Asia—U.S. companies are evolving tothe next level of economic acdvity.

NewCIRQUE DUSOLEIL A dramaticrethinking of what acircus can be, withamazing costumes,moving music, andbeautiful gymnasticsthat provide a "wow"experience.

What was once central to corpora-dons—price, quality, and much of the left-brain, digitized analydcal work associatedwith knowledge—is fast being shipped offto lower-paid, highly trained Chinese andIndians, as well as Hungarians, Czechs,and Russians. Increasingly, the new corecompetence is creativity—the right-brainstuff that smart companies are now har-nessing to generate top-line growth. Thegame is changing. It isn't just about mathand science anymore. If s about creativity,imaginadon, and, above all, innovadon.

What is unfolding is the commoditiza-don of knowledge. We have seen globalforces undermine autos, electronics, andother manufacturing, but the KnowledgeEconomy was expected to last forever andplay to America's strengths: great univer-

BIRKIS Designerskept the core valuesand added newmodels, includingcolorful slip-onsfor the beach.

sides, terrific labs, smart immigrants, anentrepreneurial business culture.

Oops. It turns out there are a growingnumber of really smart engineers and sci-endsts "out there," too. They've learnedto make assembly lines run efficiendy,whether they turn out cars or code, re-frigerators or legal briefs. So U.S. compa-nies are moving on to creadng consumerexperiences, not just products; reconceiv-ing entire brand categories, not merelyadding a few more colors; and, above all,innovadng in new and surprising arenas.

The U.S. has a lead in this unfoldingCreadvity Economy—for the moment.The new forms of innovadon driving itforward are based on an indmate under-standing of consumer culttire—the abüityto determine what people want even be-

The Evolution of the Creative CompanyA nevy corporate modelis taking shape. Byfocusing on creativityand innovation, itcould provide newpathways to growth:

STEPlTechnology and informationbecome commoditized andglobalized. Suddenly, theadvantage of making things"faster, cheaper, better"diminishes, and profitmargins decline.

STEP 2

With commoditization, coreadvantages can be shippedabroad. Outsourcing to India,China, and Eastern Europesends a growing share ofmanufacturing and even theKnowledge Economy overseas.

STEP 3Design Strategy begins toreplace Six Sigma as a keyorganizing principle. Designplays key role in productdifferentiation, decision-making,and understanding theconsumer experience.

62 I BusinessWeek I August 1, 2005

OldRADIO Same old,

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music and talk, trombig national chains.

BIG BOXCrowded shelves,

overwhelmingchoice, and

standard salespitches.

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APPLESTORESpare, elegant, andappealinglyinteractive-a hipplace to be ona Saturday night.

fore they can articulate it. Working inwhat is still the largest consumer marketin the world gives U.S. companies a hugeedge. So does being able to think outsidethe box—something Americans still dobetter than most. But Toyota Motor Corp.has a feel for U.S. consumers, and Sam-simg Group can be pretty creative, too.Competition vidU surely be intense.

A New DanceFOR MANAGERS, THE biggest challengemay be making the leap from their Six Sig-ma process skuls to new ways of thinking.For corporations, transforming them-selves wül require new sets of values andorganizational principles. Have you heardof design strategy? Ifs probably die Next

STEP 4

reative innovation becomesle key driver of growtii.Dmpanies master newîsign thinking and metricsid create products thatidress consumers' unmet, andten unarticulated, desires.

STEP 5

The successful CreativeCorporation emerges, withnew Innovation DNA. Winnersbuild a fast-moving culture thatroutinely beats competitorsbecause of a high success ratefor innovation.

Big Thing after Six Sigma. How about con-sumer-centric innovation? It may be themost powerful way to raise a company'sinnovation success rate. Do you knowwhat irmovation metrics your companyneeds? Have you heard of CENCOR (cali-brate, explore, create, organize, and real-ize)? Ifs the post-Six Sigma dogma GE isspreading far and vdde among its man-agers. Are B-schools on top of all thischange? Not really, but Stanford Universi-ty is starting a "D-school"—a designschool where managers can learn the dy-namics of innovation (page 80). Teachingelephants to dance is never easy, but thaf sthe task ahead if you want your compa-ny—and your career—to prosper.

