Curious grace by Annabel Lydia

2 ANNABEL BORSBERRY N0491833

Whisky ‘A spirit distilled from malted grain, especially barley or rye: ‘a bottle of whisky’ (Whisky. (2017). In: Oxford dictionary, 1st edition)

Fig 1. Whisky barrel, 2017 (own image)

Preface This report will explore the idea of making whisky more appealing to women, trying to dispel stereotypes about the â&#x20AC;&#x2DC;typicalâ&#x20AC;&#x2122; whisky drinker. Experience within the market as a bartender has influenced this project, having an understanding of how a bar works, how drinks are made and also consumer trends/what the consumer wants has been essential when understanding how best to communicate a new whisky that appeals to a modern and more current consumer. Whilst working I started to notice similar tribes of people ordering the same drinks, in particular noticing a pattern in men ordering whisky and it being a favoured drink amongst men rather than women which led me to realise that often marketing in dark spirits is almost uniformly masculine in tone. This report will hope to represent a whisky that fits with the modern society of gender neutral products and the present-day drinking habits of consumers.

Contents 8

01 The Situation

02 The Problem

Market trends

The current whisky market

The Big Idea Key Insights Curious grace Consumer Competitors

Building a Brand

Bringing the brand to life Final outcomes

03 The Barriers

Barriers of entry The leaders - Case studies

06 Route to Consumer

How to target a new consumer Mock-ups

The Situation

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wine £4.2bn 14%

£10.2bn to the on trade 43% in sales

Fig 2. Corn illustration, 2017 (own image)

Champagne £440m 1.8% Sparkling wine £360m 1.5% RTDS £227m 0.9% Fortified wine £42m 0.2%

2017 is set to be a disruptive year for the £39.9bn spirits industry (Wsta market overview, 2016.) The industry is set to see more macro trends unfolding through the year with social movements (particularly with younger consumers) having an impact on the alcohol industry. For example, the anti-partying generation which states (according to a 2016 WGSN report) wellbeing as a key trend this year with the introduction of gluten-free and low sugar drinks emerging into the market. Another key driver for the industry is the idea of Premiumisation; convincing consumers to ‘trade up’ to more expensive drinks and creating a premium brand with the idea that consumers are often prepared to pay more for high quality brands. Sensory branding is also becoming a key trend within the market according to food futurologist Morgaine Gaye. This type of marketing connects with the consumer before thought, appealing to all the senses and relating to customers on an emotional level, a further demonstration of this is Nescafe who

Fig 3. Pie chart Infographic, 2017 (own image) Statistics and info found at (WSTA Market Overview, 2016)

Spirits £5.8bn 24.2%

embed coffee into their labels, providing the consumer with a memorable sensory experience. In addition to this, the 2016 spirit growth brands awards states that “Younger consumers are embracing new expressions, particularly with flavored whisky, the success of Fireball has led to the introduction of honey, cinnamon and other flavours in brown spirits, which are doing well both on- and off-premises.” (Top sellers and market trends, 2016.) Despite this generational shift towards dark spirits, there still seems to be a stigma attached to the world of whisky still being dominated by men. The aim of this project is to provide research that gives a good indicator as to why the whisky drinking consumer is predominantly male and of an older generation, with the overall intention of this project giving insight into the way in which we consume alcohol and whether or not outdated ideas are still prevalent in society today.

The mood menu

Fig 4. Serotonin Eatery Melbourne, 2017

The mood menu is set to become a key concept for drink, food and scent in the upcoming years. Professor Charles Spence (an experimental scientist) states that “There is a growing body of evidence that demonstrates that your mood has a significant impact on your taste and smell.” He said that mood and emotion can affect the ‘sensory discriminatory aspects of tasting’ (Charles Spence, 2016) which is why people often stop eating following a relationship break-up or when they are grieving because food simply does not taste as good as during happier times. According to a video published on TED by marketing speaking Graeme Newell, the most powerful advertising in the world that moves us so deeply comes from the idea of tapping into our emotions and makes us believe we share the same values as the brand itself (TED, 2013.) The concept of applying mood/emotion and giving the consumer what they need according to the way they’re feeling is one that is set to be huge in the upcoming years according to a WGSN report published in 2017 Just eat are at the forefront of this trend, creating an app which monitors facial expression to assess mood and then suggests the perfect food to lift spirits, or quell anxiety (see fig.) According to an article featured on the Telegraph promoting the new app; “It’s important 12 to recognise the relationship between the foods we eat and our moods so that we can ensure that we’re looking after not only our physical, but our emotional wellbeing.” (The Telegraph, 2016.)

Fig 5. Valeur Absolue Scents, [online WGSN] 2017

Fig 6. Just Eat Mood-Map, 2016

the Wellbeing movement 2017 sets to see the rise of an anti-partying generation with recent research from Heineken revealing that 36% of 21-35 year olds had suffered from ‘social shaming’ (Mintel, 2016.) The physical and mental benefits of taking a break from booze seem to be more apparent with both emerging and established alcohol brands reacting to this mindset by tapping into the wellbeing movement. Glutenfree, vegan, low-sugar, all-natural and even low to no-alcohol drinks are targeted at this new wave of consumer who WGSN describe as the ‘anti-partying generation’ (WGSN, 2016.) Diageo is at the forefront of this concept and is currently trialing dairy and gluten-free Baileys liqueur, a Smirnoff vodka made with real fruit juice, and is investing in Seedlip, a non-alcoholic distilled ‘spirit’. Social media is also a key driver for this trend with a recent Mintel report stating that 20% of under-35s are worried about pictures of them drinking appearing on social media sites (Mintel, 2016.) This driver sets to create a demand for more sophisticated drinking environments with young people reported to cut back on their alcohol consumption and in turn, less binge drinking (Mintel, 2016.) Furthermore, this trend is one that also applies outside of the alcohol industry, specifically with clean eating. In an article published by USA today surveying more than 30,000 consumers in more than 60 nations, revealed that younger consumers are far more concerned about everything from food ingredients, genetically modified food to organic foods than previous generations. (Elwood D. Watson for Huffpost, 2015) The survey revealed that the most health-centric group of consumers are men and women younger than 20 years old with four out of ten individuals polled in this group indicated that they would be willing to spend more money for healthier products. It seems that this trend gives younger consumers a healthy mindset, making every effort to maintain good eating habits while dismissing unhealthy ones, such as alcohol.

