Brand Packaging March 2011

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“KRAFTING” A REDESIGN

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BRAND (RE)NEW: COMBOS

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CONTENTS Volume 15 > Number 02

COVER STORY

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BRANDS TO WATCH Five small but mighty startups.

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“KRAFTING” A REDESIGN Kraft Foods uses packaging design to unify a diverse portfolio of brands —and to incorporate new ones.

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BRAND (re)NEW > COMBOS As the bite-sized snack brand turns the big 3-0, it calls on an updated design to increase its appetite appeal.

DEPARTMENTS 04 EDITORIAL 06 NEXT+ NOW 26

JUST OUT

30 THE BOTTOM LINE > REDD'S

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WHY LESS IS MORE

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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

JENNIFER WELBEL/ASSOCIATE EDITOR [email protected]

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2011 Edison Awards finalist; one of Time magazine’s ‘50 Best Innovations’ of the year; the host of the Sustainable Squeeze Pack Summit. No, these are not national brands. Rather, they are challenger brands—small, independent companies that are using innovative packaging and marketing techniques to put their brands on the map.

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

Thanks to Twitter, Facebook and networking sites like American Express’ OPEN Forum, they’re doing it on what is a relative shoestring budget.

dean lindsay design DEAN LINDSAY chairman, department of food marketing, st. joseph’s university JOHN B. LORD, PH.D.

Case in point: the five companies featured in this month’s cover story, Brands to Watch. From a small, Boulderbased nut butter company to a tea brand inspired by the founder’s grandmother, each profile is a testament to the fact that you don’t need to be a massive corporation to develop a successful product. A little innovation goes a long way.

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.

And, because these smaller brands are achieving newfound fame, national brands are finding that they must also constantly innovate to stay relevant. Take Kraft Foods, which, in order to compete with private label products, recently redesigned its Mac & Cheese and Miracle Whip lines. Or Starbucks, which, in removing the “Starbucks Coffee” lettering from its identity, is repositioning its brand. So, as budgets continue to get the squeeze and consumer spending decreases, the leaders in this industry won’t be marked by size or budget — they’ll be those that max out their resources and work on continuous reinvention. Let your competitors look to the big multinationals to figure out what’s new and what’s next. Our latest crop of Brands to Watch is a reminder that small independents just might be a better bet. BP

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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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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 ROB LISKA 800-223-2194 x726 [email protected] email contact SHAWN KINGSTON 800-409-4443 x828 [email protected]

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CORPORATE DIRECTORS publishing TIMOTHY A. FAUSCH 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 conferences & events EMILY PATTEN clear seas research BETH A. SUROWIEC

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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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PARTNERS IN SATIRE In an effort to move beyond the traditional brand partnerships (e.g., other food and beverage brands or fashion houses), Jones Soda joined forces with The Onion to launch a co-branded line of limited edition sodas. Sold exclusively in six-packs, each 12oz glass bottle combines a best-selling Jones flavor (green apple, root beer or strawberry lime) with a classic Onion headline and image, including “Work Friend Actually Becomes Real Friend,” “War on String May be Unwinnable” and “Novelist Strike Fails to Affect Nation Whatsoever.” The sodas are available at www.myjones.com and store.theonion.com. (Package design: The Onion, www.theonion.com)

THE WORLD’S FIRST POP-UP MALL Independent cafés, galleries and designers are getting a new home in London’s East End thanks to brand consultant Roger Wade’s Boxpark—the world’s fi rst pop-up mall. The two-level retail center, which opens in August, will consist of 60 recycled shipping containers individually designed by each “tenant.” Committed to nurturing smaller brands, Boxpark’s spaces are by invitation only and are offered at affordable rates. (Concept: Roger Wade, www.boxpark.co.uk)

HEARD! “Packaging plays an essential role in meeting consumer needs. It is the face of our brands around the world.” —Coca Cola 2009/2010 Sustainability Review

UDDER-LY GOOD To drive home the message that soy milk is a good alternative to cow milk, Russian brand agency KIAN designed an udder-shaped package for Soy Mamelle—an all natural, low fat soy milk. The green, spotted udder features specially designed valves that, when squeezed, can fill multiple glasses at once. When merchandised on shelf, the package is hung on rods to further emphasize its cow-like similarities. Soy Mamelle is available in glass and latex—the latex version is squeezable, just like, well, an udder. (Package design: KIAN, www.kian.ru)

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MEAL PLANNING 101 Innovative in-store technologies are making shopping easier, faster and more convenient than ever before. Looking to jump on this interactive bandwagon, Kraft Foods and Intel Corporation introduce their Meal Planning Solution kiosk, complete with product suggestions, custom recipes and free samples. When a shopper walks by the kiosk, the digital signage uses Anonymous Video Analytics to determine the individual’s age and gender and then makes appropriate product recommendations. The kiosk is also synced with Kraft’s iFood Assistant application, which allows customers to add recipes and shopping lists to their phones via a barcode scanner. Plus, its screen advisor can suggest additional recipes based on meal time intentions. (Concept: Kraft Foods, www.kraftfoodscompany.com; Intel Corporation, www.intel.com)