You're thinking "this is au hype," aren'tyou? Just another "newest and biggesf '

fad, right? Wrong. Askthe 940 senior execu-tives from around theworld who said in arecent Boston Con-stUting Group Inc.survey that increasingtop-line revenuesthrough innovationhas become essentialto success in their in-dustry. The same BCGsurvey showed thatmore than half of the

execs were dissatisfied with the financialreturns on their investments in innova-tion. They should be. By one measure,firom innovation consultant DoblinGroup, nearly 96% of all innovation at-tempts faü to beat targets for return on in-vestment. No wonder innovation frustra-tion is the talk of comer offices.

BusinessWeek is joining this growingconversation about getting creative bylaunching a new online Innovation & De-sign portal—www.businessweek.com/in-novate—to present the best research andthinking on the subject. Take a look at theinteractive self-assessment feature devel-oped by Larry Keele/s Doblin Group.TTiere are six innovation metrics available.Keeley is the guru of the evolving field ofinnovation science. Some compare him toW. Edwards Deming, who revolutionizedthe field of quality measurement.

There is, in fact, a whole new genera-tion of innovation gurus. They are not thesuperstars of the '90s, such as ClaytonChristensen, who focused on what mightbe called macro-innovation—the impactof big, unexpected new technologies oncompanies. The new gurus focus more onmicro-innovation—teaching companieshow to connect with their customers'emotions, linking research and develop-ment labs to consumer needs, recalibrat-ing employee incentives to emphasize

August 1, 2005 I BusinessWeek I 63

creativity, constructing maps shov^dngopportunities for innovation.

When creative mojo gets going, it canexplode into innovation. An example: themundane mop. Cleaning used to be donevidth mops and water. Design ContinuumInc. in West Newton, Mass., researchedcleaning for P&G and observed that watertends to slop dirt around, whüe dry ragspick it up (thanks to electrostatic attrac-

tion). Ergo, the Swiffer. In the design-speak of the Creativity Economy, this isparadigm shifting. Design Continuumhelped P&G shift the cleaning paradigm.Now the Swiffer may become P&G'snewest $1 bulion brand.

Think out-of-the-box consumer experi-ences, and you get the idea of paradigmshifting. Old paradigm: comer coffeeshops. New paradigm: Starbucks. Old:

radio. New: satellite radio. Old: crowdedelectronics stores. New: Apple Computerstores. Old: grungy, smelly circuses.New: Cirque du Soleil. Old: any airline.New: JetBlue Airways. Old: Macy's. New:Target. Old: Earth-toned Birkenstocksandals. New: colorful beach "Birlds."

The evolution of the economy towardcreativity has been underway for some time.Steve Jobs, of course, has turned Apple into

Top 20 Innovative Companies in the World2005 poll of 940 senior executives in 68 countries by Boston Consulting GroupCOMPANY

APPLE

3M

MICROSOFT

GE

RESPONSES

24.84%

11.77

8.53

8.53

WHY

SONY

DELL

IBM

GOOGLE

P&G

NOKIA

5.94

5.62

5.29

5.18

Delivers great consumer experiences with outstanding design; steady flow of new ideas that redefine oldcategories, such as music players; continual evolution of business model and brand.

Strong internal culture of creativity with formal incentives to innovate. Results in a high success rate inturning ideas in health care, industrial components, and other areas into profitable products.

Strong management pushes continuous improvement of products, expansion into new markets and rapidstrategy changes when necessary.

Management practices that are ahead of competition, along with strong training, are allowing CEO Immelt toreinvent GE's business model and culture to promote innovation.

Understands the importance of media convergence; creates new user-friendly electronic products withgreat design.

4.21

Superior business-process model built on ruthless cost-cutting and innovations in supply-chain management.

