Package Design - May 2011 by ST Media Group International

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MAY 2011

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CONTENTS

MAY 2011 VOL. 9 NO. 4

COLUMNS 14 DESIGNER’S CORNER by Jan von Borstel Designers should always be acutely aware of opposing forces in design.

16 SUSTAINABLY SPEAKING by Wendy Jedlicka The EPA follows the FTC into the discussion of green marketing claims.

FEATURES 18 Leaving the Box Behind

DEPARTMENTS

Freschetta’s new line of frozen pizzas offers a reinvented experience from store to oven.

FROM THE EDITOR

Curve Appeal

FRONT PANEL

Dial’s NutriSkin line extension creates shapely appeal and ergonomic comfort for both genders.

10 SNAPSHOTS 45 NEW PRODUCT FOCUS

The 2011 Makeover Challenge: Meet the Designers

New models, updates, and substrates add versatility to proofing and printing.

This year’s four eager design teams reveal their guiding philosophies and recap a recent case study.

Remote Access

47 INDEX OF ADVERTISERS

Design research in the digital age can overcome some limitations of traditional ethnography.

48 GLOBESPOTTING by Lynn Dornblaser Attitude diapers and diaper packages blend convenience and eco-friendliness.

Open Books Shifting retail expectations compel cosmetics companies to delight and surprise with elaborate kits.

Q&A: Shining Through The president of the FSEA explains how technology and demand are driving more affordable options in specialty effects.

CORRECTION

In an April article on the Purex 3-in-1 package redesign, the text misidentified the materials of the previous plastic components. The outer packaging was flexible polypropylene, which is recyclable, and only the starter kit used rigid injection-amolded polypropylene.

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MAY 2011

Overview Keynote Speaker Conference Highlights Exhibitors List IPDA preview

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FROM THE EDITOR

BY RON ROMANIK 11262 Cornell Park Dr. Cincinnati, OH 45242

Where Fresh Ideas Come From I

t’s amazing how breakthrough structural innovation often provokes the reaction: Why didn’t anyone think of that before? The truth is that there are very few actual “Eureka!” moments. Most inspiration comes, as they say, from perspiration. It’s paradoxical that asking consumers directly what they like—or don’t like—about a package will usually yield few actionable insights. When placed in this context, consumers take on a designer’s point of view, and that’s precisely what researchers don’t want. Getting at consumers’ real behaviors and motivations is often an exercise in sheer perseverance. Sometimes it takes a deep dive into observing repetitive consumer behaviors to discover an unmet need. Other times, it takes staring endlessly at an existing product or package until the unexpected becomes obvious. Sometimes it’s finding the exact, specific question to get at consumer motivations. Other times, it’s asking the broadest questions. Why are things the way they are? Is it just convention? Is there a better way? This issue of Package Design finds many questions that, when asked in the right context, were the spark for innovative and refreshing design solutions, such as: Why are almost all boxes for round frozen pizzas square? (See page 18.) Can a curvy personal care bottle shape be unisex? (See page 22.) What balance is right when cobranding with a cause? (See Natural Inspirations on page 10.) Of course, there are also long distances between answering these questions and creating package designs that work both on shelf and in consumers’ homes. That’s where perspiration and perseverance come into play. This issue also kicks off the 2011 Makeover Challenge, sponsored by Brushfoil, which invites four design firms to reimagine an existing brand. This blue-sky exercise encourages experimentation and innovative concepts that might be ahead of their time. We wish the best of luck to the teams, profiled on pages 28 through 30, as the prize for the most popular brand redesign is a full feature in our November issue. Best,

STAY IN TOUCH WITH US BY: Email: ron.romanik@stmediagroup.com LinkedIn: Package Design Magazine Facebook: Packagedesign Mag Twitter: packagedesignmg (no “a” in “mg”)

MAY 2011

Ron Romanik

EDITORIAL DEPARTMENT EDITOR-IN-CHIEF Ron Romanik ron.romanik@stmediagroup.com CONTRIBUTING EDITOR Patrick Henry pat.henry@stmediagroup.com ART DIRECTOR Laura Mohr laura.mohr@stmediagroup.com PRODUCTION COORDINATOR Linda Volz 513-263-9398 linda.volz@stmediagroup.com SALES DEPARTMENT PUBLISHER Julie Okon 317-564-8475 / Fax: 513-744-6909 julie.okon@stmediagroup.com ASSOCIATE PUBLISHER John T. Lyons III 770-955-2923 / Fax: 610-296-1553 john.lyons@stmediagroup.com CORPORATE STAFF PRESIDENT Tedd Swormstedt DESIGN GROUP DIRECTOR Kristin D. Zeit PACKAGE DESIGN SUBSCRIPTION SERVICES P.O. Box 1060 Skokie, IL 60076 P: (847) 763-4938 F: (847) 763-9030 PD@halldata.com REPRINTS / E-PRINTS / PLAQUES Mark Kissling 513-263-9399 mark.kissling@stmediagroup.com

PACKAGE DESIGN (ISSN 1554-6772) is published 10 times annually by ST Media Group International Inc., 11262 Cornell Park Dr., Cincinnati, OH 45242-1812. Telephone: (513) 421-2050, Fax: (513) 362-0317. No charge for subscriptions to qualified individuals. Annual rate for subscriptions to non-qualified individuals in the U.S.A.: $48 USD. Annual rate for subscriptions in Canada: $76 USD (includes GST & postage); all other countries: $98 (Int’l mail) payable in U.S. funds. Printed in the U.S.A. Copyright 2011, by ST Media Group International Inc. All rights reserved. The contents of this publication may not be reproduced in whole or in part without the consent of the publisher. The publisher is not responsible for product claims and representations. POSTMASTER: Send address changes to: Package Design, P.O. Box 1060, Skokie, IL 60076. Change of address: Send old address label along with new address to Package Design, P.O. Box 1060, Skokie, IL 60076. For single copies or back issues: contact Debbie Reed at (513) 263-9356 or Debbie.Reed@STMediaGroup. com. Subscription Services: PD@halldata.com, Fax: (847) 763-9030, Phone: (847) 763-4938, New Subscriptions: www.packagedesignmag. com/subscribe.

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Digital Does It Best Livelier Labels for Exotic— and Everyday—Pet Food

The Pretty Bird pet food company in Stacy, MN,

offers an extensive array of products for typical pet birds, reptiles, and small animals. Toucans, iguanas, and hedgehogs are among the extensive list of exotic companion pets that enjoy the fine cuisine. The Young Again brand of products, which consists solely of natural ingredients, also includes dog and cat food. Because quality is its primary concern in food, packaging, and customer service, the company switched all of its label printing to digital on the HP Indigo WS6000 at Lofton Label in Minneapolis, MN. Pretty Bird (www.prettybird.com) is a 20-year-old company that continues to innovate. It was the first to introduce multi-colored, multi-shaped foods to enhance acceptance; introduce naturally colored foods; develop and introduce species-specific formulas; establish in-house manufacturing capabilities; use extrusion for a wide variety of foods; develop specially formulated foods for a very wide variety of animals. It’s not surprising then, that the company would be open to a process that achieved even better quality for its labels than was previously possible.

Installed in 2009, the HP Indigo WS6000 Digital Press at Lofton offers a productive, high-speed digital solution for medium run label and packaging printing, with print quality surpassing that of conventional printing. It offers the choice of using mixed spot inks and four-, six- or seven-color simulations. This extensive color gamut addresses the most demanding brand and color requirements for labels and packaging. Additional Benefits

Digital Surprise

Michael Gaughan, executive v.p., manufacturing, at Lofton Label, confides that the first digital press run for Pretty Bird was done as a test without telling the client they were using a different process. He reports that when the labels were delivered, the client’s comment was: “I don’t know what you did, but keep doing it.” Renae Crabtree, purchasing manager at Pretty Bird, notes that she was—and continues to be—impressed with the clarity and crispness of the color on the labels. Many of the birds, reptiles, and small animals on these labels are naturally vibrant in color and their reproduction should reflect that. “You can’t beat the quality we get from digital printing,” she says, “so I changed all of our label orders to digital press runs.” Gaughan points out that since trapping is not an issue on the HP WS6000, complex areas are clean and sharp. “We’ve taken all of our high end label customers and moved them to the HP,” he says. “Now we’re growing that side of our business with new business.”

“I also discovered that it’s a lot easier and more economical to make changes when using digital production,” Crabtree says. “The turnaround time is also a lot better and it’s far more streamlined. Digital printing is more economical for those kinds of runs as well.” Pretty Bird currently uses over 100 different labels, as one variety of food may come in four different sizes to meet needs from single pet owners to breeders. Like any savvy brand owner, Pretty Bird expects its packaging to attract consumer attention. The company often uses brilliant, colorful packaging that features original hand-drawn illustrations. Their artist, David Charles Brandon, has developed a style that is uniquely Pretty Bird. “Digital printing provides outstanding results when we choose to use photography for label artwork as well,” says Crabtree. “We want the bright colors we use to create eye appeal and stand out. We want to be impressive but not go overboard. We want to give the overall impression of quality and that we stand behind our quality.”

FRONT PANEL

What’s the Buzz? FUSE celebrates a 15-year anniversary with culturally expanded content.

tories, lessons, and community. That’s the mission of the annual FUSE conference that assembles design professionals in packaging, branding, marketing, strategy, trend prediction, and product development, which this year congregated in Chicago from April 11 to 13 at the Westin River North. Though the thought-provoking programs and sessions that tell personal stories provide the structure for the conference, more valuable for many attendees is the comfortable networking environment that FUSE so adeptly promotes. The 2011 tagline—Design & Culture / Brand Identity & Packaging—expressed the widening scope of the 15-year-old conference. Some of the new features at the show included a full conference session track dedicated to cultural anthropology; two new symposia; more global perspectives; a mentoring program; and the MingleSticks networking tool. The sticks were a hit—instead of exchanging business cards, a simple clicker device transferred contact information between attendees. Popular in-depth packaging case studies included the rebranding of Crabtree & Evelyn, the research behind the U by Kotex launch, the varied reincarnations of the Kleenex brand tissue, and the introduction of the Giada de Laurentiis brand into Target stores. Inspirational presenters ran the gamut from anthropologist/technology artist Jonathan Harris to physicist/futurist Dr. Michio Kaku to renowned and prolific designers such as Karim Rashid. Themes that ran through the show included how to drive empathy into design, how design is a humanizing discipline, and how to build iconic brands. A popular iconic brand example was Tiffany & Co., which has been able to fit all of the aspirations of the brand into the instantly recognizable small blue box with a white bow. P&G’s Olga DelaRoza examined other examples of iconic brands that have leveraged a single design element to great success, like Burberry and its plaid motifs. During the Crabtree & Evelyn presentation, Tess Wicksteed of the Pearlfisher design firm agreed that an emotional connection is still paramount, positing: “There are no iconic brands that are literal.”

29 FAST FACT

may 2011

Percentage of men surveyed who, despite the poor economy, agreed with the statement: “I am going to continue to buy the brands I like no matter what.” In the same survey, only 22% of women agreed with that statement. Source: JW T/Ogilv yAction ShopperSight 2010, as reported in March/April 2011 edition of The Hub.

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FRONT PANEL QUOTE DID YOU NOTICE?

Fill ’er Up Consumers have become sensitive to overpackaging as well as to empty space inside packages. When P&G took the Cascade powdered dishwasher detergent box from 45 ounces to 75, the company added a design element to reassure shoppers that they weren’t getting bamboozled. Since a window on a package with such dense product would be impractical, a graphic on the side panel (shown at left) simulates the texture and amount of granular product inside. Text reassures shoppers that they’re getting a lot of product for their hard-earned dollar.

“ Designers are the humanizers of industrialization. I believe that the goal of design has always been the benefit of humanity.” – D esigner K arim Rashid, speaking at the FUSE design conference on April 11 in Chicago.

DESIGN REWIND

An About-Face More of an evolutionary makeover than a revolutionary change, the 1940 front panel redesign of the Maltex Cereal box included an additional color, a subtle update of the logo, lettering changes, a new girl illustration, and new benefit statements. Packaging Parade magazine reported that designer Arthur Allen refined the forms to be cleaner, fresher, and more appealing without disturbing the primary design forms that loyal customers were accustomed to. The new packaging dropped the benefit statement of “Will Not Lump in Cooking” but added three new benefits: “Delicious; Easily Digested; Wholesome.” The illustration did an about-face, the bowl is more visible, and the girl’s testimonial—“I Just Love Maltex”—was given greater prominence. Finally, Allen added red (to the previous yellow and blue tones) to give the child’s face more realistic flesh tones. PD

may 2011

PANTONE® and other Pantone trademarks are the property of Pantone LLC. PANTONE Colors may not match PANTONE-identified standards. Consult current PANTONE Color Publications for accurate color. Pantone LLC is a wholly owned subsidiary of X-Rite, Incorporated. © Pantone LLC, 2011. All rights reserved.

