Xiaomi announced a new smartphone series called “CC” last week. The first smartphones under the series are said to be the Mi CC9 and the Mi CC9e. Xiaomi is yet to confirm the phones launching under the CC series but rumours and leaks have revealed almost everything about the devices. With the Mi CC series, Xiaomi is aiming to target the selfie-centric audience and mostly the younger generation. The first phones under CC series or Mi CC9 and Mi CC9e will launch on July 2, the company confirmed on Monday.
Ahead of the launch, almost everything about the Mi CC9 and the Mi CC9e has been revealed by the rumours and leaks that are circulating all across the internet for a long time now. As far as the overall design is concerned the Mi CC9 and the Mi CC9e appears to be the same. At least that is what the rumours suggest. Rumours and leaks also suggest that both the Mi CC phones are also expected to include an in-display fingerprint sensor. As of now, there are no words whether or not the Mi CC9 and Mi CC9e will come to India. For now, the phones are launching in China.
Both the smartphones are expected to come with glass body, Gorilla Glass 5 on front and back, triple rear cameras, waterdrop notch, among other things. In the leaked renders the Mi CC phones appear in white. We expect there will be other vibrant colour variants too considering the phones are targeted to the young audience.
Let’s take a quick look at all the specs of the Mi CC9 and Mi CC9e:
Xiaomi Mi CC9
Display: The Mi CC9 is expected to come with 6.39-inch AMOLED display.
Processor: The phone is said to be powered by Qualcomm Snapdragon 730 processor that also powers the Redmi K20.
RAM: 6GB and 8GB
Storage: 128GB and 256GB.
Rear camera: On the back panel the Mi CC9 is said to include three cameras. The primary camera is said to include a 48MP sensor, secondary camera a 16MP sensor, and third camera a 12MP sensor.
Front camera: On the front the phone is expected to include a 32MP selfie shooter.
Battery: 4000mAh battery.
Software: The phone is said to run on MIUI 10 on top of Android 9 Pie.
Xiaomi Mi CC9e
Display: The phone is said to include a 5.97-inch AMOLED display with a screen resolution of 1080 x 2340 pixels.
Processor: It will be powered by Qualcomm Snapdragon 710 processor.
RAM: 6GB and 8GB
Storage: 64GB storage, 128GB storage.
Rear camera: On the back panel the Mi CC9e is said to include three cameras. The primary camera is said to include a 48MP Sony IMX582 sensor, secondary camera an 8MP sensor, and third camera a 5MP sensor.
Front camera: On the front, the phone is expected to include a 32MP selfie shooter.
Battery: 35000mAh battery.
Software: The phone is said to run on MIUI 10 on top of Android 9 Pie.
Xiaomi Mi CC9e and Mi CC9 expected price
Leaks and rumours have revealed the price of all variants of both the phones. The Mi CC9e is expected to have a starting price of 1,599 Yuan for the 6GB RAM + 64GB storage model. The Mi CC9e is also expected to come with 6 GB RAM + 128 GB storage that is said to cost around 1,899 Yuan ($276). There will be an 8GB RAM and 128GB storage model that is said to cost around 2,199 Yuan (~$320). In comparison, the Xiaomi Mi CC9 is said to come with a starting price of 2,599 Yuan (~$378) for the base model with 6 GB RAM + 128 GB storage. Leaks also suggest that the 8GB RAM + 128GB storage and 8GB RAM + 256GB storage models will cost around 2,799 Yuan (~$407) and 3,099 Yuan (~$451), respectively.
Short video app TikTok Friday urged its users to leverage the platform to showcase creativity and asserted that it does not endorse or promote videos that violate its community guidelines around inflicting harm on oneself or others.
The statement comes in the wake of a recent incident where a teenager was shot dead “accidentally” when he and his relatives were posing for a TikTok video in Maharashtra’s Ahmednagar district.
“We are deeply saddened to learn of the passing away of one of our community members…At TikTok, we are committed to maintaining a safe and positive in-app environment for our users,” TikTok said in a statement.
The statement further stated that while it encourages users to showcase their creativity, TikTok in “no way endorses or promotes videos that violate our community guidelines that includes harm to oneself or others”.
TikTok, which has 200 million users in India, was in news earlier this year when the Madurai bench of Madras High Court had, on April 3, directed the government to ban the mobile application, as it voiced concerns over the “pornographic and inappropriate contents” being made available through such apps.
However, the Madras High Court lifted its ban on TikTok three weeks later.