THE LATEST COMPETITION: YOUR BRAND AGENCY It used to be that design firms were responsible for one thing—helping to develop and design your brand. But today, those same agencies are using their expertise to create their own brands. Case in point: THEY. In 2009, the Amsterdam-based brand agency launched Zarb Champagne, which means “bizarre” in French slang. Produced by the Baron family, who has been making champagne for over 300 years, Zarb features eccentric bottles designed by in-house creative directors and executed by international photographers and artists. The brand’s latest collection, Deep Black: The Underwater Exploration, showcases the work of deep sea photographer David Shale, underwater photographer Zena Holloway and costume designer Vin Burnham on glossy, black backgrounds. (Package design: Zarb Champagne, www.zarbchampagne.com)

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HEARD! “It isn’t the consumers’ job to know what they want.” —Apple’s Steve Jobs, responding to a question on what research the brand had done to guide development of the iPad (via the New York Times).

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Clearly Bold

At Dragon Rouge, we believe in developing brands that break the clutter through clearly differentiated strategies, bold design and sharp innovation. Like to learn how? 212 367 8800 | dragonrouge-usa.com | 30 West 21st Street 9th Floor New York NY 10010 N E W

Y O R K

PA R I S

L O N D O N

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H A M B U R G

By Jill Rivkin

From health foods and beverages to cleaning solutions and electronics, this year’s Brands to Watch caught our attention because, though small in size (and budget), they are mighty in innovation—taking on rivals many times their size.µUsing creative package designs and memorable messaging, these five independents are proving that, these days, small is where it’s at. 10 0

www.brandpackaging.com www.br www .br brand and ndpac n ac cka kag ging ing.co .co co om

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JAWBONE

unique and market-changing packaging — environmentally friendly packaging was an equal priority.

UNITED STATES

When it comes to consumer electronics, packaging may not be the first thing that comes to mind. But Aliph Inc.’s f lagship Jawbone brand of personal mobile accessories proves that innovative package design can revolutionize an electronics brand and send sales soaring. The San Francisco-based company credits package design with propelling Jawbone “from challenger to best seller” status, says Yves Behar, the founder of design agency fuseproject who also operates as Jawbone’s

Jawbone’s “museum box” display system provides 360-degree views of the product and displays it like a work of art.

Jawbone's most recent innovation is the Jambox, a small wireless speaker for

chief operating officer. “When we first started, the accessories market was dominated by consumer-annoying blister packs,” he says. “Most accessories are still sold in these.”

To combat this and “elevate” the mobile devices. product, Jawbone developed a display system called the “museum box” that provides 360-degree views of the product and displays it like a work of art. The packaging helped the fledgling company make its mark in a category dominated by a few high profile, well-funded brands. But for Jawbone, the task was much deeper than developing striking,

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In 2010, approximately ten years after the initial Jawbone launch, Yves and his team introduced an update on the museum box

format. The new packaging still delivers the brand’s high-end image, but is now 100 percent recyclable and largely produced from recycled materials. Additionally, by allowing for near-zero draft angles, reducing wall thickness and minimizing materials overall, the brand reduced its plastic usage by two thirds. Behar says that same care and thought is extended to every touchpoint for the brand. “Brand and messaging, product and packaging, website and media campaign are all designed by the same team,” he says. “This is very different from work typically done in organizational silos.” Such meticulous consideration has created a strong following that Behar says will take the brand into new segments—a strategy heralded by the recent launch of Jambox, a wireless speaker used with mobile devices. “Our experience in

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making brands

timeless strategy design results

dupuisgroup.com CHICAGO

LOS ANGELES

877.854.8700

HAMBUR RG

The components of the Replenish package—the measuring cup and the pod of concentrate—are integrated into the bottle design to prevent frustration with the product in use and storage.

miniaturization, wireless technology and user experience is going to allow us to be at the forefront of new personal technologies,” he says. If past success is any indication (Behar says every product the brand has launched in the last five years has been number one in its category), it’s a goal that is decidedly within reach.

REPLENISH UNITED STATES

Jason Foster didn’t know he was going to create a “new segment in packaging” when he was using a spray bottle to iron his shirts one afternoon. But it was then that he began thinking about the delivery mechanisms for cleaning products and about the possibility of developing a smarter bottle design. And in the past four years, the former Wall Street equity researcher has done just that—created something he calls “intelligent packaging.” Foster says that the explosion in the use of plastics over the last 60 years hooked American consumers on the ideas of disposability and convenience. “We lost the way we used to build and manufacture products,” he says. “We [used to] make products and design and build them to last.” So, rather than create just another spray bottle with a limited useful life, Foster focused on the functionality and durability of the bottle and the delivery of the product. And, in late 2010, he launched the Replenish brand on a platform of reuse. The cleaning-product delivery system consists of a thick, durable PET spray bottle with a built-in measuring cup and a four-ounce pod of concentrate attached to the bottom. Foster says the format “opens up advantages” from a sustainability and cost standpoint, because it uses 90 percent less plastic, oil and CO2 than traditional household cleaners, minimizes stocking efforts and increases shelf profitability for retailers.