Wants to use its powerful IT base to solve customers' problems and even run their businesses.

Steady stream of new tools and services provide simple solutions to complex problems. Dominates onlinesearch and is growing fast in advertising; strong connection with customers.

4.21

VIRGIN 4.00

Continuous product innovation based on understanding of changing consumer lifestyles. In a switch, nowseeks outside partners for new expertise, ideas, and even products.

Sharp design, changes models rapidly, and adds features effortlessly, based on a close reading of customerdesires in the emerging mobile lifestyle.

SAMSUNG 3.89

r

Reframed air travel as a lifestyle brand and extended the brand into retail stores, cell-phone service, andother products; takes risks; attacks weak spots of traditional service providers.

Catches the pulse of the consumer; good design; understands emotion; moved from commodity producer tobrand leader; generates a flow of new products from cell phones to stunning flat-screen TVs.

Uses supply-chain and logistics superiority to move into new markets and product areas. Data mining trackscustomer preferences on a daily basis, contributing to fast growth despite its size.

Quality and manufacturing efficiency are constantly upgraded. Strategic use of advanced technology yieldsbig market advantages in areas such as hybrid cars.

Forged a new retail business model based on customer power, cheap prices, and community.

Dynamic business model with the ability to disrupt itself to meet competition in areas such as wireless computing.

Overturned retail distribution with Internet technology and a focus on the consumer experience.

Top consultant on the process of innovation; uses design principles to guide companies through strategychanges that focus on consumer experience.

STARBUCKS

BMW

2.05

1.73

Reframed the coffee business as a lifestyle brand by watching customers; created a strong consumer affinityto the brand and uses that affinity to sell new products, such as music.

Combines sleek design, advanced technology, and Web-based marketing to increase brand leadership andmove into extensions, such as the the revived MINI Cooper.

64 ! BusinessWeek I August 1. 2005

SPECIAL REPORT GETCMËATivri

the paragon of the creadve corporadon.Companies throughout the world are de-constructing Apple's success in design andinnovadon, and learning the lessons.

Today all kinds of blue-chip CEOs aresigning on to creadvity. A.G. Lafley, P&G'sCEO, and Jeffrey R. Immelt, GE's CEO areat the core of the new movement. Lafleystarted it when he took over in 2000, butImmelt's conversion to creadvity when hebecame chief execudve in 2001 is givingthe shift to creadvity more momentum.Because of GE'S size and scope, when itmoves, the economy moves with it. Thevocabulary of business may be changingas well. It's hard to imagine former GEboss Jack Welch saying: "Creadvity andimaginadon applied in a business contextis innovadon," as Immelt recendy did. Or"we're measuring GE's top leaders onhow imaginadve they are. Imaginadveleaders are the ones who have thecourage to fund new ideas, lead teams todiscover better ideas, and lead people totake more educated risks," as he added.Thaf s a sea change from rewarding GEmanagers for a career of floadng from op-eradon to operadon, massaging theprocess for incremental improvements.

Lafley sits on GE's board, so two ofAmerica's most powerful and effecdveCEOs now meet regularly, talk about cre-advity, discuss which of the new breed ofinnovadon gurus is offering the best ad-vice, and exchange notes on what worksand what doesn't. When the history of thetransidon from the Knowledge Economyto the Creadvity Economy is written, thesetwo will probably get much of the credit.

To understand why the creativitymovement is becoming so important, you

Old

More on The CreativeCorporation, Only atBusines^eekcomWho is most innovative m your industry?See BCG's survey.Slide Show: From big tops toBirkenstocks, everything is beingreconceived,"Solutions Are More Human": IDEO sDavid Keiley taiks about how trends indesign are changing companies,"Why Do You Need That?" 3M staysinnovative by asking customers basic butprobing questions,P&G's Top Secret Design Board: Tryingto identify consumer-product needsthat consumers haven't identifiedthemselves.

BusinessWeek onlinewww.businessweek.com/innovate/

VIDEO STORES Standard retailshopping-pick it up, drop it off,and, sometimes, pay late fees.

