Brand Packaging August 2011

AUG11 www.brandpackaging.com

OCTOBER 6-7, 2011 PackagingThatSells.com

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BOTTLED WATER: BATTLING THE BACKLASH?

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PLUS: CREATIVES LAUNCH THEIR OWN BRANDS

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AUG11

CONTENTS Volume 15 > Number 06

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CRACKING THE [QR] CODE Brands are turning to mobile-friendly QR codes—but it’s all in the execution.

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BRAND (re)NEW > SUMMER’S EVE The feminine hygiene brand uses a redesign to change how women talk about their bodies.

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BATTLING THE BACKLASH Are bottled water brands getting their environmental message across?

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DOING IT FOR THEMSELVES Why creative agencies are playing the bran brand ownership game — and scoring with clients.

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PACKAGING THAT SELL SELLS PREVIEW Design and strategy leaders are convening in Chicago this fall—a look at what to expect.

DEPARTMENTS 06 EDITORIAL 0 0 08 NEXT+ NOW 2 24

JUST OUT

3 30 THE BOTTOM LINE > THE ROI OF STONEMILL KITCHENS’ REDESIGN

> LOOKING L FOR MORE ON A TOPIC? go to www.brandpackaging.com g

AUG AU G11

www.brandpackaging.com www.brandpackag

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makers of safe, sustainable, ocean-friendly glass packaging

ENVIRONMENTALISTS KNOW GLASS LOVES THE SEA. “Glass comes from nature,” says Céline Cousteau. “It’s made from sand, limestone and soda ash. It’s safe for human life and ocean life. And it’s endlessly recyclable, so it’s sustainable for our blue planet. Choose glass for yourself, for dolphins, for sea turtles, for our future.” GlassIsLife.com

LAZY, HAZY—HARRIED— DAYS OF SUMMER PAULINE HAMMERBECK, EDITOR IN CHIEF [email protected] • twitter: @phammerbeck

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editor-in-chief PAULINE HAMMERBECK [email protected] associate editor JENNIFER WELBEL [email protected] contributing editor KATE BERTRAND CONNOLLY art director CHRISTOPHER PIRRONE

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ADVISORY BOARD principal, Brandimage, Desgrippes and laga HOWARD ALPORT chairman, pratt inst. graduate school of package design DON ARIEV

hat happened to those lazy days of summer? I’m not the only one feeling it, of course. Life has just seemingly transitioned into a permanent state of…unease.

president/ceo, brandscope GARY CHIAPPETTA president, the consumer research network, inc. MONA DOYLE principal of integrale GRETCHEN GOGESCH vice dean and director, undergraduate division, the wharton school BARBARA E. KAHN dean lindsay design DEAN LINDSAY chairman, department of food marketing, st. joseph’s university JOHN B. LORD, PH.D.

Consumers are experiencing it too. Whether it’s about their jobs, the turbulent weather cycles or the economic seesaw around the world, that feeling manifests itself in every aspect of their lives, including their shopping behaviors and their interactions and expectations for brands. Consider how they’ve turned on bottled water brands. It wasn’t that long ago that water bottles were a sign of sophistication and (intended) fitness. They had “badge” value. But now that the same packaging has become a target for environmental activists, it is fostering a sense of unease for some consumers. This month, we’re looking at whether bottled water brands’ response to the consumer backlash is working; it’s the latest in an ongoing series of original research conducted for us by Perception Research Services. Anxiety is also resulting from the social media that’s supposed to be making our lives easier. There’s a growing feeling that maybe we’re not doing enough, experiencing enough—it’s what many are labeling a ‘fear of missing out.’ Of course, that craving is something that brands would love to tap. And many are—most notably through technology. In our slice of the marketing world, we’re seeing it play out with quick-response codes, those black and white square-shaped barcodes that link to URLs, videos and other content. This month, we look at the way savvy brands like Coca-Cola are using them to feed into their target demo’s need for one-of-a-kind experiences. In Germany, for instance, Coke has marked limited-edition cans with QR codes that launch a website where the brand reveals that last-minute details of once-only concerts.

president, source/inc. WILLIAM J. O’CONNOR jft studios FRANK TOBOLSKI assistant professor, school of packaging, michigan state university DIANA TWEDE, PH.D. director, food & brand lab,university of illinois BRIAN WANSINK, PH.D.

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ADVERTISING group publisher: packaging group, MIKE BARR (630) 801-4152 [email protected] associate publisher, SAM WILSON (847) 405-4075 [email protected] senior development manager, SENNA M. SHEHADEH (248) 227-1029 [email protected] advertising/production manager, JEFF BAGWELL (248) 244-6481 [email protected]

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BNP CUSTOM MEDIA GROUP business development manager, CHRISTOPHER WILSON (248) 244-8264 [email protected]

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AUDIENCE DEVELOPMENT audience development manager PEGGY PEREZ multimedia coordinator STACEY NOOCHA audience audit coordinator CAROLYN M. ALEXANDER for subscription information or service, please contact Customer Service at: Phone: (847) 763-9534 Fax: (847) 763-9538 E-mail: [email protected] www.brandpackaging.com

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LIST RENTAL postal contact KEVIN COLLOPY 800-223-2194 x684 [email protected] email contact MICHAEL COSTANTINO 800-223-2194 x748 [email protected]

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CORPORATE DIRECTORS publishing JOHN R. SCHREI corporate strategy RITA M. FOUMIA marketing ARIANE CLAIRE production VINCENT M. MICONI finance LISA L. PAULUS creative MICHAEL T. POWELL directories NIKKI SMITH human resources MARLENE J. WITTHOFT it SCOTT KRYWKO clear seas research BETH A. SUROWIEC

Clearly, brands are playing a role in all this anxiety. But the kicker is in clarifying what your brand’s role should be. Will you ease it? Escalate it? Make light of it? Or (and if you figure this one out, I’m in!), will you find a way to turn that angst into something more encouraging? BP > HOW TO CONTACT BRANDPACKAGING PHONE (847) 405-4000 FAX (847) 405-4100 MAIL 155 pfingsten rd., suite 205, deerfield, il 60015

INTERNET http://www.brandpackaging.com

BRANDPACKAGING (ISSN 1558-3570) is published 8 times annually, Jan/Feb, Mar, Apr, May/Jun, Jul, Aug, Sep/Oct and Nov by BNP Media II, L.L.C., 2401 W. Big Beaver Rd., Suite 700, Troy, MI 48084-3333. Telephone: (248) 362-3700, Fax: (248) 362-0317. No charge for subscriptions to qualified individuals. Annual rate for subscriptions to nonqualified individuals in the U.S.A.: $115.00 USD. Annual rate for subscriptions to nonqualified individuals in Canada: $149.00 USD (includes GST & postage); all other countries: $165.00 (int’l mail) payable in U.S. funds. Printed in the U.S.A. Copyright 2011, by BNP Media II, L.L.C. All rights reserved. The contents of this publication may not be reproduced in whole or in part without the consent of the publisher. The publisher is not responsible for product claims and representations. Periodicals Postage Paid at Troy, MI and at additional mailing offices. POSTMASTER: Send address changes to: BRANDPACKAGING, P.O. Box 1080, Skokie, IL 60076. CHANGE OF ADDRESS: Send old address label along with new address to BRANDPACKAGING, P.O. Box 1080, Skokie, IL 60076. CANADA POST: Publications Mail Agreement #40612608. GST account: 131263923. Send returns (Canada) to Pitney Bowes, P.O.Box 25542, London, ON, N6C 6B2. FOR SINGLE COPIES OR BACK ISSUES: contact Ann Kalb at (248) 244-6499 or [email protected].

