Package Design - July / August 2010 by ST Media Group International

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July/August 2010

July/August 2010 | Vol. 8 No. 6 M A RC H 2 0 0 8

Sensitive Cargo “Packaging is to the makeup what makeup is to the woman.”

Also: Microsoft Office Redesigns Energizer Reenergizes Its Glow Makeover Challenge Entries! Vol. 8 No. 6 $15

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JULY/AUGUST 2010

COVER STORY | Cargo Cosmetics

By Patrick Henry

The independent cosmetics company has been developing a loyal following by putting their principles and passions into innovative product formulation and daring package design.

FRONT PANEL | Making It Work

By Andrew Wicklund and Anne Connell

Hornall Anderson’s completely new, highly organized packaging system for Microsoft Office 2010 creates appeal, communicates clearly, and drives sales in a global market.

DESIGNER’S CORNER | World Cup Fever

By Adrián Pierini

To associate with world-stage events like the FIFA World Cup, create specific thematic products and packages with underlying messages that strengthen emotional empathy.

RESEARCH | Waterpik Water Flosser

By Ron Romanik

Targeted consumer inquiries identified consumer feelings toward Waterpik that Brandimage converted into new design elements that keyed off the new product name.

16 2010 Package Design Makeover Challenge The entries are in! Now it’s your turn to review the four design teams’ reimagining of the package designs of a small, all-natural detergent company. Be sure to go online and vote!

PRIVATE LABEL | Publix Premium

By Ron Romanik

An evolutionary approach resulted in a simpler system overall, but the real gains in consumer appeal come from attention to the details that convey premium.

RETAIL FOCUS |

Energizer’s New Glow By Patrick Henry

Managing the Energizer redesign involving thousands of SKUs worldwide required a formal body of standards for the depiction and placement of design elements.

GLOBAL TRENDSETTER | China

Container Ltd.’s understanding of beauty and lasting first impressions helps them create individual, hardworking designs that reflect clients’ brand values.

42 Sustainability Update

48 Wow! What a Package By Lynn Dornblaser

Vampire mania has finally hit the energy drink category, resulting a blood-like elixir packaged in an intravenous drip bag marked with bloody fingerprints.

By Wendy Jedlicka, CPP

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Departments

Editor’s Letter

44 Trendwatcher 46 Design Gallery 48 Pack Expo Countdown 50 Package Designers Datebook 50 Index of Advertisers 51 News

JULY/AUGUST 2010 | PackageDesignMag.com

FROM THE EDITOR EDITORIAL OFFICE

11262 Cornell Park Dr. | Cincinnati, OH 45242 CORPORATE OFFICE

11262 Cornell Park Dr. | Cincinnati, OH 45242

Hope against Hope EDITORIAL DEPARTMENT

his month’s cover features a close-up of Cargo’s Hands of Hope Collection, which featured nine brilliant eye shadows enclosed in a gorgeous jewel-embossed box. Each of the eye shadow circles are also embossed with the Hamsa hand, an enduring Mediterranean emblem of peace, hope, and prosperity. The Cargo company has experimented with a variety of package design ideas that reflect its mission of providing uniquely presented solutions for modern women on the go. A hope for eliminating racism in sports was part of the FIFA World Cup proceedings in South Africa in June and July. Pregame ceremonies included a reading of an anti-racism pledge. A worldwide event of this magnitude can draw even casual fans into the frenzy of the passion and excitement of sport. Tips on how to translate that excitement into brand-building package designs are provided by Adrián Pierini of Buenos Aires’ awardwinning Pierini Partners firm. Which brings us to another worldwide event of great magnitude—the 2010 Package Design Makeover Challenge. Each of the four participating design firms hopes that you’ll appreciate its reinterpretation of the Sun & Earth brand of all-natural laundry products. This year, like always, the fun begins by appreciating how the four teams took four distinctly different directions to breathe new life into this niche brand. Please take the time to go online at www.packagedesignmag.com to vote for the firm that you think did the best job. The rest of this issue includes examinations of several rebranding initiatives. Energizer has upped the glow of its package designs across every SKU, Water Pik Inc. rebranded behind a new Water Flosser product name, Sanítas Skincare looked to the Periodic Table of Elements for its clinical redesign, and the Publix supermarket chain took its premium private label to another level of sophistication. Each company hopes that these efforts pay off in the long run by drawing in new customers, and we hope you enjoy learning about how each company made critical design decisions. If you’re involved in a makeover of your own, don’t hesitate to tell us about it.

Best,

Ron 2

JULY/AUGUST 2010 | PackageDesignMag.com

EDITOR-IN-CHIEF

Ron Romanik ron.romanik@stmediagroup.com EXECUTIVE 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 ASSOCIATE PUBLISHER

John T. Lyons III 770-955-2923 / 610-296-1553 (fax) john.lyons@stmediagroup.com ACCOUNT EXECUTIVE

Julie Okon 630-904-0575 julie.okon@stmediagroup.com EUROPEAN SALES REPRESENTATIVE

Alex van Bienen +31-475-570009 alex@vanbienen.net

CORPORATE STAFF PRESIDENT

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Mark Kissling 513-263-9399 mark.kissling@stmediagroup.com Package Design Magazine (ISSN 1554-6772) is published 10 times a year by ST Media Group International, 11262 Cornell Park Dr., Cincinnati, OH 45242. Phone: 513-421-2050 Send address changes to Package Design Magazine 11262 Cornell Park Dr., Cincinnati, OH 45242. © ST Media Group International Inc., 2010.

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front panel

Making it Work Hornall Anderson redesigns Microsoft Office 2010 packaging By Andrew Wicklund and Anne Connell

hen a design really works it appears effortless: we see the finished poem, not the gallons of red ink spilled to create it. Successes in any field are hard-fought, but when a good design comes together, there’s a sense that that it couldn’t have ended up any other way. That’s the goal: to make all the blood and tears shed to achieve a result invisible to the end consumer, to make something that “just works.” Microsoft recently launched Office 2010 with a completely new packaging system designed by Hornall Anderson. This was a challenging assignment for a number of reasons: a deeply functional product, entrenched brand, huge SKU set, multinational consumer base, massive spectrum of sales environments. The end result: packaging that works. It creates appeal, communicates clearly and drives sales in a global market. We wanted to take a deeper look at what went into “making it work.”

client trust and allowed subjects to focus on their shopping experience instead of their testing experience, enabling us to maintain consumer insight all the way through the project. Be a partner, not a vendor:

This was a research-driven project, but insights based on quantitative data can prove challenging to interpret for design. By involving our client in formulating approach, the research, we created an environment of trust where our insights could have maximum impact without the need for unnecessary validation cycles. We also looked for opportunities to share our internal philosophies, so that our clients could review our work with the same informed eye that we bring to the table. For instance we instilled them on the 30ft/10ft/3ft approach to product design, and by taking the time to help our partners become “experts,” we were able to work as a more cohesive team.

Get out in the streets:

When the goal is to design a shoppable product, there is no substitute for street-level observation or for recreating actual sales environments. Period. We spent 1000+ person-hours on shop-alongs and conducted over 1,500 customer interviews in 14 cities around the world. We painstakingly recreated dozens of different shopping environments. The time spent recreating online and retail sales environments proved invaluable: it built

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Question everything:

We have an obligation to (respectfully) think beyond the confines of our assignment. Our purview did not explicitly include package form factor or SKU set, but because we were able to earn our clients’ trust, we ended up having an opportunity to influence form factor and to make a recommendation to reduce the number of suite offerings. Anytime a team is able to look at

a project in 360º, even if they’re only responsible for a piece of the pie, the result is inevitably better. Little things matter:

A single word, an icon, a hue: all of these things are potential barriers to understanding, but they are also opportunities to turn a consumer pain point into a teachable moment. What we've learned is that people are intimidated by technology, and because of the relatively high price point, confusion in the aisle could have disastrous brand experience consequences. Our research told us to start by just making it make sense. The best way to deliver a consumer-centric design was to say less but communicate more: if I walk into the software aisle feeling overwhelmed and walk out with the right product, we win. Be flexible, from start to finish

Part of this assignment involved helping Microsoft transition towards an entirely new sales environment: the PC aisle. Many PCs will now be hitting the shelves pre-loaded with Microsoft Office 2010, and users will be able to purchase “Product Key Cards” to unlock the version of Microsoft Office they need. Rapid iteration is the bedrock of our design process, and we had to stay light on our feet to adapt to this new form and function. This included finding ways to explain to customers how the new format worked, giving it visibility in the PC aisle, and overcoming the expectation that software = discs. We couldn’t be afraid to go back to the drawing board: name, form factor, messaging, aisle location—all of these things had to evolve from where they began in order to succeed. Think borderlessly

Traditionally, brand strategy and design are two separate processes with a carefully orchestrated hand-off in between. We see tremendous value for our clients in breaking down those silos: the result is inevitably more thoughtful, holistic and innovative. This is not about being a firm that offers both services—it’s about changing the way we think and operate. On the Microsoft Office 2010 project, we had both a designer and a strategist involved from the first to the last day—there was no hand-off, just a continual evolution. The benefit was complete consistency, from end to end: strategy that considered design dependencies, and design that was fully brand-centric. Design firms like to talk about being consumer-centric, but the Office 2010 project is a good reminder that there are truly no shortcuts to gaining that consumer insight. The requirements of this project made it as much a feat of engineering as design: it had to work, for everyone, everywhere. Taking the time to collect the data at street level was invaluable. It made us

a full-time army of consumer advocates and client experts, constantly pushing design, sweating it, simplifying it, working hard to make it look easy when you reach for the box. n Andrew Wicklund is a Design Director and Anne Connell is Director of Brand Strategy at Hornall Anderson, a leading brand design/interactive firm. Founded in 1982, the firm serves a diverse mix of clients ranging from Fortune 500 brands to emerging growth companies. Hornall Anderson (www.hornallanderson.com) is a part of Omnicom Group Inc.). To see the full Microsoft Office 2010 lineup and learn more about the process, visit us at: www.hornallanderson.com /#/project/138/

july/august 2010 | PackageDesignMag.com

designer’s corner

Passion for the Game Building brand loyalty that matches fans’ World Cup fever By Adrián Pierini

Gold symbolizes triumph and this design has a passionate visual language that is shared with accessories for high performance sports. Adrián Pierini’s design was chosen as the winner in a contest between global agencies.

t is not something new that top brands make use of popular events as a way of connecting with people. But there are few as lucrative as the World Cup. Passion, drive, union, and, above all, the hope of victory are positive qualities that the best brands want to identify with. For these brands, having no involvement with an event like the World Cup is like not existing at all. That is why it so important that companies with leadership roles not only create a specific thematic product, but also provide it with underlying messages that strengthen the traditional search for emotional empathy as well. A vehicle for feelings

Packaging has been defined many times as the skin of a product, and that definition is perfect during these mega sport events. During the World Cup, the skin, mind, and even soul of consumers tingle with extreme nationalism. Companies, then, should use package design as a way of stimulating the senses and establishing an effective bond able to break preferences and consumer habits. The goal is to get consumers to feel: “I’ve always bought this brand, but if it interprets my feelings better, then it will be the one of my preference.” Fidelity, in such turbulent times as during the World Cup, teeters on the unwritten agreements between manufacturer and consumer. This understanding with the consumer can deteriorate if the product is not able to understand the individual consumer’s love or passion for the game. In this context, the competition between brands becomes more intense and packaging has to show different strategies to reaffirm brand leadership:

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the packages wear the colors of the country where they are launched; they are used in promotional actions where soccer is the main character; and they should establish a bond with the target that goes further than the functional aspect, through innovative formats and groundbreaking layouts that compel users to keep them as a memory of the event.

Global strategy for a global event

The globalization of design strategies has followers and detractors. Followers see a possibility of coherence and strategic union and detractors feel its implementation will provoke a progressive reduction of local codes. But the World Cup, in spite of its intentionality, does not open those debates. It actually seems that it has been

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designer’s corner

Because kids get caught up in the passion of the World Cup and are motivated by the big party atmosphere, Cadbury launched a special occasion Bubbaloo package. The Bubbaloo packaging features images that refer to the strength, skill, joy, and passion of the game.

created for design globalization. The nationalism, the thirst for glory, and the valuation of physical skill do not recognize frontiers. In this global philosophy, World Cup themed packages are desired by everybody and they are an ideal synthesis of all the positive qualities of this event. All the local, regional, and global package designs can have an innovative style. Special editions can use all the resources that help to construct the football imagery in consumers’ minds: dynamic logos that show joy and action; intense colors which emulate the chromatic variety of the team's T-shirts; technologic textures linked to sports clothes and the backboards; and images representing literal game situations that make us live in advance of the hope of victory. These visual stimuli have been gaining

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quality—they are a clear reflection of how design is becoming one of the most important parts in the strategic mechanism during these mega events. The wonderful thing about this event is not only the possibility of a country of being superior to the others in soccer. The emotional union between its participants is definitely more important and positive. The opportunities of consumption increase and companies should take

this new context very seriously. I prefer to see the marketing actions as a logical manifestation of a positive reality where every one of us—even for a short period of time—gives free rein to our joy and happiness. The World Cup gives designers an excellent opportunity to “dress” packages for the party, and it also gives the consumer the chance to enjoy a great number of creative offers. So, why don’t we enjoy this together? n

Adrián Pierini has been a designer for over 18 years, since graduating from Universidad de Buenos Aires (UBA). He is founder and CEO of Pierini Partners, and he has been offering workshops and lectures in companies and universities in Latin America for over seven years. He can be reached at www. pierinipartners.com.