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SNAPSHOTS

Hair Care Makeover

Motions evolves its packaging with new logos, hues, photos, curves, and waves.

he redesign goal of the Motions hair care line was paradoxical: to present a younger and more mature product at the same time. Carrie Mapes, director of account strategy and planning at Kaleidoscope, Chicago, IL, explains that the previous package had become dated and the tones seemed garish to consumers. “During ethnographic immersion into consumer behaviors, we performed salon and in-store interviews with consumers and retail staff, expanding our collective knowledge through direct interaction with the target audience,” explains Mapes. “This helped us to challenge consumer beliefs and assumptions for salon and at-home products.”

Consumers maintained strong brand loyalty and the approach needed to provide a link to the brand’s heritage and core equities. The goal was to update the packaging with tones and graphic elements that would emphasize the effectiveness of a product that strengthens hair. Kaleidoscope created style guides for the 60-plus SKU product line and supervised the fashion photography for the kit boxes. The revised brand mark, for instance, adds vitality, and gold pearlescent tones promote a highquality perception of the packages and products. Finally, a subtle background texture of horizontal, hair-like strands adds depth and intrigue to the package and brand. “We really tried to evolve the brand to appeal to a younger person, but a little more sophisticated one,” Mapes says. The outcome was a cohesive system that delivers clear differentiation between the lines and provides strong brand-blocking on shelf. 10

may 2011

Bathed in Good Intentions

The Natural Inspirations personal care line cobrands with Susan G. Komen.

ombining cause marketing with a brand is always a tricky proposition. Duffy & Partners, Minneapolis, MN, recently completed the packaging design for Natural Inspirations, a new line of bath and body products that’s cobranded with the Susan G. Komen for the Cure breast cancer foundation. A portion of proceeds from every sale of a Natural Inspirations product goes to support the foundation. Joe Duffy, principal and chairman of Duffy & Partners, explains that the brand owners came to the firm because it had rebranded the Komen foundation a few years back. The Natural Inspirations project was, from the start, a cobranded concept. Though founders Julie Ekelund and Nancy Evensen haven’t been diagnosed with breast cancer, more than a few friends and relatives have. The brand owners wanted a luscious expression for their personal care brand while using the Komen branding in a discreet way. “The Komen branding was kind of that added layer,” Duffy says. “Whenever you have dual identities, it’s a question of balance. Here, no element overpowers any of the others.” The packaging features beautifully layered botanical illustrations sweeping over pale pink backgrounds, each designed to represent unique aromatherapy blends. The three varieties are distinguished by green, yellow, and purple pastel tones and the plants that represent ingredients used in each. Even though there’s a good deal of text on the front in order to communicate the brand’s dual purpose, Duffy says that “it needed to be designed in such a way that the copy wasn’t the primary focus of attention.” Duffy believes the bottles use both the icon and the breastcancer-awareness pink in a differentiated way that’s not too heavy-handed. Shoppers recognize the pink and even see the Komen icon from a distance, but it’s in a supportive—and not defining—role. “The icon is there; it’s obvious,” he says. “But it doesn’t have to be too large.”

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The Power of Clean LG vacuum cleaners shine at retail with bright imagery and key consumer benefits.

t seems the LG brand will take on all comers. This time, the company has relaunched its Kompressor vacuum cleaner line into the premium space to compete directly with Dyson and other brands. When LG was preparing for this launch, which included a new high-end model, it called on Bailey Brand Consulting, Plymouth Meeting, PA, to rethink packaging for all of its uprights. As Gary LaCroix, group design director at Bailey, recalls, “We carefully considered how to ensure that the product benefits and step-up strategy for the three different models would be very clear to consumers. It was also critical to bring the new packaging into harmony with LG’s overall brand essence of making electronics easy for consumers to understand.” Gone is the old “engineer speak” of technical, spec-based features. In its place are graphics and copy that clearly communicate the consumer benefits of each feature as you step up from model to model, and an entire side panel was dedicated to showcase and explain the LG Kompressor system that compacts collected dirt and debris for easy emptying with less mess. BEFORE Bailey recommended replacing LG’s white packaging, which was prone to dirt and dings on shelf in some of the retail environments, with packages segmented by color: a premium platinum package for the new, top-of-the-line Total Care product (hitting store shelves now) and “glowing” red and blue packages for the Petcare and Petcare Plus vacuums. Bailey also tapped into renowned automobile photographer Michael Furman, who helped further emphasize LG’s premium positioning with dramatically lit photography of the vacuums.

MAY 2011

Green with Envy An iconic liquor bottle in the Balkans is refreshed in the name of progress.

akia is a fruit-based liquor, like brandy, that’s considered the national drink in no fewer than seven Balkan countries. So redesigning a premium player in this space carries a lot of responsibility. The Blue Marlin design firm, headquartered in Bath, U.K., had been working with Vinprom, brand owner of Peshterska Grozdova Rakia (PGR), since July 2009, redesigning its Mastika and Yambolska summer drink bottles. Briefed to create a contemporary classic, Blue Marlin had to tread a fine line between updating the packaging and husbanding the brand’s longstanding values. PGR is positioned at the top end of the rakia market, unlike sister brand Yambolska, which is an everyday drink with an everyday price point. The previous PGR label had a black background with silver edges. Blue Marlin increased the size of the brand name, added embossing to the bottle to dial up the quality cues, and created a glowing, brightgreen center to breathe new life into the label. “The new look is all about evolution and enhancement,” says Blue Marlin creative director Chris Hart. “Radical redesign was not an option. We needed to protect the essence of the brand, while gently updating it. We’ve made it look much more modern and of the moment, but in such a way as not to offend its loyalists.” PD

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DESIGNER’S CORNER

BY JAN VON BORSTEL

Opposing Forces Use the dichotomies intrinsic to design to make the most of materials—both modern and archetypal.

s design a craft or is it art? More importantly, does it matter? On the one hand, design is such an everyday thing that we hardly even notice it anymore. On the other hand, design sees itself as being such an exclusive topic that it refers to itself more and more frequently as art. Both of these opposing views are right, and often great design arises from recognizing—even celebrating—the differences.

FORM VS. FUNCTION Great design is intrinsically linked with functionality. For me, beauty is inherent in any product that functions perfectly. I also believe that a cornerstone principle of modernism—form follows function—is still absolutely valid. Today, however, the definition of function is much broader and more comprehensive. To make today’s products and packages function well, their actual function needs to encompass all aspects of an increasingly complex product development pro-

cess. Important aspects include market research, data analysis, conceptual development, the selection of materials, efficient manufacturing, and the design presentation. Even the anticipation and planning of future line extensions is included in the definition of the original function of the product and package.

MATERIALS VS. FUNCTION As a typical German designer, I value precision and clarity. However, in design, it always comes down to the inseparable interplay of materials and functions. 14

MAY 2011

These two forces form a symbiotic relationship and define each other. The material gives the product its soul, and vice versa. Good design makes the intrinsic qualities of the material tangible, and the material defines the exact nature of the object’s function. Furthermore, the tactile sensation of a material and its surface should never be underestimated as a powerful design element. There are two extremes in design today. On one side, there’s the traditional and archetypal. On the other side is a technologically driven, high-tech, somewhat bionic, approach. It’s true that elaborate and curvy shapes are much easier to manufacture nowadays. However, ask yourself: Just because I can make a form, do I really need to design it that way? Archetypal forms that have stood the test of time, on the other hand, are based on fundamental geometric principles—circles, squares, and proportions. Over the centuries, in both art and design, people have come to accept these forms. It’s for this

reason that that archetypal forms can feel more human than much of what we see today labeled as modern organic design or organic architecture. As opposed to modern, smooth artificial materials, archetypal materials have sensual characteristics, and the thickness and weight of a material are important. Even an object’s tone, or the sound it makes when used or put down on a table, can be a sensual experience. Among archetypal materials, contrasts can be very effective at distinguishing a brand personality. Taking hard, archetypal materials such as granite or cast iron and combining them with

ephemeral materials like felt or leather creates a dramatic effect. Other pleasing contrasts include combining rough ones with smooth ones or “cold” materials with “warm” ones.

Past vs. future The future will undoubtedly bring renewed appreciation for values of the past, and archetypal materials will experience a resurgence. The luxury segment is already leading the way by embracing traditional craftsmanship and handmade packaging. I believe that this indicates a shift away from synthetic, smooth, thin plastic surfaces and toward natural, handmade, solid materials. The signs of age can even be valuable in design, as it’s not always a negative to see how an object made from more natural materials has aged. These signs can be like traces of the history of an object. Archetypal materials develop patinas naturally, as opposed to modern materials with their over-polished, sterile sur-

1 Archetypal watercolors contrast well with gold screen printing on this Yves Saint Laurent perfume packaging. 2 Rough, stone-like textures are unexpected in modern packaging, as is a bottle that doesn’t stand up straight on its own. 3 A metal case surrounds the back of this Comme des Garcons bottle, creating a pleasing tactile experience and reflecting light back through the tinted glass.

faces. Plastics don’t age; they just get old. Consumers may begin to realize this and turn their backs on throwaway products and packages, realize how much longer real materials last, learn how valuable time-tested manufacturing is, and appreciate true quality again. A well-designed and well-crafted cast iron bowl can last over 3,000 years if you only rub it with a little linseed oil every now and then. PD

Jan von Borstel is an artist, designer, and principal of the janvonborstel-studios (www.janvonborstel.com) design agency in Hamburg, Germany.

SUSTAINABLY SPEAKING

by Wendy Jedlicka, CPP

Defining Sustainability The EPA follows the FTC into the discussion of green marketing claims.

ear the end of 2010 the Federal Trade Commission began the process for updating its Environmental Marketing Claims Guidelines (FTC Green Guides; www.ftc.gov) to help better define terms that previously had no (or too loose of a) definition, but were nonetheless being used by companies to tout product or service attributes to influence consumer behavior. While the previous guides, last reviewed in 1998, provided the basic “spirit of the rules,” they were fairly short on specifics in several areas. So it was pretty easy to make unsubstantiated claims about a product being “sustainable,” for example. One of the more interesting documents to come out of this latest process was the publication of its “Environmental Marketing Consumer Perception Study Background Information,” which itemizes what consumers today do understand about sustainability, green claims, and general eco-ness. As more and more governing bodies get involved in codifying the terms and application of sustainability in practice, having a deeper understanding of what it is these agencies are reacting to as they assemble new guidelines will be an invaluable planning tool for anyone involved in manufacturing, promotion, and selling of products.

Marketing disconnects One of the most compelling findings in the FTC consumer perception study was the big disconnect between common sustainability claims and how consumers interpret them. Consumers tend to read general claims very specifically and with farreaching environmental benefits. For instance, 65% of consumers felt the word “green” meant “made from recycled materials.” The FTC recommends that qualifications be clear and prominent, and that claims be limited to a specific benefit. However, in the proposed Green Guides revisions, the FTC admits: “Very few products, if any, have all the attributes consumers seem to perceive from such claims, making these claims nearly impossible to substantiate.” This is a super important point to stress here. The proposed changes to the current guidelines will still 16

may 2011

not define “sustainability,” “environmentally friendly,” or “eco-friendly.” But even so, saying your product, process, or service is “sustainable” will require you to prove that it really is sustainable to avoid scrutiny by the FTC—a nearly impossible feat, as it would require undertaking a level of true-cost accounting no data currently exists for. It’s no wonder that many green claims still go unsubstantiated, as making green claims now seems to be a catch-22 of trying to account for something that’s unaccountable.

The EPA enters the fray Also at the end of 2010, the EPA began its own process to see where it might get involved in sustainability practices by soliciting individual stakeholder input regarding the agency’s still undefined, long-term role. The agency identified a wide swath of businesses that could be affected by future policies, though: pretty much any company involved in consumer, commercial, or industrial products that may be considered “environmentally preferable.” Nevertheless, the EPA has already undertaken efforts to help move things in a more sustainable direction in the U.S., with involvement in programs such as Design for the Environment, WasteWise, EnergyStar, and WaterSense. Where the new effort will go remains to be seen. But it’s the smart players who act in anticipation of change rather than wait and react as new rules force compliance both in inflated dollars and under a time crunch. At the minimum, smart players can do their homework to plan out viable eco-options. The FTC and EPA are great starting points for some “guidance,” but quantifying and qualifying claims requires a deeper dive into such practices as life cycle analysis and carbon accounting. The changes in definitions under the FTC Green Guides update round are a great indicator of what government agencies around the world are trying to focus on in the near future. But these are the easy ones. Hopefully, the EPA is building a foundation for programs to come that could be just the push the industry needs to take things past simple green-ness to a level where sustainability in practice will become business as usual. PD

James Cropper Speciality Papers The natural choice for luxury paper

ames Cropper has been using a combination of art and science to make some of the world’s finest paper and packaging materials since 1845. Located in the English Lake District, it is one of the most bespoke and advanced specialist paper mills in the world. Mark Cropper*, the sixth generation of the Cropper family to be involved in the business, is Chairman of James Cropper plc – a niche specialist paper and materials group – which includes James Cropper Speciality Papers. The company’s customers are global and work with the skilled team for their expertise in texture, tone and colour, interwoven with papermaking, to help to carry their messages. Protecting the company’s reputation and the long-term security of the business for the future is all-important and actively managing its environmental impact through sustainable practices helps to ensure this is achieved. James Cropper Speciality Papers has discovered a unique fit between its capabilities and the needs of luxury brand owners.