TARGET M >

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40MG

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PRESCRIPTIONBOTTLE Hard toopen, impossible

to read,infuriating to use.

need to go back to its roots at P&G. Byharnessing the power of design, P&G hastransformed itself from a stagnant brandmanager into a model of innovadon effi-ciency that outperforms industry rivals.

Before Lafley, P&G's volume growthwas basically flat. The company caredmore about how its products funcdonedthan it did about how customers feltabout them. "P&G had the best chemicalengineering and markedng operadons inthe country," says Patrick Whitney, direc-tor of the Insdtute of Design at Illinois In-sdtute of Technology. "It didn't careabout the user experience." P&G could tellretailers to stock eight kinds of Crest, andthey did. As power shifted to big retaDers,P&G couldn't do that. "It had to createnew products, and to do that, P&G had toget closer to the consumer," says Whitney.

Fresh EyesLAFLEY TURNED TO design. In 2001 heestablished a new execudve post: vice-pres-ident for design, innovadon, and strategy,naming Claudia B. Kotchka, now 53, to fiUit. She and Lafley knew they couldn'tchange P&G's culture without fresh eyesfrom the outside. So they made a major de-cision: Even as P&G began laying off thou-sands of top execudves, middle managers,sciendsts, and others, it quadrupled its de-sign staff. For the first dme it hired a legionof designers who had worked at other com-panies and in other industries.

In a second crucial decision, Kotchkadispatched designers to work direcdy withR&D staffers to help to conceive newproducts. This changed P&G's entire inno-vadon process, making it consumer-centricrather than driven by new technology. Toopen up the company further, P&G startedhiring different kinds of consultants.Among them were Design Continuum;ZIBA Design in Portland, Ore.; Chicago's

DobUn Group; and IDEO in Palo Alto, Calif.Here's how it works at P&G: Kotchka

contacts P&G's divisional heads, asking fora list of possible opportunides designersmight address. Recendy, the head of home «care said it was dme to look at bathroom ^cleaning. Kotchka brought in IDEO v dth sthe goal of helping out. IDEO and P&G's >:designers went out and observed people acleaning bathrooms around the world. In ^South America they saw women using gbrooms to clean walls and showers effec- 3dvely and buut a prototype combining a gsmall hand cleaner with a long pole. P&G ^tested the idea via a survey. People hated it. § i

But P&G hung in there. What is fast be- 21coming the Holy Grau of innovadon—the S \"unmet , unardculated" needs of con- - j :sumers—didn't show up in the survey. In- ^ ;stead, P&G relied on the informed in tu- siidon of designers and tested the idea g-again, using working prototypes. People 2 [loved the real thing. P&G dien broke Si

Some InnovatiorThere aremanymistakenviewsabout howinnovationworks. Herea re some ofthe mostpervasive:

MYTH J• Innovation is onlyabout creating hotnew products

• Innovation is aboutc razy creativity

• Innovation is expensiveand takes time

• You need hundreds ofideas because the failurerate for innovation is high

• Metrics guaranteehigher innovationsuccess rates

66 I BusinessWeek I August 1, 2005

New

dovwi the walls of its Mr. Clean brand,reached in and used the Mr. Clean deter-gent for the new product. The Mr. CleanMagicReach was introduced in Aprü—with a four-foot detachable pole. Mun-dane as this example may be, it showshow design strategy can generate innova-

is, tive new products and sales.^ To buüd a design infrastructure, Lafley^ also established what he calls his innova-g tion "gym," a place to train managers ing the new design thinking. And he created ag Design Board of non-P&Gers who provideB an independent perspective on products,^ brand extensions, and marketing.g Jeff Immelt inherited one of America'sJ most successful companies. GE's incredi-" ble process culture, which brought so< much to the bottom line in the '90s, was^ no longer enough to maintain its leader-3 ship in the 21st century. Like Lafley, Im-Ë melt needed to create an innovation cul-£ ture quickly. One of his major goals was

Myths

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to raise GE's average organic growth to8% from the 5% of the past decade. Theskuls Jack Welch prized—cost-cutting, ef-ficiency, the continual improvement ofoperations—couldn't deliver that.