PhotoSparks is a weekly feature from YourStory, with photographs that celebrate the spirit of creativity and innovation. In the earlier 345 posts, we featured an art festival,cartoon gallery.world music festival, telecom expo, millets fair,climate change expo,wildlife conference,startup festival,Diwali rangoli, and jazz festival.
The Akanksha 2019 exhibition, held recently at Karnataka Chitrakala Parishath in Bengaluru, featured over 500 artworks by 55 women artists, showcased for six full days. In Part I of our photo essay, we interviewed curator Shyamala Ramanand on the mission and journey of the exhibition; see also Part III for more artist insights.
The artist lineup includes Anusha Reddy, Tanu Gupta, Sunitha Krishna, Saroj Revankar, Pareejat Gogoi, Sindhu Rani, Aakriti Agrawal, Ahila C, Suvidha Bolar, Vedha Sreeram, Yamuna Padmanaban, and Sangeeta Agarwal.
Saroj Revankar has a range of artworks reflecting her upbringing in rural India. “Art is a never-ending learning process for me. A few workshops have helped, but I believe we learn from our mistakes and from regular practice. Art is my passion, and gives me peace and happiness,” she says, in a chat with YourStory.
Her artworks feature the tribal people from her village, and are priced in the range Rs 2,500 to Rs 25,000. “View art not only from your eyes but also from your heart,” Saroj advises audiences. “Don’t be afraid to take the ideas from your mind and put them on canvas or paper. Keep practicing and follow your passion,” she offers as tips to aspiring artists.
Self-taught artist Pareejat Gogoi specialises in realistic and semi-abstract art. Her works are priced from Rs 3,000 to Rs 25,000; at the exhibition, she displayed paintings titled Bodacious and Devotion. “Akanksha is a great platform for artists, and has set a benchmark of excellence. There is so much history at the venue itself, Chitrakala Parishad,” she explains.
Sindhu Rani showcased her landscapes and traditional paintings like Kerala murals and Madhubani painting, priced from Rs 5,000 to Rs 30,000. She sees success coming from developing a unique style and getting recognition for it.
“I would like to make audiences feel that presence of self inside my paintings, and experience the depth in each,” Sindhu says. She advises artists to spend time planning before starting to paint, in order to get a clear idea of how to compose the artwork.
“Art to me is happiness that I can share with the world without saying a word, by living my dreams, by creating little things in nature that I so love, on canvases. Art is therapeutic and has the power to cure any ailment in this world,” says Ahila C.
Her artworks are priced in the range Rs 6,000 to Rs 9,000. She is working on creating some authentic Kerala mural artworks. She advises audiences to enjoy the sheer creative energy of art. “Art is a planet of thoughts you can transport yourself to,” Ahila enthuses.
“Love what you do and do it with utmost sincerity, absolute hard work and pure thoughts! Don’t go after sales and fame. They will pour on you anyway, if your work has the purity and the power to speak to the world,” she adds.
“Have you seen people go through old photographs to relive moments of the past? I use art to do the same,” explains Suvidha Bolar. Success for her is seeing art taking form as she imagined, and receiving genuine appreciation or constructive criticism. The ability to do artwork as per the needs of a customer is equally important. Her artworks are priced from Rs 7,000 to Rs 9,000.
“There is no failure in art. Everything which didn’t turn out the way you want teaches something and there is always the chance of a beautiful accident,” she evocatively explains. She says she is not sure if she wants to stick to a style or have her unique signature as yet.
“Sometimes I do things which convention or many art schools would say are not to be done. One of them is the predominant usage of black in my paintings in order to break the cliche that black is associated with something dark, bad or negative,” Suvidha explains.
For Akanksha 2019, she featured works with the theme ‘Colours of Prayer.’ She hates being repetitive, and is also working with clay and learning techniques of blue pottery under the guidance of Gyanesh Mishra.
She urges audiences to turn out in large numbers at galleries and studios to support art. “Artists need viewership to thrive,” Suvidha emphasises. She advises aspiring artists to keep learning. “The attitude to learn is very important. As artists, we cannot be stagnant and should never cease to learn. Learn, practice and stay positive,” she sums up.
Yamuna Padmanaban sees art as a medium to create ripples of positive vibrations while taking the audience on a mystical journey. Success for her comes from seeing viewers immersed in her art.
“Through every work, I try to paint a gentle story that has touched me in some form and is a joy to share,” Yamuna explains. With the theme ‘Positive Vibes,’ she created works titled Innocence and Fairy for the Akanksha exhibition. Her works are generally priced from Rs.3,000 to Rs.50,000.