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BNP MEDIA HELPS PEOPLE SUCCEED IN BUSINESS WITH SUPERIOR INFORMATION volume reprints contact: reprint sales manager JILL L. DEVRIES Phone: 248-244-1726 Fax: 248-244-3934 E-mail: [email protected]

AUG11

+NOW

NEXT A DIY VACUUM

The UK-based Vax floorcare brand is exploring a limited-production run of a vacuum cleaner constructed mostly of corrugated board. Created by industrial design student Jake Tyler, the fully functional vacuum is a DIY project of sorts. The corrugated panels begin their lives as part of the retail box the vacuum is sold in; once the panels are separated from the box, they pop into place around a motor housing without any need for glue. The panels are flame retardant and can be customized with felt tip pens. Some components, which can’t practically be made of corrugated board, are produced from recyclable nylon plastic. Tyler developed the concept for his final-year project and was supported by the design team at Vax, where he worked for a year under the company’s student placement program.

BOTTLE AS CANVAS Absolut vodka has made its iconic bottle a blank canvas for global artists. The initiative— called Absolut Blank—asks 20 artists from a variety of creative disciplines to express themselves on a canvas in the shape of an Absolut bottle, continuing what the brand says is a history of artist collaborations that began with Andy Warhol in 1985. The completed works will be the subject of an integrated campaign, including print ads, videos and installations in public spaces. The campaign debuted in the UK on July 13th and is rolling out in various global markets. (Concept: Absolut in collaboration with TBWA\Chiat\Day, New York)

THE T HE E ECONOMICS CONOMICS OF OF WASTE W Th The he weak weeak economy eco cono nomy my is is re resu resulting sult ltin ingg in ssome omee un om unex unexpected ex effects: a glut of space in landfills. California says the amount of trash hauled to its landfi lls has dropped to its lowest level since the state began keeping track in 1989. While aggressive recycling and composting programs can take some credit, experts say the tough economy is the main driver. “People do in fact buy fewer cases of beer, less clothing and less food when they are unemployed,” Richard Porter, professor at the University of Michigan, told The Sacramento Bee. While the 1990s saw concerns over what was then a shortage of landfills, California is now said to have enough landfi ll space to last about 50 years.

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www.brandpackaging.com

AUG11

innovative design ADVERTORIAL

SUSTAINABLE RESULTS

BY ERIKA FLYNN

THE MOST INNOVATIVE — AND SUCCESSFUL — PACKAGES ARE A RESULT OF MANY COMPONENTS.

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t Diamond Packaging, those components are in place, and the company is developing innovative and sustainable solutions for clients every day, using its technical expertise and state-of-the-art technology. Whether designing and manufacturing paperboard or plastic folding cartons, counter-top displays, physician sample packaging, blister cards or dispenser cartons, Diamond is pushing the envelope on innovation in partnership with its clients. A Heidelberg Speedmaster XL 105 offset press, added to its facility this year, represents the state-of-the-art in package printing technology, delivering an unprecedented combination of cost innovation and sustainability, according to Dennis Bacchetta, director of marketing. “It offers the latest in coating capabilities, including a flexo coating unit upfront [to lay down eco-friendly metallic coating effects] and a dual flexo coating unit on the end to apply UV, aqueous or specialty coatings,” he says.

Proof in the Launch Case in point: last year’s Gillette tte Fusion® ProGlide™ shaving system launch. Mike Marcinkowski, e, a division of Procter principal engineer at Gillette, & Gamble, says as one of the company’s preferred vendors, Diamond helped him and his team create the package this launch demanded. “It’s very important for us to be able to deliver standout packaging, especially with our sea of products,” he says. “We have to create something that is new and differentiating but that still connects the brand. As a brand extension of the Fusion line, we wanted to keep the look within the family but also create new and exciting packaging.” Marcinkowski adds that with ProGlide representing one of its “latest and greatest” product launches at the time, “that put us in a category where we needed to partner with Diamond and some of its expertise and technical capabilities.”

Looking to achieve a metallized effect on the packaging, but in a sustainable manner and without the use of metallized lamination, added costs or increased lead times, the teams worked within Diamond’s greenbox initiative, which represents a comprehensive approach to packaging that minimizes environmental impact through the supply chain. “Diamond demonstrated its Green Chic™ model in the Fusion® ProGlide™ packaging through the use of more sustainable converting methods, including the inline application of MiraFoil® metallic coating and Cast and Cure holographic effects,” says Bacchetta. MiraFoil® specialty metallic UV coating delivers "Foil on demand at print speed". It’s an economical, in-line alternative to film and foil laminates that enhances the brilliance of the printed surface while providing environmentally-friendly benefits: it reduces converting steps (saving time, minimizing costs and conserving energy), it is fully recyclable (through the de-inking process), and it can be spot applied. Cast and Cure technology is a cost-effective, inline process that produces high-gloss, holographic finishes through the use of UV coatings and specialty film. According to company officials, the conversion to MiraFoil® from foillaminated board — used in previous versions of Gillette packaging — resulted in reduced costs and shorter lead times. Another benefit is that all of the paperboard components were manufactured with 100% renewable wind energy. “Both applications were new to us and to them, but it was definitely the desired effect we wanted to help create that differentiation on-shelf,” says Marcinkowski. “We used all new printing methods that met our cost objectives and delivered a high premium appearance.” Gillette consumer research

indicated positive reactions to the new packaging, he adds.

The Diamond Difference The company, which is celebrating its Centennial this year, is a member of the Global Packaging Alliance®(GPA), giving it global reach with service capabilities throughout the world. “We produce packaging for North America and our partners handle other regions of the world, enabling us to support international brands,” says Bacchetta. Diamond Packaging’s facilities are ISO 9001:2008 certified, and cGMP compliant for the pharmaceutical and healthcare industries. The company also specializes in the cosmetic, prestige and mass market personal care products, nutraceutical, confectionery and food markets. Diamond Contract Manufacturing (DCM), its contract packaging division, is also registered with the Food & Drug Administration (FDA) for secondary packaging and labeling. X

www.diamondpackaging.com 800.333.4079 • 585.334.9141 fax

By Pauline Hammerbeck

Brands are increasingly turning to quick-response codes as a mobile-friendly way to engage consumers— but like any marketing effort, it’s all in the execution.