Big BetsIMMELT LAUNCHED a series of what hecalls Imagination Breakthrough projects,investing more than $5 billion in 80 ini-tiatives that take GE into new markets,product areas, and industries. He told hismanagers to connect with consumers,learn to take risks, and place big bets. GEis already reaping major benefits fromprevious bold moves. Its latest quarterlyprofit surge of 24% is due in part to re-framing the idea of power generation.The company expanded it from gas tur-bines to wind and solar, which paid off.

Also like Lafley, Immelt is pushing tochange the corporate structure to spur

REALITY ' ™ « » ™ ™ ™ ™ ^ - " ' ' * ^ ^• Not always. Some companies have that kind of creative cultural DNA, and others don't.Innovation audits often reveal hidden strengths in areas such as brand recognition andservice delivery.

• Not at all. Creativity is an essential part of the innovation process, but metrics, discipline.

• Failing to innovate is far more expensive. This is especially true at a time whentechnology and information are beingcommoditized and globalized.

• Maybe. Companies that have innovation architecture in place can handle many conceptsat one time. Most don't and would do better to focus on fewer, bolder ideas that shift productstrategies, reframe brands, and meet consumer needs.

• You can measure your way to mediocrity. The right financial hurdle rates and other met-rics are essential but they are only part of a larger innovation process. Design strategies suchas early prototyping and customer observation are as important as measurement for inno-vation productivity.

creativity. He appointed Beth Comstockto the newly created position of chiefmarketing officer in charge of generatinginnovation and creativity. He's bringingin many of the same design and innova-tion gurus Lafley uses so effectively. AndGE being GE, has its new acronym, CEN-GOR, for its innovation process.

Call it CENCOR, creativity, or imagina-tion, GE is doing it. Comstock recentiyheld a "China market discovery" session,bringing together some 90 people forthree days. Outside innovation consult-ants pushed the envelope. "We forced thegroup to get outside itself, to look at Chi-na with new eyes," says Comstock. Theeflbrt appears to be working: Sales to Chi-na soared in the latest quarter.

What is the methodology of the newdesign strategy that Lafley, Immelt, andothers are adopting? The basics are sim-ple. They start with observation—goingout and directiy seeing customers shop atmalls, famüies eating in restaurants, orpatients being treated in hospitals. CapInc. and others have found that socialshopping—in pairs and threesomes—isthe norm in its stores, so if s makingdressing rooms bigger. Trying out lots ofideas fast by making models or videos(prototyping) is the next step. This letsmanagers visualize concepts, make deci-sions on which to improve and which todiscard, and launch products faster.

Storytelling is very important. Design-ers have found that placing a potentialnew product vidthin an emotional storythat connects with consumers raises thechances of success. The design of the newline of MINI_motion watches and drivingshoes, for example, captures the story ofthe Mini Cooper's cool urban driving ex-perience. It's about the driver, not the car.

The final ingredient in design strategyis building an organizational processthat does these things all the time. Thiskind of change can be wrenching for acompany, but the payoffs are enormous."You can buüd a kind of culture of routineinnovation through design thinking,"says one of the pioneers of the new disci-pline, David Kefley, co-founder of IDEOand head of the new D-school at Stanford.

So watch out, consultants. A wholenew cadre of advisers is out to lead CEOsinto the Creativity Economy. They speak alanguage different from Establishmentconsultants' (more anthropology, lesstechnology) and advise differentiy (morehands-on workshops, fewer company-wide surveys). Mainstream consultants,such as BCG, are buüding their innova-tion expertise, but they'd better hurry.

