PERFUME PROJECT PACK AGING AND ADVERTISING DESIGN
PROJECT & DESIGN B Y A L I S H A PAT U R I YAV E T G R A P H I C A N D V I S UA L C O M M U N I C A I TO N S D E S I G N 6th SEMESTER PROJECT FOR G R A P H I C A D VERT ISING IV P R O F E S S O R WA LT ER CONT I
CONTENTS
03 P.25
PACK AGING DESIGN
P.
ADVERTISING DESIGN
GLASS MATERIAL PACK AGING DESIGN GLASS IS PURE.
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Glass is made from all-natural, sustainable raw materials. It is the preferred packaging for consumer health and the environment. • Consumers prefer glass packaging: • For maintaining the purity of food and beverages (78 percent), • Preserving a product’s taste or flavor (75 percent), • And maintaining the integrity or healthiness of foods and beverages (82 percent) (according to a 2006 survey conducted by newton marketing & research of norman, oklahoma.) Glass is the only packaging material rated “GRAS” or “generally regarded as safe” by the U.S. Food & Drug Administration.
GLASS IS 100% RECYCLABLE. • Glass is 100% recyclable and can be recycled endlessly with no loss in quality or purity. • Glass recycling is a closed loop system, creating no additional waste or by-products. • Glass is a mono-material, meaning it is not made up of several different materials.
GLASS HAS A PREMIUM IMAGE. No other packaging material matches the shelf impact of glass. The clarity, shape, and feel of glass containers contribute to the premium image of products ranging from fine perfumes to liquor to gourmet foods and beverages.
GLASS IS SUSTAINABLE. Recycling glass reduces consumption of raw materials, extends the life of plant equipment, such as furnaces, and saves energy. Energy costs drop about 2-3% for every 10% recycled glass used in the glass making process. Recycling one glass bottle saves enough energy to power a 60-watt bulb for four hours, a computer for 30 minutes or a television for 20 minutes. Every 10% increase in recycled glass = 10% decrease in sulfur dioxide (SO2) 6% decrease in nitrogen oxide (NOx) 17% reduction in carbon dioxide (CO2) 2.5% reduction in electricity and natural gas 6 degree Celsius reduction in furnace temperature 9.5% reduction in raw materials
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WHAT IS GLASS?
GLASS IS A UNIQUE MATERIAL WITH THE MOLECULAR STRUCTURE OF A LIQUID AND THE PHYSICAL CHARACTERISTICS OF A SOLID: • Although glass is often called a super cooled liquid, it is actually a non-crystalline solid. • Unlike a gas whose molecules are dispersed in all directions or a liquid in which the molecules dissolve and form new, weaker bonds, the molecular structure of glass is irregular and randomly arranged. • The most accurate term for the configuration of glass is a vitreous or glassy structure.
GLASS HAS NO TRUE FREEZING TEMPERATURE: • Most common materials change from a liquid to a solid when they reach their freezing (or melting) temperature (e.g., water turning to ice). • Glass, when cooled from melting temperatures, gets progressively more rigid through a steady increase in its viscosity until it finally becomes solid. • Viscosity is a measure of resistance to flow (e.g., water has a low viscosity while cold tar has a high viscosity). Illustrated here are the temperature-viscosity curves for a glass and a crystalline material. The curve for glass shows a smooth, steady increase in viscosity with decreasing temperature, while the curve for the crystalline material shows an abrupt increase in viscosity at the freezing point.
RAW MATERIALS
GLASS CONTAINERS ARE MADE FROM ABUNDANT RAW MATERIALS: • Sand • Soda Ash • Limestone • Cullet The proportion of raw materials is based on availability, chemical and physical consistency, sizing, purity and cost. The goal is to use the most economical and high-quality raw materials available.
AMBER GLASS • Amber is the most common colored glass, and is produced by adding together iron, sulfur, and carbon. • Amber is a “reduced” glass because of the relatively high level of carbon used. • All commercial container glass formulations contain carbon, but most are “oxidized” glasses. • Amber glass absorbs nearly all radiation consisting of wavelengths shorter than 450 nm, offering excellent protection from ultraviolet radiation (critical for products such as beer and certain drugs).