Technicians in the company’s world-leading paper laboratory are experts at matching colour and, together with our machine craftsmen, develop paper chemistry to enable the company to offer a range of innovative solutions to its customers. James Cropper’s bespoke solutions include custom colours, rub-resistance and wet-strength properties, visual and tactile surface enhancements, dual-coloured boards and brand protection. The company’s paper is used in the fragrance, fashion, collectable, drinks, communication and other retail industries as presentation packaging in the form of boxes and bags for luxury products. Susan Wilson and her team work across global markets. To contact the team please email luxury@cropper.com or meet us at the Luxepack Monaco exhibition from 19 - 21 October 2011.

“James Cropper Speciality Papers has discovered a unique fit between its capabilities and the global needs of luxury brand owners”

To read more please visit the Luxury & Packaging portfolio on our website.

www.jamescropper.com James Cropper Speciality Papers // Burneside Mills, Kendal, Cumbria LA9 6PZ, United Kingdom // +44 (0)1539 818319 *see the transcript from the recent interview on www.packagedesignmag.com/content/make-me-a-match

Leaving

BOX

the

Freschetta’s new line of frozen pizzas goes to market its own way.

Behind By Patrick Henry

hy do people put round pegs into square holes? Objectively speaking, there’s an obvious contradiction between the circular outline of a frozen pizza and the square cartons that so many of them are packaged in. That question occurred to Schwan Food Company, maker of the Freschetta family of frozen pizzas and many other types of frozen foods. Schwan asked Brandimation, a Princeton, NJ, brand innovation agency specializing in structural package design, to help it identify the right combination of structure and materials that could help reinvent the frozen pizza experience. Schwan broadened the norms of the category in a literal example of thinking outside the box—the launch of Freschetta Simply...Inspired frozen pizzas in the rounded-top, Fresch-Taste Seal package. The journey from concept to packaged product began with a highly specific vision of its intended end-user. Behind the launch are nearly two years of intensive research and testing by Schwan and Brandimation, the initial phase of which was dedicated to pinpointing the characteristics of the target consumer and matching Simply...Inspired frozen pizzas to the tastes and preferences that this sophisticated shopper could be expected to have. The marketing initiative for the Simply...Inspired line and its boxless packaging stems from Schwan’s belief that enthusiasm for ordinary frozen pizza has been waning. Many shoppers, says Mary Brown, senior director of brand marketing at Schwan, are opting out of the category. “Consumers don’t need 42 varieties of pepperoni pizza,” says Brown. This is 18

may 2011

especially true of high-quality/high-value consumers fitting the persona that Simply...Inspired was conceived to attract.

Meet the “emerging pizza consumer” The target high-value customer, according to Brown, is female, socially and globally aware, drawn to salubrious activities like yoga and Pilates, and committed to healthy eating choices both for herself and for her family. This “emerging pizza consumer” rejects conventional frozen pies but hankers for large-cut vegetables and thin and crispy crusts. “We spent a lot of time in her life,” says Brown, to be sure of “getting her back into the grocery and into the frozen pizza section.” That portion of the research spanned the period from March 2009 through February 2010, and at the end of it Schwan had the insight it needed to offer what Brown calls “a whole new pizza, from toppings to bottom.” With freshness at the core of the brand promise, it would be up to the package to deliver on the promise in a manner as distinctive as the product inside. Rick Green, a senior packaging engineer at Schwan, says that the Fresch-Taste Seal package accomplishes this by replacing the typical outer paperboard carton with a PET-based, thermoform laminate tray covered by a sealed polyethylene lid. The thin, flexible lid, which features a transparent window to show off the pizza underneath, is easily removed by pulling a side tab that bears the message: “Open here to be inspired.”

TOUCHING CONSUMERS

Small and large design elements connect with consumers at each touch point in the brand experience, from store to oven.

v w

Robert Ziegler, president and creative director of Brandimation, says that the sealed, thermoformed tray—one of 12 concepts offered to the client— ultimately won because of the convenience and ease of use it would provide on the consumer’s end. Opening the Simply...Inspired tray and removing the product, Ziegler explains, can be done with 70% fewer steps than conventional packaging requires.

The curved top edge reminds consumers both of material savings and the pizzeria-style tool for loading pizzas into ovens.

The tab alerts consumers to the optimal opening process, and the text is friendly and welcoming: “Open here to be inspired.”

The lidding material is glued securely, yet peels back easily.

Easy-to-understand instructions on the back give the consumer confidence that the pizza will come out right.

The recyclability and sustainability claims are clearly conveyed to the consumer.

The thermoformed tray is recyclable PET and white, once again conveying high quality and high value.

A grand opening Brandimation emphasizes user experiences when devising structural solutions, paying close attention to every touch point that occurs as the consumer interacts with the package. The Fresch-Taste Seal package streamlines some of the touch points by being a good deal easier to manipulate than paperboard boxes containing pizzas enveloped in shrink wrap. The unusual shape of the package—arched on the top and straight along the bottom—is a bit like that of the familiar “pizza peel,” the flat implement used to slide pies into and out of ovens in neighborhood pizzerias. Brown says that because of the package’s unique contours, “consumers identify it right away,” proven both in find-time testing and in actual practice in stores. Easy storage was another criterion best met by a compact thermoform tray with an arched shape, says Ziegler, noting that the Fresch-Taste Seal package is configured specifically to fit the narrow shelves of the side-by-side refrigerator/freezers found in many homes. The packaging also removes any worries about an inner wrap sticking to the

pizza and pulling away toppings when removed. Thanks to its laminate strength, the thermoform tray simplifies the structure without sacrificing durability for retail display or storage at home. Design work on the package began in February 2010. Jane Chase, senior director of packaging innovation and R&D at Schwan, says that when the concept was finalized three months later, the company installed all-new equipment to get the eight Simply...Inspired varieties and their packaging into production. The patent-pending FreschTaste Seal package started shipping in February 2011 and is now appearing in the frozen pizza sections of chain grocers nationwide. PACKAGEDESIGNMAG.COM

The PET-based, thermoform laminate tray provides many levels of consumer convenience that also reinforce the high-value promise of the Freschetta brand.

the new, easily recyclable Simply…Inspired packages could achieve annual savings of 1,378 tons of paperboard waste, 24,433 trees, 67,500 transportation travel miles, and 472,500 gallons of fuel.

A single-serve option, too The front-and-back graphics of the Fresch-Taste Seal package, created by BrandOptix, a brandmark and package design firm in Minneapolis, MN, do their part by aggressively communicating “fresh” with good-enough-to-eat images of the pizzas and their toothsome toppings. The eight Simply... Inspired pizzas are meant for heating in conventional ovens, but the simultaneous launch of Freschetta By The Slice now lets pizza lovers enjoy a single piece straight from the microwave. The principal brand cues projected by the Fresch-Taste Seal package for the Simply...Inspired line are authenticity, the namesake attribute of simplicity, and quality. Authenticity includes the freshness of the artisanal ingredients, simplicity is typified by the ease of opening with the side tab, and the quality shows through the transparent window that connects the eyes with the taste buds by letting the surface of the pizza show through. Schwan feels this feature gets the consumer closer to the product immediately, right on the shelf. Another central design objective was to send Simply...Inspired pizzas to market in packaging that respects the target shopper’s environmental awareness and her preference for green manufacturing practices. “In a world where green is about reduce, reuse, and recycle,” says Brown, “we’ve focused on the reduce aspect.” Free of the paperboard that surrounds most other frozen pizzas, the FreschTaste Seal package achieves a weight reduction of 30% and all of the efficiencies that entails. Compared to conventional pizza boxes, Schwan claims 20

MAY 2011

Getting everyone talking Simply...Inspired frozen pizzas began shipping in advance of the kickoff of their formal advertising campaign, which commenced in April. From the outset, however, Schwan has made deft use of social media to drive awareness of the new brand. According to Brown, no fewer than 2,000 bloggers have asked Schwan for the exclusive privilege of officially blogging for Freschetta Simply...Inspired pizzas. Brown says that Schwan intends to work not with just one but with 1,600 bloggers by supplying them coupons and news tips. They’ll be required to disclose that they’re receiving promotional information from the manufacturer, but other than that they’re free to post about Simply…Inspired pizzas and the Fresch-Taste Seal package in any way they like. Brown says that the product and its package are tracking well ahead of expectations as shoppers get acquainted with the new sub-brand. Brandimation, too, can look back with satisfaction at an assignment it took seriously—Ziegler and his staff sampled more than 30 different brands of frozen pizza during ethnographic testing with consumers to understand the category. Given that there’s been very little comprehensive innovation in this category for decades, says Ziegler, it was high time for something new in frozen pizza. The Schwan’s team has really delivered, he says, with an outstanding product, a breakthrough package, and a new level of experience for pizza-loving, convenience-seeking consumers everywhere. PD

By Larry Jaffee

Curve Appeal A Dial line extension offers shapely appeal and ergonomic comfort for both genders.

he curves of a woman’s body have been the muse of artists throughout the centuries. Package designer Tirso Olivares is one such artist, whose latest mission was to come up with a plastic bottle for a new product line of Dial NutriSkin hand and body lotion in North and Central America. The assignment was Olivares’ second for Henkel Consumer Goods Inc., for which he recently designed ergonomic spray-bottles for two Soft Scrub products, Total Bath & Bowl and Total Kitchen. NutriSkin represents a first in the health and beauty category for Olivares, whose two-decadeplus career includes a wide variety of structural work for A-list brand clients. Henkel had been tracking the hand and body lotion market for some time and thought it was time to leverage some of the consumer equity it built with Dial’s household name recognition, explains Shannon Bowers, Henkel senior package design manager.

A healthier you Dial is among seven brands that Bowers oversees from the Scottsdale, AZ, office of the Germany-based Henkel, and Bowers acts as the liaison between marketing and design. For a brand-new product line like NutriSkin, Henkel wanted to push the envelope a bit, which is why Bowers tapped the talents of Olivares. Olivares immediately thought about how he could use nature as a metaphor for beauty and health. “I looked at the brand positioning of the product and its tag line, ‘Healthier Skin, Healthier You,’” Olivares recalls. “I asked myself: ‘What is beauty?’ That’s how I get inspired.” He kept coming back to the curves of a woman’s body as a way for Henkel to convey body care imagery that would stand out from a crowded field on store shelves. 22

MAY 2011

{Clareflect® - A great effect on your customers. Little effect on the environment. No compromise} Your product packaging can make a positive impact on your customers, without making a negative impact on the environment. The unique, metallised environmentally-conscious lamination film Clareflect from Clarifoil is made from sustainable, GM-free wood pulp from managed forests. So it has a low impact on the environment at the beginning of its product cycle. And because it is made entirely from a natural raw material, Clareflect is also low impact at the end of its life. It is home-compostable (competitive films can only be industry-composted at >50°C). European recovery levies are lower than for OPP, PET and PVC films, which helps to reduce costs. Cl arefl ect - o nl y fro m Cl ari fo i l Clarifoil is the only manufacturer in the world to produce a metallised lamination film which is also environmentally conscious. So if you want to create high value packaging without a high cost to the environment, Clareflect from Clarifoil is the only way to do it.

Cl arefl ect appl i cati o ns The high quality metallised finish of Clareflect makes it ideal for luxury, high value products. Available in a range of widths up to 1330mm, it has good barrier characteristics, and full food contact approval. Appl i cati o ns i ncl ude: • Perfume cartons • Cosmetics cartons • Liquor cartons • Tobacco packaging Cl ari fo i l – part o f the Cel anes e Gro up Clarifoil is the world’s leading manufacturer of cellulose diacetate films, and part of the Celanese Group: a world leader in the chemicals industry with 8,400 employees and a $6.4 billion turnover.

Hi g hl y v ers ati l e Being made from a highly environmentally-friendly material doesn’t make Clareflect any less versatile or useful as a packaging product. Clareflect can be laminated, printed, hot foil stamped and glued, all without requiring any surface treatment. Which means you can create impactful packaging more quickly and with less cost. Both sides of the product are printable, like other cellulose diacetate films and the other has a print receptive coating. The film can be used either way up.

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Hi g h v al ue Creating packaging with a high perceived value for high value products often means using non-recyclable, nonenvironmentally friendly materials. However with Clareflect, even the most prestigious products can be packaged without compromising their environmental credentials and without compromising your packaging design.