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The components of the package—the measuring cup and the pod of concentrate—are integrated into the bottle design to prevent frustration with the product in use and storage. They also help to overcome consumer skepticism of tablets (commonly used in existing refillable bottle systems), which Foster says make people think they are buying something that feels like “grabbing air.” Instead, the Replenish format makes the value of buying sustainably clearer: Shoppers can see the measuring cup in the middle of the bottle and the vibrant color of the concentrate inside. This new approach to cleaners “takes the water out,” as other refi llable cleaning systems do, but it makes it more apparent that shoppers are buying something that is “built to be a tool.”

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Foster reports that Replenish had an exceptional introduction online, and that the brand is launching in the Midwest with one of the premier natural foods retailers soon. The move from online sales to brick-and-mortar stores is a huge step for the brand, he says. “When you have seen [the bottle] and picked it up, you immediately get it,” Foster says. Though Replenish has started with cleaning products, Foster says the innovative approach to product delivery has legs in other home-goods segments. And while it’s too soon to talk specifics, he says he has agreements in place with “marquis manufacturers” to bring the bottle to other categories. “If you want to innovate,” Foster says, “you have to throw out all those old designs and start with a completely fresh and new approach.”

RUDE HEALTH

produced a strong brand personality, successful marketing campaigns and high-quality, well-loved breakfast options that generate nearly $2.8 million a year in sales. The small-but-mighty team of seven, led by co-founders Nick and Camilla Barnard, has been busy riding the success of a 2008 rebranding campaign that repositioned Rude Health as “clever, witty, a little bit risqué but still in good taste.” Originally a brown paper bag with a clear window and biodegradable label, the former package had backed the brand into a niche. “The packaging got lost on health-food store shelves and failed to attract further customers [beyond those with heightened sensitivity to health],” says Camilla Barnard, co-founder and marketing director. “The Rude Health name was always the strongest part of the brand and everybody loved it,” she says, “but the packaging did not convey the company’s belief that breakfast should be healthy and tasty, but ultimately great fun.”

UNITED KINGDOM

Despite what we teach our children, there are times when behaving rudely pays off. And for the five-year-old, Londonbased breakfast company Rude Health, being rude has

Rude Health uses tongue-in-cheek language and double-entendre product names to uniquely express its “clever, witty, a little bit risqué but still in good taste” identity.

The husband and wife team set out to develop an updated identity and a unique personality with tongue-in-cheek language, double-entendre product names (think raisin-free muesli called No Flamin’ Raisins) and on-pack anecdotes like, “you’re so happy hot pants are back in fashion” that are not so much impolite as they are outspoken, smart and fun.

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The redesigned packages use 100 percent recycled materials. They also feature images that are anything but standard for the category—no bowls of cereal or fields of grain to be seen—which allow the Rude Health brand to pop on the shelf. “Ultimately the package should make people feel full of life, ready for anything and happy,” Barnard says. Marketing and publicity campaigns tap the power of the brand’s packaging. The packs photograph “exceptionally well,” Barnard says, so they’ve received a lot of press coverage. Since the 2008 refresh, Rude Health has achieved nationwide distribution in the UK’s largest supermarket Tesco. In addition to extending the original muesli and porridge products, the brand has also developed two granolas, a range of light and wholesome cereals and gluten-free cereals. Barnard says that, going forward, Rude Health has plans to cast a wider net and extend beyond the cereal aisle with the ultimate goal of “[reaching] more people and getting them in rude health.”

market quality that really embodied the heart and soul of this company at its start—an entrepreneurial grassroots endeavor,” Gold says. But, before long, it became clear that a packaging facelift would better—and more broadly—relay the quality, gourmet brand message and more effectively sell the product. The initial packaging helped successfully launch the product in local and regional markets, and Gold recognized it could play

Justin’s launch of a single-serve squeeze pack was a huge triumph for the brand. “It was the rst big innovation in the peanut butter industry since the creation of peanut butter,” founder Justin Gold says.

JUSTIN’S NUT BUTTER UNITED STATES

Starting with just a food processor in his Boulder, Colo. kitchen, Justin’s founder Justin Gold has transformed his local business into a nationwide success: The brand is the fastest growing natural nut butter and works with such big name retailers as Starbucks, Whole Foods, Target and Kroger. In 2002, the avid outdoorsman and devoted vegetarian began selling his homemade nut butters to family, friends and neighborhood natural food stores in whimsical, 16oz glass jars. “The original packaging had a playful, local farmer’s

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SWEET LEAF TEA UNITED STATES

Social media has indelibly changed the way brands are marketed today. And Austin, Texas-based Sweet Leaf Tea has tapped the medium to bring its community together—from the company’s base of young, energetic and passionate

To convey the brand’s “Homemade Goodness” message, Sweat Leaf Tea an important role in driving the brand to think more “nationally.” “[I needed to] take the emphasis off my playful and outdoorsy nature and convert to a more universal message of a simple, elegant and culinary experience,” he explains. In a March 2010 package and brand redesign, the new focus of the brand became the contents of the package, which Gold lovingly refers to as “The Heroic Nut.” Now, a colorful illustration of an almond, peanut or hazelnut dipped in maple, honey or chocolate (depending on the variety) stands out on a white background, creating more of a premium feel. The refresh marked a major milestone for the brand, increasing sales by 133 percent and growing distribution by 400 percent. But Gold also points to the 2006 launch of a single-serve squeeze pack as another triumph for the brand. “It was the fi rst big innovation in the peanut butter industry since the creation of peanut butter,” he says. Though the format received huge reception, it had initial challenges: Retailers had concerns about how to merchandise the pouches and consumers had questions about how to use them. But, with a little prompting, retailers and users caught on. Today the butters are sold in 16oz glass jars, a 10-count caddy of 1.15oz squeeze packs and a box of 150 loose 0.5oz squeeze packs marketed for outdoor adventures as well as quick snacks and school lunches. As for what we can expect from Justin’s next: “Innovation!” Gold proclaims, noting a goal to implement a 33 percent renewable squeeze pack fi lm by Earth Day 2011.

