Seamless - Sorman-Nilsson Anders

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what is half-baked and you make it sophisticated and polished. Chris – thanks for your patience, and chasing me for permissions, chapters, forms, designs, and content. Kristen – thanks for finding me and for being a great collaborator – we did Digilogue together, and I am eternally grateful for the relationship with Wiley that has ensued. Lucy – you have taken over the baton really nicely, and again thanks for your patience and flexibility. Seamless has been a long time coming, but we got there, and I am thankful for your belief in the project and its merits.

      To my speakers management agency – Ode Management. Leanne, Heidi, Tanja, Jay, Julie, Tanya, Becs, Michelle, Amanda, Teri, Mike, Sam, Simla – thanks for pushing and challenging me to curate this book, and to share my vulnerability and authentic voice. It's been a fun 7 years together and I look forward to continuing to make a big splash and inspiring futurephilia and seamless futures around the world.

      To Georg Sörman. Thank you for starting the movement and creating the brand that lives on 100 years later, and which has provided so much analysis, soul searching, sartorialism, and neon elegance, and somehow managed to make your idea virus live on from generation to generation – a Georg Sörman meme indeed. Let us see if the 4th and 5th generations will continue your legacy.

      Prologue

      Start preparing for the future today, because it is where you will spend the rest of your life.

      Failing to succeed – a futurist's confessions

      These lines were written to the soundtrack of Coldplay, perhaps fitting, given my long-time love affair with the band. Whether I am newly in love, deeply connected with a partner or undergoing the tempest of a break-up, Coldplay seems to have composed a song that is in tune with my emotional vibrations. One of these songs that captured my heart was ‘The Scientist' in 2003. Yes, I can obsess nostalgically about a song for a long time. I was living in Vienna, Austria, when I first became obsessed, and completing my specialisation in International Law at the University of Vienna. The album had come into my hands during a train trip with my good friend, Mark, when we travelled from Stockholm via St Petersburg, Moscow, through Belarus, to Warsaw in Poland and Berlin in Germany, all the way down back to Vienna, after spending a few summer weeks in my native Sweden. I bought the album, I remember, from a street vendor in St Petersburg, and judging by the fact that I picked up about fifteen CDs from him, I don't believe I paid the normal retail price. However, the CDs were really good quality for pirated copies, and A Rush of Blood to the Head became the soundtrack during a challenging six-month period in my life.

      Whenever a song really resonates with me, as my brother will attest, the song will be on repeat, usually because my ego tells me the song was penned just for me. This was the case with ‘The Scientist', which just so happened to be in the same register as my emotional state – influenced as it was by the break-up, reunion, long-distance relationship, near-infidelity and eventual long-term commitment with my girlfriend at the time, Hema. But let us go back to the start. Let us explore ‘The Scientist' for a moment. In the interest of the convergence between digital and analogue worlds, if you want to listen to the song while reading these next few lines you can do so legally and digitally by using this link on Spotify: ow.ly/WvTqb. It will literally take you back to the start.

      Anyone who has ever experienced the turmoil of a tumultuous relationship and important life decision can relate, I am sure, to the lyrics in the song and the feeling of wanting to go back to the beginning of a relationship and start it all over again. Beyond the lyrics, there was also something magical about this idea of returning to a point in the past, especially when it became the inspiration for the song's video clip (which you can watch on YouTube at ow.ly/WvTOT and which won multiple MTV Video Music Awards for Best Group Video, Best Direction and Breakthrough Video in 2003). The video is so powerful because it employs an innovative reverse narrative that begins at the end and goes back to the beginning, taking us back to the start, using a reverse video technique. This technique meant Chris Martin, the band's lead singer, had to spend one month learning to sing ‘The Scientist' in reverse, so that when you view the video, his lip movements perfectly sync up with your auditory input of the song, while he is walking backwards in reverse from the end of the scene to the beginning.

      As a futurist, and sometimes described as a reverse historian, this creative warping of time and going back to the source is something I want to curate for you now. Let me take you back to the start of a futurist's confession. Because my journey as the futurist mentor in one of my life's most dearest relationships didn't go to plan, was by no means ‘seamless', was filled with friction, and failed to achieve success(ion) in the short term. So this movement between friction and seamlessness plays out within this book. However, in set-backs lie the green shoots of future success, so please indulge me in sharing my futurist's confessions as we embark on a hero's journey of digital disruption, adaptation and transformation. Let me take you back to the start.

      Introduction

      The future really belongs to those brands that are able to weave together the past, the present and the future into a seamless and inspirational hero's journey.

      The modern metaphor of seamless

      The mathematics of metaphor are fairly simple: x = y. For example, in Shakespearean terms, ‘Juliet is the sun'. Now, we all know that she is not literally the sun, but that she has the sun's characteristics; attributes such as ‘warm', ‘glowing', ‘bright' and ‘beautiful' are bestowed upon Juliet by virtue of the metaphor. But while this mathematics may seem simple, our use of metaphor has a powerful influence on how we think about our lives. And, as I expand on later in this book, text (ideas) and textiles (fabrics) have always been closely linked, both literally and metaphorically.

      For example, interestingly in the English language, we can both weave stories and tell lies by reference to textiles. As noted by the English Language and Usage website (in their analysis of the metaphor ‘Thought is a thread, and the raconteur is a spinner of yarns'), expressions like ‘loom of language', ‘weave a story/spell', ‘thread of discourse' and ‘warp and woof' indicate textile–story associations, while ‘fabricate evidence', ‘spin a yarn', ‘tissue of lies', ‘pull the wool over your eyes', and ‘out of whole cloth' indicate that textile metaphors are morally neutral and can be used for authentic tales as well as the invention of false anecdotes to serve the interests of the raconteur. Metaphors can be a useful mental shortcut, by explaining x in reference to y, and, given our age-old connection to textiles – their production, their constituent parts, their art and science, and characteristics – the traditions of textiles are still highly relevant in a modern context, in the expression of ideas about the future, and in gaining buy-in to something as intangible and abstract as strategy.

      Even a word such as ‘context', used in storytelling, news, debates, dialogue and therapy, is an example of the intermeshing of text and textiles. Context comes from the Latin root of ‘con' (together) + ‘texere', thus denoting ‘together to weave', meaning the circumstances that form the setting for an event, statement or idea, and in terms of which it can be fully understood. ‘Pretext' is another such intermeshing. This again comes from a Latin root – ‘prae' (before) + texere, indicating ‘before to weave' and meaning a reason given in justification of a course of action that is not the real reason. ‘Subtext' is a third example, and means an underlying and often distinct theme in a piece of writing or conversation. And the idea of ‘subtle' nuances in a conversation comes from the ‘sub-tela', from Latin ‘subtilis' (thin, fine, precise) or a ‘thread passing under the warp'.

      These links between text and textiles lead us to the topic for this book (everything is connected). While the idea of ‘seamless' has both a literal and a metaphorical meaning, its origins, of course, lie in textiles. According to Merriam-Webster, the literal meaning of the word seamless is ‘having no seams'; its metaphorical meaning is ‘having no awkward transitions, interruptions, or indications of disparity'. More simply, Merriam-Webster defines seamless as ‘moving from one thing to another easily and without any interruptions or problems' and as ‘perfect and having no flaws or errors'.

      Again according to Merriam-Webster, its synonyms include: absolute, faultless, flawless, ideal, immaculate, impeccable, indefectible,

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