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“The drinks industry doesn’t have a sales problem – it has a bravery problem”

Everywhere you look, the drinks industry is talking about sales. Falling sales. Flat sales. Missed sales targets. Entire conferences dedicated to “unlocking growth.”

The assumption is clear – people are drinking less alcohol, so brands must scramble harder to squeeze the last drops of profit out of a shrinking category.

Let’s get one thing straight: your brand isn’t failing because people are drinking less. It’s failing because it’s boring.

Stop blaming the category slump for your slump. People aren’t bored of drinking. They’re bored of you.

Safe design. Predictable campaigns. Copy-and-paste launches. Another line extension nobody asked for. Another pack redesign that looks like the one next to it. Another ad that could belong to any brand in the category.

We tell ourselves it’s a sales problem. But really, it’s a bravery problem.

The truth is, drinks don’t just compete with drinks anymore. They’re competing with fashion drops, gaming culture, TikTok trends that catch fire overnight. Attention is the currency. And you don’t earn it by playing it safe. You earn it by being distinctive, surprising, and bold enough to cut through the noise.

The brief is broken

Most briefs don’t inspire creativity. They come wrapped in cautious language: “premium cues,” “authenticity,” “younger audiences.”

They’re written to avoid mistakes, not to spark ideas. They aim for safe middle ground and end up in creative no-man’s land.

Here’s the uncomfortable truth – the safest brief is the most dangerous one. It produces wallpaper branding. Campaigns nobody talks about. Shelves full of products nobody remembers. If we want growth, we don’t need more briefs. We need braver ones.

Creativity wins

I’ve seen the difference.

At Thirst, we’ve been lucky to work with clients who don’t just nod along to bravery but demand it. Bruichladdich is one. They’ve never asked us to play it safe. They’ve asked us to break convention, to provoke, to make whisky feel alive again.

Together, we created Not Your Classic – work that didn’t just win attention, but delivered a 29% year-on-year sales increase and helped the brand secure new supermarket listings across the UK and Europe. Proof that when brands back bravery, results follow.

Bravery isn’t permission

We’ve taken the same approach with our own concept, Res. We saw a whitespace nobody in drinks was bold enough to claim – protein fruit punch for gamers. Unapologetically loud, vibrant, and different. No safety net, no “maybe later.” Just an idea to prove that bravery doesn’t have to wait for permission.

At Thirst, bravery is our default. What kills it isn’t lack of courage – it’s briefs pre-loaded with half-baked “solutions.”

“People aren’t bored of drinking. They’re bored of you.”

Clients – bring us the problem. Or bring us the big vision. Just don’t bring us the answer, because chances are, it’s the wrong one.

People connect to brands that move them. That make them stop scrolling. Stop talking. Stop drinking the same thing they always drink, and feel something new. Bravery is refusing to be forgettable.

People don’t need another SKU – they need a reason to care

Here’s another myth: if we pump out enough innovation, people will come back.

Innovation matters. But if your brand doesn’t mean anything, your innovation won’t either. That’s when launches turn into clutter. Another flavour. Another “lite.” Another “0.0.” None of it sticks if your brand doesn’t stand for something.

Consumers don’t count SKUs. They count memories.

They remember the brand that stood for something. They share the campaign that made them laugh, or cry, or double-tap. They talk about the story that made them feel like part of something bigger than just liquid in a glass.

If your innovation pipeline is full but your brand is empty, you’re just adding clutter to the shelf.

The brief for bravery

It means impact. It means focus. It means culture.

Write briefs that scare you. If it doesn’t feel uncomfortable, it isn’t brave enough. Stop briefing categories. Start briefing culture. People buy into ideas that mean something in their lives.

Measure impact by feeling. One campaign people talk about a year later beats ten they forget in a week.

When brands bring this kind of energy, agencies can push boundaries, challenge conventions, and create work that lives beyond the trade press. And when the work resonates emotionally, the sales follow.

The end of safe

We have to stop blaming consumers. They haven’t abandoned us. We’ve abandoned them with bland ideas, beige campaigns, and briefs that aim low.

The good news is that it’s fixable. We don’t need more dashboards. We don’t need more cautious “What if?” meetings. We need bolder briefs, braver agencies, and clients willing to say yes to ideas that scare them a little.

Because here’s the thing: safe is already broken. Safe isn’t working. Safe is why we’re in this mess.

The drinks industry doesn’t have a sales problem. It has a bravery problem. And the brands bold enough to admit it will be the ones people actually want to raise a glass to.

Matt Burns is founder and executive creative director at Thirst.

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How is Studio Gruhl using AI?