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features an illustrated version of the founder’s Grandmother Mimi on every label, while memorable “Grannyisms” (heartfelt words of

consumers to its very own “Granny” and all tea lovers in between.

In 1997, after living on a sailboat in the Florida Keys, inside the bottle caps. founder Clayton Christopher was inspired to make an iced tea that tasted as good as his Grandmother Mimi’s. Together with Mimi’s recipe and his childhood best friend David Smith, Christopher began brewing tea—using pillowcases as tea bags, crawfish pots for brew tanks and garden hoses to fi ll the bottles.

wisdom) are printed

Today, Sweet Leaf’s lineup has expanded to 11 sweetened and unsweetened green teas, iced teas and lemonade with a “Homemade Goodness” message that’s predominantly conveyed through its handcrafted design: an illustrated version of Clayton’s Grandmother Mimi is on every label and memorable “Grannyisms” (heartfelt words of wisdom) are printed inside the bottle caps. “It all has to live up to that

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[homespun] promise,” says Charla Adams, brand marketing manager. “We’re finding it’s a message that both consumers and our retail partners get excited about. It looks, tastes and feels totally different from our competitors.”

“Every point of contact an individual has with Sweet Leaf Tea, whether it’s via our packaging, on our website, or at an event, should feel like part of a cohesive brand message,” she says.

In fact, packaging has played a critical role in growing the brand from the start.

But, Adams notes, it is the company’s packaging that anchors the brand and “really impacts everything we do,” from blog contests, social media conversations and digital marketing campaigns.

“Early on, we received drawings in the mail of Granny and letters thanking us for a ‘Grannyism’,” says Adams. “Now with the advent of social media, we get to experience this on a daily basis.”

“We are always listening to our fans to understand what new opportunities may be right for the brand,” Adams says.

The company’s Facebook page, for instance, has grown to more than 15,500 fans who regularly contribute feedback and ideas, along with pictures of how they have reused the brand’s packaging on magnets, clothes and accessories. And Adams says that both new and long-term “super fans” regularly Tweet about Sweet Leaf products and its “Grannyisms” (e.g., “Mind your own beeswax”).

Sweet Leaf is highly tuned in to the idea that packaging that meets consumer needs is the key to growth in the beverage arena. The company recently launched a 15.5oz can that is “perfect for convenience stores and quick-service restaurants” and a 64oz PET bottle in supermarkets for the tea-loving family. These launches have fi lled a void for Sweet Leaf customers and also opened up new retail venues for the brand.

Adams says the brand is quick to engage consumers through the latest social mediums but that it maintains its unique downhome voice in that and every other touchpoint for the brand.

And it sounds like there’s more “homemade goodness” to come: Adams reports that there are plans to introduce additional packaging formats later this year. BP

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“KRAFTING” A

G I ES By Pan Demetrakakes

Kraft Foods uses packaging design to unify a diverse portfolio of brands—and to incorporate new ones.

J

on Denham shows a visitor a row of cubicles at the marketing offices of Kraft Foods in Glenview, Ill. He gestures at the nondescript, beige work cubes and asks rhetorically, “How do you think that encourages creativity?”

packages, not all of them Kraft products—not all of them even food.

Then Denham leads the way to the newly redesigned work space for the creative team that he heads as Kraft Foods’ vice president for package design and brand innovation. The desks are arranged alls that form an X and are low four to a cluster, separated by walls enough to allow communication while seated. Comfortable, low-slung padded chairs with armrest writing surfaces face a whiteboard wall, with soft couches along another wall. Banks of shelves, open on both sides, showcase a variety of interesting EDITOR’S NOTE: Kraft's vice president of design and innovation Jon Denham recently left his post at Kraft Foods, but his track record of bringing relevance to heritage brands—and doing so within a conservative company like Kraft—is one we like to champion.

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This redesign of the creative team’s work area was an 18-month project that’s emblematic of Kraft’s teamwork approach to packaging operations. When you manage an amazingly diverse product portfolio, including some icons that, like the company itself, are more than 100 years old, communication is critical to achieving goals. Kraft has done a remarkable job o of applying sound principles across its diverse packaging portfolio, and not just in design. In sustainability and technology, Kraft’s packaging stands among the food industry’s best.

SQUEEZED ON BOTH ENDS Packaging is a critical component in Kraft’s future success. The company is fighting through one of the biggest economic challenges in its more than 100 years of existence. Like all branded food companies, it’s being squeezed between increasing ingredient prices and intensifying competition, especially from private label.