By Patrick Henry

Sensitive

Cargo

Packaging innovation drives go-tomarket strategy for Cargo Cosmetics

osmetics take many different forms, but Cargo Cosmetics understands that at their most basic, packages containing lip gloss, blush, and eye color are high-touch items in which ease of use and brand loyalty are cause and effect. Women must be able to use the products conveniently if they’re to be expected to purchase them regularly—a proposition built into every package from this small but energetically creative independent manufacturer. Indeed, the Toronto-based company’s name is all about the utilitarian aspect of its approach to package design. “Makeup is a woman’s cargo,” explains Hana Zalzal, president and founder. “It’s as basic as a toothbrush.” For that reason, Cargo Cosmetics believes that using a package to dispense cosmetics should be as straightforward as using a toothbrush to apply toothpaste. The packaging also should be easy to transport and handy to work with in any situation where a beauty touch-up might be called for. But, the intensely personal experience of using cosmetics isn’t overlooked as Cargo Cosmetics strives for originality in its packaging. Also driving the creativity, says Zalzal, is the idea that “packaging is to the makeup what makeup is to the woman. It’s the embellishment of what’s inside—and the content is already great.” 10

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“That would be me”

This philosophy and the long list of packages it has inspired emanate from a company that goes to market without the overhead typical of package development at many other consumer product companies. Asked to identify the company’s internal package development staff, Zalzal replies, “That would be me.” She has a degree in civil engineering, an MBA, and a knack for leveraging the art of the possible in devising new solutions for

makeup containers that women will want to carry, use, and share. “I believe that Hana’s background in civil engineering gives Cargo Cosmetics a significant advantage over other make-up companies,” says Renee Ryan, a professional makeup artist who also serves as the company’s manager of sales and education in North America. “She understands the intricacies of packaging design and ensures that all of the products follow the simple mandate of making makeup easier, smarter, and better.” Compared to other packaging design workflows, the Cargo Cosmetics process is uncomplicated. Instead of relying on large internal or external teams, Zalzal prefers to confer with suppliers about the capabilities of the packaging they can provide for the products she has in mind. When she feels that the time is right for something new, she prepares a sketch that the supplier turns into a formal technical drawing. This concept then becomes the basis for the design of the package. Zalzal says that as she collaborates with colleagues and with suppliers’ representatives to develop new products or improve existing ones, the question always is, “How can this be better?” A Toronto-based designer helps with pack-

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tion has been available this way since 2006, and the innovation won multiple packaging honors including a DuPont Award that year and a Red Dot Award in 2007. Zalzal says that the package reaped material rewards for Cargo Cosmetics as well, doubling the sales of its liquid foundation product in just nine months. Zalzal put a comparable creative spin on the perforated blister packaging that’s commonly used for dispensing single doses of cold remedies and many other kinds of pharmaceutical products. Knowing that her customers like to share lip gloss shades with friends, she gave them a hygienic and convenient way to do it with DailyGloss, packaged in individual tear-away bubble pouches containing a 30-day supply. The bubbles are easy to hand around, and the flat cards they’re torn from fit neatly into purse or pocket.

age graphics, but that’s the extent of the company’s reliance on outside package design or brand management expertise. Award-givers take notice

Uncomplicated, however, doesn’t mean unsophisticated, and the proof is Cargo Cosmetics’ long list of awards for packaging innovations—including a pair of prestigious Red Dot Awards for product design. And although it might appear that Cargo Cosmetics places as much emphasis on the development of its packages as it does on the development of the makeup inside them, the balance isn’t quite 50-50. “At the end of the day, it’s product first, but packaging comes a close second,” says Shawna Weinman, general manager. Awards, she says, aren’t goals that drive packaging creativity at Cargo Cosmetics—they’re outcomes of the company’s determination to deliver “solutions that service the customer better with breakthrough.” One of the things to which Zalzal attributes the company’s professional recognition and market acceptance is its belief in the functional synergy of packaging and product. “Packaging is part of the utility of the product, and the aesthetic, and the convenience,” she says. This means in practice that whenever Cargo Cosmetics sets out to create or improve a product, “we think about every element that makes a package a package.” In Ryan’s view, the hierarchy of attraction in a cosmetics package is, in order of consumer preference, graphics, porta12

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bility, interesting or unique shapes, and ease of dispensing. It adds up, she says, to the distinctive appeal of Cargo Cosmetics products: “Our makeup helps women make their beauty routine streamlined and effortless.” Putting a squeeze on

A good way to maximize these attributes is to exploit packaging opportunities that other cosmetics makers have failed to spot. For instance, Zalzal knew, as do all users of liquid foundation makeup, that dispensing the thickish fluid from a glass bottle is never a good-to-the-last drop experience—some it invariably gets left behind. What’s more, a glass container with just one application remaining is as bulky in a handbag as one that’s filled to the brim. Zalzal says that her eureka moment came when she spotted pouched KoolAid Jammers in a supermarket: if a beverage could be packed in a squeezable and collapsible container, why not a beauty product too? A squeeze pouch, she reasoned, would make it possible to consume 100% of the product as the container became flatter and lighter with successive use. Cargo Cosmetics' oil-free liquid founda-

Observations in the field

Weinman adds that some of the impetus for the daily DailyGloss packaging came from a desire to know “what’s going on in the entertainment and club scene,” where easy-to-dab-on makeup is as much appreciated as a friendly bartender. Weinman made some field observations of her own while on a trip to Paris, as did other Cargo Cosmetics personnel from night-life venues in their own locales. The feedback helped Zalzal identify the features that have made the DailyGloss tears-offs a hit with women in and out of hip hot spots. But, Zalzal still wasn’t done with blisters as single-serve gloss dispensers. In another flash of offbeat insight, she conceived the idea of affixing them to greeting cards as integral design elements—for instance, as a poinsettia-red dot in Santa’s sack on a card for Christmas. In the spirit of giving, all of the proceeds from the sale of these “Glossy Greetings” were donated to St. Jude Children's Research Hospital. Convenience in motion is a hallmark of the Red Dot Award-winning ColorCards, packaged as 28 thin cards inside a reusable tin. Adhering to each card

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is a single sprayed-on application of eye shadow that’s protected by a peelback plastic cover: just the thing, the company’s web site promises, “for gals on the go.” The Color Cards, Weinman says, drew a lot of the kind of publicity that helps a product come into its own in a crowded market. “From a sales standpoint, it’s been a rocket.” Zalzal thinks that one way to build emotional affinity into her products is to let their packages evoke associations with luxurious or exotic locales. This is why her tinned blushes, for example, bear place-names such as Catalina, Tonga, and Mendocino (although there’s also a shade with the more down-homey eponym Topeka). The packaging for the Color Eye Shadow Palette, featuring four shades in one compact case, makes the association visible with a paper insert of destinationthemed artwork that can be admired through the clear plastic of the lid. When it’s good to show age

Portability, convenience, and “smart” packaging technology came synergistically together in the components of the Cargo Classic lip gloss container. Behind its creation was the knowledge that although women like to collect glosses, the downside is the difficulty of keeping track of how old each one is. Sealed in a tube, lip gloss doesn’t give away its age as readily as mascara exposed to air in an open case. As a result, its POA (period after opening, i.e., the product’s useful life) becomes a matter of guesswork on 14

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the consumer’s part. Since lip gloss comes into contact with the mouth, the age and the condition of the product are of paramount concern. Zalzal found the answer in Timestrips®, a technology originally developed in the U.K. for food packaging but now used for a variety of consumer goods. A Timestrip consists of a porous membrane and a liquid-filled blister which, when squeezed, visibly diffuses the liquid through the strip at a rate calibrated to the packaged product's composition and temperature environment. To make Timestrips work with Cargo Classic lip gloss, Zalzal cut a window in the applicator cap for visibility. When the consumer inserts the provided Timestrip into the dead space in the cap behind the window, the pressure of the insertion activates the strip and starts gradually to turn it red. After nine months—the safe life span of the product—the all-red strip alerts the user that it’s time to treat herself to a new supply of lip gloss. Zalzal says that Cargo Cosmetics was the first consumer product manufacturer to put Timestrips to a non-food use. Seeds of sustainability

“Waste-free” packaging was the objective for the primary and secondary containers in the company’s Plant Love Botanical Lipstick line, a collection of colors inspired by celebrities including Mariska Hargitay and Lindsay Lohan. The lipstick ingredients are all-natural, and the principal packaging materials are conspicu-

ously eco-friendly: biodegradable corn in the form of PLA (polylactic acid) for the tube; and, for the outer package, paperboard made of 100% post-consumer waste and something else: wildflower seeds. When moistened and planted, the outer package grows the real version of what’s depicted in graphics on the barrels of the lipsticks. The challenge of seeding the secondary package was given to Bellwyck Packaging Solutions of Toronto, a full-service provider of premium and healthcare packaging. One of the first determinations, says Jerry Malfara, operations manager, was that the paperboard would have to be handmade. In mill production, the smoothing and polishing step known as calendering would crush any seeds mixed in with the pulp. With the help of a local expert in craft papermaking, the Bellwyck team produced trial batches that they infused with wildflower seeds and then test-planted. Hand papermaking takes time, and Malfara says that Bellwyck needs five to six months to produce enough for a run of Cargo Botanical lipstick boxes. Handmade paperboard is delicate, and to maintain consistency, Malfara says, the substrate is best reserved for small cartons like these. During the press run, a special soft offset blanket minimizes pressure on the seeds. Printed in three colors of vegetable-based ink, the flat sheets are diecut and then folded and glued into shape with a water-based, biodegradable adhesive. Tough to take root?

Making the seed-impregnated Cargo Botanical package was a first for Bellwyck, which had never experimented with handmade pulp before. Although the package spurred inquiries from other customers, Malfara thinks that the high cost of its hands-on production probably will keep it from being widely imitated. This echoes a concern of Ryan’s about the degree to which consumers prize recyclability in cosmetics packaging. “I don’t believe enough consumers look for that

in their makeup products because they assume that it cannot be done,” she says. “I definitely think one day this will be a more significant factor in what consumers want from their makeup.” Weinman believes that changing consumer attitudes with packaging innovations helps Cargo Cosmetics hold its own against the multibillion-dollar, multinational manufacturers with which it competes for the hearts, minds, and spending money of cosmetics users. She says that as a smaller firm, “it’s imperative for us to break through the clutter” with packaging innovations that attract attention and spur sales. That’s why package design is central to the company’s strategy for “staying in front of the industry power curve.” It's also the reason, says Zalzal, that “easier, better, and smarter for women” is the mantra that her team invokes whenever they set their sights on package design. She says that the female audience they are designing for “spans all ages and races,” although most are likely to be from the 20- and 30-something segments that have befriended the company on Facebook. An assist for Aspen

Catering to the preferences of these consumers with astutely conceived packaging adaptations has been good business for Cargo Cosmetics. Zalzal cites the example of Aspen white eye shadow, popular among makeup professionals but a sluggish performer when first released in the general market. But, after the company tried combining its glossy and matte varieties in one dual-tipped applicator called EyeLighter, the product’s market reception changed dramatically. EyeLighter, says Ryan, is a professional make-up artist’s tip in a portable pen that includes instructions that let the user know exactly where to place the product. Consumers quickly got the hang, and “it became one of our top sellers,” Zalzal says. Another product that got a strong sales boost from its packaging is One-

Base: foundation and concealer in one tube with a doefoot applicator. This beauty aid, says Ryan, increased the company’s complexion sales over 200% in its first full year on the market Zalzal says that as a smaller company among makeup giants such as L'Oreal, Estee Lauder, and Shiseido, Cargo Cosmetics can be nimbler and quicker to market with innovations in its packaging. She won’t disclose sales volume, but she notes the company’s international availability in 1,000 retail outlets around the world where Cargo Cosmetics products can be purchased. Direct purchasing on the way

Domestically, these include boutiquestyle stores-within-stores such as Sephora Inside JCPenney; off-mall stores in the Ulta chain; and independent retailers. Weinman notes that in addition to retail, Cargo Cosmetics products also are available on the QVC shopping channel and at beauty.com, an online emporium. She says that the company soon will have an e-commerce site of its own, with a soft launch in October followed by a marketing campaign that will commence at the end of the year. E-commerce, Facebook, and much else now taken for granted on the Internet didn’t exist when Zalzal launched Cargo Cosmetics from her home in 1995. At that time, independent cosmetics brands were only just beginning to appear, and this made it hard, Zalzal says, for a start-up like hers to establish contact and credibility with suppliers. It wasn’t long before Zalzal realized how central packaging was going be to the brand charisma she was attempting to build. The revelation came when she got the idea of offering blush in a tin—the first time, according to Zalzal, that anyone had ever packaged makeup in this way. “Within 24 months,” she says, “some-

body had knocked it off, and that’s when the light went on." Supplying a key component of this package was CP Formplast, a custom thermoforming company with installations in Montreal and Toronto. CP Formplast made a thermoformed insert tray that supported the pan containing the makeup. Both parts went into the tin, and with the tray’s help, the pan was able to present the product at the exact height at which Zalzal wanted it displayed within the tin. Dave Marsh, sales manager at CP Formplast, says that the project is one of many in which his company and Cargo Cosmetics have collaborated since the two first connected at a trade show 15 years ago. He describes the usual workflow for package development as starting with a CAD drawing that has been elaborated from a sketch supplied by Zalzal. One-off molding and prototyping follow, with successive rounds of approval until the concept is realized to Zalzal's complete satisfaction. Tight creative control from the top down isn’t necessarily a package design methodology that would succeed at other companies, but it's clearly an approach that couldn’t work better than it does at Cargo Cosmetics. As Marsh observes, “Hana is very hands-on. She still has the final say.” ■ JULY/AUGUST 2010 | PackageDesignMag.com

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Naturally Clean Design The Makeover Challenge Entries Are Here! Voting Begins Online

Challenge

The current packaging of the 2010 Makeover Challenge subject company, Sun & Earth.

ackage Design Magazine’s seventh annual Makeover Challenge now enters the peer review stage. Entries have been submitted from our four design teams—GROUP360 (St. Louis, MO), HBN Brand Design (Chicago, IL), Prime Studio (New York, NY), red | Brand Builders (Ho Chi Minh City, Vietnam). Like all of our previous Challenges, each team took the package design in remarkably different directions. EskoArtwork is this year’s Makeover Challenge sponsor, and supplied the teams with a number of software tools for the duration of the Makeover Challenge. EskoArtwork has software systems, from digital asset management to 3D modeling, designed specifically for package design professionals. One of the newest modules of in EskoArtwork’s portfolio is the Studio Toolkit for Shrink Sleeves. This Illustrator plugin allows designers to predict the distortion of the graphics on the shrink area of the printed sleeve. The program updates 3D graphic representations of the finished package as the designer updates the flat graphic file. The EskoArtwork Visualizer program creates virtual 3D models that can demonstrate the appearance of special effects such as embossing or metallic inks under different lighting conditions. Aside from adjusting variables on screen, users can also create a QuickTime movie, 3D PDF, or high-resolution rendering for sharing with other project participants. For more, visit www.eskoartwork.com. Vote for your favorite

Users of the EskoArtwork Studio Toolkit for Shrink Sleeves import objects to be shrunk and specify the size and material properties of the shrink material. This creates a warp or distortion grid that shows where the areas of most shrink are. As the user adds graphics to the flat pasteboard, the Studio Designer plugin in Illustrator shows the graphics applied to the 3D model.

This 3D PDF file, exported from EskoArtwork’s Studio Designer, opens as a standard PDF file with the free Adobe Reader. Viewers can, rotate, zoom, and interact with the embedded 3D model in full “solid” mode as well as five different “wireframe” modes. This workflow has proven to reduce the number of approval and review cycles dramatically.

july/AUGUST 2010 | PackageDesignMag.com

Now it is your turn as an avid reader of Package Design Magazine. Let us know which package design makeover presents the best overall package design direction for the Sun & Earth brand by voting on our website. The deadline for online voting is September 30, and the winner will be announced with the publication of our November issue, where the winning team will be profiled in a cover story feature. The winning entry will be determined from a combination of three separate avenues of opinion—the online reader poll, a survey of our Advisory Board, and an in-depth study conducted by HotSpex Inc. in Ontario, Canada. The PackSpex tool used by HotSpex is a comprehensive research tool that tests and optimizes package designs for CPG brands. The ability of PackSpex to measure consumers’ emotional responses to package design will be of particular interest to our readers. To vote online or to be a research subject for PackSpex, visit our website at www. packagedesignmag.com.