Studio Gruhl is a strategy and design agency based in Berlin, that works with clients like Google, Nike, The North Face and Highsnobiety. We spoke with founder Malte Gruhl, and motion designer Joma Frenzel, to find out how they’re using AI, and how they feel about it.

You can see all the articles in this series here.

Broadly speaking, are you excited for how AI will change the design industry, or nervous?

Malte: We’ve been working with AI since 2019. Back then, we also started training our own models. It didn’t look good and it wasn’t that useful, but it was a fun experience.

AI has made huge leaps since then. But the reality is that it’s still statistics, not true intelligence. So AI is a support, but not a tool by itself.

The output can look impressive in a single image or for a specific aesthetic, but achieving consistent results across more complex systems in terms of storytelling, perspective, or even colour grading, is still far from reliable.

Yes, big corporations are downsizing in the hope that AI can help them cut corners. Meaning AI is already having an impact, the question is whether that promise holds.

We should be more concerned about the economic consequences if investors realise these tools aren’t advancing as quickly as promised. The design industry is often among the first to feel the effects of a recession, and to me, the risk of a bubble bursting is greater than the chance of AI becoming a “real” AI anytime soon.

Do you have an agreed policy around AI as a business?

Malte: Yes, we cannot control how AI was trained at the moment, but we can control how and when we use it.

For example, if we use image or video generating tools, we do not include the names of artists or photographers in prompts, and we also avoid using reference images we have not created ourselves. We write our prompts from the ground up and try to stay in control as much as possible, without tapping into someone else’s aesthetic.

When did you realise AI was going to have an impact on design?

Joma: When Sora was first released, many assumed it signalled that replacing a full VFX team with AI might only be a few months away.

Since then, it has become clear that while AI can assist with animation work, it is still far from being precise or stable enough to reliably generate something truly new and distinctive.

Google’s Genie3, for example, introduces a real-time, interactive world model that is compelling to experiment with. Yet, it currently feels more like a tool for exploration and prototyping than a replacement for a team of developers.

These advances do expand the possibilities for smaller teams to take on larger-scale projects, which is a promising direction. At the same time, much of the discourse around new AI integrations tends to highlight ambition more than it acknowledges present constraints.

Have you undergone any AI training, either as a studio or individuals?

Joma: Like most people, we’ve taught ourselves everything along the way. The only way to get good at something is by simply starting to do it.

Since AI tools have only recently begun to be optimised for designers, the learning curve feels like an emotional rollercoaster. There is no “proper” way to learn a tool that takes on a million different forms.

AI is not a magic box. It’s fun. It highlights what real value comes from our own thinking, versus what is merely generated output for the sake of content creation.

We aim to stay conscious of where things originate, and how we can still have the greatest creative impact with the outcome in our own hands. AI tools should serve to accelerate the process, not replace the creative mind behind it.

How do you use AI in the studio’s creative process?

Malte: It is always exciting to explore new tools, incorporate them into the workflow, and see what happens. AI can speed up the workflow, assist in sketching out ideas, and is a great tool for quick iterations.

It can also create a beautiful brand image or help set a visual mood, but as soon as it gets into detail, it becomes less successful.

It’s hard to control the output – compared to consistency in photography for example – and it is difficult to achieve good results outside of common visual clichés, since the training data simply isn’t there. This often leads to longer retouching times and an overall drop in quality.

Do you think clients care if/how you use AI in your work?

Malte: I think they are interested, but we are pretty transparent about what is possible and what is not. What is also quite new to see is that once we have shared a set of assets with AI content, the appetite for real photography increases, because clients start to see the value of tailored, high-quality content.

Joma: There is definitely a push, as we feel that clients now expect more output, believing that anything can be created instantly.

Yet during the process, they usually come to understand that high-fidelity work only has an impact if the concept is strong and the idea is meaningful. Depending only on AI for instant creation tends to produce results without real depth, often missing the clarity and direction that give work lasting value.

Do you use AI for any non-creative aspects of running of your business?

Malte: Spellchecking my emails, using it as a soundboard, or helping to structure loose write-ups. It has also replaced my Google habit by a lot, although this could also have to do with the fact that Google and search engines as a whole have become pretty useless.

Joma: From a technical perspective, AI can shorten render times by offering upscaling and, in some cases, removing the need for conventional denoising tools.

Beyond that, it can enhance detail, allow rapid testing of animation options, and make it easier to review ideas on a larger scale. The benefit depends largely on approaching it with a conscious and considered mindset.

Beyond the best known tools, what is one AI tool that you would recommend to other design studios?

Malte: Krea for upscaling, although Figma is doing that now as well. MidJourney for visual content and short motion tests and Black Forest to dabble around with our own data sets.