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To grow in a difficult economy among stiff competition, Kraft is buying new brands and strengthening old ones. Packaging is a vital part of both of these strategies. The former has had a higher profile, with the company’s acquisition of British candy giant Cadbury finalized early in 2010. The approximately $19 billion deal vastly expanded Kraft’s existing candy brands, many of them European, and was financed in part by the sale of Kraft’s profitable domestic frozen pizza business to Nestlé.

responding to the brand while refreshing it, hopefully attracting new consumers?

“Part of my charge here is really about contemporizing the company, in terms of its design, look and feel,” Denham says. “It’s a tough charge because we have a lot of no. 1 and no. 2 brands. They’re traditional household names, and they have an established look and feel. [So] you have to discuss where you want a brand to go.”

That balance is best exemplified by Kraft’s Macaroni & Cheese, which underwent a makeover that the design team points to as one of its biggest recent triumphs.

To do that, Denham says his team considers everything from materials and shapes to colors, logos, typography and photography. Finding the right place for an iconic brand to go, however, can be tricky. How do you keep consumers

Hania Midura, Kraft’s design director for grocery, says “equity planning and equity analysis” is what’s needed. “We don’t ever want to step away too far from the brand and what makes it so beloved by our consumers,” she adds.

USING THEIR NOODLE

One of the immediate challenges in revitalizing Mac & Cheese was dealing with the brand’s disparities. It includes more than 50 SKUs, including the familiar mainstream product, instant Easy Mac and new Deluxe versions. With different (although overlapping) consumer bases, the question became how to unify them. “From our point of view and from the consumer’s point of view, it’s much easier for us to talk about a ‘Kraft Mac & Cheese’ proposition, as opposed to three or four different brands,” Denham says. Landor worked with Kraft on the redesign and created a circular packaging “badge” that features the Kraft logo, the words “macaroni & cheese” and, anchoring the bottom, a simple image of a single macaroni noodle in the shape of a smile.

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A redesign unified Kraft’s macaroni & cheese line, while leaving plenty of room for individual SKU differentiation.

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NEW ADDITIONS TO KRAFT’S PACKAGE PORTFOLIO Some memorable packages and redesigns from Kraft Foods: > A new variety of Wheat Thins in a paperboard carton is designed to convert into a serving “bowl.” WHEAT THINS STIX, a round, thin version of the cracker, is packaged in a carton that tapers toward the bottom. When all four top flaps are folded down, and the carton is squeezed according to the directions on the side, it becomes a wide-mouth, bowl-like package that allows easy product access.

> THE DELI CREATIONS SANDWICH KIT now uses less material. The previous rectangular carton had a separate paperboard tray with a metallized inner surface that browned the surface of the bread. The new tapered paperboard package retains the metallized coating on the inside. To use, the consumer removes the individually packaged components (bread, meat, cheese and condiments), assembles the sandwich, tears off the top of the carton, places the sandwich in the lower half (which has the metallized coating) and microwaves it.

This “noodle smile” badge now unifies the entire Kraft Mac & Cheese line, providing a common frame of reference while still allowing plenty of room to highlight the distinct properties of each variety. The new packaging was supported by an ad campaign that included two giant, two-ton sculptures of the noodle smile, bearing the slogan “You know you love it,” that toured popular locations like Wrigley Field and Navy Pier in Chicago.

CRACKING THE WHIP Another design triumph came with a similar commodity product: Miracle Whip salad dressing. Denham admits that Miracle Whip had “a slowing history” up to about a year ago. “I think it’s fair to say that Miracle Whip to some degree had lost its relevancy, because it didn’t have a distinct point of difference,” he said. To find that distinguishing factor, the design team thought about the most appealing aspect of Miracle Whip: the taste. It’s tangier than most mayonnaise, due, at least in part, to its higher proportion of vinegar to oil. “It’s got a tang, very different from mayo,” says Carol-Jacqueline Nardi, director of design and innovation for snacks (who had the same position

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Packaging played a role in making Miracle Whip more edgy and appealing to younger consumers.

on grocery at the time of the Miracle Whip makeover). “That actually gives it its spark. So as we talk about what’s the right direction to go, that unique difference is something we leverage, not only in product, but in personality.” The result was a semi-rebranding of Miracle Whip as “MW,” with a distinctive “ambigram” logo that looks the same right side up as it does upside down (which shows consideration of the fact that retailers and consumers often store the bottles upside down on their broad, flat closures.) The logo formed the basis for a more vibrant graphic scheme, which in turn tied into a youth-oriented ad campaign that stressed the product’s edginess. “It was more focused on a consumer segment [that] arguably [is] much more into something that’s a little extreme,” Denham says. “Once you have that clarity of vision, I think it’s fairly easy to come up with something that lives up to that.”

INTEGRATION CHALLENGES Brands that have grown up with Kraft, like Mac & Cheese and Miracle Whip, aren’t the only well-established brands the company will seek to revitalize with packaging. There are also the brands that Kraft has acquired — the most recent being Cadbury’s stable of candy and other snacks. Perfecto Perales, Kraft’s senior director of packaging research, is well aware of the challenges involved in a major acquisition. He helped integrate the research, development and quality (RDQ) teams from Nabisco Mexico into Kraft when the company acquired Nabisco in 2000. And it’s a role he’s looking forward to playing for Cadbury.