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www.brandpackaging.com

AUG11

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n June 16th, a Paris tattoo artist inscribed a quick-response code—those squareshaped barcodes that link to websites, text, videos and other content—on the chest of a man named Marco, creating what’s said to be the world’s first animated tattoo. The process was streamed live on the Facebook page of Ballantine whisky and showed the artist using a smartphone to scan the code and launch an animated video version of the newly inked character on his subject’s chest. Although clearly looking for shock value, the incident reflects growing interest among consumer packaged goods companies in QR codes and the endless possibilities for using them as a marketing tool. “All the brands and retailers—everyone—is trying to use mobile as the new platform to engage consumers,” says David Luttenberger,

“Everyone is trying to use mobile as the new platform to engage consumers. It’s about an immediate, relevant, engaged-in-the-moment consumer experience.” vice president and packaging strategist at Iconoculture, a consumer research and advisory company. “It’s about an immediate, relevant, engaged-in-the-moment consumer experience. Of course, QR codes have long been used in markets like Japan, where it’s more surprising not to see them on signage, point of sale displays and packaging. Known as some of the world’s most knowledgeable consumers, the Japanese have incorporated the mobile-friendly codes into their shopping routine—they’ve come to expect them. “The Japanese will find a QR code half the size of a postage stamp on a refrigerator-box-sized container where there are

+ Coca-Cola Germany anchored its latest QR effort around younger consumers' zest for music. Hitting on passion points should be the goal of any QR campaign, experts say.

AUG11

www.brandpackaging.com

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RULES OF ENGAGEMENT > CLARIFY YOUR OBJECTIVE. Are you using a QR code just because it’s trendy—or do you have relevant content that adds to the consumer’s experience? > BE OVERT AND ACCESSIBLE. Make codes unmistakably recognizable and large enough to be scanned from a distance. And give the code front-panel positioning. > SHOW AND TELL. Tell the shopper how to engage your code, or how to download a reader if they don’t have one. Plus, what to expect once they scan. > TIMING IS EVERYTHING. Pull expired coded products from the shelf if there’s a time-sensitive element to the content. Or make sure your solutions provider can change out the content. > DROP SOME F-BOMBS. Feature content that is functional, fit for its purpose, fit for multiple mobile devices and a fit with your overall mobile strategy. And, no matter what, make it fast: if not, consumers will quickly move on. > TREASURE IT? MEASURE IT. Make sure you use a code and a solutions provider capable of tracking who’s engaging, the device being used and other analytics. Source: Adapted from David Luttenberger’s Rules of Engagement, Iconoculture

characters, cartoons and pictures on every square inch,” says Luttenberger. “US consumers can’t even spell QR code, for the most part.” But Americans’ increasing adoption of smartphones is beginning to change that. The number of US consumers with the ability to scan barcodes on their smartphones will reach 115 million by the end of 2011, according to Nielsen data. Add to that the ubiquity of mobile und phones—the devices are always around and always on—and the fact that many w debuting with QR of the devices are now readers alreadyy embedded in them, and it’s

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Home Depot's plant tags are an example of how QR-based content is transitioning from fun to functional. When scanned, the tags link up to plant care information and gardening tips.

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no wonder that consumer packaged goods companies are seeking to make these codes a bigger part of how they’re reaching out. “QR codes only need one major campaign per market for [consumers] to understand what they are about. If Coke or Nike were to hide major prizes behind a code, the public would educate themselves pretty quickly,” says Greg McMaster, creative planner at SET, a Tokyo-based ad agency. “There are similarities in the way text messaging took off in the States after American Idol used them as the means of voting.” Still, early QR efforts here have been mixed, with misfires including codes that are too small or difficult to find, websites that aren’t optimized for mobile (why make consumers search and scroll?) and irrelevant or flash-in-the-pan-type content that leaves consumers mostly scratching their heads. Experts say that, like any marketing effort, QR codes are all about execution. “Give me content that makes my life better, easier, faster, quicker, less expensive or less harried,” advises Luttenberger. “There’s always going to be room for that fun piece, but to continue to engage with consumers, brands need to consider where the line is between fun and a waste of my time.” There’s a transition already underway from content that is more about novelty to content that is oriented to consumer needs and passions. Take Coca-Cola. The company’s German operation is promoting a new package format—a tiny 25cl can—as a lifestyle accessory for younger consumers with special edition cans featuring musicinspired designs. Simple drum and earphone graphics create a visual link-up to a music experience that begins when the consumer scans a prominent QR code, launching a website where, among other things, Coke reveals the last-minute details of surprise once-only concerts. By focusing on delighting consumers with a unique music experience first, the effort has a better chance of linking the smaller can format and the experience of drinking a Coke with younger lifestyles. “This is about the consumer ex experience. It’s not about your brand,” says Luttenberger. “You’re going to build brand equity by engaging in conver conversations or delivering content that [hits] these th passion points people have. That’s wh what they’re seeking.”

AUG11

It doesn’t have to be complicated, though. Home Depot introduced QR codes on each plant tag in its garden centers earlier this year, part of a broader barcode effort to give customers more immediate access to information like reviews and how-to advice. Once scanned, the codes link to a website with planting tips and care information—whether the plant grows in low light, for instance. “By giving them content that’s simple and relevant, it moves the deliverable from fun to functional,” says Luttenberger. “And it gives Home Depot that opportunity for a secondary engagement opportunity with the shopper.” The engagement can be immediate or, because Home Depot has the ability to edit the codes to make new content available (without needing to print new materials), it can take place months from now. “This technology can be extremely powerful for both the consumer and the retailer,” says Mike Wehrs, CEO and president of Scanbuy, which enables Home Depot’s QR codes. To be sure, QR codes are not just something for the big guys. Hydrive Energy, the Rye, NY-maker of enhanced waters, tapped Harvard Business School students to develop its own QR strategy, which included a mobile-optimized site offering a constantly changing array of content, such as contests, prizes, trivia, product information and a link to Facebook. “By offering different content with each scan, we replicate the ‘under-the-cap’ promotional experience used in traditional soft drink marketing, but in a digital way,” says Charly-Ann Oddo, the brand’s director of marketing and digital media. Beyond their accessibility, QR codes are also getting an unexpected boost from the recent shift to cleaner, sparer package designs. The codes pack a lot of data in a tiny space, giving marketers a renewed ability to engage consumers but still maintain the simpler, cleaner aesthetic shoppers have now come to expect. However, when it comes to QR codes, brand design is not necessarily the priority. “I’ve seen codes in the marketplace where the designers have done a remarkable job of disguising these codes to the point that you have no clue that they’re even there,” says Iconoculture’s Luttenberger. “We need to make it very clear to consumers, what this ‘thing’ is, how to use it and what the deliverable is.” Key words of advice—at least until US consumers match their Asian and European counterparts in recognizing and embracing QR codes. In Japan, where SET’s McMaster says up to 50 million people are using QR codes each day, the market has spawned what some consider the next-generation QR code—a designer barcode that eschews the conventional black-and-white matrix design for one that integrates a brand’s identity.

AUG11

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Designer barcodes are making inroads in more sophisticated QR markets like Japan, where Dom Perignon commissioned SET to create an Andy Warhol-inspired code for limited-edition packaging honoring the pop icon.