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COLORIZING // DECOLORIZING GLASS • Color can distinguish a glass container, shield its contents from unwanted ultraviolet rays or create variety within a brand category. • Color can be obtained by simply adding small quantities of different oxides: o Chromium (for green) o Cobalt (for blue) o Nickel (for violet/brown) o Selenium metal (for red) • The raw materials used in commercial glass making contain iron oxide as an impurity, which imparts a yellow/green color to the glass. To offset the yellow/green when making flint (or “colorless”) glass, other colors are introduced by adding selenium (for red) and cobalt (for blue) in proper proportions to yield a gray glass that appears colorless, hence the term “decolorization.”
GREEN GLASS • Green glass is made by adding non-toxic Chrome Oxide (Cr+3); the higher the concentration, the darker the color. • Green glass can be either oxidized, such as Emerald Green or Georgia green, or reduced, as with Dead Leaf green. • Reduced green glass offers slight ultraviolet protection.
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COMPOSITION CONTROL
TWO COMPOSITION CONTROL METHODS: 1. Glass composition can be controlled by analyzing each new shipment of raw materials and its respective glass chemistry, requiring an analytical laboratory at each glass plant 2. A far better method of composition control is to monitor certain easily measured physical properties of the glass that are influenced by the glass’ composition Two such properties are: A.Density B.Softening Point
DENSITY • Density is defined as weight per unit volume. • It is measured by comparison to a known standard using a sink-float technique, which can determine the density to the nearest 0.0002 grams per cubic centimeter.
SOFTENING POINT • The softening point for composition control is defined as the temperature at which a fiber of specified length and diameter will elongate at a rate of 1mm per minute, or the temperature at which the log of the viscosity equals 7.65. • Using a fiber elongation technique, the softening point can readily be determined to the nearest 0.2 C.
EACH OXIDE IN THE GLASS AFFECTS THE SOFTENING POINT AND DENSITY DIFFERENTLY: • By measuring one of the physical properties daily, a change in glass composition can be detected by a change in that property. Since density is the easiest to measure and also • the most accurate, this property is measured every day at all plants. Softening point is measured at certain plants as • a second precautionary measure for ensuring composition stability. By using density as the measured property, glass composition can be controlled by Statistical Process Control techniques. By using such techniques it is possible to limit glass composition variations within detectable limits of wet chemical analytical techniques.
THE HISTORY & EVOLUTION OF PERFUME BOTTLES Perfume is a mixture of aromatic compounds, fragrant essential oils, alcohol and water. The perfume world classifies perfumes into scent groups such as floral, fruity, woody, amber, musk, and oriental. Perfume is further divided by its potency: Real Perfume has the highest concentration of essential oils with 22%, Eau de Parfum has 15% to 22%, Eau de Toilette has 8% to 15%, Eau de Cologne has 8% to 15% and Eau Fraiche has 1 to 3% essential oils for just a hint of fragrance. Evidence of perfume making began in Egypt and Mesopotamia and was then picked up by the Persians and the Romans. The first perfume maker of record was a woman chemist named Tapputi, she was spoken of in tablet from Mesopotamia in the second millennium BC. The first of the modern perfumes was created in 1370 by the Hungarians, for Queen Elizabeth of Hungary. Soon after this, the art of perfumery spread through Europe. Today, the Grasse region in France remains the center of the European perfume industry. The late 19th century brought the perfume era as we know it due to advances in organic chemistry.
“ A PERFUME IS A WORK OF ART, AND THE OBJECT THAT CONTAINS IT MUST BE A MASTERPIECE� ROBERT RICCI
with The House of Nina Ricci eloquently said. Perfume must have a vessel to house it and since ancient times perfume bottles have been considered an art form. The container that held the perfume was considered as valuable as the perfume itself. Through the ages, perfume containers and vessels have come in a variety of materials, shapes and sizes and differ from culture to culture.
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ADVANCES IN GLASS MAKING
Early Europeans used a wide variety of containers including porcelain, gold, silver, shells, semi-precious stones and glass. Some containers were in beautifully shaped bottles that had been designed by artists. There were even perfume containers made to wear as jewelry. The majority of perfume was sold in plain bottles then put into decorative costly perfume dispensers and bottles at home.