Fig 7. Smirnoff fruits [online WGSN] 2017

Fig 8. Vita coconut oil, 2017

Fig 9. Baileys [online] 2017

13 Fig 10. Seedlip [WGSN online] 2017

premiumisation move

Fig 11. Patron Secret Dining, 2017

Premiumisation is a long term trend used to describe the demand of better and more expensive variants. This trend became evident in 2011 as consumers treated themselves to little items of luxury in place of bigger purchases, specifically when she/he feels less than confident about the future. This term was coined by Leonard Lauder (chairman of Estee Lauder), who consistently found that during tough economic times, his lipstick sales went up. According to Laude ‘the indicator has been quite a reliable signal of consumer attitudes over the years.’ (Lauder, L. 2016.) For example, in the months following the September 11 terrorist attacks, lipstick sales doubled. Furthermore, this trend seems to be primarily evident today within the alcohol industry, when speaking to Karine Tillard (brand ambassador at Patron spirits company,) she stated that “People are drinking less but they’re drinking better…Rather than going out all the time and spending £30/£40 for arguments sake, they’re going out less but drinking better products…People are more knowledgeable now.” (Karine Tillard, 2016) In addition to this, the term ‘weekend millionaires’ has been used to describe those who rarely go out, but splurge on the best when they do. As stated by Patrick Schmitt from the drinks business; ‘disposable incomes have dropped during the economic downturn, consumers have proved unwilling to compromise in certain sectors such as spirits, and rather than buy cheaper brands, have simply consumed less.’ (Patrick Schmitt, 2012) 14and Categories with a strong link to both emotional rational benefits continue to be attracted by the premiumisation force with the idea of spirits being an affordable luxury.

Fig 12. The Weekend Partnership with Grey Goose, 2017. [Instagram]

Fig 13. Lawrence, A. Drink aware [Photograph]

"People are drinking less but they're drinking better." Brand Ambassador at Patron Spirits, Karine Tillard, 2016 [see appendix]

The problem

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23% F ema

le c

us to rs me

77%

Ma le

Fig 15. Own Image, 2017. Consumer research [Infographic] (see appendix)

"Whisky is getting more and more popular; I think I remember reading something saying that nightclubs sell more whisky than Jagermeister now." (Tom Lee, 2017 Appendix)

"I can tell you that you’re on the right path because from drinking this style of accessible Whisky in terms of their flavour is becoming a really hot topic at the moment."

Fig 14. Corn illustration, 2017 (own image)

(Joe Tivey, 2016 Appendix)

Despite the growing availability of whisky and the speaking to bartenders/managers in the industry to generational shift towards dark spirits, there still seems find out first hand what consumers are ordering when to be a stigma attached to the world of whisky with they come to a bar, the results revealed that 63% said some outdated ideas about the ‘rules’ of whisky and whisky was the most common spirit they serve to a the way in which it should be consumed. For example, male during the weekend, in addition to this 53% said when a sample of 35 Males/Females were asked to dark rum (see appendix.) The results from this were describe the first thing they think thought of when quite expected which led me to question what it is that the word ‘whisky’ was mentioned (see appendix.) makes a drink masculine and more appealing to a man All responses received particularly favored the male rather than a woman? The same question was then gender with comments such as ‘my Grandad’ ‘suave asked but about females and the survey revealed that gentleman’ ‘George Clooney’ ‘cigar’ etc. It seems hard 89% of women that bartenders serve order vodka, with to believe that even in today’s day and age (with gender just 5% answering whisky as being the most common neutral products at the forefront of lifestyle trends)17 spirit they serve to this gender (see appendix.) that whisky, for many still seems to be associated with a certain type of demographic. In addition to this, when

Fig 16. The current whisky market, 2017 [mood board] (see appendix)

22 Fig 18. Out of the jar, 2017 [book] Fig 17. Whisky bottles, 2017 [mood board]

]

23 Fig 19. Infographic, 2017 [Own Image]

Fig 20. Out of the jar, 2017 [book]

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The Barriers

"What do you think of when you hear the word 'whisky'?"

27 Fig. 21. Consumer research, 2016. [survey results] (Own Image)

is taste a barrier? Dark spirits tend to have a powerful and characteristic flavour profile, which is only in part masked by the addition of mixers. The flavours of dark spirits are often thought of as more masculine than feminine, with women more likely than men to prefer sweeter flavours; with drinks, such as the fruity, vodka-based cosmopolitan being perceived to be a ‘girls’ drink. In addition to this, results from a blind taste test conducted in 2017 showed that most young female consumers strongly disliked the taste of straight whisky with one participant describing whisky on the rocks as being “disgusting, vile and strong” as well as another consumer saying that “it makes me feel like I’m already hung-over” (see appendix.) Though the actual flavour of the straight whisky wouldn’t be something the consumer would drink again, the results from the blind taste test provided evidence that with the addition of the right mixer their opinions on the spirit dramatically changed with one participant (after drinking whisky with sparkling apple) stating that it’s “easy to drink and a nice combo reminding me of holiday!” The likelihood of enjoying the taste of a spirit on it’s own is quite low for many, however some people may not be aware of the wide spectrum of different taste profiles in the dark spirits market, with their perception perhaps based on just a couple of drinking experiences. A way in which to overcome the taste barrier (that some people may find) for whisky brands that might want to expand their audience without changing the spirit would be to create a signature serve option that fits the consumers taste palate. The idea of changing consumers’

perceptions of a spirit has been successfully shown through gin which is frequently sipped with tonic water as a pre-dinner drink or enjoyed in a trendy cocktail. However, despite this refined modern image, the perception of gin hasn’t always been this way. The spirit has changed its perception of a drink that is for common people, as well as being associated with crime and blind intoxication in the 1700s adopting the name “mother’s ruin.” However, Britain’s thirst for gin that dated back centuries made a spectacular return with 50% more gin distilleries opening in 2015 than the year before (The Telegraph, 2016.) For many people, when thinking about the signature serve that comes to mind with gin the answer is a G&T. The signature G&T offers the consumer a look into how the spirit can be served as a way to inspire new audiences. A signature serve is a way of shinning a spotlight on the brands USP, as well as a method to accentuate flavour. Gin has been successful in creating the message that it has a range of flavours, showcased through pairings that can be harnessed with garnishes/tonics as a way of serving. Though it seems impossible to have a universally accepted pairing, the G&T offers various pairing combinations (as shown in the images) such as garnishing with cucumber to fit to different flavour pallets. In addition to signature serves, brands have reacted to changing customer preferences and adding to their appeal by creating a larger product portfolio, introducing more mellow variants, such as the Famous Grouse Mellow Yellow launched in July 2015.