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Nina Daily, the Henkel brand manager for Dial, notes that the men’s product wasn’t planned from the start, but as the line was being developed it made more and more sense strategically. “There was heritage with men and the Dial brand,” Daily says. Men need skin nutrition, too, after all.

almost like a leaf coming out. All those little details, like the naturally shaped finger indentation, are details that resonate with the consumer.” Daily adds that consumers in focus groups were queried on how they dispense lotion, how they hold the product, where they store it, and what “visual cues” they seek from packages on store shelves. Test subject responses to the proposed Olivares design were roundly positive, and Olivares says he didn’t end up changing anything as a result of the final round of review.

Seeking closure

Olivares explains that he created the package’s curving lines for “a feminine touch,” but the right color choices would fit the gender-specific products. “White’s pretty much the beauty category,” he says. “White basically says clean.” The dark gray of the men’s NutriSkin bottle creates a nice juxtaposition to the white, and the men’s closure adds a metallic sheen, which Olivares says fosters associations with men and cars.

Shaping perceptions In terms of the bottle’s shape, Daily says that the company was confident about the curvy bottle’s appeal at retail. But equally important was an ergonomic design that users of both genders would enjoy without fear of it slipping out of their hands. Olivares designed the closure to be integrated with the bottle’s smooth curves, which mimic the petals of a flower surrounding a bud. The sensual curves “embrace” the closure to create an image of unification and elegance. “The flowing line unifies the closure with the bottle,” Olivares says. “It’s 24

may 2011

After Olivares submitted his final integrated bottle and closure design, Henkel’s home office in Germany had a few bottom-line concerns. The company wondered if any of the patented closures that the company already owned could be utilized for the new NutriSkin lotion bottle, but to no avail. “Germany was very involved with this project,” Olivares says. Henkel also put high priority on ensuring that the lotion—all of it—would pour easily from the bottle. Olivares gives a great deal of credit to Henkel’s engineers as well as those at closure manufacturer Seaquist Closures (a division of Aptar) and bottle manufacturer Matrix Packaging (a Sonoco Company), who all executed his vision. Seaquist finalized the engineering of the bottles, including working out the exact specifications for the closure, the bottle, and the treads. “To have the right package was very, very important to Henkel,” says Olivares. “We went in a couple of directions of ‘what if.’ We got sidetracked, but in the end, what’s important is that we ended up with a very unique and cool bottle.” Remarkably, Olivares still designs mostly with hand sketches, believing he’s most effective and efficient that way. He turns the sketches into twodimensional drawings that are translated into 3D with the help of several computer programs. For this project, he had the advantage of Henkel’s inhouse modeling capability. “There’s a difference when you’re able to grab the bottle in your hand,” says Olivares. “You always end up making changes. All the details of how it opens with your fingers—you’re not able to tell until you have a 3D model. Then there’s always refinement.” PD

Win!

May the Best Team W

Package Design kicks off the eighth annual Makeover Challenge.

ith this issue of Package Design, the eighth edition of the popular Makeover Challenge, sponsored by Brushfoil, officially begins. The Makeover Challenge asks four design firms to reimagine an existing brand and redesign its packaging. This blue-sky exercise encourages experimentation in design concepts that will take the brand to a new level of awareness at retail and loyalty in consumers’ homes. Here, we introduce the four competing design firms for 2011—one from each of the four contiguous U.S. time zones. The firms are: Murray Brand Communications, San Francisco; LeeReedy, Denver; CIULLA ASSOC, Chicago; and Little Big Brands, Nyack, 26

may 2011

NY. We introduce the firms on the following pages, each with a short case study of a recent makeover they’re proud of. The real work takes place in May and June, when they have seven weeks to redesign four packages for the chosen brand (which will be revealed this month). By agreeing to participate in the Makeover Challenge, the design firms are also agreeing to provide their designs to the brand owner after the contest is over. In the July/August issue, each team will have two pages to show off its designs and explain the strategy behind them. The firm that submits the most popular redesigned packages—determined by reader votes online and input

from the Package Design Advisory Board—wins the challenge and will be featured in the November 2011 issue of Package Design. Package Design would like to thank Brushfoil, a division of Interfilm Holdings Inc., for sponsoring the 2011 Makeover Challenge. Brushfoil is a world leader in graphic brushed label face stocks, laminating films, and paper stocks for the converting industry. Founded in 1982 by businessmen involved in the initial 1960s development of brushed films as an alternative to stainless steel, Brushfoil embraces the newest technology for metallic-looking films and papers.

Final Good Reflection Ad:Mech 3525 PkgPrint Half Ad

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4:16 PM

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Good Reflections

Nothing on retail shelves matches the exceptional appearance of packages and labels with the unique sheen of Brushfoil. And in today’s challenging marketplace, Brushfoil is a brilliant performer – commanding attention, projecting quality and reflecting the value of what’s inside every package. Give your next package or label the look of quality it deserves.

Success begins with the finish.

A division of Interfilm Holdings, Inc.

www.brushfoil.com 800-493-2321 1 Shoreline Drive, Unit 6, Guilford, CT 06437 (USA)

Clockwise from top left: Shelley Scheer, design director; Sam J. Ciulla, CEO/executive creative director; Julie Wineski, design director; Krzysztof Tenenberg, senior designer; Sandy Summerbell, account executive; Christopher Ciulla, account executive.

CIULLA ASSOC | Chicago, IL www.ciulla-assoc.com

THE MOTTO Think. Create. Inspire.

MAY 2011

THE FIRM

THE PROCESS

Founder Sam Ciulla left brand design firm Laga in 2005 when it had gone through too many changes that weren’t in line with his design philosophy. Having helped grow the business to over 200 employess, his dream was to build a more manageable firm with 20+ staff members. So he bought the 40-year-old firm MLR Design and repositioned it with his own goals in mind.

The firm’s Brand Manifesto Process involves workshops that identify visual territories where a brand can live and thrive. The process involves creating large visual landscapes that encompass territories of color, typography, imagery, composition, and overall tonality. The imagery exploration and verbal positions result in prototypes that are literal representations of where the brand can go.

THE PHILOSOPHY

IN ACTION

Ciulla believes in the power of images to speak to consumers and make them believe in a brand, so thoughtful design can make all the difference. “Today’s sophisticated and savvy consumer won’t settle for the mundane or banal,” says Ciulla. “It’s not a fleeting campaign approach. We’re in it for the long haul.”

The Tom’s of Maine brand of all-natural products, a pioneer in the category 40 years ago, needed help to become more relevant with today’s natural consumers. Loyal consumers stayed loyal because of the social commitment aspect of the brand, but the brand identity and package design was not attracting new customers,

having become stagnant among the shifting trends in the natural space. Ciulla’s first challenge was: How do you communicate “goodness” through an identity and package system? The next impulse was to ask: How can we change the brand dramatically without alienating the loyal customer base? The new circular “seal” logo is a positive evolution from the previous presentation, now cleaned up for today’s audience, tilted 11° to the left to catch the eye, and repositioned to a primary location. A fresher natural background stays grounded with a handmade paper texture, bright colors improve segmentation of the product lines based on their primary benefit, and flavor-identifying text and visuals have shifted in the communication hierarchy to become more contemporary, appealing accents.

From left to right: Kelly Reedy, principal/ creative director; Ryan Lee, designer; Liza Nelson, designer; Chad Dickson, designer; Eric Kiker, principal/creative strategy director; Kent Ervin, designer.

LEEREEDY | Denver, CO www.leereedy.com THE FIRM Founder Lee Reedy was a father figure of the Denver design scene in the ’60s and ’70s, and the firm’s early success came from solving marketing problems with design, though rarely in packaging. Son Kelly Reedy carries on the legacy today, along with principals Eric Kiker, Scott Snyder, and Patrick Gill. Successes with Naked Juice and Atkins have paved the way for more packaging work, and the firm recently doubled in size (to more than 30 employees) with the purchase of Xylem Digital interactive agency.

from LeeReedy, says Kiker, are impatient and tenacious, demanding innovation and measurable business results.

THE PROCESS The intense “Two Weeks to Truth” workshop is LeeReedy’s first step to inform and kick-start positioning, innovation, product design, and communications strategy and execution. “We really attack it from a skeptic’s point of view,” Kiker says. The powerful, actionable, and often unexpected answers align the firm’s goals before the staff develops three to five positioning platforms for the client.

THE PHILOSOPHY LeeReedy likes working with entrepreneurs who share their passion for developing brands from top to bottom. “‘Fire’ is the one word that encompasses everything,” Kiker explains. The companies that get the most value

IN ACTION To discover the true essence of the Bora Bora brand of snack bars, LeeReedy staff spent a week on the namesake French Polynesian island. The directive of the brand owner was to be true

to the place. LeeReedy felt that it was essential, then, that each product includes at least one ingredient sourced from French Polynesia. The defining perspective on the brand promise was summarized in the phrase: “As pure as the place.” Consumer research helped in refining the brand positioning, in determining whether the brand should be married with “organic,” and in naming conventions around functional ingredients. The final primary package design features a yellow thatched pattern, ubiquitous in Bora Bora, as the sky behind an original photo of the island’s volcanic mountains. LeeReedy found that the yellow cuts through the category visually on shelf, and the design elements and benefit statements help Bora Bora own the “natural energy” benefit among competitors.

THE MOTTO We like clients with fire.

PACKAGEDESIGNMAG.COM

Clockwise from top left: Emma Jackson, account manager; Kelly Weeks, designer; Pamela Long, strategist; John Nunziato, creative director.

LITTLE BIG BRANDS | Nyack, NY www.littlebigbrands.com

THE MOTTO For big brands that want to be bigger and little brands that aspire to be big.

THE FIRM John Nunziato started his firm 10 years ago in New York City, but it only got its current name after he moved a half-hour north to Nyack, NY. Nunziato and strategist Pamela Long have their hands in every project, which they know their clients value.

THE PHILOSOPHY The firm appreciates the power of a great idea that’s executed in the right way at the right time, applying its diverse skills to bring any brand’s unique offerings to the masses. The firm also has deep experience in printing and packaging production, and takes pride in making sure that multiple-SKU projects with multiple substrates come off without a hitch.

THE PROCESS Little Big Brands attacks each project with a combina30

MAY 2011

tion of strategic branding exercises and a focus on pinpointing a brand’s core competencies. “Clients are usually very pleased with the level of thought and insights we bring to the project,” says Nunziato. He believes that in the current economic climate and with the absence of big advertising budgets, many modern package designs try to include too much information, which makes competitors look similar and cluttered on shelf.

IN ACTION Little Big Brands relishes taking on a brand that’s lost its way or has been relegated to the bottom shelf at retail. White Rain was such a brand, with a me-too package design that never developed a character of its own. When the firm received the recent White Rain brand redesign project, the strategy

and positioning was already established, and there were many limitations. Nunziato says the goal of the project was to elevate the brand and packaging without it feeling too stuffy to consumers. “A 99-cent brand doesn’t have to look like a 99-cent brand, but it can’t look too luxurious, either,” says Nunziato. Nor was there a great deal of freedom to explore in the brand logo, the label size, the printing, or the bottle shape. The new logo and bottle contours take the White Rain brand into new territory, but still within its proper price point and context. The illustrations of vegetation, which serve as the scent indicators, now flourish outward from the center of the package, to convey both natural freshness and pleasant scent experiences.

Clockwise from top left: Scott Knudsen, director, brand strategy and project management; Brad Berberich, design director; Courtney Smith, senior designer; Tom Kane, senior design director.

Murray Brand Communications | San Francisco, CA www.murraybrand.com THE FIRM R.J. Murray founded the firm in 1999 after stints in senior marketing, brand management, sales, and operations. Murray has built his staff by building teams of specialists that contribute specific areas of expertise. Aside from classically trained designers and project managers with brand strategy or project management experience, the firm’s production artists hold degrees in print and ink technology.

THE PHILOSOPHY Murray Brand believes that working with a creative agency should be a rewarding experience. The firm’s work reflects the staff ’s passion for creativity, excitement for discovery, and the daily enjoyment from partnering with clients. The firm believes that all parts of an integrated marketing campaign must speak

the same voice, and many times the package design is the optimal place to start.

THE PROCESS Before any designing begins, Murray Brand conducts research from three different perspectives. First, staffers examines the product’s enduser through purchase trends, motivations, unmet needs, and category segmentation. Second, they look closely at competitors, performing numerous analyses for strengths, weaknesses, opportunities, and threats (SWOT). Third, they perform a SWOT analysis on the client’s product and packaging. In the end, the staff tries to map all of these findings together to form a complete picture that will lead to informed decisions. “If the team is well-coordinated,” Murray says, “the process can go very swiftly.”