“Designer codes are starting to appear more often on packaging [in Japan] and will continue to grow. The standard codes don't add anything to the overall aesthetic of the package,” says McMaster. Plus, bigger codes typically get moree ckscans. As the clunky blacknlarged ed and-white QR code is enlarged ption on due it “becomes less of an option ,” h he says. McMaster’s to [its] unattractiveness,” volution of the QR code? prediction for the next ev evolution siggns made of physical Scannable barcode designs n need neeed of information and objects. “People are in entertainment,” he says. arketers, ers, the t Asian It’s clear that, for US marketers, piration—a market offers plenty of QR code inspirati inspiration—a way to understand its potential evolution here. In al South Korea, for instance, Tesco is testing a virtual aileer QR-code-based storefront on subway platforms. The retailer beams an image of virtual store shelves along the walls of train platforms; each product has a corresponding QR code. Clicking on the code adds the product into the commuter’s basket, with home delivery available within hours of placing the order. It’s a good example of how QR codes can play a more strategic role (than the more tactical, momentary efforts currently in play here) by helping the convergence of physical and digital shopping and by serving to reinvent the retail experience from whatever point a shopper engages. BP

WHERE TO GO FOR MORE INFORMATION CONSUMER INSIGHTS

Iconoculture www.iconoculture.com

DESIGNER BARCODES

SMARTPHONE TRENDS

MOBILE BARCODE SOLUTIONS

Nielsen, www.nielsen.com

Scanbuy, www.scanbuy.com

www.brandpackaging.com

SET, www.setjapan.com

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T N E N I Re Y

R E V E HING T

10/06/11 - 10/07/11 W CHICAGO – CITY CENTER

REGISTRATION RATES: Standard Registration: $1,495 Group Discount: BUY 2, GET 1 FREE

JUST ADDED! LEAP DESIGN ROUNDTABLE!*

GOLD SPONSOR

This peer-to-peer session exclusively for brand owners is where senior marketers and creatives can come together to solve their most pressing challenges in advancing strategic design. LEAP will focus on the big picture — more theory than practice. The bigger, longer-term issues surrounding strategic design. *additional fees apply. limited to brand owners.

SPONSORS

THURSDAY, OCT. 6

4:00pm – 4:45pm

7:30am – 8:30am

Justin Gold, Founder & CEO, Justin’s Nut Butter Jason Foster, Founder & CEO, Replenish

CONTINENTAL BREAKFAST/REGISTRATION

BRANDS TO WATCH

8:30am – 8:45am

4:45pm – 6:00pm

OPENING REMARKS

COCKTAIL RECEPTION

Pauline Hammerbeck, BRANDPackaging 8:45am – 9:30am KEYNOTE: Chris Hacker, Chief Design Officer, Global Strategic Design Office, Johnson & Johnson

FRIDAY, OCT. 7

9:30am – 10:15am

7:30am – 8:30am

MORNING NETWORKING BREAK

CONTINENTAL BREAKFAST/REGISTRATION

Meet The Sponsors 8:30am – 8:45pm 10:15am – 11:00am

PACKAGING, DESIGN & INNOVATION: A CONSUMERS WORLD Rudy Wilson, VP, Marketing Consumer & Shopping Experience, Frito Lay 11:00am – 11:45am

KELLOGG’S ALL BRAN: THE PATH TO A GLOBAL REDESIGN Teresa Lindsay Houston, Global Marketing Director, Kellogg’s All-Bran Marcus Hewitt, Chief Creative Officer, Dragon Rouge Eric Zeitoun, President, Dragon Rouge 11:45pm – 1:00pm

WELCOME ADDRESS & DESIGN GALLERY JUDGING RESULTS 8:45am – 9:30am KEYNOTE: Andrea Fairchild, Vice President of Brand Marketing, Gatorade 9:30am – 10:15am

MORNING NETWORKING BREAK Meet The Sponsors 10:15am – 11:00pm

THE CULTURE OF LUXURY Tim Stock, Managing Director, scenarioDNA

NETWORKING LUNCHEON

11:00am – 11:45am

1:00pm – 1:45pm Jon Dehnam, Former VP of Design & Innovation at Kraft

THE FUTURE OF RETAIL: HOW TECHNOLOGY IS TRANSFORMING MERCHANDISING, PACKAGING AND DISPLAY

1:45pm – 2:30pm

Piers Fawkes, Founder, PSFK

ORGANIC BY DESIGN, BABY FOOD 2.0

11:45am - 12:00pm

Neil Grimmer, Co-Founder & CEO, Nest Collective

CONCLUDING REMARKS. PACKAGING THAT SELLS ADJOURNS.

2:30pm – 3:15pm

AFTERNOON NETWORKING BREAK Meet The Sponsors 3:15pm – 4:00pm

TBA

12:15pm – 3:00pm

LEAP DESIGN ROUNDTABLE* A peer-to-peer strategic design roundtable for brand owners

FROM LEFT: Hacker, Wilson, Houston, Hewitt, Zeitoun, Dehnam, Grimmer, Gold, Foster, Fairchild, Stock, Fawkes

www.PackagingThatSells.com

BRAND (re)NEW SUMMER’S

By Jennifer Welbel

EVE > The story: In 1972, C.B. Fleet Company Inc. launched the Summer’s Eve brand with a disposable douche as its sole product. Over the past 40 years, the brand has evolved to offer a complete line of external cleansing and freshening products, including cleansing wash, cleansing cloths, body powder, deodorant spray and more. Today, Summer’s Eve is the number one feminine hygiene brand and has a loyal consumer base.

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)

BEFORE

> The challenge: Summer’s Eve has a devoted following with its 40-to-60 year-old audience. However, despite the brand’s success, it was not connecting with today’s women. “What we heard from women was that, while they [loved] and [continued] to buy the brand, it didn’t feel like them,” says Pamela Long, director/client services, Little Big Brands, the firm responsible for the redesign. “It felt like their grandmother…someone 20 years older than them, [and] they wanted something that felt more modern, fresh and contemporary.” As the category leader with a dedicated following, there was a substantial amount of risk in making that change. Nevertheless, Summer’s Eve joined forces with Little Big Brands and Product Ventures to overhaul the brand and make it more aesthetically pleasing, but, at the same time, retain its heritage.

big leap, try and work in some of the heritage and the elements that will continue to make them feel comfortable with the brand but doing it in a really fresh and exciting way,” says Long. To accomplish this, Little Big Brands began by creating color-coded line work and flower elements (nuances of the brand’s original leaves graphic) along the top of each SKU. “While we didn’t completely abandon everything, we did considerably upgrade the imagery,” says John Nunziato, creative director, Little Big Brands. “We…moved them to a more useable, identifiable and completely ownable illustration style.” Little Big Brands then used a Yoni—the ancient symbol for female genitalia—as the package focal point. “Our symbol now has a very deep, historical meaning

> The solution: Before embarking on the redesign, Little Big Brands conducted one-on-one interviews with women to discuss the feminine hygiene category—what they thought about it, their feelings about Summer’s Eve, how they wanted to talk about the topic of vaginal care and more. “When you are talking about a major overhaul, [you have to make] sure that all the steps are taken to talk to women, make sure they are comfortable with what we are doing from a design perspective and, although it’s a