The new gurus have emerged from the

August 1, 2005 i BusinessWeek I 67

depths of the late '90s meltdown and theshock of Asian compeddon to show CEOsa path beyond the Knowledge Economyto an even higher-value-added businessmodel. They say they have found a way toplay a high-margin game in a low-pricedworld, a means of differendadng prod-ucts in a commodidzed marketplace anda methodology for staying ahead of Asianrivals. They are the keepers of creadvity in

a wor d awash m technology, die champi-ons of mnovation in a globe drowning incommodities. Meet seven of diem onpage 76 and many more on our new site.

There's a lot of talk about America be-coming a 97-pound weakling. But thenaysayers don't get the strength inherentin a truly Creadve Economy. This revolu-don has barely begun, and building cre-adve, innovadve companies is the great

Bringing Innovation toThe Home of Six Sigma

Jeff Immelf is creating a sfir afGeneral Electric Co. Through fheyears, GE has produced a string ofsuperlative results using precisionmanagement tools such as Six

Sigma and by giving execs rich incentives forefficiency. Now Immelt wants to turn GE'sbuttoned-down ranks into a legion ofinnovators with a flair for creative thinking.He spoke with BusinessWeek's Diane Bradyabout his experiences and his expectations.

You talk about making GE moreinnovative. What do you really mean?We need to be focused on where customersare going. We should be playing into majordemographic trends and the needs of ourcustomers.

How do you get there from here?We want to make it O.K. to take risks and dothings that aren't just going to [produceresults] this quarter. One way I do that iswith the Imagination Breakthroughs("The Immelt Revolution," ManagementBW-Mar.28).

Is this simply a matter of giving peoplepermission to take risks?[In part], but we're also working on a wholenew set of leadership traits. We wentthrough a comprehensive internal effort andcame back with five traits we now use at ourtraining center in Crotonville [N.Y.]. They are:external focus, decisiveness, imaginationand courage, inclusiveness, and domainexpertise. This is the foundation of how youbecome more innovative.

Do you have to do more than that tomake your managers truly creative?Creativity is important. It's an ingredient in

CEOIMMELT"We v(/ant tomake it 0

innovation, but it's not the only thing. We'retrying to stimulate new thinking by bringingpeople in from the outside, such as [designconsultants] IDEO, to make sure we're nottoo internally focused.

What do you feel the outsiders havebrought to the company?They try to approach growth in unique ways

task ahead. In the pages diat follow andonline, you'll find the tools, methods, andmetrics to help make it happen. •

-With Robert Berner in Chicagoand Diane Brady in New York

For reprints of this Special Report:reprints@businessweek.conn or(212) 512-3148. (minimum order 1,000)

by looking af unmet needs of cusfomers. Wedo creativity sessions with them and thingslike f haf. If gives us some new, nonlinearthinking, which is something I've picked upfrom A.G. Lafley at Procter & Gamble.

Is Lafley a particular inspiration to you?We used [P&G] as a benchmark. He hasfhatinnovation gym [to train managers and testnew ideas] and fie has found new ways foblow some of the walls out and do a betterjob of integrating ideas from fhe oufside.

Is it a big leap from a Six Sigma culturefocused on productivity and quality toan innovation culture?I look af Six Sigma as a foundafion on whichyou can build more innovafion. I don't thinkevery manager can do both [Six Sigma andinnovation], but I don't need every managerto do both.

Why do you think innovation is moreimportant today for GE, or for businessin general?We're leaving a period, particularly in fhelafe '90s, where global economic growth offhe developed world was preffy robust. It'sjust choppier now. You need new ways toboost growth.

Do you think managers have to becomemore like designers, or masters ofcreativity?What I tell people is that we have fo developnew leaders for growf h-peoole who arepassionafe abouf cusfom ers andinnovafion, [people] who really knowmarkefs and producfs. [Traditional]professional manaoement isn't going fo giveyou fhe kind of growth you need in a slow-growth world.

Do you feel you've becotn ^oreinnovative in the past few years?

[It all] goes back fo people-those who wantto take swings. I tell people that you t , J?nview these [new leadership] traits as r ritiralto your long-term development. You havp tnchange...or else you don't have a greatfufureaf this company.

68 I BusinessWeek August 1, 2005

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