Fig 22. Gin signature serve, 2016 [photograph] Fig 25. Gin signature serve, 2016 [photograph] Fig 23. Gin signature serve, 2016 [photograph] Fig 24. Gin signature serve, 2016 [photograph]

Blind taste test results 25ml Whisky + Pink Tonic

25ml Whisky + Ginger Beer

“Too bitter.” “It makes me feel uneasy.” “Sour/Tangy/Strong.” “Bad after taste.”

“It works but I couldn’t drink loads.” “Too spicy.” “Acquired taste.” “This one is not for me!”

25ml Whisky + Bitter Lemon

25ml Whisky On the Rocks

“More fruity + easy to drink.” “Quite nice.” “4 out of 5.” “Excited for another taste.”

“I wouldn’t drink again 1/5.” “Strong/gross/hungover.” “I already feel hungover.” “Tastes like cardboard”

25ml Whisky + Sparkling Apple

25ml Whisky + Honey Lemon + Ginger cordial

“Enjoyable & easy to drink.” “It reminds me of holiday.” “Refreshing - I can taste the apple.” “Works well.”

“Biscuity/ginger.” “I can’t work out if I like it or not?” “It works well!” “Tastes sophisticated”

Fig 26. Rocks glass, 2017 (own Image) [Infographic]

Insight The taste test enabled me to see how consumers talk about whisky and test initial reactions to each flavour combination. The paring that had the best response from all participants was the whisky and sparkling apple, a combination that was recommended to me by whisky expert Joseph Tivey (see appendix.) Before the test each participant stated that they would never consider drinking whisky as it wasn’t a flavour that appealed to them. However, the taste made it clear that consumers haven’t tried the spirit with a pairing that suited their preferences with all consumers saying they would try the sparkling apple combination again. A recent Mintel report states that the main barrier to drinking dark spirits is that they don’t like the taste and because it never 29 important to put the whisky in front of the consumer occurs to them to drink it in the first place. It is therefore and encourage them to try it by catching them in their daily routine as they would never go to a shop and look in the whisky section.

Adver t ising a barrier to entry? As well as the flavour profile of whisky perhaps suiting what could be deemed a traditionally masculine palate, advertising for these products tends to be male-focused. According to a Mintel report published in 2015 ‘over half of women (54%) think that whisky marketing/advertising is too heavily aimed at men.’ (Mintel, 2015.) Take, for instance, Laproaig whisky which focuses on the history of the brand and where its made, using a lot of images of highland hills as well as reinforcing the idea that it is a ‘mans scotch’ with ‘nothing delicate about30 it.’ Adverts within this market seem to have a reoccurring theme of making the male consumer a priority by highlighting these products as gender specific within their copy. In addition to this, many of these adverts have an old/stuffy feel making older male models the main feature in their advertisements, with the idea of using imagery that is relatable to the consumer, being a like-minded individual.

Fig 27. Whisky Advertisements Mood Board 2017 [Photograph]

Current whisky campaigns 31

Branding a barrier to entry? Many whisky spirits seem to follow a similar set of rules/guidelines when designing the bottles and branding for the drink. A key running theme which in itself might be associated with masculinity is the dark brown or green transparent bottles. These dark colours could connote the outside/dirt and male activity, building on the stereotypes that are already placed within society. Similarly, a running theme of siding with the male consumer can be identified in many of the product names for whisky (which is the main focus on the branding of the bottles) with names such as ‘Johnnie Walker’ and ‘Jamie Stuart’ to name a few. Since working in the industry for over four years its become apparent that more often than not with alcohol, consumers will ask for a specific brand name rather than the type of spirit/liquor they would like, this puts emphasis on the importance of the name itself and can allow company’s to target new consumers that wouldn’t necessarily drink what is being sold by talking around the brand name rather than, for example, stating that it is whisky. Furthermore, the copy on the bottles often concentrates on a ‘whisky drinkers’ tone of voice (with words such as blended, grain, single-malt, distilled, maize, rye, etc. Often being used.) The vast use of specialist language related to alcohol is one that could be a deterrent for 32 conducted in 2016, “The only thing I feel confident saying new consumers. Furthermore, a quote taken from a focus group in a bar would be ‘can I have a Jack Daniels and coke?’” (See appendix.) The many variants of Whisky seem to not be fully understood by everyone and the idea of getting it wrong could be seen as embarrassing for a new consumer.

Fig. 28-30 The whisky exchange London, 2016. [Own Image] Fig. 31-33 The Whisky shop, 2016. [Own Image]

Are the

Rules of whisky a barrier to entry? Similarly, the unspoken rules and outdated stereotypes such as ‘it should be drunk neat’ and ‘It’s for men’ also play a part in being a possible deterrent for new consumers. From speaking to young females it became evident that these perceptions still exist today with one questioning “what are you supposed to drink it with? Is there like other things?” (Focus group, 2016) As well as another participant describing the spirit being drunk by “old people in movies.” Though this demographic (females aged between 20-30) that participated in the whisky focus group identify Jack Daniels as 34 targeting their brand at a more current crowd, the overall lack of knowledge and preconceived perceptions about whisky and the rules of how it should be drank gives an indicator to a possible gap in the market for a brand to shake up the rules.

Fig. 34 Out of the Jar [book]

Fig 35. Jack Daniel’s Commercial - “Always Something”. (2013). [image]

Case study

''We still want to do that lifestyle stuff but it's really important that we couple it with our authentic stories and remind consumers that we are a wellcrafted brand.'' (Online, 2015)

About Jack Daniels is one of the world’s best selling American whisky with the cult brand having a legion of fans, a large product portfolio (offering different taste variants) and a whole lot of merchandise.

What would I do differently? -The Jack Daniels website describes its brand as “The man among men.” (online, 2016) This could restrict their demographic, creating a brand that singles out a specific gender could be seen as a deterrent for some women wanting to try it -Man’s name -Adverts/website features a lot of overbearing language.