IN ACTION When Nuance Communications came to Murray Brand to talk about its Dragon Naturally Speaking software packaging, there were many objectives. Besides creating greater awareness at retail and elevating the quality perception, the brand owners wanted to create a cohesive architecture and a link between the product and its app iconography. Shrinking down the previous dragon graphic to usable icon size was abandoned quickly in favor of a more versatile, stylized flame. The identical information hierarchy on the package now holds together the entire 21SKU line of products, with the only differentiator being color, and the clean and spare design sensibility creates an aura of sophisticated technology and high quality. PD

THE MOTTO Informed creativity.

PACKAGEDESIGNMAG.COM

Remote Access I

n striving for the most effective way for consumers to inform, inspire, and focus the design process, firms from time to time must examine their tools. With today’s marketplace being so competitive, a product’s packaging has to work harder at shelf to communicate its brand message and product attributes. Therefore, connecting with target consumers early in the creative process ensures that their needs are being satisfied with the package design. There are times when traditional inperson, contextual observation provides valuable understanding of the interactions of people, places, and things. A

trained researcher captures consumer behavior while the subject may or may not be aware of their objectives. What designers learn at the outset of a project allows them to build on consumer dissatisfiers as well as unmet—and unarticulated—wants and needs. However, as ethnography moves into the digital age, there may be much to gain in doing this research online, allowing consumers to interact with packaging and record their experiences through a diary, video, or other tools. But can this type of research provide the same depth of consumer insights as in-person observation? Let’s take a look at the pros and cons.

Design research in the digital age can overcome some limitations of traditional observation. By Gail Ritacco In-person observation With in-person ethnographies, the subject can forget they’re being observed, and consequently, behavior captured can be very honest and truly representative. In-person ethnographies are an appropriate venue for consumer exposure to raw ideas or stimuli early on in the process. It’s very effective for engaging with items that haven’t gone through the rigor of quality control, and it protects the confidential and liability aspects of the research. However, if the observation is covert, it’s not likely happening where consumers are most often interacting with products and packages, and therefore may not reveal “pure” behavior. The value of overt observation, where the interviewer is present with the test subject (sometimes in his or her own home), can be compromised for two reasons. For starters, the interviewers’ physical presence is often the biggest hurdle to honest behavior. Secondly, there’s always the risk that subjects will alter their behavior (or the environment) in response to the artificial nature of the interview. Traditional ethnography observes how the subject actually uses the product or package. But for in-home research, there are limitations on the amount of time spent with, and the freOne of digital ethnography’s several advantages is that research participants can blog about their behavior without conscious or unconscious filters.

may 2011

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Online diaries supported by pictures and videos can provide frequent, comprehensive, and extremely detailed observation of consumers using products and packages.

quency of, researcher visits. Consequently, the observer can’t be present at each use occasion, nor can the observer completely understand the context surrounding these use occasions. One way around this limitation is extensive, unobtrusive video recordings of consumers in context, but high setup and recording costs can make that prohibitive.

Expanding digital ethnographies Here’s where the digital age enters in, and you might ask: Why not have consumers record videos of themselves? As the Internet is integrated into mainstream research, digital ethnographies are a logical next step. Many firms are looking to digital ethnographies for a more affordable, accessible window into consumers’ lives.

many of the advantages of in-person ethnographies and overcome some of the disadvantages. One distinct advantage of the digital approach is the anonymity of the online portal. Consumers are often more comfortable detailing their daily interactions in this way. They don’t feel “observed” and therefore may not feel the need to clean up their surroundings, stage environments, or use products and packages exactly as directed. For the most part, these participants do what they would normally do, since they’re truly alone (or with friends or family) when they experience the product or package. When consumers upload the photos and videos, researchers then watch what happens, listen to what’s said, and read what’s written to discover articulated and unarticulated consumer

Early ethnographic research allows designers to discover unmet—and unarticulated—wants and needs. With digital ethnographies, users document their own experience with a brand or category via online daily diaries. There’s no researcher intruding into their lives beyond, perhaps, some specific scheduled activities. The diaries, backed up by photos and videos, can provide frequent, comprehensive, and extremely detailed observation of consumers using products and packages. When executed by trained observers, digital ethnographies maintain 34

may 2011

wants and needs. The uploads allow the observer to be in the moment of use and witness how participants behave in real life, whenever and with whomever that moment occurs. Digital ethnographies can also help designers discover emotional connections and possible directions for a package’s structural and graphic aesthetics. In this capacity, consumers select pictures of people, places, and things that they associate with the brand, attri-

butes, or product benefits and explain their selections. Researchers take these findings and create inspirational boards to capture the moods and feelings that connect the consumer to the package or brand. Boards are shown back to consumers for even more refined direction.

Many eyes on the prize Since digital ethnographies are online, viewers of the photos, videos, and conversations are unlimited. All team members can log in to the site in their own time, at their own pace. There’s an opportunity for team members to submit their questions to the interviewer. Once the interviewer is satisfied that the observation is pure and honest, consumers’ points of satisfaction and dissatisfaction can be examined more thoroughly. In the end, there’s a place within the design process for both in-person and digital ethnographies. While digital ethnographies enable anonymous observation, anywhere and anytime, in-person ethnographies can still be a very valuable venue for consumer exposure to unrefined or protected concepts. Digital ethnographies are also relatively inexpensive for reaching out to many participants in various locations. Particularly as we target Millennials who’ve grown up digitally, this tool will become more relevant for upstream design research. PD

Gail Ritacco is v.p. of strategy and insights at Product Ventures (www.productventures.com), Fairfield, CT.

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HBA GLOBAL EXPO

| NEW DATES!

MAY 2011

OPEN

The boom in cosmetics kits has spawned inventive designs that tell compelling stories.

BOOKS F

or many young women, it’s all about “the look.” They see their favorite starlet on the red carpet and they want to know how they can create the same makeup effects on themselves. And on television, makeover shows and entertainment news features make it seem so easy. The proliferation of cosmetics kits with all kinds of bonus features, surprises, and instruction booklets aims to meet that demand. And on-shelf strategies and promotional demands from retailers such as Sephora are fueling the fire. Sephora forged its reputation by building up young brands and licensing exclusive third-party brands. Catherine Chen, packaging development manager at Sephora, says that cosmetics kits have been integral to the whole Sephora experience, where picking up and testing out products is commonplace and sales staffs are not commissionbased. “We were definitely committed to kits from the start,” she says, “but we weren’t really sure how big the trend could get.”

Urban Decay’s Book of Shadows Volume III eye shadow kit is inspired by the glimmering lights and icons of New York City. When open, pop-up New York City landmarks are illuminated from behind by LED lights.

by Ron Romanik

Scott Oshry, executive v.p. of branding and design at cosmetics packaging company Maesa Packaging, with offices in France and New York City, explains that kits are a tried and true form for retailers because consumers think they’re getting a deal—and they often are. “Kits are usually a better value for the money,” Oshry explains. “We’ve definitely seen an uptick, and often the bigger the cosmetics collection, the better.” Kits offer the promise of creating complete looks from one package, and brand owners value the opportunity to flaunt a proprietary line. “It really allows the brand to hyper-elevate,” Oshry says. As styles and makeup trends change from year to year, so does the opportunity to create and sell new kits. Chen points out that Sephora customers might not always be the most brand loyal, so frequent introductions of unique packaging is elemental to gaining shopper attention. What also appeals to consumers are “how-to” cards with tips, tricks, and suggestions for achieving the look. “They’re looking for an experience and value,” Chen says. Though demand from Sephora has driven much of the category’s expansion, cosmetics brand owners also saw opportunity to widen their product lines while distinguishing their brands from the rest. Nick Gardner, executive v.p. at HCT Packaging, a global cosmetics packaging manufacturing and design company based in London, believes the trend got a kick-start when companies like HCT PACKAGEDESIGNMAG.COM

Pretty persuasion EDUCATING NEWBIES Bare Escentuals creates Get Started Kits and Tutorials that can be literally grab-andgo for the consumer and still create complete looks. The shopper can discover exactly what’s inside at retail by lifting the top panel “cover” of the book-style package.

MINIATURIZING VANITIES Maesa created this mini personal vanity package for the Ed Hardy fashion brand. The stand-up mirror and LED lights mimic performers’ backstage dressing room makeup tables.

DEFINING LINES The new Too Faced Brow Envy Kit securely holds brow wax, brow powder, tweezers, brushes, and a discrete drawer for the brow stencils and pencil. On the inside of the lid are step-by-step instructions explaining how to use each product and tool inside.

HIDING SECRETS Tattoo artist and reality TV star Kat Von D brought her edgy glamour to this HCT’s Tattoo Chronicles makeup collection, which takes users on a journey to find “Kat’s dirty little secret.” Opening the vintage-style book facade reveals 12 eye shadows and a mirror, and a secret compartment hides a double-ended rollerball fragrance.

may 2011

began offering upstart brands different media, materials, and structures to work with. “Kits allowed designers to show creativity and not be defined by material,” says Gardner. HCT often provides injection-molded plastic packaging for cost-effective, brand-specific products and even couture products. “Mid-market brands are always looking for innovation and new ways of packaging things,” says Gardner, “and the end customer is looking for a little bit of luxury reward.” He says that special-edition cosmetic kits are an easy way for cosmetics brands to express their individuality. It’s easy to mix materials, combining metal sections in paperboard shells, adding textures for tactile and visual effect, and incorporating fun elements. Nathan Pence, v.p. of creative at Bare Escentuals, believes that what sparked the growth of the kit category was consumers finding value in the packages that seemed to be created with them in mind. Bare Escentuals sees great opportunities in educating its customers in attaining the look they want, but the kits are also for telling stories. Education starts with in-store displays and continues with engaging makeup tips and personal notes inside. For one line of Bare Escentuals’ Buxom kits, fictional stories were started within the packages, but customers had to go online to find out how the stories ended. George Filippidis, president of ARES Printing & Packaging, Brooklyn, NY, says that the book form, with a “fifth” panel on the front, offers several advantages. An extra opening panel makes the kit more “gifty,” and wells inside can expand like a map unfolding. “The end user feels like they’re getting something extra,” says Filippidis. In his view, Aveda Origins packaging was a game-changer for personal care and cosmetics packaging when they committed to more sustainable materials: Now consumers don’t always need extra rigidity to make them feel like they’re getting high value. Since the cosmetics kits are so frequently handled—often roughly—on shelf, material choice is also critical in making sure a kit package doesn’t start to look dirty or worn. Bare Escentuals’ Pence says sturdy paperboard, raised textures, and UV coatings provide protection against signs of overhandling, as do windows that allow closer inspection of the contents without opening the package. “Shoppers now want to see with their own eyes what’s inside the kit,” says Pence, “and what the payoff is going to be.” PD

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Q& A Shining Through

Jeff Peterson

Jeff Peterson is president of the Foil & Specialty Effects Association (www.fsea.com).

Technology and demand are driving more affordable options in effective specialty effects.

hat’s the best way to dazzle the shopper? Foil stamping, hot stamping, or laminated board? Metallic inks, finishes, or substrates? Spot UV, profile UV, or strike-through UV? Jeff Peterson, president of the Foil & Specialty Effects Association (www. fsea.com), is here to help you stay ahead of the curve.

PD: What’s an exciting area of growth for the specialty effects market? Jeff Peterson: One area that has seen expansion is the specialty coatings area. The patent-pending Cast & Cure (with proprietary film from Breit Technologies) is a very interesting process and continues to increase in popularity. Cast & Cure is a UV process where a specialized micro-embossed film lays down on a sheet after the uncured UV coating is applied. Once it’s cured, the film is stripped away, and a pure, clear, holographic image is left on the sheet. It’s economical because the film itself doesn’t remain on the sheet; it’s just a carrier of the holographic pattern, and you can reuse the film on another project. It can be put on sheetfed printing presses, or offline UV coaters can be retrofitted.

What are the advantages and disadvantages of the more traditional foil applications? The big advantage of cold foil is that it can be done inline, without a need for a 40

mAy 2011

This Elvis 75th Anniversary DVD Collection from Warner Home Video has a slip case wrap made from 60-gauge custom holographic mPET laminated to 80-pound, coated-one-side litho/label paper from Hazen Co. The custom, repeating hologram pattern of “Elvis” reflects the King’s persona and the pizzazz of the brand.

separate press. The equipment to retrofit a flexo or sheetfed press to apply cold foil is now fairly economical, too. The downside of cold foil is that it still doesn’t provide brand owners the brilliance and the quality that a more traditional foil hot-stamp image is going to give you. Another disadvantage of cold foil is that it can’t be embossed in combination with the foil process, while hotstamping can. Laminated foil board is still desirable for many applications, such as limited-edition boxed sets and entertainment titles, but it does have some limitations. When brand owners want text or images on a foil-laminated package, they need a base white layer. However, printers will tell you that opaque white inks are difficult to work with. So you may have to do two passes of opaque white to cover the foil lami-

nate. It’s difficult to understand why many brand owners choose to apply a metallic finish to entire packages when the most important portion is the front for shelf presence. Foil stamping or even cold foil allows the brand owner to pick and choose where they would like the metallic foil to be applied.