She advises audiences to approach art with an open mind, take time to observe and interpret it, and communicate their thoughts to the artist. “We are always glad to hear back,” Yamnua enthuses. She advises artists to explore without constraints and stay original.
Vedha Sreeram practices and conducts workshops on Mandala art, combing her passion for painting and teaching. “Mandala art is mainly for inner exploration and achieving meditative effects through radial symmetry and intricate patterns,” she explains.
For the Akanksha exhibition, she featured works titled Sahasrara, Aishwaryam, Anantham, Omnipotent, Omnipresent, and Omniscient, with variations of ruby, emerald, gold, sapphire, silver, and hues of blue, yellow and purple. Her works are priced from Rs 500 to Rs 18,000.
Artforms like Zentangle and Mandala attracted Aakriti Agrawal. “A year back, I was having a tough time both in my personal and professional life, I was becoming negative, prickly and sour to the world. I started doing art as a distraction to fight stress and depression, but soon it became a passion and a sacred practice that I try to do daily,” she explains.
Her artworks are priced from Rs 2,000 to Rs 20,000. Aakriti sees success as attaining the ability to innovate and be creative. “I try to include many patterns in one object, making it more appealing and beautiful. Regular practice and being up to date with the ongoing trends in art motivates me to develop and work better each time I do it,” she adds. Her mantra is to never hesitate to try new things.
For the Akanksha exhibition, she prepared works inspired by Mandana, a traditional form of art done on the floors and walls of central India. “Being from Chhattisgarh, I was always attracted to this traditional artform,” she explains; it is very similar to rangoli. Her other projects centre on the Chakra Mandala.
Aakriti urges audiences to appreciate the hard work and patience that go into artworks, enjoy their beauty, and derive positive energy. She advises aspiring artists to practice and innovate regularly. “I follow the cyclical process of Create – Introspect – Improve, it helps things fall in place,” she signs off.
Now, what have you done today to pause in your busy schedule, introspect on your creative side, and achieve your true potential?
Last week at The Glossy Summit: Future of Fashion and Luxury in Miami, fashion brands, both big and small, came together to speak frankly about the challenges they’re facing and what they are doing to evolve. From the main stage where speakers outlined their companies’ strategies to small working groups where attendees sought guidance from their peers, the event was full of modern retail insight. Here’s what we learned:
The power is with the consumer
On the minds of many of the brands in attendance was how the power to control the fashion conversation has shifted to consumers.
– Consumers, not brands, now dictate trends and have more knowledge than they have ever had before. They also have a huge number of options of where to buy their desired item. This has led to a fundamental shift in how brands engage with their customers, making reactivity and flexibility a core skill for the modern fashion brand.
– Brands like Universal Standard have worked extensively to make sure that their sizes are as comprehensive as possible, ensuring that every customer has a wide array of options. This required a significant amount of rethinking the standard fashion production schedule from design to manufacturing. It also created new ways of manufacturing fabric that could accommodate the brand’s extended sizing.
The bottom line: Brands need to listen to what consumers are saying and react accordingly. Through data collection, direct engagement with customers through social media, and wear testing, the power that consumers hold can be leveraged for a brand’s success.
Convenience is king
As consumers gain more control and power over the fashion industry, one way that brands are catering to them is through an increased focus on convenience.
– Since consumers have many options of where to shop, the slightest bit of friction can send them looking for an alternative. Brands need to make sure that they are digitally savvy and treat customers to the most seamless experience possible in order to lure them away from competitors.
– Charles Gorra, founder of Rebag, spoke about how his resale company courts two different types of customers, buyers and sellers, with opposite interests. Maximizing convenience is the best way to satisfy both.
– This challenge is different for bigger brands than for smaller ones. Large brands have the advantage of scale and resources, yet they also are more complicated and have more moving parts. Smaller brands do not always have the resources for a customer experience with the shiniest bells and whistles, but they are able to react more quickly.
The bottom line: When customers have a hundred shopping options at any given moment, they will take the path of least resistance.
Brands are taking things in-house
Alongside the shift to direct-to-consumer, companies are rethinking big parts of their business and wondering if they can handle them themselves. At the Glossy Summit, attendees at Monday’s town hall expressed doubt that they needed someone else to run things for them.
– One speaker spoke about using the same PR team for nearly 12 years with diminishing returns. When they eventually dropped the PR team and took it in-house, they did not see any noticeable decline in ROI.
– Laura Dowling of Digital Brands Group spoke at length about taking all of their influencer relations in-house. While a few other attendees said that working with an influencer agency affords opportunities and reach that would not be attainable otherwise, Dowling was not the only one in the audience who believed that an influencer agency was increasingly irrelevant.