ADVANCES IN GLASS MAKING: GLASS MAKING THROUGH THE CENTURIES AS IT APPLIES TO THE PERFUME INDUSTRY. The 1920s saw the expansion of the perfume market in the United States, many new companies emerged and fashion designers started having chemists create their own fragrances. Baccarat perfume bottles were introduced and were known for their high quality crystal. They were the designers of most of the perfumers of the time period. During the depression perfume bottles tended to be less fancy and were quite conservative and often made by machine. After World War II new perfumers like Christian Dior and Nina Ricci started making their works of art. Perfume bottles once again became elaborate and luxurious. In the 1950s, Salvador Dali tried his hand at designing a bottle for Marquay perfumes. The creation was that of a man in a top hat and bow tie. Lanc么me released Magie in 1950, held in a beautiful Baccarat bottle with stars.
Selling Shiseido: Offers a section on the perfume bottles used to hold the Shiseido perfume products in 1920s and 1930s. Modernism: The Art Deco age of perfume bottles emphasized flat and angular geometric shapes. The Annette Green Perfume Museum covers this and many periods of perfume bottle history. Lalique Perfume Bottles: Read about the history of the Lalique bottles and view photos of perfume bottles from the early 40s through the early 80s. Even to this day Lalique and Baccarat design the best quality perfume bottles for perfumers around the world. There are two top perfume bottle artists that have emerged, Peter Dinand and Serge Mansau both has their own style and signature designs.
Nina Ricci: Modern day perfume contained in beautiful Lalique bottles. The expansive history of perfumes and their valuable bottles is intriguing and shows human beings have long been drawn to pleasant scents and works of beauty that speak
to our senses. The art of perfumery and perfume bottle design still intrigues many collectors and enthusiasts today. The rest purchase modern day perfume for personal reasons, whether it is for the pleasure of the scent or the beauty of the bottle. Perfume Bottle Information: The official site of the International Perfume Bottle Association offers photos of bottles, collector information and membership. They Held the Scent of Glamour: An article about perfume bottles and their collectors. Not just a hobby for women, but men too. Ancient Perfume Bottle: The bottle circa 100 BC was made from thrown clay and is from the Mediterranean region.
GLASS REMAINS TOP PERFUME BOTTLE MATERIAL OPTION
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Glass dominates: Manufacturers prefer glass because it creates an upscale appearance compared with plastic and metal. The elimination of bubbles is prioritized in transparent variants, while ombre effects are popular for colored versions. Blowing and forming are both done by machine for quick turnaround and consistent quality. Shapes, hues & motifs: Rectangular, cylindrical and novelty contours each represents one-third of output. Sampling for customized forms takes one week. Red, yellow, green and purple are popular for tinted designs. Patterns are simple and focus on the buyer’s logo or brand name. Price projection: Material costs and the yuan-USD exchange rate are the two major factors affecting quotes. With the local currency expected to appreciate 3 to 5 percent this year, suppliers will impose markups of up to 3 percent in the months ahead. Sales outlook: Many companies predict export growth of 20 percent for 2012. They continue to target the main markets of the US, Germany, France, Italy and Australia but are also cultivating clientele in other countries.
WHY ARE PERFUME BOTTLES MADE OF GLASS? Perfume is very “concentrated”. You can see this by observing the fact that a small spray will last a very long time. The reason that glass is used is because the perfume particles are in a container hitting the sides and trying to get out. If you used plastic or something else “weak” the perfume would diffuse out of the bottle and you would not have the desired smell when you spray yourself. You would also be smelling the perfume sitting on your desk all over the room.