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> CRYSTAL LIGHT has been repackaged in a canister with a contemporary, more feminine look that also offers significant material savings. The previous round canister with single-serve plastic tubs of the powdered drink mix was replaced with an oblong canister with stick packs.

> OREO FUN STIX are long, thin rolled-up wafers lined internally with Oreo-style crème filling. The filling is hollow, forming a straw through which milk can be sipped. The product comes in pairs inside a film stick pouch, with eight such pouches to a paperboard carton.

“Cadbury has a lot of history of innovation in packaging that we’re excited about, [as does] Kraft, moving forward,” Perales says.

> 100 CALORIE PACK CHEESE BITES are small cheese chunks packaged in a peggable pouch, like most Kraft small-particle cheeses. Inside are five 1oz single-serve pouches. A window at the bottom shows consumers the singleserve portions.

“When you’re faced with that kind of competitive environment, how do you give the consumer more than just functionality?” Denham asked.

As a multinational company, Kraft is used to sharing technical information across a global network of R&D, design and procurement specialists, among others. As an example, Perales points to a new fi lm used to package chocolate pralines under the Milka and Marabou brands. A Kraft packaging team in Europe developed the technology, which cut and scored a “memory fi lm” with lasers in a way that allowed the fi lm to adhere to the curvy surfaces of the bite-size candy, yet remain easy to open. Perales says his team is in search of “transformational technology” to connect with consumers, offering Kraft’s adoption of resealable film for its Oreo and Chips Ahoy! brands a few years back as an example. “Through consumer studies, the snacks team learned that our consumers would put all the Oreo cookies into a jar, because they couldn’t keep the cookies fresh,” he says. The resealable packaging offers a much needed consumer benefit, but it also benefits Kraft because, when the cookies remain in their packaging, the brand and company associations get reinforced each time the consumer reaches for another Oreo. Figuring out ways to get into consumers’ minds, and stay there, is an ongoing challenge for any packaged goods company. Denham notes that, in 1995, there were some 18,000 brands on US store shelves; in 2005, that had ballooned to 55,000.

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+

The Snack and Seal package for Oreos and Chips Ahoy! allows easy access and reclosability.

If Kraft’s string of successful redesigns is any indication, the question is simply rhetorical, because Kraft clearly has the answer. “You have to give them something emotional to latch onto,” says Denham. BP

EDITOR’S NOTE: This feature was excerpted from a story that originally ran in our sister publication Food & Beverage Packaging.

www.brandpackaging.com

23

BRAND (re)NEW

COMBOS By Jennifer Welbel

MIXES IT UP

> The story: A bite-sized, cheeseeseOMBOS filled cracker, pretzel or tortilla, COMBOS was developed by Mars Chocolate North America in the late 1970s. Since thee first ed, nacho cheese variety was introduced, the line has expanded to seven distinct flavor combinations (cheddar cheese pretzel, pizzeria pretzel, cheddar cheese cracker, pepperoni pizza cracker, zesty salsa tortilla and jalapeno cheddar tortilla). In 2002, the brand became an “Official Partner” of NASCAR and teamed with Joe Gibbs Racing and driver Kyle Busch.

(

)

BEFORE

> The challenge: COMBOS Snacks packaging had not undergone a significant redesign in nearly 10 years, resulting in an outdated look and feel. This year, as the brand celebrates its 30th anniversary, it sought to update its packaging with a modern design that increased shelf impact and appetite appeal but also maintained brand equity. “COMBOS are mostly seven-ounce packages, but the package size is actually smaller because of the denseness [of the product],” says Janice Fazenbaker, senior account manager at CAG BrandFirst, the agency responsible for the redesign. “So, [the challenge was] how do we get it noticed on the shelf with all the other packaging that is considerably much larger?”

Each element was then slightly enhan enhanced to improve shelf presence. The llogo now incorporates “Baked Snack Snacks” to distinguish COMBOS from its fried competitors. The brand colors are brighter and extend to the bottom of the pack. And, the food imagery, from the nuggets to the ingredients, was reshot to add “appetite appeal.” “We wanted appetizing shots that made your mouth water,” says Fazenbaker. The images are now larger, more enticing and more eye-catching.

The most significant change is the addition of the black arch design at the top, which creates a billboard-background effect that makes the products standout. “The addition of black brings a new, modern element to the shelf, which we think will appeal to our core consumers,” says Craig Hall, general manager of ice cream and substantial snacks for Mars Chocolate North America.

> The results: After the designs were completed, COMBOS conducted extensive consumer research, which included eye-tracking, shelf-set studies and focus groups. The study concluded that black was a relevant color for the brand and an important point of difference on shelf. The new photography also engaged consumers, bringing renewed interest to the flavors.

> The solution: Although it was looking to refresh its brand, it was also critical that COMBOS retain its identity and heritage. To do so, the new packaging maintained the distinctive brand architecture, which included a red and white logo, colorcoded packaging and the nuggets imagery.