Strengths -Large product portfolio offering different taste variants to suit practically any palate – JD Honey, JD Fire, JD winter, Gentleman Jack etc. -Jack Rocks campaign – Hosted over 200 music events since its launch with the idea that JD is a whisky for music fans, putting JD straight into the hands of its consumers. -They understand that their young consumers value shared experiences so the brand focuses on trying to create amazing memories by attending relevant ‘drinker’s world activity’ events, such as Kendal calling. -Merchandise created around the brand helps to promote the drink outside of the industry -Bottle design is quite modern/current compared with most whiskies on the market.

What can I take from this? Jack Daniels creates a good balance between telling authentic stories and still having a strong social media presence with the ability of knowing their consumer well and editing their marketing strategies around them. It is important to take good consideration of the consumer and their day-to-day life in order to ensure the brand is relevant and timely in todays society, especially when creating a new brand/product that they might not be aware of. In addition to this, the brand shows good consistency through the years, keeping its authentic values at the heart 37whilst still adapting to new consumer and lifestyle trends. Creating merchandise around the spirit has given the brand potential to grow and create a buzz around the brand even in markets that they aren’t as familiar with, such as clothing.

Case study

''Haig Club is a new single grain scotch whisky with a character and style that sets it apart. Haig Club is designed to be different and is the embodiment of a new era for Scotch.'' (Online, 2017)

About Haig Club is the whisky brand created by Diageo in partnership with David Beckham that advocates shaking up the “rules” of drinking scotch whisky. It takes aim at some outdated perceptions about whisky with the idea of breaking the rules and drinking the spirit however you want. Clubman is a cheaper version of Haig Club that is ‘designed to be drunk with Cola,’ and is aimed at a younger audience.

What would I do differently? -Campaign is about ‘breaking the rules’ but advertising coke as a main mixer choice doesn’t seem groundbreaking. Offering a 38 more inventive way to camouflage the spirit, or perhaps, an unexpected mixer could create more of a twist on a long drink.

Strengths -Designed to be different works well with the bottle itself being a very distinctive blue square -Light in flavour allowing a gateway for people into whisky -Partnership with icon David Beckham to add style and appeal to a modern consumer -Approachable language -The brand has adopted the colour blue and take ownership over this by ensuring their brand representatives wear blue coats, as well as lighting the whole room blue at sampling campaigns/events to create a memorable brand experience.

What can I take from this? The blue colour of the bottles takes inspiration from how the House of Haig has been making whisky for years with the master blenders trying it for the first time out of a blue glass so they can’t see the colour of the spirit itself, instead only being able to access the flavour through the nose. The subtle element of heritage but being reworked and focused for a more current crowd works well and enables the brand to create a memorable experience with the consistency of its navy colour palette.

Fig 36. Haig Club Advert, 2016 [Image]

Fig 37. Out of the Jar, 2016 [book]

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Big Idea

Out with the old in with the new

Insights -There is a lack of whisky advertisements that represent a modern consumer -More women than men interact online (WGSN, 2016) -Women don’t want to be segregated or buy into a brand that uses patronising language -Can use signature serve option to overcome taste as a barrier -Irish Whisky is generally lighter and sweeter in flavour, allowing a gateway for people into whisky -Needs to have a sense of occasion – shared with friends -Using complicated and overbearing language across the brand is seen as a deterrent for new consumers -A new whisky will need to be rebelling and go against the ‘rules’ of whisky in order to have a USP -Consumers usually associate whisky with winter -It’s important not to ignore heritage but it doesn’t need to be the focus, it’s about finding something new whilst respecting tradition

Fig 38. Girl drinking, 2015 [Online Image]

To make whisky more appealing to Women and a modern consumer, dispelling stereotypes of the typical whisky drinker 45

The problem

THE answer

It’s evident from the primary and secondary research obtained that there is a significant gap in the market to encourage an attitudinal shift for women and younger consumers trying whisky. Having identified several potential barriers as to why these perceptions may exist I am going to address each but with the focus on the branding/advertising of the spirit as I found this to be the most prominent barrier.

Creating a brand that doesn’t obey the typical whisky stereotypes, but instead one that pushes boundaries to fit within a gender neutral society. The answer needs to be a whisky that pays homage to heritage but has less of a focus on the past and instead hopes to break the convention.

THE What? A premium spirit designed to enjoy with friends, creating an occasion and selling a lifestyle.

THE Why? A response to social trends creating a product that is timely for a generation of men and women drinking together and gender neutral products. There’s a gap in the market for updating whisky and creating a product that young consumers can relate to and be openminded about.

THE who? Young professionals in the UK aged 20-30 with a strong focus on women for the brand launch. The consumer is one that enjoys alcohol and is willing to spend slightly more for a premium spirit, not to encourage a party perception but instead create an occasion around the drink.

THE where? Predominantly sold in bars with the focus being on places that consumers enjoy drinking with their close friends rather than in high-intensity social environments. The spirit will also be sold in pubs where the consumer is likely to drink after work.

THE when? Launched in the summer fitting with the brand and the idea of breaking conventions, going against what is seen as the norm. Launching the brand in the summer fits with the consumers’ lifestyle, spending more time drinking during these times. The launch will fit around world drinking activity and will avoid being affected by ‘dry Jan’ straight after Christmas.

How

can a new whisky develop a younger/new consumer base?

The whisky I create will take the idea of people going out less but drinking better and more when they do go out, adding emphasis on creating an occasion around the brand. When speaking to KarineTillard (brand ambassador for Patron) she stated that “We don’t sell the spirit, we sell a lifestyle.” (Interview, 2016.) This gives the impression that people want to be seen drinking premium spirits in order to portray an idealist lifestyle. Similarly, this concept takes from the consumer behavior theory that the consumer may compromise basic needs to be perceived as someone “in the know.” According to an oxford university consumer behavior book, the theory of social status relates to the idea of premiumisation allowing consumers to feel a sense of power and belonging to segments of society that could be considered as elite (consumer behavior, 2015.) This theory is particularly evident in alcohol with consumers having the knowledge of premium brands and the social status that could be associated with it. This is often seen in younger consumers, for example, ordering an expensive brand of vodka at a bar even though they can’t tell the difference between the brand and the house poor. The consumer is seen to receive satisfaction and even physiological pleasure, from being perceived as a person belonging to an admired social class. This theory can be portrayed through the brand message itself as well as highlighting the idea of it being a premium spirit with the use of social media platforms using hashtags to promote brands and products. Similarly, I hope to engage with my consumer online and encourage conversation around the brand. In addition to this, the attitudinal shift that my brand hopes to create relies on the changing of consumer47 behavior. Each interaction my brand has with a potential customer is designed to change their beliefs and