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INTRODUCTION PACK AGING DESIGN FOR PERFUME BOTTLE
PROJECT BRIEF Design a package for a Perfume Bottle by glass material, which got the based of the inspiration from my ‘favorite things’ mood boad composed with my favorite ‘Sensation’, ‘Fashion Brand’, ‘Color’, ‘Music’, ‘Taste’ and ‘Smell’ from the inspiration of mood board resulted to the concept of new packaging design of perfume follows to the keywords, which came from all kinds of favorite things as
FEMININE / POP SWEET, FRESH, SOUR, SALT CORAL PINK, GOLD MARNI SMELL the smell in my mood board have 2 kinds of smell • FRESH SMELL : Fresh seabreeze + Lime + Green Tea’ • SWEET SMELL : Sweet Caramel + Honey + Chocolate From those 2 kinds of favorite smell I brought the inspiration of smell linked to the inspiration of making ‘2 kinds of Smell in 1 bottle’ for Fashion Brand ‘MARNI’. The concept of making perfume packaging design from 2 keywords above linked to created the packaging of 2 smell in the character of ‘MARNI’ brand. The characteristic of ‘MARNI’ brand have the key words “VINTAGE, FUNKY, CHIC” And from 2 smells concept brought me to the inspiration of “COUPLE”. What’s linked the key words of “VINTAGE” and “COUPLE” be together? From above question, brought me to the inspiration of ‘KISS’ scence in vintage film. Therefore, the finalized of design concept for pefume packaing design is
THE VINTAGE ROMANCE
FRAGRANCE DESIGN FOR MARNI
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BRANDING CONCEPT THE VINTAGE ROMANCE
BRANDING AND NAMING PROCESS From the combination of 2 kinds of smell to the concept of the romance of couple in vintage style. Based on the reserch of what is the keywords which could be linked to ‘Vintage’ and ‘Couple’ is ‘Romance’. Combined to the brand selected ‘MARNI’, MARNI’s aesthetic, Castiglioni, who has always been the label’s chief designer, is responsible for Marni’s aesthetic of “European-inflected bohemianism.” Other descriptors that have been applied to Marni designs include
QUIRKY FEMININE OFF-BEAT & FUNKY EARLY DESIGN FEATURES INCLUDED IDIOSYNCRATIC PRINTS AND VINTAGE-INSPIRED SHAPES and fabrics; Marni has retained these elements but has become more streamlined.Other Marni hallmarks include juxtapositions of texture; colorblocking; a palette focused on gray, beige, and blue, in which bright colors are interspersed; and unusual shapes, such as bell hemlines, gathering, asymmetry, and large volumes. In general, Marni’s women’s clothing resonate more with female customers than with men, who do not find the clothes sexy.
BRAND INSPIRATION // MARNI
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NAMING & LOGO LULU & JASPER MARNI FRAGRANCE
NA MING CONCEPT BRIEF The naming of inspiration came from the main concept of perfume as TWO FRAGRANCES IN ONE BOTTLE. From this main concept break down to the naming inspiration as “LOVER CHARACTER’S NAME” The conclusion of naming process is finalized the name that popular in early vintage’s period and still keep using in this time as “LULU & JASPER”.
2 SMELLS 1 BOTTLE
MODERN VINTAGE FUNKY
LOVER CHARACTER
LULU & JASPER
LOGO DESIGN // TYPEFACE SELECTED // VARIATIONS
IDENTITY SINGNATURE AND COLOURS
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PACK AGING DESIGN CONCEPT BRIEF
PACK AGING CONCEPT BRIEF The begining of project was came out with picked up my favorite smells and fashion brand, From those of inspirations I was seperated 2 kinds of smell that I like as
LULU & JASPER THE VINTAGE ROMANCE
2 FRAGRANCES 1 BOTTLE DESIGN FOR MARNI FRANGRANCE
• FRESH SMELL “Seabreeze + Lime + Green Tea” • SWEET SMELL “Caramel + Honey + Chocolate” The choosen of smell was 2 kinds which made me inspired to “What if you can use 2 kinds of frangrance in 1 bottle? From the keyword of 2 in 1 made me got the idea for create perfume packaging for “COUPLE” user. From the inspiration of smell break down and linked with the brand selected as one of my favorite brand, Marni to be the client of the product’s producer. The characteristic of ‘MARNI’ brand has the key words as “VINTAGE, FUNKY, CHIC” When merged the inspiration of “SMELL”, “SHAPE” and “BRAND CONCEPT” together, it brought me to concluded to the concept of perfume’s packaging as “THE VINTAGE COUPLE”.
When look back to the vintage film or photography, The memorable scene must to be “KISSING” which made me got the inspiration from the shape of this perfume design. The finalized of design concept for pefume packaing design is “KISSING, THE VINTAGE ROMANCE” which also inspired to the naming of product as “LULU & JASPER” presented to the character of couple connected to the main concept of packaging that designed for couple user with two kinds of fragrances in one bottle.
INSPIRATIONS PERFUME CONCEPT AND SHAPE
Look back to the charming of the romance in vintage style, There’re a lot of varies kinds of romantic scenes in Vintage’s film like ‘Vacanze Romane’, ‘Kiss in the times squre’ (V-J Day in Times Squre) the famous photograph by Alfred Eisenstaedt that portrays an American sailor kissing a woman in a white dress on Victory over Japan Day. ‘Kiss by the town hall’ (Le baiser de l’hôtel de ville) the famous photograph by Robert Doisneau are the endless talking about how the romance in the past as vintage style could , Constantin Brancusi “KISSING SCULPTURE” be recognizable image. From above research it could be concluded that
THE ‘ROMANCE’ SENSATION THE MOST RECOGNIZED AND TOUCH THE FEELING IS ‘KISS’ POSITION.