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CREDITS PACKAGE DESIGN

Little Big Brands, www.littlebigbrands.com STRUCTURE

Product Ventures, www.productventures.com

www.brandpackaging.com

AUG11

to it,” says Nunziato. The Yoni graphic also includes an updated Summer’s Eve logo, rendered in abbreviated form as “SE”. “Before, the ‘Summer’s Eve’ was massive on there, and now we are using the ‘SE’ to help guide people and symbolize the brand,” says Long. “But you aren’t screaming, ‘This is Summer’s Eve’ in your cart.” Next, Little Big Brands turned its attention to the brand architecture. According to Nunziato, “One of the big problems with the brand was shoppability. They had three pastel color palettes—a pink, light green and a lavender— which really didn’t mean anything from form to SKU.” Therefore, they developed 19 custom colors, including 17 color codes to represent each variety, the logo color and the background color, which were still feminine but also sophisticated. While Little Big Brands was working on the redesign, Product Ventures spearheaded the structural work. Using its own consumer-driven research (including blog diaries and focus groups), it eliminated the broader, big shouldered bottles and developed sleek, modern looking structures that were functional and worked well for women.

(

AFTER

To coincide with the updated design and structure, Summer’s Eve introduced a new website with a frank educational component (e.g., an “ID the V” quiz that asks visitors to identify the five major parts of the vagina), viral and television campaigns, a blog (www.thatsvaginal.com) and more. “When we started talking to women, they really told us to talk about it,” says Long. “It’s a real product, for a real area, and [they wanted us] to talk about it in a real manner.”

> The results: Together, Little Big Brands and Product Ventures created a design and structure for Summer’s Eve that is supporting a new brand effort to become more relevant and change how women talk about their bodies. According to Long, “It’s [really]out there, especially for Summer’s Eve.” “This is the brand that had women running on the beach with a ‘not so fresh feeling’, and now…people are being very frank about it.” The openness is resonating well, particularly with a younger audience. “When we went into the project, the audience was really 40- , 50- and 60-something women,” says Long. “But what we are seeing now is that those 20- and 30-something women are saying, ‘Wow, this is cool; this is something that looks like me and feels like me,’ so it has opened [Summer’s Eve] to a wider audience.” BP

) > The new SE logo is

> The color-coded line work and flower elements are nuances of the original leaves graphic. >

hand-drawn custom typography that helps to guide people and symbolize the brand.

The Yoni is the ancient symbol for female genitalia.

EDITOR’S NOTE: Interested in submitting new/redesigned packages? Email [email protected] with project background, images and supplier credits for consideration.

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www.brandpackaging.com

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ORIGINAL RESEARCH

BATTLING THE

BACKLASH ARE BOTTLED WATER BRANDS GETTING THEIR ENVIRONMENTAL MESSAGE ACROSS? By Jonathan Asher

N

ot long ago, a single-serve plastic water bottle suggested that a person was sophisticated and health-conscious. Today, that first impression might be more negative: a sign of waste, social irresponsibility or a lack of concern for the environment. Although disposable bottles made of PET plastic are used for a variety of beverages, bottled water has gotten the most negative attention; most likely because tap water is seen as a readily available alternative that is more economical and environmentally friendly.

Given these concerns, bottled water manufacturers have been focused on developing more sustainable packaging and communicating these environmental benefits. But have their efforts been successful? To find out, we recently conducted in-person interviews with 200 shoppers to understand their reactions to the environmental claims on the packaging of major bottled water brands (such as Dasani, Aquafina, Fiji, Target, Poland Spring, Deer Park, Arrowhead, Ozarka and Ice Mountain). We wanted to determine which ones they noticed (or missed), which were most compelling and whether the messages were even making a difference. The first and perhaps most dramatic finding of the study was that many shoppers were completely missing environmental messaging. When we used eye-tracking to document packageviewing patterns, we found that most on-pack environmental claims were seen by only 25 percent to 30 percent of shoppers, ranging from a high of

AQUAFINA

ECO-FINA BOTTLE: Many shoppers completely missed the environmental messages, though Aquafina's "Eco-Fina Bottle" claim was seen by 39 percent of shoppers—the highest finding in this study.

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39 percent for the “Eco-Fina Bottle” message on the Aquafina packaging to a low of only four percent for the “100% recyclable” message on Dasani packaging. This low level of visibility and engagement represents a missed opportunity to improve on-pack environmental claims DASANI The most believable, easy-to-understand and impactful claim was the "100% and, perhaps, make PLANT BOTTLE: Recyclable Bottle" message on the Dasani packaging. headway against the bottled water backlash. ly to o develop more Viewed collectively, the findings from this brief study have two Manufacturers are investing significantly direct implications for bottled water marketers, or any marketers sustainable solutions, but they aren’t consistently reaching the pursuing more sustainable packaging solutions: shopper with this information. When shoppers were directly asked about various claims, the findings were quite clear: the most believable, easy-tounderstand and impactful claim was “100% recyclable bottle” (found on the Dasani bottle); references to reduced plastic usage, such as “50% Less Plastic” and “30% Less Plastic” were

First, keep the message simple and intuitive. Given all the environmental messaging in the market today, shoppers are understandably confused (and perhaps a bit cynical) about claims. Most are not likely to put a great deal of effort into deciphering messaging, so the clearest message is generally the most impactful.

KEEP THE MESSAGE SIMPLE AND INTUITIVE. MAKE THE MESSAGE PROMINENT. also strong. The least compelling claims were messages like “1% for the Planet” and “Eco-Shaped Bottle” which shoppers found difficult to understand. The “Plant Bottle” claim on Dasani packaging also performed somewhat poorly, despite the considerable marketing investment parent company Coca-Cola is making to promote the partiallyplant-based PET bottle. It will be interesting to see if this perception changes over time, but, regardless, this study suggests that it will be critical to link the plant bottle message more directly with its “100% recyclable” benefit. Overall, though, we found evidence to suggest that compelling environmental messages had an impact. Fifty percent of shoppers claimed that the “100% Recyclable” message had a significant positive influence on their purchase intent, while about 25 percent said the same for claims surrounding the use of less plastic (we didn’t measure actual purchase patterns).

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It’s also important to make the message prominent. The environmental claims we studied appeared to be afterthoughts—last minute additions—on many packages. This not only limits visibility, but it also influences how shoppers react to the message because it implies that the claim or benefit itself is not terribly important. If marketers want to send the message that sustainable packaging is important, they need to prioritize and emphasize it on-pack— and integrate it within the core graphic design, rather than treat it as a violator. Following these simple guidelines will help ensure that ongoing investments in environmentally-friendly packaging are not only noticed but rewarded. BP

Jonathan Asher is senior vice president of Perception Research Services, International (www.prsresearch.com), a company that conducts more than 800 consumer research studies annually to help marketers win at retail. Jonathan can be reached at [email protected] or 201.346.1600.