preferences towards whisky. According to an article in the Harvard business review ‘Once the customer is convinced of the superiority of a product, they will naturally make a purchase. And once they’ve made a purchase, then that should lead to repeat purchases in the future.’ (Art Markman, 2014) With this in mind, it is key to manage the environment, creating packaging that encourages consumers to put the product into their environment. In order to make this change from a woman ordering her ‘usual’ it is important to create a bottle that she would keep in her own environment – something she would look at and ask the bartender what it is. With this being said, the design of the bottle needs to be one that is distinctive and doesn’t look like a bottle that the consumer would recognise as whisky, but instead a reflection of its new consumer. Having observed trends through lifestyle/art/ product/graphics I’ve ensured the research doesn’t have a limited scope to the industry, and instead takes inspiration for aesthetics from timely and upcoming trends giving me the tools to construct a brand that connotes a cool and rebellious concept – fitting to a younger female consumer. The ‘how’ also relies on creating a point of difference compared with other whiskies on the market; not only in terms of aesthetics but also in the way in which it is served. Women (specifically those who haven’t tried whisky) aren’t aware/have limited knowledge on the taste of the product, therefore the brand I create needs to give new consumers the urge to try the drink once they know what it is. The signature serve option provides the new consumer with a partnering choice for the drink and the confidence to order it. This option may be more palatable for women giving them the choice and suggestion of a new variant and builds upon the unique story of the brand going against the ‘norm’ and adding to it’s USP.

Introducing...

Curious grace Taking all the factors into consideration it is time that we see a move towards gender neutral drinking and remove the misconceptions of the category. Curious Grace is an Irish whisky that is designed to take aim at some outdated ideas about whisky and shake up the rules, creating a brand that appeals to women and a younger consumer, but without being patronising or stating that it is a whisky for a specific gender audience. Taste is an element that has been well considered when designing the brand. Although Curious grace doesnâ&#x20AC;&#x2122;t focus on creating a flavoured variant, it is an Irish whisky which in itself is lighter in flavour and more sweet. The brand will also offer a serving suggestion of sparkling apple soda which was found to be the most favoured in the whisky blind taste test conducted, with 100% of the participants saying they would drink it again (see appendix.) There are no rules to the way in which Curious grace is drank, however giving the consumer a signature serve option is a way to overcome taste as a barrier as well as breaking the convention of the usual whisky and coke.nd coke. Fig 39. Curious grace logo, 2017 [own Image] Fig 40. Curious Manor Image, 2017 [Own image]

aims -To dispel the stereotypes of the typical whisky drinker -Create a brand that is appealing to a modern/current consumer encouraging an attitudinal shift in the way in which whisky is perceived -Create a product that is ‘cool’ and would stand out on the back bar of a pub/bar -Create a whisky that can be drank with friends and create a sense of occasion

objectives

-Ensure women are confident/comfortable ordering a ‘Curious grace’ at the bar -Create an experience that engages with the the consumer -Less focus on rules, more focus on rebelling and going against the norm

The expert opinion

''There's definitely a gap in the market for making whisky more appealing to women and giving it a (Food futurologist, Morgaine Gaye, 2016 ) rebrand.''

''Don't get too stuck in the past, really try and break the convention if you can.'' (Bulliet brand ambassador, Joe Tivey, 2016 )

''I think it does kind of come down to that stereotype that women don't like Whisky because of the flavour because it is quite a harsh product.'' (Patron brand ambassador, Karine Tillard, 2016 )

''There is a gap in the market, but making a 'girly whisky' would just be stupid. '' (Auchentoshan community manager, Tom Lee, 2017 )

''Yeah I mean there's definitely an opportunity to reinvent Whisky and change perceptions, I mean you only have to look around here to see all of the same type of bottles, the colours, 51 the packaging - its all got that old sort of feel to it.'' (The whisky exchange, employee, 2017 )

evolution of the consumer Britain’s alcohol culture has a lot to answer for in terms of how men and women interact today with our perception of alcohol often changing according to social trends at the time. In the early nineties lad culture was a key trend within British subcultures that was initially associated with the Britpop movement. The image of the ‘lad’ was generally a middleclass figure espousing attitudes typically associated to the working class often involving drinking, football and sex. This type of behavior was soon imitated by women deciding they want to be powerful who became, in a way, feminist pioneers – which is part of the reason we can have cider in public without being seen as not lady like. The timeline shows how our perception of alcohol is changing and how we have evolved into a unisex culture that is all about equal footings and men and women drinking together - changing the aesthetics and the way we think about drinking.

In 1997 FHM became the UKs biggest selling mens mag Women wanting to be seen as ‘one of the lads’ with females in the public eye such as Zoe Ball and Sara Cox being pioneers for this trend in the 90s

LAD CULTURE Drinking lots of beer - particularly Stella Artois

Drunken larger-louts started to dominate newspaper headlines. According to a report in Vice ‘the whole cultural phenomenon got a bad reputation with endless front covers of girls

in the gutter’

(Vice, The Rise and Fall of the Ladette, 2017)

Lad culture was all about drinking, football, sex and ogling women

FHM Loaded Nuts

00s THE LADETTE

Early 90s The rise of the Lad mag featuring brash tone and nudity 52

Elevated cocktail culture was just beginning to take shape, vodka and martini glasses were all the rage with Sex and the City inspired Cosmos were all the range

People are going out less but spending more when they go out (Karine Tillard, brand ambassador at Patron spirits company)

The recession in the late 2000s encouraged

a premiumisation trend driven by ‘treat-seaking’

(The Emerging Drinks Industry Trends report published by just-drinks, 2016)

2017 + 2005 pubs legally allowed to stay open later - binge drinking

Men and women are drinking together

EQUAL FOOTINGS & UNISEX PRODUCTS

People are more aware of what they are putting into their body with the rise

GIRL POWER

of social media and bloggers promoting a healthy lifestyle

Today gender neutral fashion/ products is the norm. Linda Hewson, Selfridges’ creative director states that “In fashion, more and more we are seeing physically masculine men wearing what might traditionally be thought of as feminine.”

Girls started drinking together in groups and it was all about

cocktails & sophistication

53 Fig 41. Consumer Timeline, 2016 [Own Image]

The consumer today

(Fig 42. Own Image, The Consumer, 2016. [ethnographic research] (See Appendix)

"It's not necessary to have separate marketing campaigns for men and women if a brand focuses on good design and usability."

