Tag: #innovation

  • Leonardo

    Mixing tech, innovation and the arts feels like a natural fit . In 1965, the National Endowment for the Arts (NEA) was founded; it’s an independent U.S. federal agency, a wee bit far from a Scottie, but it’s the US’s largest public funder of arts and arts education.

    The NEA gives grants to artists and organizations around the US (50 states, Washington, D.C., and U.S.)… but it’s worth considering whether similar opportunities could extend to international artists (i.e. Scotland)? Expanding globally could strengthen their mission of inclusivity and connect U.S. arts with a broader, more diverse creative community.

    Alongside funding, the NEA encourages and supports research into the impact of the arts, it runs national initiatives, and promotes artists through various honours like Jazz Masters and National Heritage Fellowships. Working with government agencies and non-profits it’s projects aim to connect arts, communities, and public life.

  • Intervention design

    I’ve been thinking about design not just as something we make, but as something we do in relation to other people. Recently, I came across the idea of Intervention Design, and it resonated with me in a way that feels both professional and deeply human.

    For me, the concept isn’t really about products, services, or even innovation in the traditional sense. It’s about intentional presence and care as forms of intervention within real systems — families, communities, relationships, and cultures.

    Reading Aram Saroyan Armstrong’s reflections on chosen fatherhood and caregiving made me reconsider what intervention can look like. Not dramatic change, not authority, not recognition — but consistent, grounded support over time. The kind of care that quietly stabilises things. The kind that often goes unnamed.

    What struck me most was the idea of love as infrastructure — something steady and structural rather than emotional or abstract. Caregiving, in this sense, becomes a form of design work: shaping environments where people feel secure, supported, and able to grow.

    This reframes intervention as something relational and bottom-up, rather than imposed from above. It challenges assumptions about masculinity, responsibility, and what it means to contribute meaningfully to other people’s lives.

    The more I sit with it, the more I realise that some of the most powerful interventions are invisible. They happen in everyday decisions to show up, to help, to remain present, and to take responsibility without needing ownership.

    Maybe design, at its core, isn’t always about creating something new —

    sometimes it’s about sustaining what already exists, with intention and care.

  • AI in healthcare

    Ai could transform healthcare because care delivery has lagged behind medical progress. Despite advanced diagnostics and treatments, the system remains inefficient, fragmented, and burdened by outdated workflows. Digitisation, especially electronic health records, often worsened clinician and patient experiences instead of improving them.

    Historically, healthcare adopted technology in narrow, task-specific ways rather than redesigning care. Early AI efforts failed due to simplistic models, paper-based data, and a focus on high-risk tasks like diagnosis. Today, low-risk AI applications (like documentation, scheduling, and billing) reduce administrative burden, improve clinician–patient interaction, and build trust.

    AI’s real impact is in early disease detection. Using routine data like ECGs (Electrocardiogram… sounds like an octopus breed), AI can identify serious conditions more accurately than clinicians, enabling automated screening and preventive care. Adoption must be even, so involving doctors in AI design is crucial, and over-reliance could deskill practitioners.

    System-level factors also matter: dominant EHR (Electronic Health Records) providers control patient data, giving them influence over AI innovation. Regulators must balance oversight with the fast pace of AI development to ensure safety without stifling progress.

    The future for clinicians is optimistic! AI won’t replace doctors, just free them from routine tasks, allowing them to focus on judgment, ethics, and patient care.

    AI has the potential to make healthcare safer, more efficient, and patient-centered. By handling routine tasks and enabling early detection, it frees clinicians to focus on judgment, ethics, and human connection. Thoughtful integration is key to realizing its promise, and even though my interest is commercial and design, not medicine, these insights on AI in healthcare can inspire and inform how we approach design challenges.

  • ….. More in depth; AI in design

    One thing that has constantly intrigued me, throughout studying fashion design in my BA then going on to be a fashion developer in London and Hong Kong, and even analysing trends in my MSc in business, was what is woke in a population. That concerns the “what?”… but my pest career focussed more on the “how”?.

    Looking at the current “what,” this post focuses on a topic that particularly interests me: what is trending globally right now—AI. A strong example of this intersection between technology, fashion, and design is L’Oréal’s partnership with IBM. By integrating AI into beauty innovation, the collaboration enables more personalised, inclusive, and sustainable products, showing how technology can quietly enhance design and creative expression rather than overshadow it.