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GROUP360 St. Louis, MO www.group360.com

Challenge Sponsored by:

The GROUP360 WORLDWIDE™ firm promotes a consistent,

methodical approach to every package design project. Its 360Degree Alignment Model is a proven proprietary process for finding what the staff calls “Reasons to Believe” for consumers of its clients’ products and brands. “You have to put yourself in the store at that moment of decision,” explains Allan Meyerson, executive creative director. The 360-Degree Alignment Model involves a two-phase process that separates and prioritizes strategic questions (Phase One) over aesthetic questions (Phase Two). Strategic questions can only be answered with factual information, insight, research, knowledge, and experience. Aesthetic questions are typically answered with a high degree of subjectivity such as personal opinion, judgment, sentiment, taste and style, and interpretation. The Reasons to Believe that come out of this process provide the differentiating factors that make clients’ product claims believable compared to others in the category. GROUP360 began its creative development for the Makeover Challenge by diving deep into the Sun & Earth brand to determine Sun & Earth’s communication hierarchy of important messages. Based on conversations with Sun & Earth, the firm established the brand’s key messaging in this order: 1) Hypoallergenic; 2) Powerful cleaning without harsh chemicals or perfumes; 3) Natural. Studying the competitive landscape, GROUP360 discovered that brands in the category seem to be saying similar things about themselves, yet nothing about the packaging gives consumers a Reason to Believe. Additionally, the firm learned that there is no “hypoallergenic” subcategory—what should be Sun & Earth’s main message—in the laundry care aisle. One big “ah-ha!” moment came when the design team noticed that Sun & Earth’s list of ingredients was short, with words that were easy to pronounce and—above all—natural. Sun & Earth’s 2X Concentrated Laundry Detergent, for example, has only seven ingredients compared to more than 15 ingre18

july/AUGUST 2010 | PackageDesignMag.com

dients in its closest competitor. This significant point of differentiation became its own distinct claim that deserved its own callout, realized in a circular “bug” design element. Each bug contains both a product claim and a challenge to the consumer. For the laundry detergent, the claim is “Made from 7 ingredients found in nature” and the challenge is “Compare our ingredients to other leading brands.” The Reason to Believe in all the claims in the communication hierarchy could be summarized in one sentence: “Sun & Earth 2X Concentrated Laundry Detergent is hypoallergenic (great for sensitive skin), delivers powerful cleaning without harsh chemicals or perfumes, and is natural because it is made from seven ingredients found in nature.” GROUP360 decided to stay close to the existing logo so as not to alienate the brand’s loyal consumers or primary retailers. The refreshed logo uses a lighter orange color and softens the edges of the sun’s rays while retaining the handcrafted feel of the sun. For the words Sun & Earth, the firm used a more contemporary font and all lowercase letters to create a cleaner, softer visual line for the logo. Given the current lack of innovation in the laundry category, GROUP360 believed that revolutionary packaging structures could have a far higher likelihood of driving sales by getting shoppers to stop and take a look—or second look—at the brand. This “reexamination” is a powerful predictor of purchase. GROUP360 felt that Ecologic™ Sustainable Packaging, made from 100% post-consumer recycled material, could create this disruption in a positive way in all four packages. The Ecologic material used for the redesigned packages is a smooth, pressedpaper substrate that is a 100% recyclable and compostable. The material can be customized to accommodate any shape, size, and label. The cohesive line impact is bolstered by graphic elements that reinforce the fact that Sun & Earth is natural and earth-friendly and also by the debossed “recyclable” stamp on each package. The material decision allowed GROUP360 to stay with familiar shapes that would keep the new packaging recognizable as laundry care products and avoid confusion at the shelf. For the liquid products, Ecologic provides all the functionality of a rigid container and a resealable cap while being made from 100% post-consumer recycled material. The inner pouch uses up to 70% less plastic than jugs and is recyclable with #4 plastic. This packaging structure is currently in production and distribution as a milk container.

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Challenge Sponsored by:

The new color palette refreshes the brand with softer, cooler colors while retaining the sky and green earth feeling of the existing packaging. The green and orange were retained as the two prominent colors to maintain brand equity, but they were updated with hues that are more modern. Additionally, GROUP360 used colors inspired by sunsets and sunrises because they provide a wide range of colors that will give Sun & Earth plenty of choices when working with any future line extensions. Meyerson explains that though the front panel presentations might be considered text-heavy by some, the full-sentence benefit statement on three of the four packages serves as a very critical piece in the consumer connection puzzle. “If I get you to pick up the package, then you’re in discovery mode,” Meyerson stresses, adding that the educational text can bring the consumer in closer to the brand’s core proposition. As an added layer, and one more Reason to Believe the natural, people-friendly, and earth-friendly message, GROUP360 recommends that Sun & Earth support and partner with charity: water.org, a non-profit organization bringing clean and safe drinking water to people in developing nations. The connection to clean water is a natural fit for Sun & Earth, and this investment in corporate social responsibility will give Sun & Earth a competitive advantage, as it creates an emotional and intellectual connection with consumers and establishes greater trust and loyalty. july/AUGUST 2010 | PackageDesignMag.com

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HBN Brand Design Chicago, Illinois www.hbnbranddesign.com

Challenge Sponsored by:

HBN Brand Design’s goal in this Makeover Challenge was to give the Sun & Earth brand a memorable image and an own-

able design that reflect the brand values of natural, safe, gentle, and effective. The first step in creating a new look was to review the competition. Although some of the larger brands do a good job of creating strong brand recognition through simple messaging, HBN felt that most of the existing brands in the naturalgoods marketplace are busy, clunky, and industrial-looking as opposed to natural. Steve Walker, a creative director at HBN, summed it up by saying: “There is no joy in these products! None of them have a very happy personality.” After reviewing the competition and studying Sun & Earth’s current positioning, HBN saw the opportunity not only to reflect the brand essence in a new way but also to attract a broader audience. This could be done through a contemporary, consumer-friendly design. HBN also felt a refined package design could lift the quality perception of the proven-effective Sun & Earth products. One element of the existing design that HBN felt had equity was the black Sun & Earth logo. “The logo is iconic, directly communicating the brand name as well as the product attributes,” explains Dwight Nelson, president of HBN. The black color was important to keep because it is unique in the category, but HBN updated the typography to be more modern 20

july/AUGUST 2010 | PackageDesignMag.com

and more aligned with styles in other industries and categories. The logo is centrally located on the symmetrical water-drop packages, emanating from a glowing white area of the label and creating a strong black-on-white contrast that conveys a confident, effective brand. HBN felt that the new tagline “Live Healthy, Clean Naturally.” was the primary brand promise and a potent reason to believe for new and existing customers. The phrase, permanently connected to the logo, can be read with or without the ampersand symbol, which dips down from the brand logo and separates the words into balanced pairs. Many of the Sun & Earth products are hypoallergenic and ideal for sensitive skin, which is why HBN chose soft colors. The soft colors communicate the soft, gentle, and safe attributes of the product and differentiate them from the competition. The water-drop shaped packages create forms that are natural, friendly, and ownable. HBN carried the theme through all the structures to develop a Sun & Earth shape that would be immediately recognizable to consumers in different parts of the store. HBN recommends sourcing biodegradable and recyclable materials like Plastarch for the packages in order to build on the earth-friendly brand promise. Anne Chipman, senior account executive at HBN, says another goal was to reduce materials in every way possible and reduce case sizes in shipping. For the On

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Challenge Sponsored by:

the Spot stain remover pens, Chipman explains how an attractive and cosmetic-looking pen can be made from biodegradable and compostable materials and the dryer sheets could be packaged in a biodegradable tray made of Ingeo biobased material. In addition, the pens could be sold individually without the paperboard and plastic blisterpack. Overall, Chipman feels the new packages are more friendly—in appearance, use, and disposal—and create a higher quality expectation in shoppers unfamiliar with the quality of the brand. “If people perceive it differently, they’re going to buy it,” emphasizes Chipman. Many current natural product packages are quite similar in approach and do not convey a feeling of natural and safe. HBN’s goal was to create a package design strategy that was unique but balanced with practicality. “We are trying to lift the product out of that environment,” Nelson explains. “It’s not just different for the sake of being different.” Sun & Earths’ new structure will be immediately recognizable through the ownable shapes and colors, standing apart from the competition in both the natural and mainstream household categories. The softer curves and colors express “efficacy” as well as “friendly.” The information hierarchy on the front panel of each package is applied very consistently for easy recognition and to accommodate future line extensions. The new Sun & Earth bubble motif indicates “cleaning power” in a whimsical way, and even the sun and earth can be viewed as being cleaned by the bubbles or as bubbles themselves. Aside from appearing in the central graphic element on the label, the bubbles appear in the liquid product caps and in the fabric of the dryer sheets. “We were looking for every way we could to bring the line together,” Nelson says. Nelson prides his firm’s success on its team approach, and credits each member with bringing key elements and strategies to bear on this project. The Makeover Challenge team consisted of Nelson and Chipman as well as Steve Walker, creative director; Craig Harbauer, senior designer; Larry Teolis, senior designer; and Judy Driscoll, production project manager. Teolis championed a design approach that fit into one par-

ticular recent trend in cleaning product package design. Many companies are trying to create packages that are attractive enough to “leave out” as opposed to hiding in a cabinet. The team chose the color palette of the new package designs to be harmonious with colors currently in fashion. HBN believes the colors would be appealingly in concert with just about anyone’s interior room paint scheme. JULY/AUGUST 2010 | PackageDesignMag.com

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Prime Studio New York, NY www.primestudio.com

Challenge Sponsored by:

Prime Studio looked closely at how Sun & Earth’s long

history was standing up to the now-crowded and competitive natural products market. The firm felt the brand needed to update its image to compete in this new competitive environment while being respectful of their heritage and not confusing their existing, loyal customer base. Furthermore, Prime Studio supported the brand owner’s wish to create package designs that could compete toe-to-toe with the high-impact graphics of national brands in mass-market channels. The firm’s integrated design process always develops the structural and graphic elements in unison right from the initial brainstorm. This allows elements from the graphic development to influence the forms of the structures, and vice versa, coalescing into unified package designs. In this case, the goal was to create unified packages that communicated both the promise of an all-natural of the product and the promise of its efficacy. Prime Studio analyzed the existing Sun & Earth package designs to identify which elements it would classify as sacred

JULY/AUGUST 2010 | PackageDesignMag.com

or ownable as well as elements that could work harder. The firm concluded that: 1) Sun & Earth is unique in this category in using black for its logo color; 2) the strong use of orange and green identified the brand on-shelf; 3) the brand is friendly and approachable; and 4) the brand has proof to back up its strong efficacy claims. When approaching the Makeover Challenge, Prime Studio aimed to create a brand architecture that would work equally well for current and future products. One of the firm’s first decisions was to move to translucent structures across the range to help reinforce the natural, free-from-dyes formulations of the products. “It denotes honesty in the product, saying we have nothing to hide,” says Prime Studio founder Stuart Harvey Lee. “We wanted to challenge consumers to compare our performance.” Prime Studio designed a new 100-oz. laundry detergent bottle with an unusual asymmetrical handle opening. This design allows for a larger, graphic billboard on the front of the bottle while still maintaining the comfort of a regular handle. The opening for the handle is smaller on the front where only the tips of your fingers need to protrude and much larger on the back where the knuckles and palms of a user’s hand need to fit. The structure also has subtle contours that evoke the shape of an abstracted leaf, again reinforcing natural cues for the product. These same contours are used on the 40-oz. fabric softener bottle and the backer card for the stain remover pen, reinforcing the design language across the product lineup. Prime Studio realized that Sun & Earth’s multi-product brand had to work harder than some single-product brands. Sun & Earth produces a number of related cleaning products that do not always retail together. The new unifying color scheme, however, now ties them together across different categories, and makes them easy to spot. In addition, product descriptors are now more prominent and attract shoppers’ eyes. To create the widest possible label area, the firm settled on a

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Challenge Sponsored by:

translucent in-mold label that would seamlessly adhere to the translucent bottle. The wide front panel inspired Prime Studio to explore a more free-form background for each design, so they began by collecting fresh, aspirational imagery. The firm kept the black color of the logo as the team felt it remains a strong identifier of the brand, but the firm chose a new serif font with cleaner letterforms to improve on the “stretched” typography of the current logo. Prime Studio created a strong marketing message, combining efficacy and natural cues, for each product. This message lives under the logo and expresses a consistent attitude in product-specific terms: “Cleans better. Naturally.”, “Softens better. Naturally.”, etc. Inspired by cut-paper illustrations, Prime Studio modernized the representation of the sun, creating a more abstract representation that serves as an anchor for the background design. Crisp shapes and vibrant colors were chosen to evoke freshness and cleanliness. The dominant colors of the packaging remain the same orange and green, though updated slightly, and accent colors are brought in to liven up the scene. The overall design of the product line feels like a family, but it contains movement and intrigue. Look closely to discover subtle surprises in each design, like different shapes and different patterns within the sun and slight differences in the shapes of the abstract leaves and clouds. Scent cues are now represented in a consistent style with brightly colored dots and corresponding cap colors, when applicable. Descriptive copy, load/volume information, and product names are always contained in a unified lockup rather than scattered over the label area, making each package easy to identify and navigate for shoppers. For the Fabric Softener sheets, Prime Studio decided to change the structure from coated paperboard box to a translu-

cent pouch with a resealable adhesive opening. One of the things the firm learned about the brand is that consumers love Sun & Earth’s citrus scent—the new packaging keeps that scent fresh longer. For the stain-removing pen, Prime Studio designed a more ownable shape that helps to differentiate it from the Tide To-Go pen, which is the dominant player in the market. Finally, Prime Studio wanted to address the problem of consumer confusion over correct dosing amounts. This problem has been compounded in recent years with the introduction of high-efficiency washing machines and concentrated detergents. Many consumers still believe that adding extra detergent will clean their clothes better—in fact, the opposite is true. To overcome this problem, the firm designed a custom cap that transitions from a round base to an elliptical top. This creates clearly delineated ridges on the inside of the cap defining fill levels that are appropriate for a high-efficiency washing machine, a small load, and a normal load.

july/AUGUST 2010 | PackageDesignMag.com

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red | Brand Builders Ho Chi Minh City, Vietnam www.red.tm

CHALLENGE Sponsored by:

red | Brand Builders saw the Makeover Challenge as an

opportunity in the laundry category to form a relationship with consumers who are questioning the chemicals that are invading their lives. The firm tried to discern the key differences between mainstream consumers and organic product shoppers. This part of the project was a challenge because in Vietnam there are fewer natural products in the marketplace than in the U.S. Lennart Schaberg, lead creative on the red | Brand Builders Makeover Challenge team, explained how the firm’s goal was to align the brand and packaging to create a unified message that would differentiate the products from the rest of the all-natural category. The team appreciated the history and the “mission” of Sun & Earth, and wanted to translate that into a believable brand proposition. “These are people that are true to what they believe in,” Schaberg explains. The team summarized the brand proposition as: “Sustainable and Effective Laundry Products— Simply Effective.” When redesigning the logo, the team didn’t want to go too far afield to lose the recognition of current loyal customers. The logo combines sun and earth and retains much of the character of the current logo, and the saturated orange creates continuity with current brand identifiers. The hierarchy of information flows from top to bottom, from most important to least important messages to convey to consumers. Marc Gough, chairman of red | Brand Builders, felt strongly that the package design should start with “sustainable” as a key descriptor for every product. A consistent tagline— “Cleans Better. Naturally.”—now connected to the logo sums encapsulates the sustainable and effective messages. 24

JULY/AUGUST 2010 | PackageDesignMag.com

MAKE OV E R

CHALLENGE Sponsored by:

Schaberg explains that product descriptor typography has a sophisticated European flair reminiscent of business signs in old-world markets. Below the scent identifier is a smiling orange icon that boasts “Organic Formula,” and at the bottom, a scripted message reads: “With the natural/organic cleaning power of citrus.” The central graphic montage grew out of repeated rounds of mood board development and analysis. Schaberg explains that “Don’t” mood boards can be as helpful as “Do” mood boards. “You can talk all you want, but not everyone visualizes the same thing,” says Schaberg. In this case, one “Don’t” was to create packaging that was NOT like traditional corporate packaging, which was certainly not what Sun and Earth stands for. The picture montage of the basket of fresh towels, the baby, hanging clothes, trees, sky, and flowers convey efficacy, naturalness, and softness. “We want to show the outcome of using the product,” says Schaberg “It’s like taking the clothes fresh from the clothesline.” The baby could also represent future generations that the user is preserving the world for by using this sustainable, all-natural product. red | Brand Builders felt it was important to be have a consistent message for the brand in the materials chosen for the packaging. The new containers are made of a smooth egg carton-like material that is sustainable and biodegradable and reduces dramatically the materials used . The firm liked both the sturdiness of the pressed paper mold and its natural color. For the liquid products, a thin recyclable plastic liner contains the product inside the paper mold shell. The Makeover Challenge team consisted of Lennart Schaberg (creative direction), Marc Gough (strategy and copywriting), Chris Elkin (strategy), Masha Podgurskaya (art direction); Le Uy Phong (3D modeling), Akhil Malhotra (project management and client representative), and Thuong Hoang (client representative). ■

REBUILDING SUN & EARTH Sun & Earth functional benefits: • Cleaning power for the toughest wash • Citrus fragrance for long-lasting freshness • Fabric softeners that make your clothes “hug me” soft • Powerful stain removers Sun & Earth emotional benefits: • Guilt-free power to clean • A positive feeling of making a good choice for you and your family • Warm, close, and cuddled comfort in your Sun & Earth cleaned clothes • You are making a difference to the future of the planet; you are a responsible consumer Sun & Earth reasons to believe: • Sun & Earth is a company of families like yours • We use the cleaning power of organic citrus to remove stains "the old fashioned way" • Our packaging is made from recycled and compressed cardboard—completely biodegradable and recyclable • All of our products are 100% biodegradable • Our approach is simple, our products are sustainable, and our results are powerful New Sun & Earth design reflects all of the points above through: • Using the word “sustainable” as a key descriptor for each product • Evolving the brand logo and identity to simplify the color scheme again to own orange and communicate our “earthfriendly” essence • Highlighting the citrus power through the citrus callout; ownership of orange in the product caps and color scheme of the labels; and highlighting the citrus fragrance claim • A revitalized brand “grid” that is friendly and consistent, easy to recognize, wholesome, and supportive of the brand proposition

JULY/AUGUST 2010 | PackageDesignMag.com

RETAIL FOCUS Publix Private Label

Premium with a Flourish Publix updates premium lines for better category shopability

he Publix supermarket chain recently saw an opportunity to better leverage the learnings from its successful Publix brand private label package design system. The predominantly white packaging of the core Publix private label lines can be easily found in pockets of white across many categories around the store. The more recent and limited Publix Premium line carried a higher end appeal, to be sure, but customer feedback revealed some legibility and navigation issues with the design. Publix applies a systematic approach to their package design programs. First, they collect and evaluate customer feed-

JULY/AUGUST 2010 | PackageDesignMag.com

back. The team then defines objectives consistent with their brand positioning and develops a brief for its designers to work against. Finally, the designers set out to create a package design system that can meet their objectives, can be uniquely Publix, and can have a relatively long shelf life. Although the design team wants to be current and on-trend with its solutions, they try to avoid fads. Publix does not want designs that will look “out of style” in a year or two. Tim Cox, director of creative services at Publix, explains how the new design is an evolutionary approach while providing a simpler system overall. The previous design featured boxes and panels that carried color-coding and product name and variety information. The background colors changed depending on the needs of the category. Cox explains that this system was more complicated, and the boxes were constraining. “You could only make the boxes so big on the primary display panel,” says Cox. The Publix name itself carries a great deal of equity for the store and brand. The core Publix lines use color bars to indicate varieties inside a category. “We learned a lot from the main Publix system,” Cox elaborates. “The color bar has been a very useful tool for us as an indicator of change.” In Publix Premium categories with many SKUs like ice cream and bread, some customers were having a difficult time locating flavors or varieties. The new system is clean and

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simple. All the Publix Premium packages have a black background now, and the color accents have given the design team flexibility in how to organize different categories. In addition, leaving behind the “boxes” of the previous design allows more freedom in product naming and description. The system uses a common background color, beautiful imagery, a variety color bar, easy-to-read typography, clear benefit indicators, and a newly designed, hand-lettered Publix Premium logo. The new logo paired with the handcrafted “flourish” pattern adds a touch of elegance—appropriate for the uptier position of the Publix Premium line. “The color bars are used as a visual cue to help customers navigate,” says Cox. “The color can change by flavor or category.” In the case of ice cream, the color bar is used consistently across a sub-category (silver for light ice cream, gold for homemade, etc.). For the ice cream packaging, Publix tried to relate the bar color back to the category colors used in the previous system to help customers make the transition. Cox explains that the primary goal of the package redesign was to communicate to consumers that these products were the store’s very best. Black can get heavy and stark, though, so the designers offset the heaviness with light, more approachable accent colors. The color bars are subdued and understated without being garish, consistent with building an up-tier brand presentation. Another element that added premium appeal and refinement is the new consistent approach to the product photography. The pictures of the fresh products or ingredients include a reflection on the surface they are resting on, instead of floating in mid-air. The product detail is important to generate interest, and the mirror reflection grounds the image in a definite space on the package. The design approach and information hierarchy is a very flexible one for more SKU expansion, says Cox. The system was designed for and tested against all relevant categories, and Publix is confident that the system is flexible enough to bring any product under its umbrella. ■ 28

JULY/AUGUST 2010 | PackageDesignMag.com

RETAIL FOCUS Hardware

Holding the Charge Energizer brand shows the world a bright new face By Patrick Henry

ike all consumer product companies, the Energizer Household Products Division of Energizer Holdings, Inc. continually seeks to reinvigorate its brand image by keeping the appearance of its packaging relevant and new. But in view of the fact the last graphics refresh for Energizer products dated to 2004, says Betsy Laakko, director of global marketing, “the time was right” for the new look now greeting battery and flashlight shoppers in stores the world over. The new design scheme will be seen on Energizer packages in every country where Energizer products are sold, which means, says Rebecca (Becchi) Oesterle, leader of global packaging development, “pretty much every country on earth.” The principal difference will be in the brand icons: the familiar Energizer Bunny for the U.S. and a few other countries, and in all other lands, the equally well known Mr. Energizer. Except for the images of these characters, the new package graphics will be virtually identical across all global markets. Despite the strong wish for a visual reboot—and in some of the packages, for structural changes supporting sustainability as well—Energizer’s plan to create and adopt a new visual brand identity was no spur-of-the-moment decision. In fact, says Oesterle, the project has been unfolding ever since 2007 30

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when two brand design agencies were asked to propose concepts. Ample time was taken to ensure the designs were both consistent and consumer-validated—attributes to be certain of in a multi-product launch on a global scale. Leahy Brand Designs provided the creative direction while corporate implementation teams were formed within the various product categories. Leahy Brand Designs, based in the Clerkenwell section of London, was established in 1992. With a team of 15, it serves clients in banking, real estate, and construction as well as in food and non-food packaging. The agency already had a 10-year relationship with Energizer in Europe when it was selected to develop the new visual identity early in 2008. Thousands and thousands of SKUs

Tim Leahy, managing director, says that thanks to the agency’s prior experience with Energizer, “we were well up to speed with their business,” and the result was “quite a smooth project.” But he adds that despite the familiarity, the agency’s approach to the Energizer assignment was no different from its project strategy for any other client: find out what is distinctive about the client’s products, and understand precisely

solutions For the

across the line

Personal care Market

Packaging and processing come together at PACK EXPO International 2010 so you can make the most of your production line. Revamp or revive your products with the latest in plastic, glass, metal and paperboard packaging and re-sealable technologies. Discover the year’s most exciting containers and materials in the Brand Zone, where you’ll also find inspiration from: • The Showcase of Packaging Innovations®, sponsored by The Dow Chemical Company.

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why the products resonate with consumers. Eventually, says Oesterle, the project came to involve the efforts of “hundreds of folks around the world.” Laakko says that “thousands and thousands of SKUs” will be affected as Energizer applies the new look to its branded batteries, lighting products, and charging devices. Licensees that place the Energizer brand on consumer items such as video game gear and automotive accessories also will be expected to conform to the new visual requirements. With so many new packages to send to so many different markets, an all-at-once introduction would have been impractical. Instead, says Oesterle, Energizer gave priority to top-selling SKUs such as four-packs of AA batteries. Adhering to this plan, implementation commenced in April 2009, and by February of this year, the first examples of the new packages were being seen on shelves in Sam’s Club outlets. Distribution to Wal-Mart, Target, Lowe’s, and other leading retailers followed. The phased-in launch will continue to replace exhausted stocks of older packages with new ones until the distribution is universal. Beaming with brand equity

Although the redesign was comprehensive, it left some basic features intact, such as package sizes and the category-specific color code that assigns blue to Ultimate Lithium batteries, yellow to Advanced Lithium, and so on. The most visually arresting new graphic element is the “energy beam,” an intertwining spiral of light that marks Energizer, Oesterle says, as the brand “where energy, technology, and freedom meet.” “The energy beam is the key ingredient of our visual language,” says Laakko. “It speaks to who we are as a brand.” She says that if brand is to be acknowledged as the convergence point of energy, technology, and freedom, its packaging must drive corresponding perceptions of innovation and modernity. It must communicate, in a word, the “dynamism” that consumers have come to expect of Energizer products. “It’s about keeping your face to the consumer fresh,” says Laakko. Leahy says that his creative goal was identical to Energizer’s marketing objective: to simplify on-package messaging in ways that make it easy for customers to choose the right batteries for whatever end-uses they have in mind. Leahy decided that the best ways to accomplish this would 32

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be by limiting the typography to two easy-to-read faces—Digital Sans and Helvetica—and by creating standards for the consistent and economical placement of “icons”—his term for package illustrations in full color. (“There is an overload of icons in this category,” Leahy asserts.) What his studio thus created for the campaign, he says, was a “toolkit of parts” to guide the efforts of all those responsible for seeing it through. On the same page

To make certain that the new visual language would be used correctly in all settings where consumers might encounter it, Energizer created something else that was new: a formal body of standards for the depiction and placement of design elements. Now available, says Oesterle, is a “very extensive design manual” that lets Energizer maintain the consistency of brand messaging in its packages. The result of going strictly by the book, she says, is that “you can tell it’s an Energizer product wherever in the world you see it.” The campaign, Leahy says, is still in an early stage, with more visual branding elements yet to come. It began with the creation of the “master energy beam” now seen on the packaging, and it will continue, Leahy says, with three additional beam designs for use in web sites, point-of-sale, print ads, and other non-packaging forms of promotion. Each will vary by shape and color in what Leahy calls an “extensible visual language” for multiple branding applications. Fans of the unstoppable Energizer Bunny will be happy to know that he still has his job and that space will continue to be budgeted for the signature image of his pink fur, dark glasses, and big bass drum on all packages for North America, Israel, and some South American countries. With his purposeful stride, Mr. Energizer personifies the brand in the rest of the world, and his place too is secure in the new design scheme. Although it’s too soon to judge what effect the redesign is having on sales, says Laakko, Energizer continuously tracks equity perceptions of the brand and will be looking for the new

visual identity to enhance its imagery perceptions. Currently, batteries account for about two-thirds of Energizer’s revenues. Oesterle says the company hopes that the new visual identity will boost sales of flashlights and lanterns by giving these products “the same look and feel as the batteries.” 19th-century modern marvel

What shoppers may not realize is that Energizer Battery Company's roots in portable electricity go back to 1896, when inventor W.H. Lawrence developed the first consumer battery to power home telephones—a cell weighing three pounds. In 1905, Lawrence partnered with Conrad Hubert, who was using these batteries to power a hand torch (a.k.a. flashlight), and they launched the company that would become famous as the maker of Eveready batteries. These are well remembered for their glittering silver jackets and the electrified black cat leaping through the numeral in their "9 Lives" logo. In 1980 the company launched the Energizer brand for its alkaline cells, introduced in 1959. The company eventually took Energizer as its corporate name as well. The Eveready brand still exists and is a major player in many markets alongside the Energizer brand. One new feature of Energizer flashlight packages that shoppers should take a shine to is the “FL1 Standard” icon, a package graphic that uses symbols to specify the product’s brightness, battery life, and beam range. The icon is one result of work by an ANSI committee formed to establish basic flashlight performance measurements that end-users could easily understand. The committee, representing most of the leading flashlight manufacturers, was chaired by a technical marketing manager for Energizer. As it turned out, the publication of the ANSI standard in August 2009 was serendipitously timed. “We wanted to incorporate the new icon into the redesign,” Oesterle says. “Fortunately, the standard and the icon were ready when we were.”

Drastic cuts in plastic

The palette of Energizer’s new visual brand identity also includes a distinct shade of green—the green that comes from reducing the amounts of plastic and cardboard used in Energizer product packaging, and, in the cases of some of the lighting products, completely eliminating the enclosing plastic. Since most of the battery packs already made highly efficient use of their structural materials, says Oesterle, opportunities to take weight out of these packages were limited. Nevertheless, Energizer did manage to reduce card stock and blister film in some of the larger ones, such as the 16- and 20-count battery packs and the packaging for 9-volt cells. With the lighting products, on the other hand, it was possible to eliminate as much as 95% of the plastic by doing away with the plastic clamshells that had surrounded flashlights and lanterns in the older packaging. Shipping weights from Energizer’s manufacturing plants in Asia were correspondingly reduced, and there was an added benefit in terms of shopper satisfaction. “We knew that customers like to touch and feel products such as flashlights,” Oesterle explains. The 360º Area Light, for example, now goes to market in packaging consisting of nothing more than a header card attached to the handle—the lantern is fully exposed and available for inspection as soon as the consumer picks it up. The only plastic remaining in many of the flashlight packages is in the ties that secure the lights to their cards, and even this remnant, Oesterle says, is something that Energizer is looking at eliminating by replacing it with a recyclable alternative. It reflects, Laakko says, Enegizer’s wish to address all consumer touchpoints in the development of its new visual brand identify, graphically design-driven though it may be. With the rollout of the new Global Brand Identity, Energizer hopes that customers will never feel an impulse to change brands—even though they may still have to change batteries from time to time. n

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HBA Global Expo & Conference EXHIBITOR PROSPECTUS

September 28-30, 2010

Jacob K. Javits Convention Center, New York

Where Beauty Meets Business

SOURCE.

New York C i ty

Hundreds of new products & trends and global partners

With top buyers & over 16,000

NETWORK. beauty professionals

EDUCATE. More than 70 cutting-edge educational sessions

REGISTER Now! Register with Priority Code: PPDMZ and Receive a FREE Exhibit Hall Pass! For the latest show and conference information visit: www.hbaexpo.com

HBA GLOBAL EXPO

PRESHOW PL ANNER /

OVERVIEW

lobal Expo 2010… G A B H Product Development World Together Brings the Today beauty is defined, marketed, and created in many different and diversified ways. The face of beauty isn’t just the classic blond-haired, blue-eyed model of yesteryear, and storefronts aren’t the only channel of distribution. As we enter a new decade, HBA Global embraces this new diversity and has expanded and revitalized its programming and show floor offerings to address every facet of the fascinating and dynamic world of health and beauty. With hundreds of industry suppliers and educational partners, targeted conference sessions, and international experts and forecasters, HBA Global Expo & Conference, September 28-30, 2010 at Jacob K. Javits Convention Center in New York, is the source to discover the latest array of products and services, trends, technological advances and marketing strategies. HBA is also the place where the entire industry meets to network and build invaluable industry relationships. If you want to compete in today’s changed and diversified business market, this year’s HBA Global Expo cannot be missed.

