Archive for May, 2013

Coley Porter Bell creates ‘Hungry Wolf’ brand for Fresh Pak

by Alex Benady

 

Coley Porter Bell has created the name, branding and packaging for The Hungry Wolf, the first branded product from Fresh Pak Chilled Foods, the UK’s largest dedicated manufacturer of sandwich fillings.

The Hungry Wolf deli fillers are designed to be served hot with bread. The brand aims to open up a new segment in the £126m deli filler market using the language and cues of gourmet street and festival food. It is positioned as ‘gourmet street tucker you can enjoy at home’.

Coley Porter Bell developed the Hungry Wolf name which has associations with appetite and satisfaction. The agency also developed a visual language for the new brand based on imagery of street food.

Each variant has it own colour code to aid navigation. The pack backgrounds are blackboard textured–and key information is provided in a bistro pub style chalk lettering. Vintage style-icons provide traditional quality cues. Because it’s a new category, the packs contain three step instructions for product use, reminding consumers that it is best served hot.

The new brand consists of premium British pulled meat in sauces and seasoning. It comes in three flavours, Pork and Apple, Beef and Horseradish and BBQ Pork.

Hungry Wolf will be available in Tesco in the Chilled Convenience aisle.

Stephen Bell, Executive Creative Director of Coley Porter Bell said: “This is a very high quality product that offers a delicious alternative to conventional sandwich fillings.“ “It was an exciting challenge to develop the first brand for a highly successful unbranded provider while opening up a new segment in their market. This meant the branding and packaging had to work much harder than usual.“

Fresh Pak supplies own label sandwich fillings to the major multiples. Founded over twenty years ago it now employs 370 people at their site in Yorkshire. ENDS

by Tim Smith

by Tim Smith

How to fan the flames of consumer desire. Part1: Luxury cues.

by Alex Benady


We now know that human decision making is primarily emotional. Shopping is no exception to that rule. So, arguably the key question in brand and packaging design is how do you press the right emotional buttons to create that emotional, as opposed to rational, desire for your brand or product?

We have identified 5 main areas that can help harness the right emotional cues and fan the flames of consumer desire.

The first of these is the business of making your brand seem more prestigious. Pamela Danziger a consumer insights expert who specialises in targeting the affluent consumer segment  pointed out that  “the natural evolution of all luxury concepts is from class to mass.  First luxury is introduced and embraced by the affluent; the inevitably it is translated and reinterpreted down the masses.”  So these rules apply to all brands, no matter how mundane.

Here are five ways for even the most everyday of brands to burnish their emotional appeal by adding ‘luxury cues’ to their packaging.  As you’ll see they don’t need to be obvious ‘bling’ .

Monograms – They anchor a design and bestow instant heritage and authority. Here Nicky Clarke professional hair care is all about his skill & expertise

Heritage – Fentiman soft drinks.  Even if the brand isn’t ‘old’ you can cue a sense of heritage & quality through structure, typography, detailing & layers – a sense of authenticity

Layers and detail – For Lea & Perrins Worcestershire sauce again the intricate detailing gives a sense of quality, authenticity and being an original – ‘the real thing’

Provenance – gives a sense of place, authenticity & quality – in the case of make-up brand Rimmel – they reference London & the UK in their packaging as a way to link to London style … their tagline is get the ‘London look’ – here even the actual product eye shadow is formed into a union jack & embossed with a crown.

They subvert classic provenance codes to add edge & street style.

And lastly

Rarity– Create desirability by touching limited editions, collectable packs … Evian do this brilliantly, linking up with fashion designers like this pack here designed in collaboration with Jean Paul Gaultier.  It adds flair, style & new worthiness to the brand … & of course creates sales. ENDS


 

 

Coley Porter Bell designs take top spots at Drinks Business Awards

by Alex Benady

Coley Porter Bell has taken a top prize at The Drinks Business awards 2013 with its work for Olmeca Altos Tequila.

At the same time a packaging idea for Beefeater gin conceived by Coley Porter Bell but executed by Chivas Brothers has won in the best consumer campaign category.

Both were the work of Coley Porter Bell creative director Stuart Humm.

The winning award comes in the ‘best design and packaging for spirits’ category and saw Olmeca Altos beat off competition from some of the most innovative and compelling spirits designs of the last two years. They included Webb deVlam’s cutting edge work for Bombay Sapphire Electro which lights up in your hand when you pick it up.  And there was Stranger and Stranger’s surreal retro fantasy design for Don Papa Rum.

The brief was to distinguish Olmeca Altos from the rest of the Olmeca range by creating an appealing personality for the brand, while making the bottle easier for bartenders to handle.

 

But when it comes to innovative integrated marketing, perhaps the co-creation employed by Beefeater’s My London was more significant because the packaging idea formed the basis of the communication campaign.

It was conceived as a limited edition pack for Beefeater to showcase the creativity and multi-faceted nature of London. The design uses thousands of photos uploaded by the public entering a competition to demonstrate ‘what London means to them personally’. The campaign was created by Chivas Brothers specifically to generate ‘content’ for the new design. A QR code on the sleeve takes consumers to a YouTube video of the bottle being created.

Li Edelkoort predicts a new boldness for the future

by elayneread

 

Planning and designing brands inevitably involves trying to work out what imagery and values will have currency months or even years from now.

That’s why we religiously make our biannual pilgrimage to hear what trends forecaster Li Edelkoort has to say about imagery, texture and colour in the medium term future.