(WGSN, Marketing to women, 2016)

Understanding the consumer is essential in order to provide a product that meets their needs and wants and reaches them in their daily routine. When marketing a product that is generally seen as masculine to a new audience it is key to understand how to speak to women and deconstruct brands that have been successful in changing marketing strategies to fit to a new audience. Following on from the timeline created on the previous page showing how our perception of alcohol is changing it was important to witness first hand who the modern day consumer is and what it’s like to be a woman at this time. In order to get this information, I conducted ethnographic research creating a diary to document everything from what the consumer is drinking to where and who they’re drinking with (see appendix.) The insight I gained from this is that men and women are often seen to be drinking together in groups with the atmosphere observed in bars/pubs portraying a relaxing environment rather than drinking with the sole purpose to get drunk. This type of consumer is more sophisticated than in previous years and it seems that in terms of drinking culture we have moved away from girl power and trying to out do one another. This gives opportunity to target the brand around a sense of occasion and a drink that can be shared with friends in the same way a bottle of wine might be, creating a human element in marketing. According to a 2016 WGSN article, ‘marketing to women isn’t about stereotyping; it’s not about making a product pink or using a feminine

font.’ (WGSN, 2016.) With this in mind it is important that the product/service created speaks to the consumers’ interests by engaging and speaking with them – not at them. An example of missing the mark is shown through pen maker Bic who launched a pen specifically for women using pastel tones, with a product description that is demeaning, therefore receiving hundreds of mocking customer reviews on Amazon (see appendix.) As mentioned previously, my objective is to focus on encouraging women to try the spirit, generating a new consumer and in turn gaining repeat custom. The younger consumer targeted is aged between 2030 and is a working professional, more than likely in their first job. The consumer is one that enjoys alcohol and is willing to spend slightly more for a good quality spirit, focusing on the timely trend of Premiumisation to create an occasion around the drink rather than to encourage a party perception that is usually associated with students. The consumer currently wouldn’t go out their way to try/look for whisky therefore it is important to put the product in front of them and interrupt their daily routine, creating advertising imagery that they will unconsciously see. With this in mind a series of questions were asked to the consumer in order to create a day in the life profile (see appendix.) A key insight I gained from this was that the consumer has a much more relaxed routine at the weekend, often seen shopping or at bars with friends as opposed to during the week when they are working from 9-5. These two routines are a vital part of advertising and point of sale, for example displaying promotional content in the shopping center and in tube stations. In addition to this it was found that the consumer interacts with social media at various points of the day, which is specifically evident on their commute to work and last thing before they go to bed. 54This helps the brand to know what times to post their content in order for the consumer to definitely see and interact with the brand.

55 Fig 43. Consumer Infographic, 2017 [Infographic] (See Appendix)

The Competitors An analysis of the market demonstrates a clear gap for a new whisky that appeals to a different consumer base. There are many brands which attract an older masculine audience, specifically within their branding and advertising but little that seem attractive to a younger female audience. The brand Haig Club are one of the first protagonists to disrupt the idea of rules with whisky, creating a distinctive blue square bottle and having the partnership with global icon David Beckham that appeals to a younger audience. Though Haig Club attract a younger audience and embody a luxurious feel in the same way that Curious grace hopes to, there’s still not a lot of evidence to suggest that the brand is appealing to women – with the partnership of David Beckham and a bottle that represents a males’ perfume. Haig club is a brand that I can take inspiration from in terms of its approachable language saying things like “From our beautiful bottles and delicious liquids” (Haig Club, 2017.) An insight from my focus group revealed that talking in a way that a new consumer would be able to understand rather than overcomplicating it is more attractive for someone that has little knowledge of whisky (see appendix.) Sourcing a direct competitor that has the same consumer with females at the heart of the brand has proved to be quite difficult – with very limited brands and aesthetics representing a female modern consumer. However, (similarly to Haig Club) Auchentoshan whisky definitely has a younger consumer base although still predominantly male. The brand uses modern language to reflect the ‘citydweller’ target audience that community manager Tom Lee describes (see appendix.) He states that “the website has just been redesigned and is a lot more modern than most scotch whiskies I think - the intro on the front page looks a lot like the White Stripes video for Seven Nation Army” (Tom Lee, 2016.) This imagery obviously wouldn’t work for an older audience, instead the photographs and visuals the brand are carefully curated to fit with the target market and keep them engaged. The brands social media page is one that I hope to take inspiration from which is consistent throughout and gives viewers serving options for the drink. Fig 44. Auchentoshan Instagram feed, 2017 [Instagram] Fig 45. Perceptual Map, 2017 [Own Image]

" Don't get too stuck in the past - really try and break the convention if you can." Brand Ambassador at Bulleit, Joseph Tivey 2016 [see appendix]

Building a brand

. 5 0 59

Brand Identity

Product features

Image Attributes

Core Features

Forward Thinking Quality On trend Rebellious Contrasting Innovative Pushing boundaries

Confidence Premium Bold Non-Judgmental Unique Consumers choice Stand out

Mysterious Discovery A drink to share Honoring heritage

Fig 46. Design Recipe Mood Board, 2017 [Own Image]

Why curious grace?

The name of the brand was well considered when designing the product as it needed to be something the consumer can relate to with the idea of going against the ‘rules’ of whisky. The name Curious grace worked as a double meaning – curious to learn/discover and grace representing a juxtaposition of being graceful and elegant as well as being a woman’s name. This inspired lots of interesting visuals for the brand asking consumers what the name meant to them. The visual element of curiosity is represented in the brands logo with the hope of becoming an iconic symbol that the brand is recognised for – this works particularly well for brands that ‘own’ colours for example Tiffancy &co with the colour turquoise.

Fig 47. Curious grace label, 2017 [Own Image]

A triple distilled Irish whisky with a character and style that sets it apart. Curious grace is designed to be different with the embodiment of a new era for whisky. Itâ&#x20AC;&#x2122;s light flavour and delicate taste makes the spirit an easy drinking allrounder.