EDUCATION THAT MEETS EVERY BUSINESS NEED In keeping with the times, HBA’s educational programming offers something for everyone and is the best education in the business. New this year, HBA presents the Global Perspectives Conference. This is a must-attend event for international visitors looking to form U.S. partnerships and for American businesses seeking worldwide expansions. Topics include “Not Getting Lost in Translation: Taking International Brands to US Markets,” “The World’s Largest Beauty Market: Cosmetics in Europe,” and “The Global South: Emerging Markets in India and Fair Trade Opportunities.” A supplement to Package Design Magazine

The core Marketing & Technical Conference offers more than 30 sessions that cover the top strategies, technologies, and research findings that will help attendees capitalize on areas of growth in the industry. Topics covered in the technical program include “Insights from the Top: Looking Ahead to Innovation and Growth Challenges” with leaders from major personal care companies; “Anti-Aging Path – Where No One Has Gone Before” and “New Directions in Skin & Hair Formulations.” The marketing-focused sessions include “Wal-Mart and the Consumer;” “Reaching Every Woman: The Multi-ethnic Market,” and “Sniffing Out Opportunities: New Perspectives on Fragrance.” This fall also sees the introduction of “20 Tips in Ninety Minutes,” on topics ranging from beauty blogging to package design pointers from past HBA IPDA winners. Concerned about spotting and adapting to the latest trends? HBA has it covered. First, the successful Trends Conference is back with meaningful sessions led by top industry trend watchers, such as “Beauty Forecast 2011” presented by The Doneger Group and “Take Time to Listen – Consumers Talk Back,” moderated by BeautyStat.com and featuring a diverse panel of beauty and personal care consumers. The hot colors for 2011 will be revealed in a trends presentation by Pantone and Ampacet, along with trends in celebrity fragrance packaging. Second, visit the newest show floor feature for 2010, the Trend Spot, where cutting-edge trends in makeup, color, packaging, ingredients, and consumer buying will be featured. Attendees can see daily demonstrations by professional make-up artists like hbaexpo.com

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OVERVIEW

Eve Pearl featuring the latest styles in colors and beauty looks. Top organizations such as Euromonitor and Mintel will also be on hand to offer their insights on the changing global marketplace. There also will be book signings with prominent industry authors.

THE SCIENCE OF GREEN The all-natural beauty field, total body/mind wellness, and sustainability are still growing agendas for consumers, and HBA has enhanced its Green Conference to include a program that gives an in-depth view of both the science that goes into green and organic products and the marketing and business decisions that make those products successful. The session features an inspiring kickoff presentation by Dr. Birute Mary Galdikas, Professor, Simon Fraser University, and President, Orangutan Foundation International. Dr. Galdikas, a leading scientific voice who is helping to turn personal care to a more sustainable future, will take attendees from Borneo to the organic shelves of local beauty stores. In addition to the HBA conference programs, Organic Monitor will present two workshops for the first time in the U.S. at HBA Global. A leading international research and consulting company that specializes in the global organic and related product industries, Organic Monitor will provide in-depth information and practical roadmaps on “Unraveling Natural & Organic Cosmetic Standards” and “Business Opportunities in the Global Market for Natural & Organic Cosmetics.” COMMUNITY BUILDING AT ITS BEST Repeating a huge hit from last year, HBA again will present Networking Topic Tables, sponsored by the Personal Care Products Council (PCPC). These free Networking Roundtables on the show floor are hosted by top industry professionals and cover diverse topics from “Getting Social Online” to “Regulatory Confusion— Sorting it Out.” An expanded program allows for more seating this year, and the sessions will be more interactive to foster even greater relationship building among peers. Connect face-to-face in the new Social Media Spot, where the online community meets reality. More than 2,000 industry professionals in HBA’s online social communities will be able to meet-up in this show floor lounge and interact in-person with some of the people they have been connecting with on Facebook, LindkedIn or Twitter. Special activities include a “meet the beauty bloggers” event after the Marketing 20Tips conference session. In addition, HBA’s “Honest Beauty” blogger, Mary Palmieri, will be on hand to announce the winner of the “Breakout Brand of the Year” series, which was started in October 2009. There will also be internet connections to encourage real-time postings by HBA’s social networking members. Another new show floor feature will be 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,

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comfortable, exclusive venue for the industry’s top beauty buyers to network, discuss business, or just relax and enjoy special amenities.

GLOBAL RESOURCES, DESIGN INSPIRATION, and NEW PRODUCTS EVERYWHERE Complementing the HBA Conference Programs and special show floor features is an exhibit floor showcasing products and services from global suppliers including private label, contract manufacturing, prestige and mass-market packaging components, bottle and glass companies, delivery systems, design houses, and raw material and ingredient suppliers. Natural and organic products, analytical and testing devices, biotechnology processes, nutriceuticals, cosmeceuticals, and nutricosmetics will also be featured. Together, the exhibits offer a plethora of resources, ideas for new products and services, and strategies for improving existing products. As the breeding ground for new products, HBA will again platform the latest offerings from its world-class exhibitors in the New Products Innovation Showcase. On display in this destination area sponsored by Mintel and HAPPI will be an array of innovative products and services ranging from the latest in skin care formulations and delivery systems to unique and sustainable packaging design. Mintel’s industry analysts will also explain to marketing and product development teams how these new trends and technologies will impact future branding and product development and help rejuvenate existing lines. Mintel also will present its own Innovating Trends Showcase. Back again is the Material ConneXion Center, a global platform for material solutions and innovations including smart substances, intelligent interfaces and sensory surfaces that are transforming design. Celebrating its 10th anniversary, the HBA International Package Design Awards (IPDA) showcase will feature this year’s hottest brand designs in cosmetics, fragrance, personal care, skin care, and sustainable packaging. This area, sponsored by Beauty Packaging, recognizes the year’s most outstanding package design. It will spark ideas and help attendees bring new creativity back to the office. Completing the 360º product development experience, all HBA attendees will again have access to the co-located two-day Spa & Resort/Medical Aesthetics Expo. At this progressive industry event, they can discover advanced technology, up-to-date treatments and procedures, and the latest in skin care from leading companies in the field. Don’t miss this trend-setting opportunity to touch, taste, and see the newest products, learn how to make “green” profitable, discover cutting-edge technologies, network with more than 16,000 industry peers, and participate in forward-thinking discussions. Take advantage of registration, conference, and travel discounts by registering online and in advance for the HBA Global Expo & Conference at www.hbaexpo.com and use Priority Code PPDMZ for a free exhibits only pass. For more information on HBA Global Expo call 1-609759-7603 or email nbullock@hbaexpo.com.

A supplement to Package Design Magazine

HBA GLOBAL EXPO

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CONFERENCE HIGHLIGHTS

HBA’s Educational Program Will Present Full-Spectrum Coverage of Packaging Issues

HBA conference programs are renowned for providing insightful and timely information, and this year’s sessions will be no exceptions. Industry experts, trend-setters and top minds will help HBA delegates create compelling and desirable packages that “pop” at the point of purchase. Taking place September 28-30 at the Jacob K. Javits Center in New York, the HBA Global Expo & Conference consists of four distinct programs: Trends, covering 2011 trends in beauty, fashion, color, consumer behavior, and celebrity fragrance packaging; Global Perspectives, on taking business international; Green, a deep look into the technical and marketing sides of going green; and the core Marketing and Technical sessions. In addition, Organic Monitor will present two workshops for the first time in the U. S. at HBA Global. These workshops will help unravel the confusion surrounding natural and organic cosmetic standards and offer solid business information on global opportunities for the natural and organic cosmetics market. Of interest to package designers, brand managers, engineers and marketers will be several HBA sessions focused on packaging innovation, execution, and sustainability. Here are some highlights:

Tuesday, September 28 In the Marketing & Technical Conference, “Design Innovation: Working Magic with New Materials” will take place on Tuesday, Sept. 28, from 12:30 p.m. to 2:00 p.m. This session will discuss how the world of package design is growing wider every day, from new and unusual materials to the opportunity for interactive packaging provided by the gadgets of the digital age. Attendees will hear about the most playful and innovative ways that designers are making their products to stand out on the shelves. Speakers include Jill Tomandl, Creative Director and Vice President of Product/Package Development, Stila Cosmetics; Nica Lewis, Director of Consulting, Mintel Beauty Innovation; Dr. Andrew Dent, Ph.D., Vice President of Materials Research, Material ConneXion; and, serving as moderator, Robert Brands, CEO, Brands and Company, LLC. Wednesday, September 29 On Wednesday, September 29 from 11:00am to 12:30pm, the ICMAD (Independent Cosmetic Manufacturers and Distribu-

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tors) session, “How to Leverage Business Relationships in Today’s Beauty Industry,” will explore how to find the right partners and create strong relationships with them for beauty business success. The session will also focus on creating strong sales and marketing strategies with vendors, working with design teams to create products that pop, and teaming with the best manufacturers and suppliers to make sure that the product is the best it can possibly be. A case study of a niche skin care brand will provide the honest scoop on successfully leveraging business partnerships, including missteps along the way. Speakers include the moderator, Pamela Viglielmo, Vice President, ICMAD; Tara Simon, Senior Vice President, Merchandising and Supply Chain, Beauty Brands, Inc; Herta Simon, President and Founder, uber, inc.; Metta Murdaya, Founder and Owner, JUARA Skincare; and Howard Baker, Owner and President, Product Integrity Laboratory, LLC. “20 Tips on Design from Past IPDA Award Winners” takes place on Wednesday, September 29 from 1:00 p.m. to 2:30 p.m. A supplement to Package Design Magazine

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For ten years, the HBA IPDA Awards have been honoring the leaders in the beauty and personal care community for outstanding and innovative developments in package design. Now, representatives off three of the companies whose outstanding work has been recognized come together to talk about their strategies for success in package design, offering tips that might lead to the next package that will receive this coveted award. Panelists include Scott Oshry, Vice President, Branding and Design, The Maesa Group; Rebecca Goswell, Group Creative Director, HCT Packaging; and Russ Napolitano, Vice President Business Development and Brand Strategy, Wallace Church.

“New Packaging Technology for Cosmetics and Personal Care Products” on Wednesday, September 29 from 1:00 p.m. to 2:30 p.m. will explain how today’s great packaging is not just something that grabs the consumer's eye. It also has to be functionally well designed in ways that preserve or enhance the product or aid the consumer.. This session addresses packaging that will enhance the product’s appearance, help it interact with the customer and make it more sustainable. Speakers include Wylie Royce, Senior Vice President, Royce Associates; Denis Keller, Market Manager Specialty Additives and Packaging, PolyOne; Dede Meade, North American Market Manager, Milliken; Kristof Dekeukelaere, Dotrix Sales Manager, American Medical Technologies; and Don Parent, Vice President Sales and Innovation, Marca Coating Technologies. The two-day Green Conference will present sessions on Wednesday that provide profitable and successful strategies for going green. They include: “Marketing Green: Creating a Successful Brand in the Naturals Market” takes place on Wednesday, September 29 from 11:00 p.m. to 12:30pm. As increasing numbers of consumers decide to make the switch to natural products, it becomes increasingly vital to maintain brand appeal within this growing segment. This session offers a complete guide to the most cutting-edge natural

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marketing strategies the social media age has to offer. It includes an in-depth case study on the successful recreation of the Desert Essence brand in the naturals market, including packaging and material that did and didn't make the cut. Speakers include Anna Soref, Editor, Natural Foods Merchandiser; Jeff Hilton, co-founder, Integrated Marketing Group; Wendy Cockayne Lucas, Vice President of Sales and Marketing, Desert Essence; Julia Beardwood, Founder, Beardwood & Co.; and Sarah Williams, Creative Director, Beardwood & Co. “The Bigger Picture: Focusing on Sustainability”on Wednesday, September 29, from 1:00 p.m. to 2:30 p.m. addresses the fact that in the cosmetics industry, the buzzwords "green,” “natural,” and “sustainable" are often thrown around as if they were interchangeable. But, sustainability encompasses far more than just the question of what goes into a product. This session will provide a guide to the latest catchphrases used in the industry, noting how consumers react to them. It also will discuss the different routes that brands can take to show their customers that they're dedicated to social and environmental responsibility, including ways in which both large cosmetic companies and smaller cosmetics brands are working to make themselves more sustainable. Experts participating in this panel include Nancy Mills, Industry Manager, Consumer Products, Kline and Company; Jenny Rushmore, Global Beauty & Grooming Sustainability Leader, Procter & Gamble; Suzanne Shelton, President, The Shelton Group; and Maya Spaull, Senior Manager, New Category Development, TransFair USA. “The Business Side Of Green: Making Natural Profitable” on Wednesday, September 29, from 3:00 p.m. to 4:30 p.m., asks: So you want to help save the world with your responsible green business, but you also want to make a profit? Don't worry—it's not impossible to have your cake and eat it too. This session will offer a full exploration of the green business world, covering current mergers, acquisitions and investments in the natural beauty industry. It includes tips for running a green business and a case study of a leading natural business and its route to the top. Speakers include Amarjit Sahota, President, Organic Monitor; Joe Munford, Founder and CEO, JD Ford & Company; and a speaker to be announced from Burt’s Bees. The new Global Perspectives Conference will have sessions addressing global requirements for product, packaging, and labeling. The program includes “Negotiating International Regulations” on Tuesday, Sept. 28, from 12:30 p.m. to 2:00 p.m. Complementing the educational programming with packaging appeal will be the HBA exhibit floor, featuring worldwide suppliers of packaging components and materials including bottles, caps, labeling devices, delivery systems, sustainable options, and more. A special exhibit from Materials ConneXion and the International Package Design Awards Showcase (IPDA) Showcase will also be part of the HBA Global Expo packaging experience. For more information go to www.hbaexpo.com or call 609-759-7605.

A supplement to Package Design Magazine

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Brio line

IPDA

the less preservatives you want the more protection you need

HBA International Package Design Awards Celebrates 10 Years of Excellence

The 10th Annual International Package Design Awards (IPDA) will be on full display during the HBA Global Expo, September 28-30, at the Javits Center in New York. The HBA IPDA Awards recognize outstanding cosmetics, fragrance, personal care, skin care, and sustainable packaging innovations. The top finalists in nine different 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 stand-out package design and engineering achievements. Any size company was able to submit products that were introduced in the U.S. or internationally from October 1, 2009 through August 31, 2010, including suppliers, design firms and manufacturers. “Our industry thrives on creativity and HBA Global is honored to be the platform for packaging genius and celebrate the year’s most stand-out products and design,” says Jill Birkett, HBA brand director, Beauty & Wellness. The IPDA finalists and winners will be ceremoniously announced on Tuesday, September 28, during the HBA Global Expo. A “Committee of 100” made up of industry professionals, designers, suppliers, and members of the media selected the finalists and winners. The IPDA judging was based on 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 or contact: 609-759-7603.