Last week at the Lumiere cinema in South Kensington, it was gratifying to hear her build her argument using not one but two themes from our own Visual Futures presentations.

She opened her analysis with the observation that with the world in crisis for the sixth year running, it’s time to “dream and give into absurdity and excess, to embrace the grotesque and exaggerated, to enter a new world of hyper form and strong colour”.

This echoes the same sentiment we expressed last year in our Visual Futures presentation Reality Sucks, where we talked about people wishing to escape the awfulness and embracing alternative realities and absurdism. (more…)

COLEY PORTER BELL CREATES BRANDING FOR A NEW CATEGORY OF GIN

by Alex Benady

Coley Porter Bell has worked with Beefeater to create the proposition, name and packaging for a unique new hand-crafted gin. The ultra premium gin, Beefeater Burrough’s Reserve, is intended as a sipping gin, to be drunk neat and savoured.

It has been created in homage to Beefeater founder and entrepreneur James Burrough, himself a free-thinker who challenged convention, traits which are reflected in this exceptional new spirit.

Coley Porter Bell worked with Beefeater to develop the overall concept, the structural and graphical designs, as well as creating brand guidelines and developing the name for the new product.

The packaging is largely a metaphor for the way the gin is produced. The rounded glass structure and the label shape evoke the ends of the Jean de Lillet oak barrels in which it is rested.

The solid decanter-style bottle shows off the delicate colour of the liquid, while its shallow profile allows light to refract off the edges of the embossed wreath of botanicals that also acts as a frame for the label. The structure and its intricate crafting play a major role in conveying the brand’s ultra premium status and sophisticated character.

The label also emphasises the hand-produced, small-batch nature of Burrough’s Reserve, with the signatures of both James Burrough (the originator of the recipe) and Desmond Payne (the creator of the product), alongside the batch and bottle number.

The colour palette and textures also reflect the gin’s unique production; copper to reference the still, a wooden stopper to reference the oak barrels and red to acknowledge its Beefeater provenance.

The gin is produced by Beefeater’s Master Distiller, Desmond Payne, using the original Beefeater recipe from the 1860s and is distilled by hand using Burrough’s original copper ‘Still Number 12’. The spirit is then uniquely rested in Jean de Lillet oak barrels, resulting in a remarkable transformation and imbuing the gin with the subtle characteristics of the oak and residual Jean de Lillet; a look of liquid gold and a deeply complex taste with an unrivalled character.

Stuart Humm, Creative Director at Coley Porter Bell said. “We are exceptionally proud to have produced this beautiful packaging for Burrough’s Reserve; a product that breaks new ground in the world of gin. We wanted to create something that balances the ultra premium codes often found in dark spirits, for example hand craftsmanship and cues of discernment and status, with the world of gin and Beefeater. We set out to create a new category and to appeal to free who aren’t bound by convention. To this end, we have fully achieved our aim.”

Launching in Spain next month, Burrough’s Reserve will to roll out into key global markets, including the UK – from June – and the US from October 2013. It will be exclusively available from select bars and drinks boutiques.

 

by Tim Smith

by Tim Smith

Beautiful people earn more. Do beautiful brands?

by Alex Benady

Academic studies suggest that beautiful people earn between 10 and 20 per cent more than people with just average looks -even though there is absolutely no difference in their working performance. Could the same be true of brands?

The reverse is certainly true of what you might call ugly people, according to Lucy Kellaway writing in the Financial Times. Discussing the (comparatively) new field of biological economics which studies the relationship between human biology and economics, she reported research by New York University which found that a one per cent increase in body mass results in a 0.6% fall in income.

In his 2012 book ‘Beauty Pays: Why Attractive People Are More Successful’ Daniel S. Hamermesh suggests beautiful people tend to do better than their aesthetically-challenged counterparts. He explores whether a universal standard of beauty exists.He  illustrates how attractive workers make more money, how these amounts differ by gender, and how looks are valued differently based on profession.

Other findings include the fact that US chief executives with deeper voices tend to run larger companies, get paid more and last longer in the job; the finding that bearded men are trusted more, that Fortune 500 CEOs are on average 2 and a half inches taller than the average man, that blonde women earn seven per cent more than brunettes and CEOs with more ‘powerful faces’ tend to run more powerful companies.

You might wonder how this is relevant to brand design? The answer is that like behavioural economics, biological economics is further proof that the rational, predictable model of ‘homo economicus’ that underpins much of conventional economic and consumer theory, is woefully incomplete.

If even chief execs of the world’s largest companies are being bought at least in part on the basis of their looks, not on conscious but on instinctive measures, then why would the same not be true for lesser purchases –such as baked beans, yoghurts and soap powders?

Behavioural and biological economics reveal that people make decisions based not on a full assessment of the all the facts, but on rules of thumb that they aren’t even aware of. It’s clear that the human brain considers the surface a reliable indicator of what is going on beneath the surface.

That’s true of people, packaging, strategies, ideas and relationships.

Hence the power of beauty. At the risk of sounding pretentious, you could say that beauty is an outer sign of inner grace. Which is why we believe that beauty is a serious commercial issue.

Put bluntly, if beautiful people can earn 20% more than the average, wont the same be true of brands?

 

This blog is about all the things that inspire us as we make brands beautiful: insights and ideas, points of view, fabulous work, nascent trends - all the things that excite us and help us to see new possibilities for the brands we work on. So please enjoy, add your comments, forward the link, and come back and see us. We’ll be posting regularly.