GUESS was relying on Adobe Scene7 to manage images for its online store. However, Scene7, a Flash-reliant product, made workflows and modern technology updates more challenging. With modern browsers phasing out Flash, GUESS developers struggled to deliver the high-quality web experience it wanted to offer customers. The system being used by GUESS was so volatile that it created regular bottlenecks. Image uploads would fail, photo editors would have to crop photos with extra white space to ensure they’d appear appropriately on the site. Sometimes images wouldn’t look as crisp and high-fidelity as the original once they rendered on the web. These challenges weren’t just a big deal for the development team. They frustrated potential customers as well. Heavier images meant slower page load times, and unnecessary bandwidth usage by visitors.

Creative and marketing teams often face challenges in managing digital assets across multiple channels. The process of tagging, cataloging, resizing, and downloading and reuploading rich media assets for optimal distribution can be time-consuming and inefficient. Furthermore, these teams often have to search, download, and license stock assets on a separate website, then save the chosen assets to their computers or to a cloud storage solution like Google Drive, DropBox, and Box. In order for these assets to be available in their DAM system for other team members, each asset along with its metadata needs to be individually uploaded.

James Hardie’s Australia services many customers through its network including the likes of hardware stores, builders, property developers and architects, as well as connecting directly with consumers. Consequently, it has a large and complex network of sales and marketing teams dedicated to serving the varied needs of these disparate audiences. The one thing that unites all James Hardie Australia partners and customers is the need for high quality, constantly updated imagery and other marketing content showcasing the company’s products and usage in building projects. From a consumer and brand perspective, it’s crucial that the company’s online channels are kept up to date with all the latest interior and exterior design trends. For trade audiences in particular, an engaging and innovative product portfolio is a must. Often, the company would have multiple photo shoots taking place at various locations, with no central repository for all the images nor any shared filing system or naming convention. The marketing team would regularly be tasked with finding images featuring a certain product and spend hours manually searching through disparate folders to find them.

As a digital-first lifestyle brand, MADE.COM’s customer journey begins and ends online. While shoppers can visit one of MADE’s seven showrooms in the UK and Mainland Europe to experience its furniture and homewares in person, they still need to make the final purchase through the brand’s website. Showcasing products stylishly through strong lifestyle photography is one of MADE’s strengths. However, as the company grew, some of the original decisions about things like how to orient and size images became out of date. Product listing pages couldn’t show highresolution images, due to pixelation. It became difficult to upload assets in multiple sizes. The MADE team decided to address these issues in March 2020, as well as ensure the mobile version of the website—fast rising in importance as an acquisition channel—was fully optimized: critical, as mobile is now more than half of all MADE traffic.