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Doing it

By Natalie Woodhead

THEMSEL WHY CREATIVE AGENCIES ARE PLAYING THE BRAND OWNERSHIP GAME—AND SCORING WITH CLIENTS

I

n 2007, global branding and design consultancy Elmwood mwood launched its own tea meone in the studio brand, Make Mine a Builders. It all began when someone Make mine a asked who wanted tea and someone else replied “Make k). At builders” (shorthand for a strong, hot tea with milk). ancy the time, the British tea market was flooded with fancy nse herbal teas so the moment felt right for a no-nonsense -lover. brand that would appeal to the everyday, hard-working tea-lover. ure, “Launching a new brand in one of the world’s most mature, ber, competitive markets was a bold move,” says Eliot Schreiber, et Elmwood’s global president. “Once we’d spotted a market opportunity, we decided to show our clients that we’re willing rand to put our money where our mouth is by applying our brand n strategy and design expertise to our own project. And in ace so doing, gain a better appreciation of what our clients face when creating and growing brands.” h For authenticity’s sake, Elmwood taste-tested the blend with a panel of 300 builders (British construction workers are he traditionally big tea drinkers), created a partnership with the Federation of Master Builders—the UK’s largest building trade association—and forged novel distribution channels for the brand, including a national hardware store. But it wasn’t all a bed of roses. “Dealing with supply-sidee problems, such as droughts in Kenya that inflated tea

Launching a successful tea brand in the UK, a saturated tea market, helps Elmwood showcase its brand strategy and design expertise.

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FOR LVES prices, a fire at our printer’s, and delisting from a chain retail account, made the initiative very real, very fast,” Schreiber says. “But we hung in, won back the account, added new ones and now sell millions o of mugs of tea annually throughout the UK.

> WALK WALKING THE TALK Other cons consultancies that have successfully invested in their own ideas include the Amsterdam agency, They, which ha has shaken up the champagne world with its sexy, arty champagne brand, Zarb; and The Brooklyn Brothers with their famous Fat Pig chocolate. Paul Brothers, Parton, partner at The Brooklyn Brothers, explains that the mot motivation was simply to create what they couldn’t find. “W “We love chocolate. And at the time it was very hard to find organic milk chocolate that wasn’t truffled or full of nuts,” he says. “So, in the absence of an alterna alternative, we thought we’d make our own.” w not? Ad, branding and design agencies And why know better than most about creating and posit positioning brands and products. But as Elm Elmwood’s example illustrates, there will always be hurdles h along the way. So why would creative age agencies dirty their hands in the day-to-day grin grind when they could just dream up the stra strategy, positioning and creative, then move on to the next client? Is it really all worth it? In a word, yes. Proving they can practice what th preach while growing their understanding they o of clients’ challenges is just one slice of the pie. T The worsening economy and tightening client budgets means launching own brands and products makes financial sense too.

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Agency-created brands are, in effect, challenger brands. Amsterdam-based They shook the global champagne market up with the debut of Zarb, a sexy everyday brand.

If they’re successful, it’s one more defense against the effects of the recession. And when squeezed budgets so often mean muted creativity, it’s also a way of maintaining creative flow, growing expertise and competitive advantage, and creating more competition in the marketplace. These agency-created brands are, in effect, challenger brands. With less money to invest in above-the-line activity, their ideas often have to be strong enough to sell solely at point-of-purchase. Perhaps in their favor is the fact that, without a large corporate reputation to protect, creative agencies have more freedom to take risks than some of the more established brand owners—making it easier to get innovative ideas off the ground and to market faster. Much of the success of Fat Pig chocolate was a result of its standout on shelves. Granted, the product itself was different—organic, milk chocolate with a flavor and texture similar to Swiss chocolate. But its

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biggest difference? Paul Parton sums it up, “The attitude of the brand. The irreverence. The playfulness. That’s what attracted people to it.”

> KEEPING UP WITH CONSUMERS As consumerism gets more democratized and media and technologies progress, there’s huge pressure on brand owners to think and act at lightning speed. Staying on top of new and established brands, keeping pace with trends and gaps in the market and launching products in response to all this is one very tall order. Creative agencies are well placed at keeping up with these shifts and changes, and how they translate this into the daily cut and thrust of being a brand owner—for themselves as well as their clients—is important. Changing times also mean changing business models, and the agency that can diversify beyond its established commercial strategy is the one that will fare best. Advertising is a good example. This is one industry that has been challenged by its clients in terms of its core competency and how best to measure and value it. Bartle Bogle Hegarty is a traditional ad agency, and Zag is its separate brand invention company. Adam Arnold, Zag’s general manager, explains the importance of creating additional business models to stay competitive. “BBH specializes in big ideas, such as Vorsprung Durch Technik for Audi, ideas that can create real value for our clients. Zag came about when we thought about trying to create some of this brand value for ourselves.” Of course it’s risky, but by setting up a separate company like Zag, the risks inherent in creating new types of value are made more manageable. “The benefits come with owning up to 100 percent of the rewards,” says Arnold. Brooklyn Brothers credits much of the success of its Fat Pig brand of chocolate to its playful, irreverent attitude and design.

The lessons are equally valuable. Take Zag’s assault alarm brand for women, Ila. “Ila started out small with the challenge of making it on-shelves in the big retailers. So we really felt all of the pressures that our clients feel on an everyday, ongoing basis,” says Arnold. “Everything we’ve learned has made us much more commercially aware and really brought home the challenges our clients have in selling their products. Clients also respect that we are making the effort and taking the risk.”

> ENJOYING THE RIDE Of course, creating successful brands isn’t just what creative agencies are good at. It’s also what they love to do. It’s what they live and breathe. So taking their own ideas to market is surely just a natural next step. Joyce Verburg of Zarb Champagne, says, “The enormous amount of free publicity [is] the result of the real love and hard work we’ve put into building the brand— its authenticity is being well received.” The Brooklyn Brothers have also enjoyed the exposure. “Fat Pig gave us tremendous insight into how engaging ideas in any medium (packaging in this instance) could generate a viral effect,” says Parton. “There are now thousands of pages of online content devoted to Fat Pig and we’ve developed almost none of them.” Hot on the heels of its tea brand success, Elmwood recently created a beer brand. “We launched Good Cheer Beer during the Great Recession to encourage people to enjoy a morale-boosting chat over a beer and to support their local pubs at a time when they were closing down at an alarming rate,” says Elmwood’s Schreiber. “It was also another test of our ability to launch a brand in a saturated market, agai again taking a novel approach to its positioning and attitude. But make no mistake, it’s a really well-crafted brew, too.” The benefits go much further than creating new revenue streams. It’s also good for relationships with retailers, collaborators and peers, as wel well as clients. “Our clients benefit from our experiences taking our o own brands to market,” says Schreiber, “but much of our success is actually down to their generosity in sharing their knowledge aand expertise with us.” Paul Par Parton of The Brooklyn Brothers supports this view. “It’s fun fu to make products but it’s hard to make money,” he says. “It’s “ made us appreciate our clients so much more. We aalways thought we did the hard bit but now we know that they do.” BP

Natalie is a journalist and copywriter, with her most recent articles focusing on packaging trends and eco-packaging. She also works with corporates to help establish their strategic direction and tone of voice, and runs writing workshops too.

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Packaging. Processing. Powerful.