66 Fig 48. Curious grace bottle, 2017 [Own Image] Fig 49. Curious grace advert, 2017 [Own Image]

Fig 50. Curious grace advert 2017 [Own Image] Fig 51. Curious grace advert, 2017 [Own Image]

Fig 52. Curious grace bottle on bar, 2017 [Own Image]

Route to consumer

. 6 0 72

Marketing Objectives The product differentiation ethos and message that Curious grace communicates is vital reinforcing the idea of breaking the rules and having a rebellious characteristic. In order to achieve the aims and objectives set at the beginning of the report (see page 51), there will be two key objectives for the marketing campaign:

-To change perceptions about whisky being old, stuffy and a mans drink. -To be engaging with a younger receptive allowing females into a market that is dominated by men.

The Decision journey

Before

-Brand Ambassadors touring the UK, educating new consumers about the spirit and hosting product knowledge nights for bartenders. -Curating interesting content on social networking platforms encouraging conversation. -A 8-part mini episode style Instagram film campaign based around the character ‘Grace.’ The clips will air across a 4-week period, with each “episode” appearing in the brand’s followers’ feed in the run up to the launch. -Pop up sample bars where consumers can taste the drink and create a buzz which creates awareness offline, but can leverage the brand in social media conversations. -Posters introducing the spirit and the signature serve option.

During -Pushing the face-to-face marketing with more pop up bars in large shopping centres with blind tasting events. -Each signature serve ordered for the first month of launch receives an envelope with a code to be entered on the brands website for the chance to win tickets to an invite only Curious grace music event. -Hosting competitions via social media to win tickets to a secret invite only Curious grace music event. -How to videos featured on the brands social media.

After -Memorable experience from the tasting event creates later conversation (Neil Hooper, 2017) -Hosting events with secret locations fitting with the ‘dare to discover’ 73 theme that consumers have one invites to. -Meaningful social media content. -Direct marketing via email (fitting with the consumers working lifestyle)

Fig 53. Corn Illustration, 2017 [Own Image]

The Loyalty loop The loyalty loop shows the decision making process of the consumer who to start with has a number of potential brands to choose from. According to a Mintel report about how to market to this consumer category, it is important to put ideas for mixer suggestions into the path of the shopper (Mintel, 2016) As the consumer is one that wouldn’t usually consider whisky as an option the face-to-face marketing technique providing samples is a way to disrupt their expectations. In addition to this social media is a key tool to promote the spirit to a consumer that isn’t afraid of engaging with photo and video-sharing sites. (WGSN, 2016.)

Sampling bars across major shopping centers Introducing the spirit to new consumers who wouldn’t think to try whisky. Creating a blind tasting experience that is memorable and will later remind them that they liked the spirit. The ambassadors will speak around the brand name and flavours rather than stating it is whisky.

All consumers in focus group said they would try whisky in a free tasting event (see appendix)

Brand ambassadors Touring the UK and speaking to consumers in shopping centers about the product as well as product training with bartenders ensuring they can answer any questions relating to the product offering serving options that could be valuable for the consumer.

evaluate

Consider

Consumers add or subtract brands as they evaluate what they want.

A trigger informs the customer that the brand is an option. Consumer considers brand based on perceptions and exposure to recent touch points.

Product Launch Product launched in conjunction with world whisky day on May 20th creating a buzz around a new product where the press are already generating media attention.

Social media campaign teaser Introducing Curious grace with 8-part mini episode style Instagram film campaign based around the character ‘Grace.’ Outdoor advertising Running up to the launch banner adverts will be situated in working areas in London such as Canary Warf and Square Mile as well as local tube stations to 74 daily catch the consumer in their routine.

Novelty for signature serve Reminding consumers that they liked whisky when they sampled it by offering something â&#x20AC;&#x2DC;coolâ&#x20AC;&#x2122; and the latest zeitgeist â&#x20AC;&#x201C; envelope attached to drink acting as an invitation to a Curious grace event held later in the year.

Exclusive Events Secret invite only events keeping the buzz around the drink and selling a lifestyle that people want to be a part of - adding exclusivity for consumers. On average the consumer posts an alcohol related image on Instagram 3 times a month - Ensure novelty encourages social media exposure from the consumer (see appendix)

buy

Enjoy

After purchasing a product or service the consumer builds expectations based on experience to inform the next decision journey.

Bond

Advocate

Social media campaigns Serving suggestions and videos uploaded for consumers to experiment with their drink. Campaigns/events will encourage #Curiousgrace and adding emphasis on the occasion of 75 drinking the brand. Fig 54. Loyalty Loop Model, 2017 [Own Image]

Fig 55-59. Point of sale Images, 2017 [Own Image]

A need to disrupt taste perceptions Fig 60. Visualising Pop up event scamp, 2017 [Own Image]

According to a recent report by Mintel sampling is likely to be the best way to encourage consumers to try new dark spirits in order to disrupt their expectations of these (Mintel, 2016.) In order to create brand awareness and a buzz around the product an initial face-to-face marketing campaign will be launched with blind sampling and pop up bars in major shopping centers that the consumer visits during their weekly routine. Up keeping with the brands mysterious and rebellious image the spirit being sampled will remain unknown and instead the consumer will be given an envelope that only reveals this information once it is wet. This makes the journey longer by not giving it away straight away and instead having to discover something, encouraging consumers to later interact with the brand again with a ‘cool’ concept that is fitting to the consumers needs/wants from a brand. This type of marketing creates an experience for the consumer and encourages conversation around the brand as well as social media shares and follows. According to the creative director of marketing agency Circle “experiences create stories and stories make conversation” (Neil Hooper, 2017.) This type of marketing is about engaging with people not consumers with the opportunity to break down barriers and verbally communicate with these people, acting as a reliable and trustworthy brand that according to WGSN is key when marketing to women (WGSN, 2016.) The pop up bar will feature knowledgeable brand representatives who will approach new consumers whilst building a relationship and level of trust with them and encouraging them to follow the brands social media sites. The tasting events will give the brand great visual exposure and give the opportunity to showcase the more palatable signature serve option of sparkling apple that proved to be favoured amongst participants of the taste test (see appendix.)

visualising the Pop up bar

Fig 61. Bottle design alternative, 2017 [Own Image]

The blind sampling requires a bottle that doesn’t state that the spirit is whisky however it still needs to be fitting with the brand and incorporate the main feature that sets the brand apart visually – the eye logo. This is a different 77variation on the main bottle that will be used for the sampling adding another element of illusion to the brand.

Active evaluation Novelty for signature serve Shopping center

bar / pub Consumer purchases the product.

Where the consumer interacts with the product for the first time during the blind sampling.