KISS
THE
TIMELESS ROM A NCE
BOTTLE SKETCHES DESIGN EVOLUTION I
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SKETCHES II & DESIGN EVOLUTION
SHAPE // LAYOUT AND DIMENSION
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3D simulation // Front View
Back View
Both Side View
Opened Cap // Twin Spray heads
INTRODUCTION PROJECT NO.2 PERFUME ADVERTISING DESIGN
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MAGAZINE ADVERTISING
&
FASHION PERFUME
01 The Advertising on Magazine I
The Effectiveness of Magazine Advertising In 2004, Magazine Publishers of Australia commissioned leading advertising research company Millward Brown to conduct this ground breaking study to track the effectiveness of magazine campaigns in one of Australia’s biggest advertising categories, fast moving consumer goods. The study aimed to develop a fresh approach to measuring the impact of magazine advertising, not only on topline ad awareness but also on brand health measures critical to the performance of a brand. The results are conclusive. Magazines build a brand’s business in several important ways: • Increase brand consideration • Increase brand trial • Increase frequency of brand purchase There is also clear evidence that magazines can successfully contribute to the campaign effectiveness by improving awareness of the overall brand communication. The campaigns in the study involved magazine advertising in conjunction with TV in mixed-media strategies. The results demonstrate that magazines provide significant additional lift to brand health measures beyond what is delivered by TV alone.
The case histories provide powerful new evidence of the potential of magazines to increase the impact and return of advertising investment in the Australian market. A superior methodology was employed to more accurately track the effect of the magazine advertising on brand health and communication measures. The survey design moves the focus from simple advertising awareness to measures of more fundamental importance to the performance of brands – that is brand consideration, brand trial and purchase frequency. The methodology combined the use of online interviews (which allowed ads to be shown to measure aided awareness), recruitment of magazine readers and larger than average samples to overcome many of the problems of-
ten associated with tracking magazine campaigns. The study reveals the profound effects magazine advertising has on brand health measures, particularly brand consideration and brand trial.
02 The Advertising on Magazine II
CHANNEL PLANNING: POSITIONING MAGAZINES WITHIN THE TOTAL MEDIA ENVIRONMENT ‘Channel planning’ is a fresh way of looking at the planning of communication campaigns. ‘Communication’ is wider than ‘advertising’. A greater number of communication channels are being considered than in previous decades. This imposes fresh requirements on the provision of research. • Publishers need to spell out how magazines fit into the mix of channels, defining the unique contribution of magazines. • In comparisons between six media – magazines, newspapers, newspaper supplements, TV, radio and websites – magazines lead in terms of providing interesting information and being tailored to users’ needs. • Advertising in magazines is seen more positively than advertising in other media. • Magazines, followed by websites, are the most action-oriented of the six media. • There is growth in multi-tasking – using another medium or doing some other activity while consuming media – but magazine reading has relatively low distraction. When sharing time with television or radio, magazines attract the main attention. • Magazines and the internet work well together. Information in magazines sometimes leads readers to obtain more details on the internet, and they may then purchase something as a result of exposure to both media. • Customer magazines improve the brand image of the commissioning companies, and boost consumer spending on the brand by about 8%. • Sales promotions work better when accompanied by magazine advertising. However promotions are not necessarily profitable at all.
HOW MAGAZINE ADVERTISING WORKS?
HOW READERS USE MAGAZINE ADVERTISEMENTS
We know from the JICNARS Reader Categorisation Study (discussed earlier in section 10) that the average reader of the average magazine has his or her eyes open in front of more than 90% of the spreads. Thus nearly all of the advertisements are at least glanced at in the process of screening the magazine’s contents. Having opened the relevant spread, how do readers use the advertisements? And why doesn’t every ad get a 90% recall score in post-testing? It has long been established that in general terms selective perception comes into operation. People screen the contents (ads as well as editorial) for things which have meaning to the reader. There are many ways in which an advertisement can hold meaning for the reader: • she (or he) uses the product type or brand • she recently gave up using the product type or brand • she is interested in an activity portrayed in the ad • she is interested in a famous person shown in the ad • someone in the ad reminds her of someone she knows - a relative, friend or colleague • she recognises the place shown in the ad • the ad contains a dramatic, intriguing or amusing device - visual or in words or both • the ad has some previous connection for her (e.g. remembering an earlier ad in the campaign, which amused/intrigued/interested her) • and so on If an ad conveys meaning, the reader will look at it more closely. If not, the reader’s attention is likely to move on to something else on the spread or another spread.