Package design and branding, all wrapped up. At PACK EXPO Las Vegas you’ll find everything you need to put your idea into consumers’ hands. Don’t miss the expanded Brand Zone, featuring innovative containers, materials and package designs: s The latest advances in glass, plastic, metal and paperboard packaging, decorating, printing and re-sealable technologies. s The Showcase of Packaging Innovations®, sponsored by The Dow Chemical Company. s PACK EXPO Selects™ awards for best consumer packaging. Don’t miss the largest packaging and processing show in North America. Register Today! www.packexpo.com/brandzone

PACK EXPO Las Vegas 2011

P R O D U C E D B Y:

September 26-28, 2011 Las Vegas Convention Center Las Vegas, Nevada USA

CO-LOCATED WITH: C

JUST OUT >

USA

A COAT OF ARMOR LAUNCHED: JUNE 2011

The founder of Fuze and Nos Energy, Lance Collins, introduces his newest all-natural and exotic product line, BODYARMOR. Designed for active lifestyle consumers, the fruit-flavored beverage is a blend of coconut water, antioxidants, vitamins, amino acids and electrolytes. Collins worked closely with Flood Creative to develop the look and feel of the brand, including the proprietary bottle shape and color-coded graphics that feature vivid photography of the main ingredients. BODYARMOR is darin strawberry banana guava available in raspberry blueberry goji, cranberry citrus, tropical mandarin, guava, orange mango black & green tea and pomegranate acai green tea. (Package design: Flood Creative, www.floodcreativeny.com)

> MULTINATIONAL

THE ICE AGE NATIONAL ROLLOUT: JUNE 2011

Designed to capture the moment before ice turns to liquid, Finlandia Vodka introduces a redesigned bottle that it has dubbed Melting Ice. “Ice has been the central design motif of the Finlandia brand from the beginning,” said Webb Blevins, global creative director, Brown-Forman. “We wanted to make it a stronger element that covered 360-degrees of the bottle’s surface. But, most importantly, we wanted to improve visibility on the shelf and maintain the premium perception of the package while being true to our origins.” In addition to a new structure, the bottle features an updated, color-coded label that includes images of fruit to differentiate the flavors. A portion of the original 1970 label—a graphic of two reindeers locked together beneath a midnight sun—also adorns the neck of the bottle now. (Package design: Brown-Forman, www.brown-forman.com; Structural design: Harri Koskinen, www.harrikoskinen.com and Kenneth Hirst, www.hirstpacific.com)

> EUROPE

PURDEY'S GETS A MAKEOVER LAUNCHED: JUNE 2011

Originally introduced in 1992, Purdey’s multivitamin fruit drink is launching redesigned packaging. The updated look uses illustrations and drawings to convey the brand story and ethos of modern alchemy in action. For example, scissors are a visual reference to staying sharp; light bulbs symbolize ideas; and grapes are one of the drink’s main ingredients. (Package design: Blue Marlin Brand Design, www.bluemarlinbd.com)

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Chart Your Course to Real

S U CC E SS At Clear Seas Research we develop customized research solutions to identify:

The outlook for new/existing products Customer needs and expectations Optimal product price points Marketing messages with impact Your position in the industry Areas of customer satisfaction Opportunities for new solutions/products . . . and much more

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Find out how we can customize a research solution to help your bottom line. 248.786.1683 [email protected] www.clearseasresearch.com

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JUST OUT >

UK

WHAT’S YOUR FORMULA? LAUNCHED: AUGUST 2011

The Natural Confectionery Co. launches its newest product, Guzzle Puzzle. The candy is a combination of two uniquely-shaped and -flavored jellies that, when combined, produce a distinct flavor (e.g., orange plus banana equals bubblegum). To showcase the candy’s puzzle-like attributes, the package features an addition formula using the sweets as modifiers. “The design for Guzzle Puzzle appeals to a broad audience and highlights the exciting and unique nature of the product and the exciting flavor combinations,” says Louisa Bertano, marketing manager for candy at Natural Confectionery Co. (Package design: Pearlfisher, www.pearlfisher.com)

>

UK

NOTHING BUT THE BEST LAUNCHED: JULY 2011

Earth’s Best expands its line of organic baby food d s, to include purees. Available in resealable pouches, es, the purees encompass all three baby feeding stages, nd including four months and up, over six months and nine months and older. The pouches use vibrant merical blocks to identify each flavor and feeding stage. fruit illustrations, color-coded backdrops and numerical l l diff i b h nine i variants, i “Moms shop by flavor and stage, so it was important to clearly differentiate between the and others, as the line expands,” says Martha Seidner, vice president, Smith design and account director, Earth’s Best. (Package design: Smith Design, www.smithdesign.com)

>

CANADA

TWO GREEN THUMBS UP LAUNCHED: AUGUST 2011

PepsiCo Beverages Canada introduces the 7Up EcoGreen bottle—North America’s first soft drink bottle made from 100 percent recycled PET plastic. "After three years of research and development, we have cracked the code to commercially develop a soft drink bottle made from 100 percent recycled PET plastic, and Canada has proudly led the way," said Richard Glover, president, PepsiCo Beverages Canada. PepsiCo predicts that the new bottle will reduce the amount of virgin plastic used by approximately six million pounds over the course of one year. The bottle will be available across all 7UP and Diet 7UP package sizes and will look and feel the same as any other PET plastic soft drink bottle—save for the EcoGreen logo at the top of the label. (Structural design: PepsiCo, www.pepsico.com)

EDITOR’S NOTE: Interested in submitting new/redesigned packages? Email Jennifer Welbel, [email protected] with project background, images and supplier credits for consideration.

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www.brandpackaging.com

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The Future Direction of Sustainability 7th Annual

SEPTEMBER 20-22, 2011 Intercontinental • Dallas, TX

PRODUCED BY

WWW.PACKSTRAT.COM

The Only Sustainable Packaging Event in the Industry Officially Endorsed by:

KEYNOTE PRESENTATIONS The Power of Packaging: Fulfilling the Sustainability Mission Mike Maggio, Vice President, Global Strategic Design Operations, Johnson & Johnson

MEDIA PARTNER

SUPPORTED BY

Co-located with SPC FALL MEMBER MEETING September 19-20

The Consumer Vision and the Sustainably Packaged Brand Mitch Baranowski, Co-Founder, Chief Creative Officers, BBMG

SPONSORS

SPC Member and Team Discounts Available. REGISTER NOW!

www.SustainablePackagingForum.com

PACKAGING

> OCTOBER 6-7, 2011

THAT

SELLS SENIOR MARKETERS AND DESIGNERS ARE CONVENING IN CHICAGO FOR OUR ANNUAL PACKAGING THAT SELLS CONFERENCE THIS FALL— HERE’S WHAT TO EXPECT.

I

n the 10 years since we began hosting the conference, Packaging that Sells has become the only venue where marketers and designers can come together to rally. It’s no secret that the two disciplines have historically had a complicated relationship: management structures are partly to blame; differing personalities and outlooks also cause friction; sometimes it’s just the case of conflicting priorities.