    IBM and L’Oréal are exploring how AI can transform innovation. Using IBM Watson X, they’re developing AI assistants that simulate complex scenarios—originally for education, like classroom interactions—but for L’Oréal, the focus is on cosmetics. Custom AI models can help researchers design products faster, more creatively, and more sustainably.

    Take lipstick as an example. Traditionally, it’s made in two stages: a highly opaque base delivers colour and a matte finish but feels dry and uncomfortable, followed by a second layer to improve wearability. The difference between products like Super Stay 24 and Mad Ink lies not in longevity—they both last—but in comfort. Mad Ink avoids the need for constant reapplication thanks to careful formulation.

    L’Oréal has always been a science-driven company. Early liquid lipsticks in the 1930s were little more than stains; later formulas were heavier and less convenient. Over decades, L’Oréal’s chemists refined these products through trial and error, testing everything from colour and texture to durability under extreme conditions. Every lipstick is essentially a piece of technology, backed by millions of data points.

    The collaboration with IBM, launched in early 2024, brings together two century-old innovators with strong scientific cultures. IBM works directly inside L’Oréal labs to understand researchers’ needs, creating custom AI models tailored to the company’s unique data. Unlike general-purpose AI, these models are smaller, faster, and more energy-efficient, allowing L’Oréal to leverage decades of research in a usable, targeted, and transparent way.

    The potential impact is huge. AI can accelerate product development, expand creative possibilities, and make innovation more sustainable. By narrowing the gap between imagination and reality, it enables breakthroughs that were previously difficult or impossible. This approach isn’t limited to cosmetics—similar AI-driven strategies could help clothing companies fast-track design and fabric development, processing vast datasets and testing countless scenarios to support designers’ judgment.

    L’Oréal also monitors early signals from fashion and social media to anticipate emerging trends, ensuring products meet both current demand and future tastes. Combining this with AI, the company is redefining what’s possible in beauty, showing how data, science, and technology can converge to drive innovation.

    From decades of research to cutting-edge AI, L’Oréal is not just a cosmetics company—it’s a beauty data powerhouse, using technology to turn ideas into reality faster, smarter, and more sustainably than ever.

  • The Black Swan Effect

    The Black Swan effect refers to rare, unexpected events that have huge impacts, and only seem obvious in hindsight. It’s like the butterfly effect; small or unpredictable triggers lead to dramatic, far-reaching consequences.

    In short, it explains how humans underestimate the likelihood of extreme situations, but rely heavily on past data.

    Important attributes include unpredictability; nothing in the past clearly points defined the future.

    It concludes to really big consequences; PESTLE (as learned in my MSc: Political, Economic, Social, Technological, Legal and Environmental) or cultural. It’s only afterwards when it becomes obvious and should have been expected.

    Black Swanevents can instantly transform entire industries, markets, technologies, and even society itself.

  • Eyewear

    The eyewear industry is unusually multifaceted. Complexity exists not only in design, point of sale, manufacturing, and material choices, but also in the way products themselves are developed. Frames and lenses must be researched and produced separately, each requiring precision and independent innovation.

    Eyewear’s origins can be traced to the Arabic world, where early vision improvement came in the form of reading stones, similar to small magnifying lenses. In early modern art, glasses often symbolized aging, death, or even evil, contributing to a historical stigma. Today, however, the global eyewear market generates well over $150 billion annually.

    Companies that control every step of this process are known as vertically integrated players, overseeing the entire chain from raw material to final sale. The most prominent example in this industry is Essilor Luxottica.

    Essilor Luxottica manages lens technology, manufacturing, optical laboratories, frame production, brand licensing, retail distribution, vision insurance, optical software, third-party labs, and optical equipment. Much like major fashion houses, they control supply chain, distribution, and customer experience, and because their primary value lies in branding and design, the technical complexity of lenses often matters less to consumers than the name stamped on the frame!

    The company was founded by Leonardo Del Vecchio, who intended from the beginning to build a fully comprehensive eyewear empire. In effect, it is an extreme form of vertical integration. The firm operates like a massive holding company focused entirely on eyewear, growing through acquisition, consolidation, and the advantages of scale. Royalties and licensing add another layer of profit. Their manufacturing processes are intentionally straightforward, producing high yields at low cost, and recent consolidation shows that future growth will depend heavily on how emerging technologies are incorporated.