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www.lablabo.com A supplement to Package Design Magazine

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HBA GLOBAL EXPO

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2010 ICMAD CITY AWARD WINNERS

Nine member companies of the Independent Cosmetic Manufacturers and Distributors Association (ICMAD) were recognized for their innovative products, packaging and advertising at the association’s seventh annual CITY Awards for Cosmetic Innovators of The Year. The winners were announced at an awards ceremony during ICMAD’s 37th annual meeting on June 17, 2010, at the prestigious 3 West Club in New York City. Dr. Stephanie McClellan presented the CITY awards to the winners. ICMAD President Pamela Jo Busiek of CBI Laboratories Inc. commented: “The CITY Awards represent dedication, effort and creativity by members of ICMAD and recognize the innovations that independent companies bring to the beauty industry. For me, the CITY Awards represent everything that makes our business so dynamic.” The CITY Awards were judged by respected advertising, marketing and sales executives with experience—but without current affiliation—in the cosmetic industry. Nine awards were given to ICMAD Member Companies entering in the following Product, Package Design, Sales and Marketing Innovation categories. ICMAD, founded in 1974, is a trade association of independent cosmetic manufacturers, distributors and suppliers of services and components to the cosmetic industry. Approximately 90% of ICMAD’s 700 member companies are small, entrepreneurial businesses in the highly creative and competitive cosmetic, toiletry, and fragrance field. ICMAD provides a powerful voice for its members to the FDA, in Congress and with consumer groups and the media. For more, visit www.icmad.org.

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Personal Care Product Opal Sonic Infusion System By: Clarisonic, Bellevue, WA Accepted by: Dr. Robb Akridge, principal

Color Cosmetic Product Huge Lips Skinny Hips By: Purple Lab, New York, NY Accepted by: Sharon Hirsch, communications director These lip glosses boast Vitamin B3, which diminishes wrinkles by stimulating blood flow to the lips, and Hoodia, which diminishes hunger by sending a message of fullness to the brain.

Professional Skin Care Product 21-Day Dermal Detox By: Suki Inc., Northampton, MA Accepted by: Suki Kramer, president These six products stimulate, strengthen, and support the skin’s natural capacity to cleanse and restore itself, and to expel toxins from environmental aggressors and pollutants.

The Clarisonic brand now extends from sonic cleansing to sonic infusion. It features a soft applicator tip, precision-tuned sonic frequency. and a proprietary gentle kneading motion.

A supplement to Package Design Magazine

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Mass Skin Care Product Essential Fatty Acid Cream By: Reviva Labs, Haddonfield, NJ Accepted by: Stephen Strassler, principal EFAs Cream features 10 different Omega3 and Omega-6 essential fatty acids from plant sources. The product was developed for users with thin, fragile skin.

Personal Care Package Design Chocoholicks By: Iredale Mineral Cosmetics, Great Barrington, MA Accepted by: Jane Iredale, founder An assortment of four chocolate truffle-flavored lip glosses are housed like exotic confections in a chocolate box. Playful copy defines “chocoholick” and describes the enticing flavors.

Color Cosmetic Package Design YOYO Lip Gloss Mini By: YOYO Lip Gloss, College Point, NY Accepted by: Angie Parlionas, principal YOYO Lip Gloss Mini is the first and only retractable lip gloss on the market. It can be clipped to belts or bag straps.

Skin Care Package Design Avon ANEW Dual Tube By: World Wide Packaging, Florham Park, NJ Accepted by: Barry Freda, CEO and Jeffrey Hayet, executive v.p. global sales A 50-mm round outer tube contains a 35-mm round inner tube, and the tube heads and orifices are patented globally. The tube dispenses two different products simultaneously and equally.

Print Advertisement – Trade or Consumer “Lip Fixation/Our Little Two-Timer” Ad By: Iredale Mineral Cosmetics, Great Barrington, MA Accepted by: Jane Iredale, founder This print ad supported the launch of the new product and served as a driving force to get consumers through the retail doors to request and purchase the product.

Website Innovation www.temptu.com By: Temptu, New York, NY Accepted by: Michael Benjamin, principal The site is a brand experience portal where customers can shop, learn, and get advice from the pros. It includes backstage event information as well as online tutorials.

A supplement to Package Design Magazine

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Beauty of Sustainable Clarified PP is More than Skin Deep Polypropylene is an ideal answer to the challenges of improving the environmental responsibility of plastic packaging. Its low density helps reduce the amount of material needed, as well as overall packaging weight, which cuts fuel usage during shipping. It also has a low carbon footprint, thanks to fewer emissions released during manufacture. Perhaps most significant, polypropylene is easily recycled in existing waste management systems, allowing the material to be reused indefinitely. Plus, it does not exhibit undesirable side effects during recycling, such as crosslinking and forming a gel, or off-gassing. However, while a plastic’s environmental advantages are increasingly important today, they are only a part of the criteria for a winning material. To differentiate their products and appeal to consumers while controlling costs, manufacturers still need containers and packaging that are beautiful, distinctive and cost-effective. Although its environmental credentials were impeccable, polypropylene did not measure up in the aesthetic department. As a semicrystalline material with natural haze, it simply was not sufficiently transparent to replace less-sustainable clear plastics, such as polyethylene terephthalate (PET) and polycarbonate (PC), or glass. Adding color tended to reduce clarity even further, limiting design options. Expanding the Possibilities Enter Millad® NX8000 clarifier from Milliken Chemical. This breakthrough technology reduces haze in polypropylene by 50 percent or more compared with less-advanced clarifiers. Polypropylene clarified with Millad NX8000 offers beauty and elegance as well as environmental benefits – plus easy processing and high performance. Packaging manufacturers now can replace more expensive and less sustainable materials with clear, low-density, easily recycled polypropylene. But Milliken didn’t stop there. The company offers two other innovations that enhance polypropylene even further. The first is ClearTint® colorant

technology, which adds dramatic effects and brilliant, rich color without impacting the exceptional clarity provided by Millad NX8000. ClearTint colorants are oligomeric coloring materials that combine the exceptional aesthetics of dyes with the migration resistance of pigments. They give designers a wealth of new possibilities for adding glamour and drama to clarified polypropylene containers and packaging.

introduced in January 2009. In addition to excellent aesthetics, the material offers enhanced sustainability and safety. With the high clarity imparted by Millad NX8000, Home Concepts achieved the see-through visibility that is so important in food storage products. Unlike some other clear plastics, clarified polypropylene does not use Bisphenol A (BPA) in its manufacture. Also, the lower density of polypropylene reduces the amount of material required for these containers by a third compared to PC. • Serving up Design Elegance

The second innovation is Hyperform® nucleating agents, which make polypropylene easier to recycle and encourage sustainability efforts. Hyperform agents overcome variables in the waste stream, such as colorants and nucleators in mixed batches of polypropylene, which can cause processing issues including shrinkage and warpage. Added at any time in the compounding process, Hyperform nucleating agents enhance process stability and part quality by leveling the properties of different recycle streams. A Blend of Beauty and Responsibility Polypropylene clarified with Millad NX8000 and colored with ClearTint colorants offers both glamour and sustainability for today’s environmentally aware yet style-conscious consumers. Thanks to design, cost and performance advantages for manufacturers, clarified polypropylene is widely used in products from baby bottles to cosmetic and toiletries containers to food storage and packaging. • Sealing the Deal Home Concepts Products selected polypropylene clarified with Millad NX8000 for the Reynolds® Casuals line of food storage containers that were

To create a sleek yet durable cutlery tray, Italian manufacturer Guzzini selected polypropylene clarified with Millad NX8000 based on its exceptional clarity. This injection-molded tray was originally made with styrene acrylonitrile (SAN), but Guzzini redesigned the product using clarified polypropylene to reduce cost, boost impact resistance and enhance sustainability. High Performance, Easy Processing Millad NX8000 clarifier makes polypropylene an appealing choice because of its broader processing window, material strength and rigidity, and chemical resistance. It can be processed using all available technologies, including injection molding, blow molding and thermoforming. Clarified polypropylene can replace a wide range of clear materials such as PET, PC, SAN, polyvinyl chloride (PVC), polystyrene (PS), acrylic and glass. New Solutions for the Future of Packaging Today, designers are finding a new source of inspiration in transparency. They are turning to the clarity, recyclability, performance and cost-effectiveness of polypropylene – elegantly clarified with Millad NX8000, vibrantly colored with ClearTint colorants, and infinitely recyclable using Hyperform nucleating agents. Reynolds is a registered trademark of Reynolds Consumer Products used under license by Home Concepts Products.

www.clearpp.com Milliken & Company, 920 Milliken Road, Spartanburg, South Carolina 29303 • 800-910-5592 © Copyright 2009 Milliken & Company. All rights reserved. Millad® , ClearTint® and Hyperform® are registered trademarks of Milliken & Company.

HBA GLOBAL EXPO

PRESHOW PL ANNER /

KEYNOTE

Pamela Baxter to Deliver HBA Global Expo Keynote Address

Pamela Baxter, President and CEO of LVMH Perfumes & Cosmetics North America, will deliver the Keynote Address at HBA Global Expo & Conference. Her speech is open to everyone who attends and will take place on Tuesday, September 28th at 9:00 a.m. in the Special Events Hall at the Javits Center in New York. HBA Global Expo (www.hbaexpo.com) is the leading product development event for the personal care, fragrance, well-being and cosmetic industries and will take place September 28-30, 2010 at the Jacob K. Javits Convention Center in New York, NY. “We are delighted to have Pamela Baxter deliver the Keynote Address at HBA. Her keynote will be inspiring and is a

great way for attendees to start their HBA experience,” says Jill Birkett, brand director, Beauty & Wellness. 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, Trends, Global Perspectives and Marketing & Technical Conference programs. There will also be two workshops from Organic Monitor on the naturals cosmetics market. Complementing the educational agenda is an exhibit floor showcasing a full spectrum of products and services includ-

Exhibit Hall Hours:

Show Highlights Include:

Tuesday, Sept. 28: 10:00 am – 5:00 pm

• Keynote Address by Pamela Baxter of LVMH • The Trends Spot Theater • On Trend Make-Up Demonstrations by celebrity make-up artist Eve Pearl and others • New Products Innovation Showcase and Mintel’s Innovating Trends Showcase • Networking tables • Social Media Spot and Meet-Ups • Beauty Bloggers Meet and Greet • International Package Design Awards (IPDA) Showcase

Wednesday, Sept. 29: 10:00 am – 5:00 pm Thursday, Sept. 30: 10:00 am – 3:00 pm

Conference Programs Hours: Tuesday, Sept. 28: 9:00 am – 4:00 pm Wednesday, Sept. 29: 9:00 am – 4:30 pm Thursday, Sept. 30: 9:00 am – 1:00 pm H12 hbaexpo.com

ing: private label, contract manufacturing, prestige and mass market packaging components, delivery systems, design houses, raw material, and ingredient suppliers—including natural and organic, analytical and testing devices, and equipment. In addition there will be international contingencies from the Dominican Republic, Italy and other parts of Europe as well as international exhibitors from all over the world. The New Product Innovation Showcase will highlight this year’s hottest new product announcements from HBA exhibitors and Mintel will present its Innovating Trends Showcase. The Keynote address is free to all registered attendees. Please plan to arrive early as seating is limited. To register in advance for the HBA Global Expo & Educational Conference go to www.hbaexpo.com and use Priority Code PPDMZ for a free exhibits pass, or call 609-759-7605 for more information. ■

• Hundreds of new and diverse exhibitors, international pavilions, and new products everywhere • Educational offerings and expert speakers addressing every facet of the beauty and personal care market

A supplement to Package Design Magazine

✦ PAPERBOARD, E-FLUTE, & B-FLUTE CARTONS & DISPLAYS ✦ INNOVATIVE PACKAGE DESIGN

SINCE 197

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✦ SUSTAINABLE “GREEN” PACKAGING ✦ SOY INKS & SOLVENT FREE ✦ RECYCLED & RECYCLABLE MATERIALS ✦ PROMPT TURNAROUND ✦ ASSEMBLY & FULFILLMENT SERVICES ✦ COMPETITIVE PRICING

Forest Stewardship Council

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Where Beauty Meets Business

HBA Conference & W TUESDAY, September 28, 2010

NEW!

TRENDS

——— MARKETING & TECHNICAL CONFERENCE ———

9:00 AM

GLOBAL PERSPECTIVES

GREEN (Technical)

KEYNOTE ADDRESS & POSITIVELY BEAUTIFUL PRESENTATION — OPEN TO ALL

9:30 AM 10:00AM M-01: Walmart and the Consumer

10:30AM 11:00AM

M-02: Creating a Successful Beauty Brand

11:30AM

T-01: Cosmetical Biochem: A Surface Treatment Approach to the Wide Range of Skin of Color

Z-01: Beauty Forecast 2011: A Comprehensive Trends Presentation

Z-02: Take Time to Listen: Consumers Talk Back

12:00PM 12:30PM

B-01: 20 TIPS On the Beauty Blogosphere: Beauty Bloggers Panel

M-03: The Changing Face of Beauty Distribution

1:00 PM 1:30 PM

M-04: Design Innovations: Working Magic with New Materials

T-02: Skin Science & Health Data: Believable, Accurate Claims

M-05: Social Media: Marketing for the 21st Century

M-06: Reaching Every Woman: The Multi-Ethnic Market

T-03: Novel Delivery Systems

3:00 PM 3:30 PM

I-02: Negotiating International Regulations

Z-03: Color Trends for 2011

2:00 PM 2:30 PM

I-01: International Expansion: The Basics and Beyond

I-03: Not Getting Z-04: Lost in Translation: Trends in Celebrity Taking International Fragrance Brands to Packaging US Markets

GC-01: The Sustainable and Green Path

GC-02: Green Chemistry: Application in the Personal Care & Cosmetic Industry

GC-03: Functional Green Ingredients & Rapid Formulation

Pricing

4:00 PM

Conference Package Prices 2010: PLATINUM M B T I GC Z PASS: ADVANCE (By Aug. 31) . . . . . . . $1,195.00 REGULAR . . . . . . . . . . . . . . . . . $1,395.00

GREEN TWO-DAY GC CONFERENCE PASS: ADVANCE (By Aug. 31) . . . . . . . $ 570.00 REGULAR . . . . . . . . . . . . . . . . . $ 695.00

ORGANIC MONITOR OW WORKSHOPS PASS : (2)-WORKSHOPS ADVANCE (By Aug. 31) . . . . . . . $ 699.00 REGULAR . . . . . . . . . . . . . . . . . $ 749.00

M B T FULL MARKETING & TECHNICAL CONFERENCE PASS: ADVANCE (By Aug. 31) . . . . . . . $ 595.00 REGULAR . . . . . . . . . . . . . . . . . $ 730.00

GREEN ONE-DAY GC CONFERENCE PASS: ADVANCE (By Aug. 31) . . . . . . . $ 375.00 REGULAR . . . . . . . . . . . . . . . . . $ 425.00

(1)-WORKSHOP REGULAR . . . . . . . . . . . . . . . . . $ 399.00

(3)-SESSION MARKETING & TECHNICAL PASS: (Marketing and/or Technical)

ADVANCE (By Aug. 31) . . . . . . . $ 375.00 REGULAR . . . . . . . . . . . . . . . . . $ 425.00 (1)-SESSION MARKETING & TECHNICAL PASS M (Marketing or Technical)

ADVANCE (By Aug. 31) . . . . . . . $ 210.00 REGULAR . . . . . . . . . . . . . . . . . $ 260.00

Marketing

20 TIPS Sessions

Technical

GLOBAL PERSPECTIVES I CONFERENCE PASS: ADVANCE (By Aug. 31) . . . . . . . $ 570.00 REGULAR . . . . . . . . . . . . . . . . . $ 695.00 TRENDS Z CONFERENCE PASS : ADVANCE (By Aug. 31) . . . . . . . $ 425.00 REGULAR . . . . . . . . . . . . . . . . . $ 495.00

HBA Global Expo & Conference

Trends

Global Perspectives

Pre-Register Online For Reduced Rates!