What will remind them that they liked it? Incentive to buy the product.

After the consumer has interacted with the brand they need to be reminded that they enjoyed it in order for them to pick a Curious grace over their usual the next time they’re out. A way in which to do so is to introduce a novelty that comes with the drink that encourages the consumer to purchase the signature serve. The idea of adding a novelty item is one of the latest zeitgeists in promotional techniques when attracting younger consumers. According to a recent Mintel report “giving something away for free with the product provides a stronger incentive to buy” (Mintel, 2016.) In order to encourage the consumer to trial the spirit again each drink bought will come with an envelope that can only be read once wet. When the consumer has wet the envelope it is revealed whether or not they have won a ticket to go to an invite only Curious grace event taking place later in the year. This promotion technique fits with the overall essence of the brand creating something mysterious and on trend especially with the idea of them physically having to wet the envelope themselves. Sneak-peaks and exclusive events appeal to the consumer who buy into a brand because of the lifestyle it portrays, this type of promotion can make them feel like a VIP. Alongside this ‘63% of young people want to be the first to share news’ (DeMarco, 2013.) This in turn will generate publicity for the brand throughout the year whilst consumers win the invitations and again later when the event takes place – encouraging them to post this ‘cool’ concept on their Instagram feeds as shown in the images below from consumers of Hockley Arts Club.

Fig 62-64 Hockley Arts Club, 2017 [Instagram Photograph] Fig 65. Lost Village festival, 2015 [Photograph]

Timeline of launch

Fig 66. Timeline of launch, 2017 [own Image]

Signature serve Pushing the idea of breaking boundaries and introducing a new way to drink whisky outdoor adverts and social media campaigns introducing the signature serve

Launch of social media Curating interesting content on social networking platforms with sharing competitions to win tickets to events

Brand ambassadors touring the UK preparing bartenders with product knowledge training

Advertising the 8-part mini episode teaser on Instgram Make consumer aware this is happening

How to videos posted on social media

March 2018 April 2018

Sampling bars across major shopping centers Introducing the spirit to the market just before the launch and during the launch

Outdoor advertising Running up to the launch banner adverts for the drink and the signature serve option will be situated in working areas/ tube stations in London such as Canary Warf and Square Mile.

START of Instagram 8-part mini episode teaser First episode aired - two episodes released a week in the run up to launch

Pre launch

launch

Post launch

Pushing social media content Encouraging hashtags and creating a premium image lifestyle for the brand with carefully chosen images Advertising built up to event Social media advertising, competitions and outdoor advertising creating a buzz around the invite only event

Signature serve novelty introduced

May 2018

Launch 20th may

june 2018

juLy 2018

Direct marketing Sending regular update and â&#x20AC;&#x2DC;how toâ&#x20AC;&#x2122; videos via e-mails directly to the consumer who checks their e-mail regularly in their working day Product launched on world whisky day - press already there

More sampling events Brand ambassadors making more and more people aware of the spirit - introducing as many new consumers as possible & answering any questions81

Invite only Curious grace music event Generating another buzz around the brand post launch - itâ&#x20AC;&#x2122;s exclusive and something the consumer wants to be a part of

Why social media? From my primary research carried out it is evident that the consumer uses social media platforms to interact with their friends/followers and keep up to date with brands. According to research carried out by Facebook IQ 68% of young people said that they interact with brands (on social media) regularly, including viewing photos, liking content, following brands and visiting their websites. (Facebook IQ, 2015.) Using social media to launch the brand will help to showcase the brands story and what it stands for â&#x20AC;&#x201C; ensuring all the content is very much on brand and current. Among other things, Ad week states that â&#x20AC;&#x2DC;young adults value Instagram for being current, trendy and excitingâ&#x20AC;&#x2122; (Adweek, 2015.) Curious grace is a brand seeking to play to its followers desires to experience something by finding ways to continuously and innovatively please consumers. A way in which the brand hopes to continuously do this is by releasing teaser videos that feature the character Grace in short Instagram videos in the run up to the launch encouraging the use of hashtags with the viewer excited to find out what happens next. The idea of Premiumisation is also key to the successful curation of an Instagram account with the consumer buying into a lifestyle and not just a spirit. With this in mind the content showcased across this media needs to reflect the premium spirit and include images of a lifestyle that the consumer would want to be a part of with the idea of social status that could be associated with it. This on trend content provided by the brand as well as active competitions and regular updates will continue to give people a fresh reason to engage.

Fig 67. Instagram feed, 2017 [own Image]

Fig 68. Outdoor advertising, 2017 [own Image]

Fig 70. Tube Station advert, 2017 [own Image]

Fig 69. Outdoor advertising, 2017 [own Image]

A little whisky is a wonderful thing.

The future The key goal set out for the brand is to dispel stereotypes about the typical whisky drinker by creating a brand that is completely different - appealing to females and a modern consumer.The main way to measure the companiesâ&#x20AC;&#x2122; success is through its sales and through monitoring the social media channels, specifically at the demographic and gender that is interacting with the brand. This is not just about looking out for a rise in followers but an increase in the level of real conversational engagement where followers are commenting, sharing and tagging their friends. This will give Curious grace insight as to what content is actually appealing to the audience and will help to be more selective over content for this demographic. The brand will continue to strive for innovation and a strong point of difference between other whiskies on the market by ensuring the latest trends (including social media trends) are being adapted to fit with the brand as well as ensuring consistency and regularly posting. Looking into the future, if successful the brand hopes to host more Curious grace exclusive music events, expanding its appeal and becoming more than just a spirit but a lifestyle choice.

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Fig 59. Point of sale Images, 2017 [Own Image] Fig 60. Visualising Pop up event scamp, 2017 [Own Image] Fig 61. Bottle design alternative, 2017 [Own Image] Fig 62. Hockley Arts Club, 2017 [Instagram Photograph] Fig 63. Hockley Arts Club, 2017 [Instagram Photograph] Fig 64. Hockley Arts Club, 2017 [Instagram Photograph] Fig 65. Lost Village festival, 2015 [Photograph] Available at:www.lostvillage.co.uk Fig 66. Timeline of launch, 2017 [own Image] Fig 67. Instagram feed, 2017 [own Image] Fig 68. Outdoor advertising, 2017 [own Image] Fig 69. Outdoor advertising, 2017 [own Image] Fig 70. Tube Station advert, 2017 [own Image]

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