Are foil and metallic effects expanding into different categories or different substrates? One area that’s primed for growth is different effects in plastic packaging. Some of these specialty effects can be applied to flexible plastic sheets, for instance. There’s more caution to be warranted, because there’s more involved with manufacturing technique and machines’ ability to create highquality, consistent results.

What are some advances that are making printing on metallic finishes more accessible? Overprinting on cold foil has increased in popularity recently. Cold foil has been around for quite a long time on narrow-web flexo presses for applications like wine bottle labels and health and beauty labels, but it’s only been perfected in the last few years, both in the foil itself and how to apply it. There has been quite of bit of growth lately with sheetfed cold foil applications, where cold foil can be applied at the beginning of the run on a 40-inch sheetfed press and overprinted with four colors, all inline. Although this is an acceptable metallic finish for many applications, it won’t provide the brilliance of a traditional foil-stamped metallic foil or a foillaminated board.

Is there ever a risk of creating packaging that’s too flashy, creating visual overload for shoppers? Definitely. It makes sense to pick and choose depending on the category and the competition. It really depends on the audience and what you want to accomplish. With cosmetics or wine, foil accents or logos usually do the job for a classier look. With video games, however, they’re almost trying to get as flashy as the game itself. One thing I’d want to tell designers is to make sure they understand all the different processes available, especially if they’re considering a metallic finish. Suppliers will often push only one option and won’t explore all the possibilities for you.

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Special graphic techniques, including refractive stamping, elevate this standard tuck, 0.024 SBS paperboard carton. The vibrant pink fragrance cartons feature two hits of pink, special flexo gold ink, and pearlized matte aqueous coating, topped off with hot foil stamping and embossing. Diamond Packaging used 20-micron frequency modulated screening to deliver near photographic fidelity from an offset printing process.

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What affordable printing techniques can create tactile and â&#x20AC;&#x153;visualâ&#x20AC;? embossing? Specialty â&#x20AC;&#x153;profileâ&#x20AC;?â&#x20AC;&#x201D;or raisedâ&#x20AC;&#x201D;UV coatings can create dimension and textures on a package. This is growing in popularity, too, because in a lot of instances it can be done inline during a print run. Even offline, as a second pass on an offline UV coater, it can be pretty economical. Another relatively new effect is â&#x20AC;&#x153;refractiveâ&#x20AC;? stamping, which creates texture in the metallic image. Very thin micro-embossed lines are put in the foilstamping die, which create refractions. Designers can create detail in the foil stamp image without embossing, just using standard foil. Thereâ&#x20AC;&#x2122;s a feel to it, but itâ&#x20AC;&#x2122;s more visual. This is also popular in video game cartons and software packaging.

Are there other effects that have a bright future in packaging? Detailed laser cutting has continued to grow as a more feasible option, but itâ&#x20AC;&#x2122;s still usually limited to low-volume, higher-end applications. Itâ&#x20AC;&#x2122;s certainly a unique option and attractive for package design. One interesting new process is called strike-through coating, which uses water-based coatings and strike-through matte varnishes. The UV is printed inline as an ink, with a first layer of matte strikethrough UV applied in the areas that will have the effect. A flood gloss layer then goes over the entire surface. As the top layer cures, the gloss coating dulls where matte UV is underneath. The effect can achieve a very detailed result when used on dark, solid color surfaces. PD

Dan Alexander has been a member of IoPP since 1999. He is currently Secretary, Executive Subcommittee, for IoPP’s Chemical Packaging Committee (CPC). He also holds the title of Chair for CPC’s Bag, Box and Bottle Subcommittee.

More networking. More success.

“I became a member of IoPP to stay current with new packaging developments and to gain greater access to my peers at other organizations, which gives me the needed technical resources to expertly do my job at Ecolab. I rely on fellow IoPP members to help me out when I need to find technical solutions to business challenges. My participation in the Chemical Packaging Committee (CPC) has allowed me to better understand the many different governmental regulations that impact companies that package chemicals. Understanding these regulations helps me guide Ecolab to compliance with new requirements. Because of my involvement in IoPP’s CPC, my colleagues at Ecolab regularly seek my advice and counsel regarding packaging regulations and environmental packaging. IoPP provides an outlet to give back to the packaging community and to society in general.” Dan Alexander Principal Packaging Regulatory Engineer Packaging RD&E Ecolab Inc.

For more information about IoPP and its educational programs, call 800-432-4085. Or visit www.iopp.org.

HBA11_AttenCVR_PDM-AD1_Layout 1 4/19/11 1:09 PM Page 1

Join us! REGISTER TODAY!

, Jacob K. Javits Convention Center New York, NY www.hbaexpo.com

Theone oneannual annual The 44

May 2011

HBA Global Expo | OVERVIEW

Get Ready for Beauty Week 2011 The HBA Global Expo offers innovations, education, and networking to power the industry forward. With new June dates, HBA Global Expo & Conference is roaring into New York’s Javits Center, June 28-30, 2011, with worldwide suppliers, education, networking opportunities and trends to move the beauty and personal care industry forward. As the leading source for the latest innovations, technologies, and techniques in packaging, raw materials and ingredients, private label, contract manufacturing, naturals and finished goods, HBA Global is a must attend event for leading brand manufacturers, niche players and the wellspring of indie brands. The HBA show experience is all about gaining new insights, developing partnerships and taking a brand or product line to the next level. And this year’s event delivers yet again. Here are some highlights.

Education with No Boundaries The educational program at HBA is spot-on with its industry intelligence and faculty of beauty, personal care, and skin care experts. The three-day programming has been redesigned to make a customized learning experience accessible to all. Attendees can pick all-day-passes or they can mix and match their days with a six, four, or two session pass. HBA also offers a popular value package—the Platinum Pass—that gives unrestricted access to the entire HBA conference program. Inspired content being offered at this year’s HBA Global Conference includes the Marketing Track, which focuses on the right know-how to bring attention to—and increase sales of—brands in all product categories and across diverse demographics. This core track features experts from top beauty brands and retailers dishing on the hottest trends, distribution channels, social media strate-

gies, and winning tools of the trade to drive sales. Creating innovative products quickly and ahead of the competition is what drives the beauty and personal care industry, and the Technical Track covers all aspects of a product’s lifecycle. Sessions include changing global regulations, active ingredients, new technologies, and research that are revolutionizing the beauty and personal care industry today. The top R&D, academic, and business-leading minds will present the latest in biochemistry, genomics, cosmeceuticals, formulations, anti-aging, controlled release, delivery systems, and nanobeauty. All-natural and organic products, sustainability and the total body/mind wellness approach to beauty is here to stay, and HBA has the key topics and tools covered from A to Z in its Green Track. The program gives an in-depth view on both the science that goes into developing green and organic products and the marketing and business decisions that drive success. With an industry that is becoming increasingly multicultural, multiethnic, and mulitdiversified, the International Track is timelier than ever. Sessions in this track will provide a roadmap on how to expand a business globally and how to sell in high growth countries. The track kicks off with a strategic overview of the global cosmetic market and worldwide trends. Another high growth product category, skin care, has its own educational track at HBA Global this year. With consumers of all ages and demographics wanting high performance products, this category is experiencing a surge in innovation and demand. The Skin Care Track will feature leading experts going skin deep into new technological standouts, novel ingredients, the latest in antihbaexpo.com

HBA Global Expo | OVERVIEW

aging trends for the market, and breakthrough future developments. This new track opens with skin care pioneer Dr. Howard Murad leading a powerful session on “Total Body Skincare: The Future of the Skincare Market.”

A Venue for Global Beauty Meet-Ups

to engage in face-to-face time with their friends, fans, and followers. HBA will also have some of the top beauty bloggers on hand for a special meet-and-greet. The HBA show floor will feature hundreds of new and diverse exhibitors as well as International Pavilions and the RSVP Pavilion, a private suite area for leading beauty and personal care suppliers to meet with top customers and prospects. Access to the RSVP Pavilion will be limited to invitation holders only. The VIP Lounge also returns to HBA providing a convenient, comfortable, exclusive venue for the industry’s top beauty buyers to network, discuss business, or just relax and enjoy special amenities. For the first time, international buyers will be able to use the services of an International Business Center, set up by U.S. Department of Commerce. HBA Global is a select show that is part of its International Buyers Program, facilitating foreign delegation buying trips to industry events with high export potential. The International Package Design Awards Showcase (IPDA) will also be a destination area for anyone looking to spark their next idea and inspire new creativity. Finalists and winners of this year’s most outstanding packaging design in cosmetics, fragrance, personal care, skin care, sustainability, sampling, and tools of the trade will be platformed and celebrated. Completing the 360-degree product development experience, all HBA attendees will again have free access to the colocated two-day Spa & Resort/Medical Aesthetics Expo. Discover unique skin care lines and treatments that clients will crave at this progressive industry event. Only at HBA Global in New York—the epicenter of beauty and personal care—will you find the best resources, gain spot-on intelligence, and form strong partnerships that will help you create products that sell. Don’t miss this unmatched opportunity to touch, smell, and see the newest products, discover cutting-edge technologies, network with over 16,000 of your industry peers, and participate in forward-thinking discussions.

HBA once again brings the entire beauty and personal care community together for three days of networking and business relationship building. The show floor will feature networking tables with a laser focus on pressing topics and issues facing the industry, and a social community meet-up where HBA’s active online communities can meet

Take advantage of registration, conference, and travel discounts by registering online and in advance for the HBA Global Expo & Conference and use source code: PPDME at www.hbaexpo.com/register. For more information on HBA Global Expo call 1609-759-7617 or email: ccarragee@hbaexpo.com.

Trends to Transform Your Brands Finding what’s hot and what’s next in the business of beauty and personal care has just gotten easier. HBA Global has designated a zone on the show floor that is all about trends. The Trends Zone at HBA will feature non-stop activities and exclusives from trendsetters in fashion, color, makeup, packaging, and consumer goods. Part of this exciting area on the show floor will be the New Products Showcase featuring new products and services from world-class suppliers. As a valued research partner and supporter, Mintel brings an Innovating Trends presentation— “Down to Earth”—to the zone. This interactive area on the show floor will feature “play pits” focusing on unique cosmetic products from Europe, Latin America, Asia, Canada, and the U.S. The Trends Spots Theater also returns to the zone with a daily presentations by Emmy award winning makeup artist Eve Pearl and fresh trend reports from color giant PANTONE and fashion intelligence leader The Doneger Group.

“ We love this show. We come every year to find suppliers for labels, packaging manufacturing, and ingredients. It’s a very important show for us.” – NYDIA NORVILLE, OWNER OF LUXE ESSENTIALS LLC

A Supplement to Package design magazine

HBA Global Expo | KEYNOTE

Keynote Address Dan Brestle to discuss iconic brands in the global market. Dan Brestle, chairman of the board of directors at the Personal Care Products Council, will deliver a Keynote Address at HBA Global Expo and Conference. His speech is open to everyone who attends and will take place on Tuesday, June 28, at 9:00 a.m. in the Special Events Hall at the Javits Center in New York City. In his address, Brestle will pay tribute to the industry’s diverse founding iconic personalities and brands. He will examine the similarities between the challenges they faced and overcame and industry issues and opportunities that exist today, including government regulation and the complexities in global business and digital communications. Since February 2002, Mr. Brestle has served on the Board at the Personal Care Products Council. He has more than 30 years experience in leadership positions at the Estée Lauder Compa-

nies and its portfolio of brands. During his tenure, he held numerous positions including Chief Operating Officer where he was responsible for the Company’s Global Operations and Research and Development, in addition to presiding over several brands including Estée Lauder, Clinique and Prescriptives. In addition to the Keynote Address, HBA will feature an extensive educational program addressing a wide range of marketing, product development, business strategy and trend forecasting topics. Programming and event highlights include the Green, Skin Care, International, Marketing, and Technical Tracks. To register in advance for the HBA Global Expo and Educational Conference go to www.hbaexpo.com and use Priority Code: PPDME for a free exhibits pass, or call 609-759-7617 for more information.

HBA Global Expo | CONFERENCE HIGHLIGHTS

The Power of Packaging Health and beauty design helps brands connect with the right consumers. The educational programming at HBA Global in June is full of content and expert speakers that will help anyone involved in packaging development learn new techniques, materials, and trends that will help build a brand, resonate with consumers’ needs for product performance and sustainability, and make it a category standout. Taking place June 28-30 at the Javits Center in New York, the HBA Global Expo & Conference offers a robust agenda of educational classes covering 2012 trends in beauty, fashion, color, and design; new distribution channels and marketing platforms; creating an international business; a deep look into the technical and marketing side of going green; skin care and anti-aging advancements; and technical innovations including new active ingredients, sun care advancements, delivery systems, biotechnology, cutting-edge formulations, and more.