Joma: Soon there will be more AI denoising tools, which will be exciting to use directly in the viewport of your 3D software. That’s something I’m really looking forward. to

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This Ultra-Compact Japanese Home Gym Fits Anywhere, and It Needs Zero Screws

Most home gym equipment operates under a frustrating assumption: that every living space is basically the same rectangle with standard dimensions and identical structural constraints. Walk into any fitness store and you’ll find pull-up bars that either require doorframes of specific widths, power towers that demand massive floor space, or wall-mounted systems that assume you own your place and don’t mind drilling into studs. The reality is that modern living spaces are wildly diverse, from studio apartments with unusual ceiling heights to rental properties where permanent modifications are off-limits. TEDDY WORKS seems to understand this fundamental disconnect, and their KENSUI kaku represents a refreshingly different approach to home fitness equipment.

The Japanese company has built their entire product philosophy around the concept of “Saikouchiku,” which combines the ideas of reconsideration and rebuilding. Instead of designing another generic pull-up bar, they’ve created what amounts to a modular fitness system that adapts to your space rather than demanding that your space conform to it. The KENSUI kaku operates on a tension-mount system that spans floor to ceiling, requiring zero drilling, zero wall anchors, and zero permanent modifications to your living space. This isn’t just convenient for renters, it’s actually a more stable and safer approach than many traditional installations.

Designer: TEDDY WORKS

Click Here to Buy Now: $246 $348 (30% off). Hurry, only 85/100 left!

The engineering here is genuinely impressive. The system uses a deliberately angled design set at 85 degrees rather than perfectly vertical, which prevents forward tipping and eliminates the need to brace forcefully against the ceiling. TEDDY WORKS has load-tested this setup extensively, hanging 152 kilograms of weight from the unit for 48 continuous hours with no deformation or structural damage. That’s roughly 335 pounds, which should handle even the most aggressive training sessions with substantial safety margin built in. The entire system weighs 22 kilograms (about 48.5 pounds), but can accommodate ceiling heights up to 275 centimeters (roughly 9 feet), making it compatible with most residential spaces.

What sets this system apart from conventional home gym equipment is the installation footprint, which TEDDY WORKS claims is one-twenty-fifth the size of traditional pull-up equipment. The installation area is hyper-compact (18 cm × 18 cm), meaning you can install it in narrow hallways, bedroom corners, or other spaces that would be completely unsuitable for conventional gym equipment. The floor space around your feet remains completely clear, eliminating the trip hazards and spatial constraints that make most home gym equipment feel intrusive in daily living.

The customization options reveal where TEDDY WORKS has really thought through the user experience. The Model 4 introduces one-touch handle width adjustment, allowing users to instantly modify their grip spacing for different exercises or body dimensions. Handle height adjusts in 5-centimeter increments all the way up to just below ceiling level, accommodating everyone from shorter users doing assisted exercises to tall individuals who need maximum clearance. The system accepts multiple add-on attachments, including specialized dip handles with TPV grips that provide gym-quality traction and safety.

The exercise versatility is genuinely comprehensive. Beyond standard pull-ups and chin-ups, the system supports dips, leg raises, push-up variations, suspension trainer attachment points, gymnastics rings, and even functions as an anchor point for portable cable machine setups. This kind of exercise range typically requires multiple pieces of equipment, each with their own space and installation requirements. KENSUI kaku consolidates all of this into a single, vertically-oriented system that disappears into the background of your living space.

The installation process appears genuinely foolproof. You assemble three frame pipes from bottom to top, secure everything with bolts, extend the system to ceiling height, and lock it in place with the tension-mount mechanism. TEDDY WORKS recommends setting it under a ceiling beam for extra stability, but states that any ceiling capable of supporting your palm pressure during installation will work fine. This covers virtually all residential construction, including standard gypsum board ceilings.

For people serious about maintaining consistent home workouts, KENSUI kaku addresses the fundamental space and flexibility challenges that make most home gym equipment either impractical or annoying in daily life. It’s designed for individuals who have identified specific spaces in their homes for fitness activities and want professional-grade equipment that won’t dominate their living environment. The system assumes you’re committed enough to dedicate that corner or hallway to regular training, but smart enough to want equipment that integrates seamlessly rather than screaming “gym equipment” at everyone who enters your space.

Pricing sits at around $246 for the base unit during the Kickstarter campaign, which positions it between basic doorway pull-up bars and full home gym rigs. That’s cheaper than your standard yearly gym fee, and definitely more than a Peloton which literally limits you to just one exercise. Optional accessories like dip handles and cable attachments add to the total cost, but they also extend the system’s capabilities significantly.

Click Here to Buy Now: $246 $348 (30% off). Hurry, only 85/100 left!

The post This Ultra-Compact Japanese Home Gym Fits Anywhere, and It Needs Zero Screws first appeared on Yanko Design.

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