The bottom line: Brands should not think that they can handle everything themselves, necessarily, but it increasingly seems like companies are feeling more skeptical about middlemen.
Speaker highlights Shira Suveyke, Shopbop President
– Shopbop has fine-tuned its influencer strategy over the last two years — first, by moving the involved duties to a dedicated team versus marketing staffers focused on other responsibilities. “This ‘little thing,’ that was growing super fast and was driving a lot of revenue, was getting ignored,” said Suveyke. The company also started giving influencers “total creative freedom,” which was a difficult adjustment for the in-house creative team, and moved from working with macro-influencers exclusively to micro-influencers and nano-influencers.
– High conversion is not a KPI for influencer campaigns. Instead, the company is looking at engagement, then reach, and it’s weighing campaigns’ effectiveness and efficiency by looking at cost-per-engagement. Influencer marketing is now part of the brand’s marketing budget versus its performance marketing budget. “We see it as an opportunity to build the Shopbop brand on a social platform, and we believe that has a halo effect of downward revenue,” said Suveyke.
– The retailer just launched its 360-degree, content-fueled campaign called “The Summer of Shopbop.” Its brand marketing and creative teams traveled with eight influencers to Lake Como to create content around its travel-inspired story of the season. “It resonates with our customer when they have an affinity with the influencer, rather than Shopbop pushing the product,” said Suveyke.
Laura Dowling, Digital Brands Group CMO
– DSTLD’s (which is part of holding group Digital Brands Group’s portfolio) millennial customer base values ethical behavior and transparent brand messaging, and DSTLD is an audience-driven brand. The mission of the denim and leather company is to distill its shoppers’ wardrobes down to essentials by updating the quality and consistency of the pieces, said Dowling. Unlike other brands, its sustainability message is not centered on the changeover of styles but rather on the lack of waste the brand is producing. “Quality equates to longevity,” she said.
– In the name of transparency and authenticity, the brand recently made changes: It has moved its production from Asia to Europe to ensure it is using mills that are ethical and sustainable, both in the materials they use and also in the radius in which they operate. “Our carbon footprint is as small as possible,” said Dowling. In addition, it has added a quality control step to production, enabling it to have just 3% waste, when the industry standard is 7%.
– To amplify its message for credibility, Dowling said the brand leans into press, letting industry publications tell its story. It also taps into relevant opportunities to amplify the story. On Earth Day, it launched an education-based marketing campaign for eco-conscious consumers on how best to wash jeans. And because music has been woven into the brand’s marketing since inception, it hosted a sustainability-centered activation at Coachella.
Nate Checketts, Rhone co-founder
– Checketts broke down the company’s data collection process into three steps. “One, you have to gather the data; two, you have to organize the data; and three, you have to take some actionable insight from it,” he said. “Most companies are stuck on part one, and for DTC brands, there are so many ingestion points of data that it can be hard to sort through them all of them.”
– In addition to the regular channels for data collection, like points of purchase either in Rhone’s DTC or wholesale business, the company also collects data from some out-of-the-box, third-party sources. Weather on the day of a purchase, the performance of stocks on a given day and other data points can help paint the picture of what a brand needs to know. According to Checketts, it all comes down to sorting through what’s relevant and what isn’t.
– The data collection and feedback used can also be a selling point for the company. While older generations may be less likely to appreciate how the data collected is used to improve their experiences, Rhone’s younger customers expect it. Whenever the company launches a product that was designed heavily with feedback from consumers, Rhone highlights that in its marketing, said Checketts.
“If your advisers and investors are telling you that it’s too early to be thinking about and using data to improve your business, then you need different advisers and investors.”
“Going direct-to-consumer is definitely about brand control a bit, especially when you’re a new designer. You have a small assortment. On a shelf, you can only tell so much of your story. In pop-ups and on social media, you can speak to your customer a lot more.”
“I believe in the power of full-frontal marketing, really thinking about what we need and driving understanding through to conversion. To do that, the best way possible, you have to lean into all the channels available to you.”
“If you look at, like, Marc Jacobs, that kind of old luxury, it used to be that designers did what they wanted and the women followed. What we’re trying to do is the exact opposite. They decide, and we follow.”
“We were able to start our direct business pretty early on, our first website opened in 2003. We’ve been able to go from 100% wholesale to 60% wholesale, 40% direct. Our ideal split is flipped, 40% wholesale and 60% direct. That’s where we are trying to be.”