And that’s a topic that we’re tackling head on this year with Jon Denham, Kraft Foods’ former vice president of design and innovation, who will moderate a panel with industry leaders to discuss how marketing, design and other disciplines can better build cultures of collaboration and support. We like to think this conversation is continuing a role we’ve always played in elevating the dialogue about package design and giving it a voice in strategy. There’s no other event that brings it all together and looks at our slice of the world in quite the same way.

This year is no different. Playing out over a day and a half, we’ll hear from luminaries like Johnson & Johnson’s chief PACKAGING THAT SELLS design officer Chris Hacker, whose passion is empowering brings marketers and designers to champion sustainable design to the business designers together to elevate world, and Andrea Fairchild, who, as vice president of the dialogue about package brand management at Gatorade, is driving strategy for the design and give it a voice brand’s reinvention as a multi-platformed performance in brand strategy. brand called “G.” We’ll give you plenty of how-to’s with compelling case studies from mission-driven brands that are reaching consumers with emotional connections—territory that most every brand is looking to claim these days. Neil Grimmer, CEO of Nest Collective, will tell us how his leading brand awakened a dormant food category with intuitive package design and, now, is leading a baby and kids food revolution. Teresa Lindsey Houston, global marketing director of Kellogg’s All-Bran, will explain how she steered her global brand to lifestyle-driven emotional territory. And Newell Rubbermaid’s creative director

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A SNAPSHOT HERE’S WHAT YOU NEED TO KNOW ABOUT PACKAGING THAT SELLS: > WHERE W City Center – Chicago > WHEN October 6 + 7, 2011 > WHO ATTENDS More than 400 senior-level brand marketers and designers; retail brand marketers and designers; and cream-of-the-crop brand design firms. > KEYNOTES Chris Hacker, global design officer, Johnson & Johnson and Andrea Fairchild, vice president of brand marketing, Gatorade > DETAILS For a detailed agenda and registration information visit www.packagingthatsells.com. Or follow www.twitter.com/ packagingsells for the latest developments.

and director of marketing will team up to detail a just-inked campaign to position the Sharpie brand as a catalyst for self expression.

PACKAGING THAT SELLS gives emerging brands a platform to keep attendees on top of trends. Ten years ago, Method co-founder Eric Ryan was on stage as a brand to watch; last year, he served as our keynote.

We also make a point to give emerging brands a platform at Packaging that Sells. There’s Justin’s, whose push for innovation has made the nut butter brand a darling of retailers like Whole Foods, and also Replenish, which, through its business model and its broader partnerships, is reinventing the way the consumer packaged goods world thinks about package reuse. Our goal for giving challenger brands like these a voice is to make sure you’re constantly staying on top of the current trends. For further trends insight, make sure to check out Rudy Wilson, Frito-Lay’s vice president of marketing, who’ll dish on the company’s forays into augmented reality and compostable packaging and his creation of a global design team that’s being tasked to power the future of packaging at Frito-Lay. Visionary Piers Fawkes, founder of the trends and innovation consultancy PSFK, will look at the future of retail and how technology is rewriting the rules of merchandising, packaging and display.

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And Tim Stock, managing director of trend-shop ScenarioDNA will give us his unique take on the culture of luxury (luxury has lost its compass, he says). We’ve also carved out a brand-owners-only forum within the confines of Packaging that Sells called LEAP. A series of roundtable discussions—exclusively for brands and retailers— LEAP is assembling CPG decision-makers for peer-to-peer problem-solving conversations on the opportunities and challenges surrounding strategic design. We’re excited about the way things have shaped up. And we hope you’ll join us for a day and a half of insights, inspiration and connection-making opportunities that are unique to Packaging that Sells—the one place where design and strategy truly meet. BP

www.brandpackaging.com

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LINE and created a proprietary “sqround” (square-round) container with clear sides and large display panels.

> THE BOTTOM LINE: After Stonemill Kitchens’

F

or 4400 ye year years, arss Stonemill Kitchens has been handcr handcrafting rafting artisan dips with fresh ingredients. But despite its premium quality, the Oregon-based brand had been under-marketed. In an effort to attract a younger audience and to expand into more mainstream supermarkets, Reser’s Fine Foods (the company behind Stonemill Kitchens) commissioned a packaging redesign. The company replaced the original 1970’s waterwheel logo with an upscale, “foodie” script and eliminated its ingredient clipart in favor of vivid food photography. To increase product visibility, Stonemill Kitchens eliminated the stock round tub

redesign, for the 52-week period ending April 16, 2011, the brand realized a 20 percent increase in sales where stocked, according to Nielsen Supermarkets Scantrack. There was no increase in marketing support or discounting during the period. David Lakey, vice president of marketing at Reser’s says consumers also responded positively to the new design. “We noticed a substantial uptick [45 percent] in consumer calls for the brand,” he says. “Many of these were people who tried the product for the first time while visiting the West, and then wanted to buy it back in their hometown.” Lakey says the new packaging has also motivated hundreds of stores to stock Stonemill Kitchens for the first time. “One of our latest wins is new acceptance at Central Markets. Arguably the most upscale food chain in Texas.” BP

CREDITS Airlite Plastics, www.airliteplastics.com Verstraete, www.verstraete.be PACKAGE DESIGN Murray Brand, www.murraybrand.com

EDITOR’S NOTE:

STRUCTURE

Submit a project for consideration in The Bottom Line. Email [email protected] with details on the effectiveness of your design.

LABELS

INDEX OF ADVERTISERS BRANDPACKAGING PACKAGING THAT SELLS CONFERENCE ............................................................................... 14, 15

Owens Illinois .................................................................................................................4, 5

Ciulla Associates................................................................................................................7

R+D Leverage ................................................................................................ Back Cover

Diamond Packaging .........................................................................................................9

Packaging Outlook ........................................................................................................ 31

Exopack ............................................................................................. Inside Front Cover

Sustainable Packaging Forum .................................................................................. 27

PMMI-Pack Expo............................................................................................................. 23

This index is for the convenience of our readers. Every care is taken to make it accurate. BRANDPACKAGING assumes no responsibility for errors or omissions.

READER & MARKETING SERVICES LETTERS Pauline Hammerbeck [email protected] 155 Pfingsten Road, Suite 205 Deerfield, IL 60015 PRINT & INTERNET ADVERTISING GROUP PUBLISHER

WHERE DESIGN AND STRATEGY MEET BNP Media 155 Pfingsten Rd. Suite 205 Deerfield, IL 60015 (847) 405-4000 Fax: (847) 405-4100 www.bnpmedia.com

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AUG11

N O V E M B E R 7-9, 2011 INTERCONTINENTAL BUCKHEAD • ATLANTA, GA

PREDICTIONS FOR PACKAGING Packaging Strategies’ NEW Packaging Outlook Summit will offer a window on innovation and showcase trends and predictions in containers and materials. • Discover emerging trends in containers and materials and how they will influence packaging • Hear bold forecasts and predictions from expert sources on the future direction of packaging • Learn more about the innovation process and how it can support expansion opportunities • Network with top CPG producers/brand owners in a relaxed environment • Find the latest packaging materials, solutions and services at the Tuesday evening exhibition reception Complete program will be available in July 2011

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