03 { } Fashion Magazine & Perfume Advertising
What is the purpose of fashion magazine advertising?
Fashion magazine advertising can primarily be about “branding” for the label being advertised. This means establishing an image that will be associated with the advertised brand. Labels want to create memorable campaigns that help readers think of their brand when they’re out shopping for new clothes and trying to convey a certain image.
perfume ads that
worked and
why ?
What are the ingredients that compose a successful perfume advertisement?
ones that make you run to your nearest departmental store to make a purchase.
One would say a breathtaking scenic location, while another would put forward an argument that a good TV commercial needs a well-narrated story. Some want the highest-grossing Hollywood celebrity in the finest gowns, but others are happy to look at a half-naked male body swinging to Lana del Ray’s voice by the pool.
We have already spoken about the most controversial perfume advertisements this industry has seen, to an extent of placing a ban on them.
If you see a 30-second clip about a product that makes you sit on the edge of your seat in wonder and awe, means the director has hit the bullet in the head. Even thought there are commercials that make you gasp out loud, there are also the
But among the suggestive and provocative group of adverts lies a family of perfume commercials that are intelligent, effective, beautifully photographed and loved by the advertisement watchdogs. Let’s take a look at the top five perfume ad campaigns from the past decade that got it all right, almost.
Chanel No.5 Trust Baz Luhrmann to recreate theatrical romance for his television audience with the same intensity, passion and sensuality; also doing it all in three minutes, only. There was a time when advertisement directors aspired to work in movies, but Luhrmann turned the rule around. This extravagant and comprehensive advert fetched its lead actor, Nicole Kidman, a bulging amount of $42 million for her 180-second appearance. But putting money aside, this mini-film titled No 5 became the poshest and shiniest advertisement to hit small screens in 2004. It trails the life of a megastar, portrayed by Kidman, who deals with her manic life in the underline of fame and paparazzi attention. She meets an average Joe from the street who doesn’t recognise her, and sweeps Kidman away atop the Chanel hill, literally. There’s almost no mention of a fragrance or the effects of a scent in the mini-film, as one would expect. However, it does translate the happiness and joy Chanel brings into the maddened life of the movie star. When she’s with her middle-class lover on the hill, she is content and willing to peep into her life away from the prominence. If a fashion house can link back to its brand’s aesthetics through tulle gowns, pearls and a perfume advertisement – then why the hell not?
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Madame
by Jean Paul Gaultier Jean Paul Gaultier knows how to make a woman feel empowered, be it with his runway collections or perfume advertisements. Anything that has Gaultier stamped on it comes with a sense of attitude, authority and strength. For his fragrance, Madame, Gaultier used Agyness Deyn to reflect on the powerful androgyny of the fragrance. Deyn is strong, confident and isn’t afraid to rip her pants off and chop her locks in public. The advertisement caters to the feminist clan in the world, proving that you don’t need a colourful video with hot male bodies doing provocative moves to sell a fragrance. Guess that worked for Gaultier.aesthetics through tulle gowns, pearls and a perfume advertisement – then why the hell not?
Dior J’adore When this advertisement was released, the industry got more excited about seeing historical icons make a comeback, than the beauty of a star from present times. Using typical ingredients of technology, nostalgia and glamour, Dior cleverly brought back a classic scent into the advertising limelight. Dior paid homage to Grace Kelly, Marilyn Monroe and Marlene Dietrich with the help of Charlize Theron and J’adore parfum. This is one of those videos that you’ll have to replay several times to clearly understand what’s happening. It captures the decadence of living a Hollywood life, the hairspray-laden cramped area backstage at a fashion show and also the frantic energy on the catwalk. Just when you see Theron walk down the runway in a sparkly gold gown, looking like a J’adore bottle in motion, and whispering, “J’adore Dior”, you are suddenly reminded of what you were really watching.
