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Re-enchanting
Weirdness
4 min read

The age of re-enchantment and how brands will exploit it

One of the world's largest advertising agencies has released a report on 're-enchantment', Daniel Kim predicts a not-too-distant future when brands will exploit and commodify spiritual hunger.

Daniel is an advertising strategist turned vicar-in-training.

The Age of Re-Enchantment

Last month, Wunderman Thompson published a new insight report called The age of re-enchantment. I was giddy to get into it, not least because Seen & Unseen has a podcast called 'Re-Enchanting' (which you should listen to by the way). 

For the uninitiated, Wunderman Thompson is a 20,000 person-strong global advertising agency who literally invented the term ‘marketing’ back in 1961. With clients like Heinz Ketchup, Burger King, Bose, HSBC, KitKat and countless other ubiquitous brands, they are a culture-shaping juggernaut. They’re no joke. 

Like all Wunderman reports, The age of re-enchantment is meticulously researched, beautifully presented, and written with finesse, coining terms left, right and centre like 'joy-deficit' and 'sensory techtopias'. It had me nodding along from the get-go.  

'Re-enchantment is fulfilling a craving for feelings of wonder and awe, an appetite for joy and fun, and an openness to thrills and adventures'.

Yes.  

The top two emotions that people want more of in their lives are ‘joy’ and ‘hope’.

Yes, yes! 

'We live in a rational, explained world, and one in which we are harried and anxious, with little time to pause and pursue these sensations'. 

Yes, yes, yes! 

But then, as I read on, my warm glee turned into abject horror.  

In the introduction of the report, Marie Stafford, the Global Director of Wunderman Thompson wrote:  

'It’s time to remake the world through the lens of re-enchantment, where the new brand metrics are jaw drops, heart swells, and goosebumps. Brands can help people transcend tough times and jolt them from long-standing malaise by celebrating the thrilling and uplifting, the awe-inspiring, and the magical' 

In other words, the market has recognised this profound existential hunger in culture at large, and will now try and extract capital value from you.  

A couple months ago, I wrote a piece on the dangers of selling spirituality and wellness, and how it had become a $3.7 trillion dollar industry, warning that 'we can’t let our spiritual hunger be commodified for profit'. Well, get ready folks. Here comes the re-enchanting brands here to do just that. 

The middle bulk of the report parades a line-up of case-studies that have leant into the ‘age of re-enchantment’.  

Some brands, like Levi Strauss, were leaning into themes of mortality and death in the post-pandemic period, such as in the 2023 Campaign, 'Greatest Story Ever Worn: Legends never Die'. This ad dramatises the true story of a man who requested all his loved ones to wear Levi’s to his funeral.  

 

The Greatest Story Ever Worn: Legends Never Die, 2023

Levi 501 2023 Campaign

Others were leaning into the desire for transcendence, trying to (legally) replicate spiritual and psychedelic experiences. Of note was a new VR experience called Isness-D developed to deliver a transcendent experience that replicates spiritual and near-death experiences. Apparently, this VR product has similar effects to a medium dose of LSD.  

Product demonstration of Isness-D.

Isness-D Demonstration

The report also recommended that brands tap into the ‘Joyconomy’. Yup, you read that right. That means ‘advocating for moments of joy, play and fun’ because that can be a ‘powerful strategy for brands to uplift and engage customers’. After all, 49 per cent of people say that they would be even more likely to purchase from a brand that brings them a sense of joy. In fact, the CEO of Daybreak, a fitness-and-dance company, even said that one of the core KPIs for her business is ‘tears of joy’. …  

Look, I’m sure they mean well, but quite frankly, I don’t want to be part of a world where tears of joy(!) are considered key performance indicators for brands. Tears of joy are for weddings, reunions, or the end of a national war. Not a market transaction! Similarly, I find something bizarrely distasteful about a mortality-themed brand activation. ‘Yes, embrace your mortality and stare into the void, but don’t forget to buy our 501 Original Levi Denim.’ And I don’t know about you, but if I am going to seek out experiences of profound, spiritual transcendence, I’m sure as hell not going to do it in some VR-fake-LSD-hellscape-nightmare that I overpaid for.  