Marketing Track Of interest to package designers, brand managers, engineers, and marketers will be several HBA sessions focused on packaging innovation, design, and sustainability. In the HBA Marketing Track on Tuesday, June 28, “Marketing Innovation with Mike Indursky” will start the day. The president of Bliss will be joined by Ty Montague, CoCEO and content director of Co Collective and Kevin Kells, national industry director of the Consumer Packaged Goods Division, Google. Then “Design Trends: Keeping Ahead of the Curve” will be presented and will focus on one of the most important factors when picking packaging—staying on top of the trends that appeal to consumers and making sure your product is the one that catches their eyes on the shelf. This session will provide an overview of the hottest trends in cosmetics package design for this year, with a H

A Supplement to Package design magazine

closeup on color and detailed stories of five trend areas with huge implications in the industry. Speaking in this session are Vicky Neilson, brand development and marketing consultant; Sarah Williams, creative director at Beardwood & Co.; and Linda Carroll, color insight manager, Ampacet. The “Travel Retail and the International World” roundtable gathers together experts in travel retail from all sides of the industry—brands, packaging, and market research—to discuss the travel retail boom, the implications for the industry, and the best ways for companies to get in on the excitement. Speakers include Jerome Goldberg, managing director at JMG-Research; Anna Blasco Salvat, v.p. of marketing at Art Deco; and Marie-Clothilde Brule, v.p. of international sales, Caswell Massey. On Thursday, June 30. “A Close Look at the Personal Care Market” will feature a detailed trends and data overview of the personal care market from Kline & Co., followed by valuable tips and techniques on designing for personal care products and developing a strategy that will keep you on top of the market. Panelists include Kelly Kovack, founder of Purpose-Built LLC; Jennifer Giannotti-Genes, senior design manager at Colgate-Palmolive; Carrie Mellage, industry manager, Consumer Products at Kline & Co.; and Russ Napolitano, v.p. business development and brand strategy, Wallace Church. Another marketing session on Thursday includes “Branding and Design: Leveraging the Marketing Potential of Packaging.” In this session, leading brands, designers and packaging professionals will discuss how to make sure that your packaging reflects all the hard work you put into your product while reinforcing your brand image, with Marcus Hewitt, Chief Creative Officer, Dragon Rouge; Jana Reichle, Principal, Berard Associates; and Norman Kay, CEO, IBCShell. Additional mar-

HBA Global Expo | CONFERENCE HIGHLIGHTS

keting session during the 3-days of HBA include “Trend Spotting for 2012;” and sessions or social media marketing, as well as laser focus on the hot categories of hair care, men’s grooming and the youth market.

Four Additional Tracks Sustainability and social responsibility are covered in the Green Track with sessions on Tuesday and Wednesday that include: “New Green and Sustainable Initiatives: Products and Processes”; “So You Want to Go Green: Definitions, Standards and Regulations”; “The A-Z of Launching a Successful Green Product”: “Trends in Sustainability: What Consumers Really Want”: and “Sustainability and Philanthropy: Making an Ethical Profit.” In the International Track on Tuesday, a session with global packaging appeal includes “Understanding the Regulatory Challenges of Designing for International Markets.” This session will focus on the process and challenges of navigating international regulations and designing packaging for global markets, so no matter where you take it, your product will shine. Other sessions in this track will provide an overview of the East Asian, India and South America markets as well as how to build a brand in Europe and an overview presentation of the Global Cosmetics Market. The Technical Track offers insightful packaging sessions on “Accelerating Growth Through Strategic Partnerships,” which will focus on successful contract manufacturing relationships, and sessions on “Controlled Release Technology” and “Delivery Systems: Addressing Unmet Needs.” The Skincare Track will go skin deep in the latest advancements in anti-aging, future trends, the latest in skin health and the youth market, novel ingredients for skin care, and the spa-retail connection.

Exhibit Hall Hours Tuesday, June 28: 10:00 am – 5:00 pm Wednesday, June 29: 10:00 am – 5:00 pm Thursday, June 30: 10:00 am – 3:00 pm

Conference Programs Hours: Tuesday, June 28: 9:00 am – 4:00 pm Wednesday, June 29: 9:00 am – 4:30 pm Thursday, June 30: 9:00 am – 1:45 pm

Show Highlights Include: • K eynote Address by Dan Brestle, Chairman of the Board of Directors, Personal Care Products Council • The Trends Zone Featuring Makeup Artist Eve Pearl, Innovating Trends from Mintel, PANTONE, The Doneger Group, and more. • New Products Innovation Showcase Featuring What’s Hot from Exhibitors to Rev Up Your Product Pipeline • Networking Tables • Social Community Meet-Ups • Beauty Bloggers Meet and Greet • International Package Design Awards (IPDA) Showcase and Ceremony • Hundreds of New and Diverse Exhibitors, International Pavilions, Finished Goods, and New Products Everywhere • Educational Offerings and Expert Speakers Addressing Every Facet of the Beauty and Personal Care Market—Marketing, Technical, Green, International and Skin Care.

For more information go to www.hbaexpo.com or call 609-759-7617. hbaexpo.com

HBA Global Expo | EXHIBITORS LIST

Biogenesis Inc.

3C Inc.

Biorius sprl

3rd Rock Sunblock

BioScreen Clinical Services

Dalian Meiyuan Cosmetic Appliance Co.

4 You 2 Pack

A ABA Packaging Corp. Accutech Acti Pack Advant Engineering Alliance Rubber Company Allstar Packaging Corp. Alpha Packaging

Bottlemate Inc. Boutwell Owens & Co. Inc.

Delfin Technologies Inc. Diamond Wipes International Inc.

Labels West Inc.

Busan Techno Park Marine Bio-Industry

Guangzhou Tianzicai Fine Chemical Co. Ltd.

C C+N Packaging Inc.

Earth Axxessories EKATO Corporation

Canfield Imaging Systems

ESCOWILL

Americhem Inc.

CAPICOLOR International Cosmetics Ltd.

Epopack Co. Ltd. Eunchang Guangzhou Co. Ltd. Euro Asia Alum-Tech (Guangdong) Co. Ltd.

Anisa International Inc.

Capsugel Division of Pfizer Inc.

Aphena Health + Beauty

Catalent Pharma Solutions

Express Tubes Inc.

Apollo Industrial Co. Ltd.

Changshin T&S

Chemicos Creations Korea Co. Ltd.

F.M. Brush Co.

ARES Printing & Packaging Arjobex America Arrowpak Artube Div. of Iridium Industries ATRP Solutions Attop Packaging Inc. Audrey Morris Cosmetics & Skin Care Avery Dennison / Fasson Roll North America

B B KOLOR Makeup & Skincare Badger Color Concentrates Inc.

Label Company, The

Guangzhou S&J Cosmetics Limited Co.

American Laser Centers

APT Packaging Ltd.

La Tweez

Dongguan Choebe Plastic Products Co. Ltd.

Amazon Forest Inc.

APR Packaging Inc.

Brushes By Karen / Colorstrokes Mineral

Englewood Lab

Ampacet

Guangzhou Master Plastic Tube Pro.Co.

Klocke of America

Dong Lim Enterprise Ltd.

Brush Up With Barbara / Mineral Mine

Campo Research USA Inc.

Ampac

Guangzhou Lihua Hardwares & Plastics Pro

Kleen Test Products

Label Graphics Mfg. Inc.

Elcos Co. Ltd. (Eun Chang Co. Ltd.)

Amazon Forest Inc.

Guangdong Shantou Qiaoyi Plastic Co.

Guangzhou Noconi Cosmetics & Accessories

Cameo Metal Products

AMA Laboratories Inc.

Chiang Pao Industrial Co. Ltd.

Ever Spring Inc.

Label World Lablabo

Haimen Sanlong Glass Product Co. Ltd.

Lalilab Inc.

Hangzhou Zhenhua Daily Chemicals Glass

LF of America Corp.

Oriental Bamboo & Wood Packaging Co. Ltd.

Lucky Seeds

Overnight Labels Inc.

Harman Plastic Industries HCA CORP. (High Class Art Intl.)

M Plus LLC

PDI (formerly contract packer for Nice Pak)

Madeline Blondman & Co. Inc.

Personal Care Products Council

MAFCO Worldwide Corp.

Pillip Industrial Co. Ltd.

Majesty Dispensing Systems Co. Ltd.

Plasticoid Company

Henkel Corporation HLP Klearfold Hwa Sung Cosmetics IMA Nova Packaging

Manson International Co. Ltd.

Precious Cosmetics Prima Fleur Botanicals Prime Production Ltd.

McKernan Packaging Clearing House

Primera Technology Inc.

Mega Pumps L.P.

Proenfar S.A.S.

MG America Inc.

Puzhen Life Co. Ltd.

Interbrand

Minjin Co. Ltd.

Forever Young

Clariant Corporation

Foshan Yongye Pump & Sprayer Co. Ltd.

CLC Pump Ltd.

France Naturals Inc.

Interconti Systems Inc.

MNC Stribbons

Color Evolution - IBG Labs

Fusion Packaging

Interfashion Cosmetics Corp.

Monoi Institute

Columbia Cosmetics Mfg.Inc.

Intertek Consumer Goods

Moritex USA Inc.

Cosmetic Lab Inc.

Pinkpac Company Ltd.

Mascara PLUS

Ching Fon Industrial Co. Ltd.

Gibraltar Laboratories Inc.

Papillon Ribbon & Bow

Harmony Labs

Flex Products

Coptis Inc.

Oralabs Inc.

M&M Consumer Products Inc.

China Packaging

Gettoy (Tae Jin Chemical Co. Ltd)

Olcott Plastics

Orf Genetics

Fish Roundabout International Group

Consumer Product Testing Co. Inc.

O.BERK Company / Cosmetic Packaging Group

Lady Burd Exclusive Cosmetics Inc.

Chien Ching Plastics Co. Ltd.

Genemarkers LLC

Haimen Liguo Glass Products Co. Ltd.

Imex Packaging

Compax

Nutraceuticals International LLC

Ones Co. Ltd.

Filtrona Porous Technologies

Geami Ltd.

Nutra3 Complex / NutraFood Nutrients

Comar Inc.

Nutra Luxe MD

Laboratoires Serobiologiques -div Cognis

Famaaffaires

Garrett Hewitt International

Ningbo Zhaoke Intâ&#x20AC;&#x2122;l Imp & Exp Corp

Impact Analytical Indo World Trading Corporation Innopack International Co. Ltd.

iPack ISPEC Inc.

Monoi USA Mould-Tip Injection Technology Ltd.

Q Labs Inc. QAI (Quality Assurance International) QMM Line Qosmedix Queens

QuickLabel Systems

Nantong Everlast Plastic Co. Ltd.

Jeong Hun Co. Ltd.

Naturex

Jiangsu Huaxia Plastic Industry Co. Ltd.

Nest Filler Corporation

iTrends Solutions

Rakesh Sandal Industries Rieke Packaging Systems

Bagmasters

Cosmetic Solutions Inc.

Bao Sheng Corporation

Cosmetics & Cleaners International

Gilbreth USA

Coswel Co. Ltd.

Global One-Pak Ltd.

Coswel Korea

Global Sales Ltd.

Joko Cosmetics E.i. G.Kosyl JOMO Thermomolding

Beauty Promotions Inc.

Coughlan Products LLC

GloPak USA Corp

Ningbo Jinyu Spray Packing Co. Ltd.

GoLoyal Inc.

Bedford Industries

CoValence Labs

Gorgeous Cosmetics

Josco International Corp. Ltd.

Ningbo Jinzhou Commodity Co. Ltd.

Bell PPHU

CRP Industrial Co. Ltd.

Gotha Cosmetics SRL

Bellwyck Packaging Solutions

Custom Paper Tubes Inc.

Joycos Cosmetic Co. Ltd.

Ningbo Meilin Sprayer Co. Ltd.

Grafton Cosmetics

JP Packaging LLC

Ningbo Rainbow International

Saehan Art Brush Co. Ltd.

Ningbo Z&Z Sprayer Company Ltd.

Saffron International Inc.

Baoyu Cosmetics Packaging Co. Ltd. Bay Cities Container Corp.

Belvada Better Ways for Women

(AS OF APRIL 21)

A Supplement to Package design magazine

Giflor SRL

Groninger USA Guangdong Irene Cosmetics Co. Ltd.

Jinhua Majoy Industry Co. Ltd.

K Kanseido Co. Ltd.

Ningbo Aobang Sprayer Co. Ltd. Ningbo Haitian International Co. Ltd.

Rose Plastic USA Rossow USA Inc. Royal Labs Natural Products RPC Bramlage WIKO USA

S S&P World Ltd.

HBA Global Expo | EXHIBITORS LIST

Saga Concept SAL

Turtle Mountain LLC

Samhwa Plastic Co. Ltd. (MAZEL)

Twincraft Soap

Seacliff Beauty Packaging & Laboratories

U UA Packaging (Hong Kong) Co. Ltd.

Seatech Bioproducts Corp.

UFP Technologies / Pacific Foam

Sederma Inc.

Unicep Packaging Inc.

Seed Corporation

Unicoa Ltd.