    Historically, the industry changed significantly in the 1970s. Collaboration between a medical product and a fashion product, transformed eyewear from a medical necessity into an aesthetic accessory. For the first time, a customer could obtain a prescription from one place and purchase lenses or frames elsewhere, splitting the business and creating competition. A defining moment came when Armani partnered with Luxottica to launch branded Armani eyewear, turning glasses into luxury objects. Other clothing brands expanded into non-garment consumer goods, such as Halston entering home textiles and Pierre Cardin producing cookware. Luxottica continued its acquisitions, adding brands such as Ray-Ban and Oakley, and used vertical integration to lower production costs while maintaining high margins.

    This strategy paid off. Today Essilor Luxottica accounts for roughly one-quarter of the global prescription eyewear market, within an industry valued at around $100 billion. Their market dominance is reflected in their economics: raw materials for a pair of frames may cost as little as twenty dollars, yet retail prices frequently reach hundreds, driven almost entirely by brand value rather than production cost.

    Despite eyewear being an old technology, glasses were invented about eight centuries ago, through innovation in lenses which has been relatively slow. This contrasts sharply with fields like aerospace, where research investment is enormous. The question remains whether eyewear will undergo meaningful technological evolution, or whether its value will continue to rest primarily in branding and fashion.

    Any discussion of this industry also has to consider economics and government regulation. In the 2010s, government intervention in major mergers declined, and several political decisions allowed companies to consolidate more freely despite concerns about competition. Two major pieces of U.S. legislation are relevant: the Sherman Act of 1890 and the Clayton Act of 1914. The Sherman Act prohibits false claims, collusion, price fixing, and any agreements that restrain trade, while the Clayton Act focuses on restricting mergers that reduce competition. Modern examples include the Facebook acquisition of Instagram, which reduced competitive pressure from rival platforms, and the U.S. Justice Department’s lawsuit against Ticketmaster and Live Nation for monopolization.

    In eyewear, monopoly concerns are widespread. Critics argue that competition is limited, profit margins are extreme; even compared with other luxury goods, and pricing strategies exploit consumers with limited information. The situation resembles the pharmaceutical market, where necessity and high margins coexist. Industrial organization considerations include branding, retail strategy, product placement, and regulatory pressure.

    Around 1960, eyewear made a cultural leap from medical device to fashion accessory. This transformation came with enormous markups, sometimes reaching one 1000%, because consumers became willing to pay primarily for brand identity. Yet global access is uneven: many people who need vision correction still do not have it, while many who do not strictly need glasses buy them for style.

    A modern challenge to Luxottica’s dominance has emerged through the online retailer Warby Parker. Their business model is built on transparency and low prices, with frames starting around fifty dollars. In contrast, traditional optical shops rarely display prices, making it easy for consumers to be upsold due to information asymmetry. Warby Parker sells directly to customers, offers home try-on options, and installs prescription lenses after purchase. The company went public in 2021 with a market capitalization of about two billion dollars. Its gross margin is approximately 56 percent, even after accounting for optometrists and physical store buildouts. Although the company holds only about two percent of the U.S. eyewear market and cannot operate entirely online due to the medical complexities of prescriptions, it has built a business model fundamentally different from Luxottica’s and has no desire to replicate the traditional vertically integrated system.

  • Investing

    So, knowledge has always been my priority. This is probably why being out of work has been so demoralising…

    I’ll start an MBA in Edinburgh business school in September! So I see a future of investing approaching…

    For my theme, I’m thinking Medi-tech (probably due to my multiple instancess of medical conditions).

    And when choosing a startup to invest (time/money/experience/effort), I should ask;

    “Will this project enamble us to increase production and profits?”

    “Will it produce economic growth ?”

    In other words;

    What?

    So what?

    Now what?

  • Origin of computers

    This is bloody cool. It all started with fabric weaving….

    Read more about the whole story here: file:///C:/Users/leuty/Desktop/origin.htm

  • 18/5 – Virtual Trying On

    With the COVID epidemic the fashion industry has taken a huge blow. It seems like everyone is just buying everything online, and this includes fashion.

    Fashion is the perfect mixture of skill & psychologically however fashion is very difficult to do digitally.

    Fashion just doesn’t work if you can’t physically try to on. Psychologically certain garments don’t suit some people.

    Fashion is why us, as animals, differ from other animals.

    Because we need to shop online we have to think how we can use technology to overcome this problem.

    But we have to be innovative with this problem where fashion doesn’t work well without trying on clothes online, but being inventive with technology & how we’ll use technology to help us overcome this.

    So let’s set ourselves away from other species & use this pandemic as a problem to overcome. We can do that through innovation. Come on, let’s evolve.