There’s a profound irony in all of it. There is chunky section in the report about the rise of ‘New Spiritual Rebels’, the ever-growing community of people interested and practicing non-traditional religions like witchcraft and paganism. The report recognises that, wrapped up in this movement, there is a desire to 'break things down and build them up again in paths of inclusive post-capitalist… futures'.  

How are brands meant to respond to that?! “Ah, yes”, nodded the advertiser. “Now, how do we bake that into our new Spring campaign for Airbnb? Maybe an authentic Wicca hut in Salem could be the hero ad?” It’s absurd.  

This is blindingly obvious, but brands will be hopeless at addressing questions of mortality, transcendence, awe, serendipity, hope, joy, and meaning in a chaotic and anxious world. I love brands, but that’s above their pay-grade. Unfortunately, that won’t stop them from trying to commodify 're-enchantment' and extract capital value from it. No thank you.  

The age of re-enchantment is real, and this report does a tremendous job at demonstrating it. But this piece of work is not, and shouldn’t be, for brands. It should be for community and religious leaders, and it should be for you. And so I will end this article in a similar vein to my last one.  

If we are going to embark on this journey of re-enchanting our society with joy, spiritual depth, and existential meaning, we can’t let that hunger be commodified for profit. The re-enchantment of our hearts is too important for that. It is worth more, infinitely more, than 501 Originals.

Review
Art
Culture
Royalty
Weirdness
5 min read

From witchcraft to statecraft: inside the mind of King James

A new exhibition examines art the monarch commissioned and inspired

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

A portrait of King James VI, his eyes fix the viewer.
King James, by an unknown artist.
National Galleries of Scotland.

James IV and I devoted his twenties to trying to rid his kingdom of witchcraft. And 400 years after his death, witches continue to cast a long shadow over his reign. While James’ beliefs on evil developed and refined over his 58-year reign, his reputation as solely a torture and femicide perpetrator remains stubbornly hard to shift. For many, identification with the abused, marginalised- yet- magical trumps all other historical considerations. 

In the exhibition World of James VI and I, the National Gallery of Scotland presents a more rounded picture of the cradle king, who gained the throne of Scotland at 13 months old and became the first joint monarch of Scotland and England in 1603, on the death of Elizabeth I. The beginning of James’ reign in England saw the first productions of Shakespeare’s Macbeth, King Lear and The Tempest. Inigo Jones’ appointment as Surveyor of the King’s Work introduced the classical architecture of Rome to the country, designing The Queen’s House in Greenwich and the Banqueting House at Whitehall. 

The painted ceiling of the Banqueting House by Peter Paul Rubens provides insight into James’ preoccupations. Commissioned by James in 1621, the tennis court sized series was installed in 1636 becoming a memorial to the late King. In The Apotheosis of James I, the King is depicted ascending into heaven on a giant eagle belonging to Jupiter, ruler of the Roman gods. The winged figure of Victory, together with a figure representing Great Britain hold a laurel wreath above the King’s head, in exchange for his earthly crown. Parallels between the King and divine power are explicit, underlined by the figure of Religion holding the freshly translated Bible showing the first words of St John’s gospel ‘In the beginning’ (was the Word). In a side panel to The Union of the Crowns, where the King is presented in a Biblical setting, Minerva, goddess of wisdom is stamping on Ignorance, represented by an old woman, naked and floored. 

Rubens’ identification of an old woman as low status and powerless did not come out of thin air. In the social hierarchy of seventeenth century northern Europe, most ordinary people had few rights and women had next to none, entitled only to the legal protection of their husband’s rank. But lack of rights did not prevent women from influencing their communities’ moral tone. The victims of the infamous East Berwick witch trials in 1590-92 and Pendle witch trials in 1612, first came to the attention of authority through accusations and feuds within their own communities. 