INTRODUCTION
PROJECT.01 MAGAZINE ADVERTISING FOR PERFUME
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BRAND SELECTION PERFUME ADVERTISING FOR FASHION’S BRAND MARNI NEW FRAGRANCE
COUPLE TARGET NEW PERFUME “LULU & JASPER” New line of perfume aimed to Couple target consumer from Marni’s Brand. The main concept of perfume is the combination of two essences, First is “Fresh fragrance” of Sea and Green tea, Second is “Sweet fragrance” of Fruity and Caramel like the combination of “Couple” in one bottle. The bottle designed to the freeform of “Couple Kissing” Shape and holding together with small heart lines.
KISS THE
TIMELESS ROM A NCE
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INSPIRATIONS
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CONCEPT MAKING & KEY WORDS
MARNI STYLE
VINTAGE TIMELESS
SWEET PERFUME CON CEPT
ROMANCE COUPLE
BACK TO THE PAST KISS
FINALIZED SLOGAN
{
}
TIME MACHINE THE ROMANCE
07 S KETCHES
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EVOLUTION I TYPE FACE SELECTION
Typeface selected for advertising’s slogan with the same concept of “VINTAGE ROMANCE”. The typeface that selected “Blessed Day Regular” gave the feeling that the most matched to the concept.
Clarendon TLig Regular
{
FINAL SELECTED
Bl essed Day Regu l ar
Bodoni SvtyTwo ITC TT
}
08 EVOLUTION II LAYOUT & DESIGN
First of the inspiration of Advertising design came from the main concept of the product, that based on the concept of “the lover” of “couple”. Therefore, The stroy of this advertising had linked to the story of “Lover” merged to the concpet of Fashion’s brand “Marni” that inspired the feeling of “The Vintage’s Style”. Looking back to the story of lover and kissing, that based from the concept of the perfume product could feel the mood of “Old Romance”, “The fantacy of Romance” and “The time machine” back to the past. But aimed to the “Young Target” of couple who want to buy product for their lover. The identity of this product and advertising is “Vintage” but also “TIMELESS” which means using on old style but still looks modern in the same way. From those of the key words, The slogan of this advertising designed as “TIME MACHINE THE ROMANCE” That gave direct message to reader about the feeling of “Vintage” and “Romance”. The design of the advertising also linked to the concept of the slogan by used the background of “the clock” which meant to the meaning of “The past” and “Time Machine” applied to the kissing scene of “Yong Vintage Couple” who’s the main target of this product’s consumer.
Design with sepia, black and white background color
DESIGN EVALUATION
The final selected had choosen by B/W Sepia background for reason of when matching to the product, Perfume should be the most of the point that should be out standing from the background and advertising. With B/W colour of background helped product came to be more clear vision on the advertising.
Design with blending of Fantacy color inspired from 2 colours of fragrances.
FINAL DESIGN
MAGAZINE ADS SIMULATION
BILLBOARD ADS SIMULATION
INTRODUCTION
PROJECT.02 PROMOTION DISPLAY DESIGN FOR PERFUME
PRODUCT DISPLAY DESIGN Image is almost everything in business. You may have a great product, but you have to sell it visually. A professional and educational display of your product can make the difference between window shoppers and customers. Fundamental elements for free standing product displays include a structural sound design for function during the life of the retail display and eye catching graphics integrated with Brand Identity. Whether a custom one-of- a-kind display for pool cue cases or a display that ships along with product, Sole Design can design and produce a product display that best suits your retail needs.
DESIGN & CONCEPT BRIEF The concept of display design still keeping in the same feeling as “VINTAGE ROMANCE” style plus the emotion on design that hit the main user as “YOUNG COUPLE”, whom in love with vintage style or even the ordinary young couple who want to buy perfume for a gift to their lover. The display design still keeping in the concept of Vintage by using “Necklace Clock” as the base of the standing of perfume product but addapted to be more contemporary by using chrome colour and shiny bronze for made plus more young emotion on display design. Plus more gadget to make the display more attractive with stand base self lighting, which be light directly to the bottom of perfume product linked to the more fantacy emotion of the apeared of perfume from the past to the present, which has the meaning of “VINTAGE ROMANCE IS TIMELESSS”.
RESEARCH & INSPIRATIONS
FINAL DESIGN
The lighting from stand of perfume aimed to the concept of “TIMELESS ROMANCE� linked to the story of perfume that came from the past appreared in the present and still keep the romantic emotion as timeless.
DISPLAY WITH PERFUME DESIGN SIMULATION