24

REDESIGN CREDITS... PACKAGE DESIGN

CAG BrandFirst, 908.813.0855, www.cagbrandfirst.com

www.brandpackaging.com

MAR11

Most importantly, the research found that the new packaging increased purchase intent, and that it has more shelf impact versus the prior design, providing greater visibility. “We reached out to all our major retailers for feedback during the process, and they were very happy and aligned with the redesign,” says Hall. In May, COMBOS will release a snack-sized (.93oz) portion, which will be available in 12-count boxes in cheddar cheese pretzel, cheddar cheese cracker, pizzeria pretzel and a variety mix. The brand will also launch a limited-edition buffalo blue cheese variety. BP

>

The food imagery was reshot to add “appetite appeal.” The images are now larger, more enticing and more eye-catching.

>

The addition of the black arch design creates a billboard-background effect that makes the products standout.

>

The new logo incorporates “Baked Snacks” to distinguish COMBOS from its fried competitors.

(

AFTER

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

MAR11

www.brandpackaging.com

25

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JUST OUT >

USA

CARPE DIEM! LAUNCHED: FEBRUARY 2011

Last year, Caribou Coffee launched a redesign that featured “bousims”—phrases that encourage customers to live life to the fullest. The coffeehouse is now bringing its customers into the conversation with its new, limited-edition packaging, available through October. Inspired by Caribou’s tagline, “Life is short. Stay awake for it.”, every cup, napkin and window graphic includes consumers’ responses to what they “stay awake for,” from “driving with the top down” to “last ride on the ferris wheel.” The cups also come with a “They Made the Cup” sleeve, while the in-store signage highlights consumer generated images. (Package design: Colle + McVoy, www.collemcvoy.com)

USA, WEST COAST T

TWO GREEN THUMBS UP LAUNCHED: FEBRUARY 2011

Tesco’s US chain Fresh & Easy Neighborhood Market introduces Green Things — its first line of eco-friendly paper and cleaning products. Uniquely packaged in a plastic outer wrap that completely breaks down in 12 to 18 months, the paper goods are made from 100 percent recycled paper with 80 percent post-consumer waste, whil wh ilee th thee cl clea ean ners (dish liquid while cleaners liquid, laundry detergent and cleaning sprays) are pH neutral, biodegradable and made from a plant-based formula. To further emphasize the natural characteristics, each package features a leaf background, is color-coded and has icons that reflect the product’s key attributes (e.g., cuts grease or plant-based formula). (Package design: P&W design consultants, www.p-and-w.com)

> USA

CHEW ON THIS LAUNCHED: FEBRUARY 2011

Vegetables never tasted so good thanks to Jelly Belly’s new Peas & Carrots Mix. Designed to resemble baby carrots and peas, the mellocreme candies have orange sherbet and green apple flavors, respectively. The whimsical assortment is available in a retro-inspired 5.5oz “can” with resealable lid. (Package design: Jelly Belly Candy Company, www.jellybelly.com)

26

www.brandpackaging.com

MAR11

>

MULTINATIONAL

SOUND THE SIRENS LAUNCHED: MARCH 2011

In honor of Starbucks’ 40th anniversary, the company introduces a new brand identity. The redesigned logo features a larger, more prominent siren and no longer includes the “Starbucks Coffee” lettering in the outer ring. As Starbucks expands beyond coffee, it strove to create a logo that embraces the brand’s heritage, while, at the same time, enables it to move forward. “We have allowed [the siren] to come out of the circle in a way that gives us the freedom and flexibility to think beyond coffee,” says Howard Schultz, Starbucks chairman, president and chief executive officer. (Package design: Starbucks internal creative studio, www.starbucks.com)

>

USA

IT’S ALL GREEK TO ME LAUNCHED: DECEMBER 2010

Chobani Greek Yogurt unveils a new look for Chobani Champions, a line of 100 percent, all-natural Greek yogurt for kids. Designed to appeal to both moms and children, the redesigned packaging features playful illustrations of raspberries, strawberries and blueberries or honey and bananas overflowing in a yogurt-filled cup. To more closely resonate with the Chobani brand, the 3.5oz cups also employ more white space, bolder colors and the traditional Chobani black lettering. (Package design: Ceradini Brand Design, www.ceradini.com)

>

MULTINATIONAL

TEA TIME LAUNCHED: FEBRUARY 2011

Designed to better reflect Numi Organic Tea’s natural ingredients, sustainable values and business practices, the San-Francisco-based brand redesigned its organic and fair trade tea packaging. The updated recyclable boxes, which are made of 85 percent post-consumer waste and printed with soy-based inks, feature vivid photographs of the specific tea’s ingredients, along with an eco-audit that displays the amount of waste the company has reduced. The back panel also has photographs and narratives that detail Numi’s farming partners and sourcing practices. (Package design: Tomorrow Partners, www.tomorrowpartners.com; Sara Remington Photography, www.sararemington.net; and Numi In-house Design Tea’m, www.numitea.com)

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

MAR11

www.brandpackaging.com

27

JUST OUT > UK

THE DOCTOR IS IN LAUNCHED: JANUARY 2011

Looking to shift its brand identity from a functional offer to more of a lifestyle proposition, The Food Doctor redesigned its packaging. The new design features pastel-colored apples that are in-keeping with the nutrition consultancy’s motto of “Eat better forever.” The paperboard sleeves also incorporate informative language that clearly identifies the ingredients. The brand will roll out the new look across its entire portfolio, beginning with the bread products. (Package design: Pearlfisher, www.pearlfisher.com)