Daemonologie, published in Edinburgh in 1597, was written following James perceived experiences of witchcraft when storms imperilled his voyage from Denmark to Scotland, returning with his new 15-year-old bride Anne. It is believed the King was involved in interrogations of witchcraft suspects in East Berwick, authorising their torture and execution. One suspect’s ability to recount a conversation from the royal bridal chamber, convinced James the accused were the tools of diabolical powers intent on killing the royal couple. Beliefs around women’s inherent weakness, positioned them as easier prey for malevolent forces:  

‘sexe is frailer than man is, so is easier to be intrapped in these grosse snares of the Devill’ 

In later life James became more sceptical about claims of witchcraft and demonic possession, and searched for evidence to discount what was only the work of fantasy and attention-seeking. 

But the King’s family history and tumultuous times he lived through, made the road to discernment a long and winding one. James last saw his mother, Mary Queen of Scots as an 11-month-old infant. His father Lord Darnley was killed in a mysterious explosion, possibly arranged by his own wife. Mary was imprisoned in England by Elizabeth I and executed in 1587 at Fotheringhay Castle in Northamptonshire. In the lead up to his marriage James lamented that as a child he was ‘alone, without father, mother, brother or sister.’ 

The normalcy of removing troublesome relatives is illustrated by a 1605 portrait of Lady Arabella Stuart, attributed to Robert Peake the Elder. The King’s cousin died in the Tower in 1615, where James had her imprisoned, in case her marriage to William Seymour gave her too strong a claim on the throne. 

Today’s witches on Etsy may feel they are reclaiming a lineage of folk wisdom and reparation for past wrongs. But willingly stepping into the scapegoat role...  has no historical precedent.

Death also stalked James and Anne’s family, with only two out of their seven children surviving into adulthood. Their eldest son and heir Prince Henry Frederick died aged 18, and was mourned throughout Europe in the decades that followed the death in 1612, as he was seen as the great hope of the continent’s future.  

The World of King James VI and I is full of visual meditations on death. On entering visitors are greeted with Livinius de Vogalaare’s The Memorial of Lord Darnley, 1567, a substantial canvas, with a crowned, grey-robed infant James, kneeling before his father’s coffin. Darnley’s effigy with hands in prayer lies on top the casket, unicorns either side of his head. An engraving of Prince Henry Frederick’s Hearse, 1640 copy from 1612 original, shows the richly decorated hearse, complete with a wax effigy dressed in the prince’s clothes, which was accompanied by 2000 mourners as it made its way to Westminster Abbey. Eighteenth century artist James Mynde’s engraving The Mausoleum of James VI and I, illustrates the Jacobean era’s fondness for lavishly dressed effigies of the deceased, surrounded by figures of classical deities. 

Charm stones, believed to cure sickness in people and animals, formed part of James’ cosmology, together with the new translation of the Bible he commissioned, intended to sound beautiful for this age of oracy. James advocated for Protestantism and the reformation, while being in regular communication with the Papacy. He also brought a more English style of worship to the independent-minded Scottish kirk, insisting they used chalices and altar cloths. The monarch was devout, yet flexible, in his Christian beliefs. 

A simple reading of the Jacobean court is not possible. It was a place of ritualised gift-giving, with ciphered and initialled jewels indicating who was in or out of favour, whose power was rising, and whose power was waning. James believed he was sent by God to rule and protect his people, and felt justified in extinguishing anyone or anything threatening his divine project. Self -proclaimed, or community-nominated witches provided useful scapegoats for discontent around James’ rule, underlined in 1605 by the Gunpowder Plot. 

Today’s witches on Etsy may feel they are reclaiming a lineage of folk wisdom and reparation for past wrongs. But willingly stepping into the scapegoat role and presenting a blank screen for the dark projections of the powerful, has no historical precedent for bringing liberty or social transformation. Cos-playing the historically marginalised will not make things better for today’s excluded and underserved, but focusing on down to earth, earthly political and economic power will. 

 

The World of James I and VI, National Galleries of Scotland, until 14 September.