Green Conference

Organic Workshops

VISIT US at www.hbaexpo.com

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2010 • • • New York, New York

& Workshops W At-A-Glance WEDNESDAY, September 29, 2010

——— MARKETING & TECHNICAL CONFERENCE ———

9:00 AM 9:30 AM

M-07: The Four ‘Rs’ of Spa Success

M-08: Who’s Making It in the Men’s Market: What You Need to Know

10:00AM

T-04: Sunscreens: A MiniSymposium

T-05: Leadership Insights: Looking Ahead to Innovation and Growth Challenges

NEW!

GLOBAL PERSPECTIVES

GREEN (Marketing)

I-04: The World’s Largest Beauty Market: Cosmetics in Europe

GC-04: Green Distribution: Going Beyond Whole Foods

10:30AM 11:00AM 11:30AM 12:00PM

M-09: The Future of Skincare: Finding Your Place in a Shifting Market

M-10: T-06: ICMAD Session: The Anti-Aging How to Leverage Path: Where Business Relation- No One Has ships in Today’s Gone Before Beauty Industry

T-07: Skin Care Devices

I-05: GC-05: The Growing Marketing Green: Latin American Creating a Market Successful Brand in the Naturals Market

ORGANIC WORKSHOPS

OW-1: Organic Monitor Workshop 1 Unraveling Natural & Organic Cosmetic Standards

12:30PM 1:00 PM 1:30 PM 2:00 PM

M-11: Marketing Through Salons and Day Spas

B-02 : 20 TIPS On Design from HBA IPDA Winners

M-12: The Next Generation in Mktg: Business Objectives, Legal Perspectives

T-08: New Packaging Technology for Cosmetics and Personal Care Products

M-14: Sniffing Out Opportunities: New Perspectives on Fragrance

T-10: New Product Development Paradigms

T-09: Trends Other Than Formulation: A Panel To Take Note Of

I-06: East Asian Markets: Opportunities in the Pacific Rim

GC-06: The Bigger Picture: Focusing On Sustainability

2:30 PM 3:00 PM 3:30 PM 4:00 PM

M-13: Down to Business Basics: The Strategies You Need For Success

T-11: I-07 : GC-07: New Directions The Global South: The Business in Skin & Hair Emerging Side of Green: Formulations Markets in India Making and Fair Trade Natural Opportunities Profitable

4:30 PM

THURSDAY, September 30, 2010

——— MARKETING & TECHNICAL CONFERENCE ———

9:00 AM 9:30 AM 10:00AM

M-15: What Women Want: The Consumer At Every Age

T-12: M-16: Where Mass and Hair Care Workshop: Prestige Meet: Scalp-Hair Closing the System Health: Beauty Part 1 Divide

T-13: The Natural and Organic Trend Continues

T-14: M-18: Hair Care WorkPattern shop: Recognition 101: Scalp-Hair The Importance System Health: of Identifying Part 2 Trends

T-15: Skin Aging Prevention

10:30AM 11:00AM 11:30AM 12:00PM

M-17: Connecting with Your Customers: How to Build Brand Loyalty

12:30PM

ORGANIC WORKSHOPS

OW-2: Organic Monitor Workshop 2 Business Opportunities in Global Market for Natural & Organic Cosmetics

Hundreds of ...

New Products on the 2010 Show Floor to See!

Use Priority Code: PPDMZ to receive a FREE Exhibits Only Pass.

September 28-30, 2010

N e w Yo r k , N e w Yo r k

HBA GLOBAL EXPO

PRESHOW PL ANNER /

SPOTLIGHT Health and Beauty

Sanítas Skincare Finds Inspiration in the Periodic Table of Elements

anítas Skincare was founded almost 20 years ago as a direct response to the need for skincare that actually works with the body’s own biochemistry. Sanítas means “good health” in Latin, and Sanítas products create healthy skin by enabling cellular processes at the deepest tissue levels. When Lisa M. Crary, CEO and owner of Sanítas Skincare, realized that the Sanítas package designs did not match the quality of the product inside, she elicited the help of the Hatch Design firm in San Francisco. Hatch cofounders Joel Templin and Katie Jain developed an intriguing packaging system based—not literally—on the Periodic Table of Elements. Sanítas products are designed to help treat common skin disorders by bringing back skin’s normal, healthy state. All Sanitas products are formulated, manufactured, and distributed from the corporate offices located in the foothills of the Rockies in Boulder, CO. The pharmacist-formulated Sanítas Skincare line features active, biogenic, paraben-free, and preservative-free ingredients in highly concentrated dosages that stimulate and nourish the skin. Crary was looking for a package design system that would be therapeutic, clean,

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streamlined. Hatch took Crary’s lead and created packages that departed substantially from the common neutraceutical themes in the market today. “We were really aiming at making it super userfriendly,” says Crary. “Hatch really captured what it was we were looking for right away.” Hatch’s Templin explains that a primary goal was figuring out how to communicate the science-based, clinical nature of the products. “The packaging needed to express the same quality the product had,” he explains. “We tried to come up with something beautiful, that had some weight to it. We also wanted to come up with something that had some longevity.” The clean, sans-serif font is both modern and accessible. The square blocks of color play on the theme of the Periodic Table of Elements, which is reinforced online with two-letter codes both for the product subcategories as well as for the resource areas of the website. Body products become associated with the “element” Bd; Anti-aging with Aa. The Education area of the website is Ed, and to Order product you click on the Or square. This comprehensive skincare collection offers target specific products in the follow-

ing classifications; Cleanse, Tone, Moisturize, Treat, Mask, Body, Sun, Nutrition, and Anti-Aging. The nine colors differentiate the types of products for daily or weekly use. “If you’re not using one of each color product each month, you’re probably not using the line to its fullest,” Crary explains. Because of the active, preservative-free ingredients of the products, there were some requirements for the new containers. The bottles and tubes had to be sturdy and opaque, and they needed custom pumps for the viscous product. White bottles made the most sense both to protect the product inside and to create a spa-like and clinical impression. With a combination of silkscreen printing and labels, choosing the right colors to create a high-quality impression became a critical process. Templin decided to work with the Toyo ink system from Japan, because he feels the color guide has greens and blues with hues not often seen on U.S. packages. The resulting shelf set creates an appealing graphic billboard that is both systematic for organization and harmonious for presentation. “It’s hard to pick that many colors that actually look good together,” concludes Templin. ■ A supplement to Package Design Magazine

See how All Packaging Company stacks up. If innovative structures, high quality and peace of mind are what you need for your next project, All Packaging is your ultimate folding carton partner.

Contact us at sales@allpack.com or 888.625.5722 today to receive your stackable sample card pack and see why All Packaging should be your strategic packaging partner.

sales@allpack.com 888.625.5722 www.allpack.com

HBA GLOBAL EXPO

PRESHOW PL ANNER /

3C Inc. 4 You 2 Pack

A ABA Packaging Corp. Accutech Acti Pack Sa All-Belle Cosmetics Corporation Alliance Rubber Company Alliora Allstar Packaging Corp. Alpha Packaging AMA Laboratories Inc. Amazon Forest Botanicals Inc. Ambuja Solvex PUT Ltd. Amcor Flexibles American Private Label Americhem Inc. Ampac Ampacet Anisa International Inc. APC Packaging Apollo Industrial Co. Ltd. APR Packaging Inc. APT Packaging Ltd. ARES Printing & Packaging Arrowpak Artube Div. of Iridium Industries Atlantic Packaging Group Attop International Audrey Morris Cosmetics & Skin Care Autumn Harp Inc. Avery Dennison/Fasson Roll North America Axilone USA

B Badger Color Concentrates Inc. Baosheng Corporation Baoyu Cosmetics Packaging Co. Ltd. Baruch Company, The Bay Cities Container Corp. Beauty Packaging Beauty Promotions Inc. Bedford Industries Bell PPHU Bellwyck Packaging Solutions Biogenesis Inc. BioOrganic Concepts Biorius sprl BioScreen Clinical Services Bocas Co Ltd. Bottlemate Inc. Boya Enterprise Co Ltd. Brush Up With Barbara/ Mineral Mine Brushes By Karen/ Colorstrokes Mineral Ma

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EXHIBITORS LIST (as of July 14th)

C C+N Packaging Inc. Cajaplax Cameo Metal Products Campo Research USA Inc. Canfield Imaging Systems Capsugel Division of Pfizer Inc. Catalent Pharma Solutions Catalysis S.L. Changshin T&S Charsire Biotechnology Corporation Chemicos Creations Korea Co. Ltd. Chemspeed Technologies Chicago Paper Tube & Can Co. China Packaging Ching Fon Industrial Co. Ltd. Cho Chuang Industrial Co. Ltd. Chunjing Glass Products Co. Ltd. Chwen Ming Co. Ltd. Clariant Corporation CLC Pump Ltd. Color Evolution - IBG Labs Columbia Cosmetics Mfg.Inc. Compax Consumer Product Testing Co. Inc. Continental Packaging Solutions Corn Products International Inc. Cosmetic Index.com Cosmetic Lab Inc. Cosmetic Solutions Inc. Cosmetics & Perfume Filling & Packaging Cosmetics International Cospack America Corp. Coswel Co Ltd. Coswel Korea Coughlan Products Corp. CoValence Labs Crystal Clarie Cosmetics Inc. Custom Paper Tubes Inc.

D Dalian Meiyuan Cosmetic Appliance Co. Diamond Wipes International Inc. Disc Graphics DMT Co. Ltd. Dominican Republic Pavilion Dong Lim Enterprise Ltd. Doosun Industries Co. Ltd.

DPL Dr. Dermal LLC Drawntime Display & Design Ltd. Drug & Cosmetic Sales Corp.

E Earth Axxessories Earthoil Plantations Ltd. Eco Packaging Inc. EKATO Corporation Elcos Co. Ltd. (Eun Chang Co. Ltd.) Englewood Lab Esmin Company Ltd. Eunchang Guangzhou Co. Ltd. Euro Asia Alum-Tech (Guangdong) Co. Ltd. EURO Cosmetic Asia European Pavilion Evalulab Inc. Eve Pearl Cosmetics Ever Spring Inc. EverLong General Trading LLC Export & Investment Center of the D.R. Export Magazine Beauty Distributor/MTE E Express Tubes Inc.

F F.M. Brush Co. Filtrona Porous Technologies Flex Products Flexpaq Corporation Flying Dragon International Industry Co. FMI Formatix Corporation Foshan Yongye Pump & Sprayer Co. Ltd. France Naturals Inc. Fusion Packaging

G Garland to the Graces Garrett Hewitt International GCI Magazine Geami Ltd. Gettoy (Tae Jin Chemical Co. Ltd) Gibraltar Laboratories Inc. Giflor srl Global Merchandise Source Global Sales Ltd. GoLoyal Inc. Grafton Cosmetics Green Garden Teas Groninger USA Guangdong Irene Cosmetics Co. Ltd. Guangdong Shantou Qiaoyi Plastic Co.

Guangzhou Lihua Hardwares & Plastics Pro Guangzhou Master Plastic Tube Pro. Co. Guangzhou Noconi Cosmetics & Accessories Guangzhou Shifei Cosmetic Co. Ltd.

H Haimen Liguo Glass Products Co. Ltd. Haimen Sanlong Glass Product Co. Ltd. Hana Co. Ltd. Handsfree Applicators Hangzhou Rock Trade Co. Ltd. Hangzhou Zhenhua Daily Chemicals Glass HAPPI Harman Plastic Industries Harmony Labs HCA Corp. (High Class Art Intl.) HLP Clear Packaging Products Hongda Sprayer Co. Ltd. Hoyden Enterprise Co. Ltd. Hwa Sung Cosmetics

I ICMAD (Independent Cosmetic Manufacturers) IMA Nova Packaging Imex Packaging Impact Analytical Indeutsch Industries Private Limited Innopack International Co. Ltd. Interconti SystemsInc. Interfashion Cosmetics Corp International Package Design Awards (IPDA) Showcase Intertek Consumer Goods ISPEC Inc. iTrends Solutions

J Jedwards International Jeong Hun Co. Ltd. Jewel Case Corp. Jinhua Majoy Industry Co. Ltd. Joko Cosmetics E.i G.Kosyl s.j Josco International Corp. Ltd. Joycos Cosmetic Co. Ltd. Jung Min Co Ltd.

K Kanseido Co. Ltd. Kapril Industrial C X A Kaufman Container Co. Kleen Test Products

Klocke of America Kmc/Exim Corp Kony Hair, C X A Kovas Co. Ltd.

L L & S Packaging LLC Label Graphics Mfg. Inc. Label World Labels West Inc. Lablabo Laboratoires Serobiologiques-div Cognis Laboratorio Karents Laboratorios Crom Laboratorios J.M. Rodriguez Laboratorios MK Laboratorios Noruel Laboratorios Schuca Laboratorios Union, S.A. Laboratorios Victoria S.A.I.C. Lady Burd Exclusive Cosmetics Inc. Lalilab Inc. Lantern Beauty LF of America Corp. Lornamead Lucky Seeds Luohe Huimei Arts & Crafts Co. Ltd.

M Machine-Star LLC Madeline Blondman & Co. Inc. Magnoli Cosmetics Co. Ltd. Majesty Dispensing Systems Co. Ltd. Material ConneXion McKernan Packaging Clearing House Mega Pumps L.P. MG America Inc. MindBody Inc. Minjin Co Ltd. Mintel Americas Ltd. MNC Stribbons Moisturizing Mate Monoi USA Moritex U.S.A. Inc. M-TRIO

N Naasia Sci & Tech Development Co. Ltd. Nantong Everlast Plastic Co. Ltd. NAPCO Inc. Narkis Packaging Solutions Nation Beauty Magazine Native Hawaiian Perfumes Naturex Nest Filler Corporation

New Products Showcase Ningbo Aobang Sprayer Co. Ltd. Ningbo Jinyu Spray Packing Co. Ltd. Ningbo JSDA Electronic Industry Co. Ltd. Ningbo Pulisi Import & Export Co. Ltd. Ningbo Rainbow International Ningbo Z&Z Sprayer Company Ltd. Ningbo Zhaoke Int'l Imp & Exp Corp. Nubian Health Products Inc. Nutra Luxe MD Nutra3 Complex Hair, Skin & Nails Nutraceutical World

O O.BERK Cosmetic Packaging Group Olcott Plastics One Source Industries LLC Ones Co. Ltd. Oralabs Inc. Oratech Overnight Labels Inc.

P Package Design Magazine Packaging World / Shelf Impact PADTECH Paket Corp. Pantone Papillon Ribbon & Bow Park Packaging Inc. Parkway Plastics Inc. PCPC PDA Group / Jijia Packaging Pillip Industrial Co. Ltd. Pinkpac Company Ltd. Plasticoid Company Precious Cosmetics Prima Fleur Botanicals Prime Production Ltd. Primera Technology Inc. Product Quest Manufacturing Inc. Proenfar S.A.S.