SFA Romani

Uniform Color Company

Shanghai Ingeil Plastic & Rubber Co. Ltd. Shanghai Sanying Packaging Material Co.

Shangyu Chung Ning Trade Co. Ltd.

Verla International Ltd.

Shenzhen Agleam Glass Crafts Co. Ltd.

Wei Da Plastic Product Co. Ltd.

Sierra M Co. Ltd.

Welpak Packaging Co. Ltd.

SOFW Journal

Wengu Plastic Cement Co. Ltd

Spa De Soleil

Whole Herb Company

Sparklet

Won Yong Beauty Products Co. Ltd.

Swan Cosmetics de Mexico S.A. de C.V.

T Taeik Co. Ltd.

Wuxi Sunmart Plastic Products Co. Ltd.

X Xela Pack Inc.

Yorker Packaging

Tenhope leather Manufacturing

Yuan Harng Co. Ltd. Yuhuan Xinhua Plastic Factory Yuju Cosmetic Accessories Co. Ltd.

Topline Products Co. Inc.

Yuyao Hongda Sprayer Co. Ltd.

Transparent Container

Yuyao Jianda Sprayer Co. Ltd. Yuyao Jingyi Plastic Industrial Co. Ltd.

Give your comps & presentations realistic quality.

Flatbed Cutting Plotter

u Space-saving size; 63"x 59" print area. u IDFM media feeding for precise ink placement. u Close-view 1200x1200 dpi, variable dot technology. u Prints on PVC, flexible films and heat-sensitive materials.

Quick & accurate cutting and creasing on a wide variety of material. 3 sizes to suit your workplace needs.

Yu-Xiao Plastic Co. Ltd. Yuyao Foreign Trade Co. Ltd.

Trinity of Youth

Shown with optional RU-160 Roll Unit

Yon Woo Co. Ltd.

Topbeauty Enterprise Co. Ltd.

Trilogy Fragrances Inc.

Use the JFX-1615plus in combination with the CF2 flatbed cutting plotter.

Xiamen Kangjiamei Cosmetics Packaging Co.

Tair Jiuh Enterprises Co. Ltd.

Tecnocosmesi s.p.a.

Zhongshan Weiyuan Packaging Ltd.

Zenbio Inc.

Wormser Corporation

TCI Co. Ltd.

Zhejiang Meixue Makeup Co. Ltd.

World Wide Packaging LLC

Taikone Technology Inc.

Tapemark

...and more to come!

Volusion Inc.

Shijiazhuang Dongshen Hair Brush Co. Ltd

Sunmart Science and Technology Co. Ltd.

Zhejiang Zhongyimei Industry Co. Ltd.

VMI Groupe (Petrins & Melangeurs)

Wechter Innovative Packaging

Sterling Technology

Zhejiang JM Industry Co. Ltd.

Viva Healthcare Packaging (HK) Ltd.

Spray Technology & Marketing Magazine

Yuyao Tirrit Co. Ltd.

VisiPak

Shenzhen Springmery Cosmetic Products Co.

Specality Cosmetics Manufacturing

Zhongshan Weizhao Plastic Mfg Co. Ltd.

Velocys Inc.

Shenzhen Malena Technology Co. Ltd.

Skypack India Pvt. Ltd.

Zhejiang Sanrong Plastic & Rubber

V Vanguard Soap LLC

Shantou Kinhwa Plastic Industy Co. Ltd.

Zhejiang Fuyi Plastic Co. Ltd.

Union Standard Equipment Co.

Shanghai Xuerui Imp & Exp Co. Ltd.

Shangyu Jinsheng Plastic Co. Ltd.

Yuyao S & M Packaging Co. Ltd.

Visit our booth and learn more...

Booth 4958 | Las Vegas • April 28-30 ATL

888-530-3988

BOS

888-530-3986

CHI

888-530-3985 LA 888-530-3987 www.mimakiusa.com

HBA Global Expo | IPDA AWARDS

The Elite of Beauty 2011 HBA International Package Design Awards The 11th Annual International Package Design Awards (IPDA) will be on full display during the HBA Global Expo, June 2830, at the Javits Center in New York City. The HBA IPDA Awards recognize outstanding cosmetics, fragrance, personal care, skin care, and sustainable packaging innovations in the prestige and mass markets. Two new categories were added this year to reflect the growing importance and innovation taking place in Sampling/Travel Size packaging and Tools/At-Home Device packaging. The top finalists in all categories will be displayed in the IPDA Showcase on the HBA exhibit floor. More than 16,000 beauty and personal care professionals from all over the world will be able to view the IPDA finalists up close and get inspiration for their future packaging design plans. As the longest and only package design awards in the beauty industry—major brands, niche players, and indie companies have all won HBA’s IPDA awards for their innovative package design and engineering achievements. Any size

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2010

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company was able to submit products that were introduced in the U.S. or internationally from June 1, 2010 through June 31, 2011, including suppliers, design firms, public relations agencies, and manufacturers. The IPDA finalists and winners will be announced on Tuesday, June 28, during HBA Global Expo. Judging is performed by a “Committee of 100” made up of industry packaging and marketing professionals, designers, suppliers, and members of the media. The IPDA judging is based on the following criteria: originality, design concept, creative use of new materials, components and decorating processes, technical competency, and effective brand messaging. Beauty Packaging and HAPPI magazines sponsor the HBA IPDA Awards. For more information about the HBA IPDA Awards go to www.hbaexpo.com/ipda or call 609-759-7603.

July/Aug ust

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Microsoft Office Redes igns Energizer Reene rgizes Its Glow Makeover Challenge Entries! Waterpik Resea rch Insights HBA Globa l Preshow Planner

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NEW PRODUCT FOCUS

PROOFERS AND PRINTERS

Cool on the Presses New models, updates, and substrates add versatility to proofing and printing.

u 3

Arizona 360 www.oceusa.com The new Océ Arizona 360 GT and XT models build on the success of Océ’s UV flatbed platform. A new high-definition print mode delivers fine feature reproduction, including the ability to print text as small as two-point size, enabling printing on lenticular lenses and membrane panels.

w 1

CJV 30-60 Print and Cut www.mimakiusa.com

The CJV30-60 Studio System is available with a 24" media path and a small footprint to fit into many packaging design and creative houses, offering six process colors, white, and silver inks to produce impressive metallic effects printing. Low-odor ECO-Solvent inks and the Mimaki/JetComp Media can create flexible packaging prototypes, mockups, comps, and samples with 1-mil and 2-mil thickness for a variety of polypropylene films. 2

VersaUV LEJ-640

ValueJet 1608HS and MP Ink www.mutoh.com MP Ink produces a wide color gamut with increased adhesive and abrasion characteristics. This durable outdoor ink is composed of 60% bio-based materials and runs on Mutoh’s ValueJet 1608HS Hybrid-64". The hybrid is Mutoh’s most versatile printer, suitable for both rigid and flexible substrates.

Durst Digital UV Inkjet Label Stock

www.rolanddga.com

www.profecta.com

Roland’s 64" VersaUV LEJ-640 UV-LED hybrid printer prints CMYK, white, and clear on substrates up to ½-inch thick. The LEJ-640 produces crisp, white text and graphics on both clear and colored media and layers of clear ink finish graphics with patterns and embossing effects perfect for packaging prototypes, POP, and window graphics.

Profecta Labels’ Digital UV inkjet label series brochure is printed on a Durst Tau-150 press on various pressuresensitive stocks and features 3D varnish textural effects. Each label showcases a wide array of printable materials and the subtle or dramatic creative effects attained with light varnish deposits or ones up to 1.1 mm. PACKAGEDESIGNMAG.COM

NEW PRODUCT FOCUS

PROOFERS AND PRINTERS

{

EVOLVE and Inx NW100 www.inxdigital.com INX Internationalâ&#x20AC;&#x2122;s EVOLVE branding concept helps traditional printers and converters move to digital printing with industrial inkjet systems. For short-run digital prototype packaging and production, EVOLVE was recently used to introduce the NW100, a new high-speed, single-pass UV LEDcuring narrow web printer.

} 7

JetComp Media www.prooftech.com Proofing Technologies introduces JetComp media, a selection of packaging films specially prepared for printing with the Mimaki CJV/30 and JV33 solvent inkjet printers with ES3 no-odor Ecosolv inks. A wide range of media (in 24" and 52" rolls) are available, such as 1-mil clear polypropylene film to shrink-sleeve film, metalized poly bag film, and selfadhesive label stocks.

KeyColor Adelphi AutoSet www.epg-inc.com EPGâ&#x20AC;&#x2122;s (Essex Products Group) new KeyColor Adelphi Systems enables package printers with nonEPG ink control systems to streamline production and reduce waste. Adelphi AutoSet presets jobs from the prepress department to reduce makeready time and material. Adelphi AutoKey closes the loop between any color scanner and ink-control system.

Printing and Finishing of: Metallic and Holographic Stocks Polyethylene Polypropylene Paperboard FSC Certified Printer Lenticular, Stochastic, Cling, and Various other synthetics. Ask us about our rigid window boxes and specialty coating applications. Please visit us at the East Pack Show, Booth #3511

ampackaging.com

800.582.6605

AM_PKG_AD_042111jr.indd Jacque Wood created on 04/21/2011 by Jim Roy size 3.25 x 4.875 4/C version 1.0

Inca Onset S40 www.incadigital.com The Inca Onset S40 is the latest addition to the Inca Onset range of wide-format UV flatbed inkjet printers. Positioned between the high-productivity Inca Onset and the Inca Onset S20, the new Onset S40 prints at up to 470 sqm/hr (5,059 sq ft/hr). PD

Unisource Engineered Solutions

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IBC

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OBC

Roland DGA

IFC

Studio 111

Uniform Color

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Package Design Workbook Steven DuPuis and John Silva This new book provides readers with a thoughtful packaging primer that covers the challenges of designing packaging for a competitive market. The book addresses all aspects of the creative process, including choosing a package format, colors and materials, final finishes, and special considerations for awkward objects and unique displays. Package Design Workbook features case studies that focus on why specific colors, formats, type treatments and finishes were chosen, and their effects on the client and consumer.

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GLOBESPOTTING

By Lynn Dornblaser

Matters of Choice These diapers and diaper packages blend convenience and eco-friendliness.

reen-minded parents struggle with a difficult dilemma when it comes to diapers, because most disposables— though uber-convenient—are not degradable. This new disposable diaper aims to fix that, with an alternative eco-friendly product in a convenience-friendly package.

Vital Statistics

The Product

why we love it

Attitude Biodegradable Diapers

The outer package communicates all the product attributes and brand promises with cues that are both eco-friendly and baby-friendly. A flexible handle adds yet another level of convenience. Anything that makes it easier for moms is a good idea. And although these come at a premium price, the benefits can be immense, both for moms’ peace of mind and the environment.

Contents

44 diapers (Size 3) Goals

Convenience and eco-friendliness Target

Enviro-parents Material

PLA top and back sheet package Material

Flexible PLA Decorative Process

Flexo Environmental

Biodegradable diapers

The Perspective Attitude disposable diapers from Bio-Spectra, sold in the U.K., Canada, and U.S. markets, are completely biodegradable, due to the PLA (corn-based “plastic”) used in the back and top sheets. The packaging offers convenience in both use and disposal, which is a huge issue for busy, frazzled parents.

the innovations The opportunities Mintel’s U.S. consumer research data indicates that two out of three moms are concerned about the environmental impact of disposable diapers— but not worried enough to forego the convenience the diapers bring. Clearly, there’s a place on the market for Attitude, whose brand promise is clearly stated on the package: “Driven by an ideal: to live and consume responsibly. Our future depends on the choices we make today.”

Future Prospects Environmentally responsible products that appear to succeed in the marketplace are those that offer a seamless conversion for consumers. If these diapers and this packaging format do their intended job as well as non-eco competition, that success could spur other categories, such as paper-based products, to follow their example—or even improve on it. The last major hurdle to clear: Bringing prices down, too.

may 2011

As far as Mintel’s data can uncover, this completely biodegradable diaper is the first of its kind, and they’re hypoallergenic and CO2 neutral to boot. The packaging—initially also biodegradable—promotes a list of benefits, reinforced through repetition: • 100% biodegradable & compostable PLA in back sheet and top sheet • 100% committed to fighting global warming • 100% FSC-certified wood pulp in fluff • 100% biodegradable packaging • 100% chlorine free/hypoallergenic Though the initial launch of the package was in 100% oxo-biodegradable packaging, the realities of retail and shipping environments have compelled the company to change the flexible packaging to easily recyclable LDPE (#4) plastic. This change also came with a change from a vertical format to a horizontal format. PD

Lynn Dornblaser (lynnd@mintel.com) is the director of the Custom Solutions Group at Mintel International.

Packaging. Processing. Powerful.

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

PACK EXPO Las Vegas 2011

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

P R O D U C E D B Y:

CO-LOCATED WITH: C