>

MULTINATIONAL MULTINA

FRESHLY SQUEEZED FRESH LAUNCHED: FEBRUARY 2011 LAUNCHE

For its chil chilled juice category debut, innocent launches a range of not-fromconcentrat concentrate juices in orange (with bits and smooth) and apple. To stand out on shelf, the new n line is packaged in ergonomic, 30oz and 1.35L carafes that are made from 25 percent recycled, PET material. The recyclable carafes are color-code color-coded and feature photographs of the brand’s innocent logo playfully displayed o on an apple or orange. “This new route of label design retains all of our key bra brand assets while giving the carafe a unique identity in the category,” says Rachel Rache Rowland, innocent brand manager for juice. (Package design: Family (and (an Friends), www.familyandfriends.uk.com and B&B Studio, www.band www.bandb-studio.co.uk)

>

USA

NATURAL SELECTION LAUNCHED: JANUARY 2011

Frito-Lay North America is introducing reformulated products made with all natural ingredients. According to the brand, approximately 50 percent of the portfolio will be made with all natural ingredients by the end of the year, including Lay’s potato chips, Tostitos tortilla chips, SunChips multigrain snacks and Rold Gold pretzels. To highlight the change, the reformulated snacks will feature an on-pack stamp that calls out the fact that the products are made with all natural ingredients: no MSG, artificial preservatives or artificial flavors. The packages will also have a vertical, beige-and-white striped side strip to aid in identification. (Package design: Hornall Anderson, www.hornallanderson.com)

28

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MAR11

ONLY BRAND INNOVATORS CAN TAKE THE LEAP A DESIGN LEADERSHIP SUMMIT CPG decision-makers in peer-to-peer discussions on the business value of strategic design and the challenges and opportunities they face in their design journeys. Some of the brand leaders who have taken the LEAP

Visit www.leapdesignforward.com to hear what some of these brand leaders said about this unique conference October 5, 2011 W Chicago –City Center LEAP Design Forward co-locates with Packaging That Sells conference, October 6-7, 2011

THE BOTTOM

LINE

W

hen SABMiller first introduced REDD’S in Russia in 2004, the sweet, light beer was an instant success w women, its target demographic. with The brand became one of the fastest growing products in SABMiller’s portfolio, and, at its height, it was enjoying 4.1 percent volume share of Russia’s premium beer market. However, as global competitors launched similar beers, REDD’S struggled to justify its elevated price point and compete in what was b becoming a crowded marketplace.

The masculine beer cues and bland colors didn’t help — imageconscious women didn’t want to be seen drinking the product. As a result, REDD’S saw its volume market share fall. The solution was to redesign and reposition the brand as “a fashion accessory for stylish young women” between the ages of 18 and 25. The updated glass bottles and cans feature an elegant logo, embossed ornamental details and a feminine color palette — maroon, purple and fuchsia.

> THE BOTTOM LINE: In the first four months following REDD’S relaunch, when volume sales in the superpremium market fell by eight percent, the brand actually grew by 26 percent, proving that its new stylish appeal was paying off. REDD’S also saw a year-on-year sales growth of 22 percent and recorded its highest inf lux ever of new customers. BP

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

INDEX OF ADVERTISERS Food Packaging Technologies Summit .............. 31

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

CONFERENCE ...................................................... 19

Independent Can ........................................................05

William Fox Munroe, Inc. ......... Inside Front Cover

Dragon Rouge .............................................................09

LEAP Conference ....................................................... 29

WS Packaging Group, Inc. ...................................... 07

The Dupuis Group ....................................................... 13

Point of Purchase Online Network ....................... 18

BRANDPACKAGING PACKAGING THAT SELLS

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

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

GROUP PUBLISHER

Mike Barr [email protected] (630) 801-4152 ASSOCIATE PUBLISHER

Sam Wilson [email protected] (847) 405-4075

BRANDRESOURCES Diana Rotman [email protected] (847) 405-4116 REPRINTS Jill L. DeVries [email protected] Phone: (248) 244-1726 Fax: (248) 244-3934 CUSTOM MEDIA Christopher Wilson [email protected] Phone: (248) 244-8264 Fax: (248) 283-6528

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30

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MAR11

April 5-7, 2011 Hyatt Regency St. Louis at the Arch St. Louis, MO

Save The Dates & Plan Now To Attend! Packaging Strategies’ NEW Food Packaging Technologies Summit will focus exclusively on food packaging and the issues and challenges facing packaging professionals in this dynamic industry. • Discover global market drivers and emerging trends in the food packaging process • Hear case studies on new packaging formats and materials • Gain insight into new technologies and systems approaches driving the future of food packaging • Find the latest packaging materials, solutions, and services at the Wednesday evening Exhibition Reception • Network with top CPG producers/brand owners and converters in a relaxed setting Complete program will be available in December 2010 at www.foodpackagingtechnologies.com Produced By:

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Exhibition & Sponsorship Opportunities are Available. For more information, contact Cheryl Peteherych at 847-405-4127 or [email protected]

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