Q Q Labs Inc. Qosmedix Quality Assured Label Inc. Queens QuickLabel Systems

R Ranir LLC RCPharma Reanima Cosmetics Rieke Packaging Systems

A supplement to Package Design Magazine

HBA GLOBAL EXPO

Rinco International Co. Ltd. Rose Plastic USA Rossow Cosmetiques USA LLC Royal Labs Natural Products RPC Bramlage WIKO USA RSVP Pavilion Rubis

S S&P World Ltd. S. Walter Saehan Art Brush Co. Ltd. Samhwa Plastic Co. Ltd. (MAZEL) SD International LLC Seacliff Beauty Packaging & Laboratories Sederma Inc. SGB Packaging Group Inc. Shanghai Ingeil Plastic & Rubber Co. Ltd. Shanghai Sanying Packaging Material Co. Shanghai Xuerui Imp & Exp Co Ltd. Shangyu Baotai Plastic - aluminum Manufacturing Co Shangyu Chuang Ning Trade Co. Ltd. Shangyu Jianhong Shangyu Jinsheng Plastic Industry Co. Ltd. Shangyu Xinlei Plastic Co. Ltd. Shangyu Yamei Packing Co. Ltd. Shantou HuaSheng Plastic Co. Ltd Shantou Kinhwa Plastic Industy Co. Ltd. Shaoxing Magic Plastic Co. Ltd. Shenzhen Agleam Glass Crafts Co. Ltd. Shenzhen Beauty Star Co. Ltd. Shenzhen Springmery Cosmetic Products Co Sierra M Co Ltd. Silipos-Geligne Skin Deep (MW Labs) Skypack India Pvt. Ltd. SOFW Journal Soho Cosmetic Accessories Co. Ltd. Soo Cosmetic Products Co. Spa De Soleil Spray Technology & Marketing Magazine Sun Laboratories Sung Power Plastic Container Ltd. Sunmart Science

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

T Taeik Co. Ltd. Tair Jiuh Enterprises Co. Ltd. Tapemark Tecnocosmesi s.p.a. Teh Seng Pharmaceutical Mfg. Co. Ltd. Tenhope Leather Manufacturing The Doneger Group The Lebermuth Company Toll Production Topbeauty Enterprise Co. Ltd. Topline Products Co. Inc. Transparent Container Trinity of Youth Tupack Verpackungen GmbH Twincraft Soap

U UA Packaging (Hong Kong) Co. Ltd. UFP Technologies/ Pacific Foam Ultra Seal Unicep Packaging Inc. Uniform Color Company Union Standard Equipment Co. Union Street Tin Co. Unique Specialty Products Utility Printpack P. Ltd.

Yuan Harng Co. Ltd. Yuju Cosmetic Accessories Co. Ltd. Yupo Corporation America Yu-Xiao Plastic Co. Ltd. Yuyao Foreign Trade Co. Ltd. Yuyao Jianda Sprayer

Co. Ltd. Yuyao Jingyi Plastic Industrial Co. Ltd. Yuyao S & M Packaging Co. Ltd. Yuyao Tirrit Co. Ltd.

Z Zhejiang Fuyi Plastics Co. Ltd. Zhejiang JM Industry Co. Ltd. Zhejiang Ruichang Industry Co. Ltd. Zhejiang Sanrong Plastic & Rubber

Zhongshan Weiyuan Packaging Ltd. Zhongshan Weizhao Plastic Mfg Co. Ltd. ...and more to come. (Exhibitors as of July 14th)

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Vanguard Soap LLC Verla International Ltd. VIP Lounge Viva Healthcare Packaging(HK) Limited

W WEBPACKAGING Wechter Innovative Packaging Weckerle Cosmetics Wengu Plastic Cement Co. Ltd. Witoplast Won Yong Beauty Products Co. Ltd. World Wide Packaging Inc. Wormser Corporation Wuxi Sunmart Plastic Products Co. Ltd.

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X Xela Pack Inc.

Y Yon Woo Co. Ltd. Yorker Packaging

A supplement to Package Design Magazine

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GLOBAL TRENDSETTER China

Container Ltd. Creates Custom Forms For High-End Health and Beauty Brands

he Container Ltd. package design firm grew from a design studio that already enjoyed an international reputation. For them, design is not an afterthought. It lies at the heart of all that they do and is seen as a fundamental component in brand development. In a market where first impressions last, the firm’s understanding of beauty helps them create individual designs that reflect the brand that it serves. The designs work hard—catching the eye of potential customers, attracting editorial coverage, securing distribution contracts, and winning international awards. The firm takes time to learn each

can appear complex. Container is a fully integrated service, fluent in English, French, Mandarin, delivering the designs that they create. It manufactures the designs that it creates ensuring that the original vision is never lost in translation. Through its Shanghai production office, Container has formed strong relationships with some of the most advanced factories in Asia and is able to offer a wide variety of manufacturing techniques as well as turnkey solutions. Original and Mineral (O&M)

O&M hair styling products, developed in Australia, take an alternate direction with

“ People don’t make a distinction, on an unconscious level, between the package and product.” clients’ business before a project begins, then applies their straightforward and efficient process. The benefits of avoiding “off the shelf ” packaging are plain to see but successfully taking a different direction

packaging and ingredients. The company researches new ways of replacing harsh chemicals with botanicals and essential oils with similar benefits. The range of O&M hair care includes 350-ml and 250-ml shampoo and conditioner bottles,

The Slingback design comes in both narrow and wide body formats. The design, available in configurations of four, five, and six pans, allows the use of the mirror when the package is closed.

july/august 2010 | PackageDesignMag.com

and 50-ml and 250-ml styling products. A range of simple, familiar forms, the soft matte finish, and color combination are reminiscent of a milk bottle. The unique disc cap is a new look at an existing familiar mechanism, evolved into a signature shape or stamp for the brand. The styling products are a deliberate bold contradiction emphasizing their functional nature while still following the O&M ethos. O&M are pioneers of ammonia-free color technology. To help the brand have a strong presence in the front of the salon, Container was commissioned to produce a new identity and deliver packaging that reflected their offer of salon professional results without harsh chemicals. The forms developed for the wet range are reminiscent of milk bottles. This gives a visual cue to the formulations within—that they are clean, natural, and nourishing. The styling products make a bold statement that helps to create visual tension when merchandised with O&M’s other products on shelf.

Developed with HCP, Radii is an elegant update to a classic configuration. Decorative inserts are applied onto a structural base, allowing for variations in color, texture, and material.

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SEEING = BELIEVING. C

CMY

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GLOBAL TRENDSETTER China

USPA’s Supernatural package design expresses its philosophy of combining age-old botanical wisdom with the latest chemistry. The twist-cap extending up and out of the bottles represents nature and growth while its translucency reveals the technology of the product within.

The forms developed for the O&M “wet” range are reminiscent of milk bottles, giving visual cues to the formulations within—that they are clean, natural, and nourishing.

USPA Supernatural

USPA Supernatural hair care products is a range of shampoos, conditioners, and treatments using only pure elements and natural plant extracts. A combination of age-old botanical wisdom and modern technology, the line was developed in house by Uskincare Australia. Container designed the packages for the worldwide launch of the Supernatural hair care range in 150-ml and 250-ml consumer bottles and 30-ml sample bottles. The package design needed to express the USPA philosophy of harnessing botanical ingredients and employing the latest technology by communicating the brand’s efforts and uniqueness. The USPA audience are knowledgeable modern consumers wanting natural yet effective products. Production is in the hundreds of thousands. The package was designed to be as deliberately unique as the formulations contained within. The aim was to create an attention-getting, sophisticated package that was unmatched in the market. The forms are based on simple geometries of circles, squares, elements that are common the world over. The blending of the cap extending out and up represents 36

july/august 2010 | PackageDesignMag.com

growth, nature, and energy. The unusual configuration of cap to body reflects the unique qualities of the brand, and the bottle color and print are visual cues to the formulations within. The clarity of the cap reveals the technology of the mechanism, a glimpse of the formulation. The combination of forms creates a strong visual presence on shelf, able to be merchandised in a variety of configurations. The packaging speaks to consumers, creates attraction, and projects its desirability. n

This premium brand relaunched with an identity and package design that reflected both the heritage and granddaughter Rebecca Körner’s wish for a modern multi-tasking range.

Container Ltd. partners Brenan Liston, Jonnie Vigar, and Todd Gill have combined over 40 years of experience in the design field. Liston spent time in New York as Worldwide Design Director of Estée Lauder’s Prescriptives brand, Vigar was a designer for Condé Nast magazine titles and UK independents including Wallpaper*, and Gill has ten years of broad design experience across Asia. Contact the team at www.containermade.com or hello@ containermade.com.

RESEARCH Waterpik Insights

Brandimage and Water Pik Inc. Reestablish Waterpik® under Truer Water Flosser Name

hough they were already the dominant player in its category, Water Pik Inc. felt a thoroughly new Waterpik® consumer oral health package design strategy could reestablish the brand globally across all products. Waterpik products are premium, contemporary, and innovative products, which provide clinically proven health benefits. The solution developed by Brandimage Degrippes & Laga was to develop a new design strategy and color platform that contained a new product description and reasons to believe that the new product statement is easier and more effective than traditional dental floss.. The design and research process contained consumer-naming research that revealed the new description of a “Water Flosser.” Targeting research

Waterpik Inc. was looking for a more consumer-centric approach to its oral health package design that would be more relevant in today’s retail landscape. “The objective was to dramatically improve relevance," says Don Childs, v.p. executive creative director at Brandimage. Research guided by Brandimage revealed a number 38

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of actionable insights that Brandimage and Waterpik applied to the package design strategy. Dan Cover, senior marketing manager of Water Pik Inc., explains that the research found some new areas of opportunity but also confirmed some beliefs long held by the company about their customers. The redesign project expectation was to target the non-user more directly while retaining the main existing messages of high quality, effectiveness, and proven technology. The project team interviewed shoppers in the dental care aisle as well as conducted online qualitative and quantitative studies. “We love using research not just to validate, but to inform our design process,” explains Mark Morse, director, client services at Brandimage. In a project like this, Morse says that the more open-ended the questions, the better. Interview questions early in the conversation can tend toward the obtuse to prevent interviewees from second-guessing their own feelings and thoughts. Childs believes that it is important to empower research subjects to give them confidence in their own opinions.

Researchers can successfully turn the tables by treating shoppers like experts who can educate the researchers. “Consumers want to help you,” Childs explains. “They want to be part of the team.” The research discovered more than a few areas of opportunity. For instance, Brandimage and Water Pik Inc. found that many potential consumers did not have a deep understanding of the benefits of Waterpik products. These consumers were skeptical that the purchase would be a worthy investment. Another perception was that the products were old-fashioned. Many customers who had used the product in their youth had fond memories of the brand and its effectiveness but no longer had a desire to use the product. However, a segment of modern consumers who place a premium on health and personal hygiene had already believed that Waterpik products were a more effective alternative to flossing. The goal of the package design project was to communicate to all of these consumer segments what the product is, what it does, and why they need it. Brandimage imagined what questions aisle shoppers would need answered to close the deal,

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RESEARCH Waterpik Insights

such as: Do I use it everyday? Why is it beneficial? Do I need this? Which model is right for me? Defining the elements

Brandimage likes to break down the package design process into three broad phases. Phase 1 tackles the core essence or idea of the product, and attempts to solve the big problems first. Phase 2 develops primary communication tactics for hitting on the key messages, and Phase 3 takes those tactics to the secondary panels to elucidate functional benefits, make the product more familiar, and cross sell. The design team wanted to combine several dichotomous messages to achieve a synthesis of technology, effectiveness, beauty, spa therapy, health, performance, and convenience. The team felt a new product name was the keystone for the rest of the design elements. The ideal name would sound appealing at first sight and encourage flossing everyday. The new “water flosser” description captured the product benefit of harnessing the power of water yet still leveraging the equities of the Waterpik brand. Childs looked at the scope of the design project as an opportunity to create an entirely new visual language—one that is also emotional—based around the key brand messages. “It gave us a window into a fresh way to talk about things,”

he explains. The process looks to define strategic verbal and visual "tones of voice" to give meaning to the brand and articulate a vision. Those platforms would inspire, guide, and direct the design. The tones of voice were: 1) Healthy glow; 2) Hydrotherapy; and 3) Technological evolution. Maximizing the graphics

Infrequent purchases in this category mean that the typical Waterpik consumer is encountering the shelf set as if it were a new product category. The front panel of a such a product must engage but not confuse consumers. Water Pik's old package design was mired in a complicated context that needed to be simplified and energized. The new packages’ front panel graphics center on the tip of the device, where the “magic” starts to happen. Some Waterpik devotees call the device handle their “wand,” which to them is technical, modern, and magical. The pulsating spa experience emanates from much cleaner and more vibrant Caribbean water blues. Showing a hand holding the wand on each package both personalizes the product and provides a size reference for the shopper. Consumers better understand the product in the box, which is hidden from inspection, and can more easily envision themselves holding the wand at home.

Research identified three different “tones of voice” that would inspire, guide, and direct the design.

The icon system at the bottom of the package attempts to apply a shorthand way of indicating relative feature differences and number of options to educate consumers at shelf so they get the right model for them. The warranty length, in years, is displayed as a corresponding number of stars, an icon often used to rate movies and restaurants. Trading up is encouraged by indicating the number of tips, water capacity, pressure settings, tip storage, and relative quietness. Childs explains that icons draw shoppers to the key information. On the side panels, the key information is reinforced with more size references and use occasions. On the back panel, text and graphics continue to reinforce the main brand messages. "The package is a storyteller,” Childs says. Globalizing production

With both minor and significant package differences in various global markets, another dynamic part of this continued on page 47 »

BEFORE

Brandimage developed three distinct brand directions before settling on water flosser and combining all three directions into one.

july/august 2010 | PackageDesignMag.com

5 & 6 October 2010 Copthorne Tara Hotel, London, UK

Book online now at

w w w . p i ra p a c k s u m m i t . co m

Mark Coetzee, Programme Director, PUMAVision, PUMA

Keynote presentations by

Oliver Campbell, Worldwide Senior Manager of Packaging, DELL INC. Asit Modha, Head of Beverage Packaging R&D, PEPSICO INTERNATIONAL

Pav Anand, Engagement Manager, Retail and Consumer Goods, MCKINSEY & COMPANY

Julian Walker-Palin, Head of Corporate Policy for Sustainability & Ethics, ASDA

A L S O P R E S E N TAT I O N S F R O M : Prof Michael Braungart – Director, EPEA/MBDC Graham Hales – INTERBRAND Dr Ron Colwell – HJ HEINZ Maureen Hinton – VERDICT RESEARCH Pav Anand – MCKINSEY & COMPANY Prof Michael Braungart, Director – EPEA/MBDC Dr Ian Bucklow – CROWN HOLDINGS

Peter Skelton – WRAP Mark Coetzee – PUMAVision, PUMA Oliver Campbell – DELL, INC. Julian Walker-Palin – ASDA Diana Oancea – EUROPEAN COMMISSION Dr Oliver Sparrow – Author of “Beyond Crisis” Mike Trenouth – L.E.K. Nicholas Mockett – MOORGATE CAPITAL

Phone the team +44 (0)1372 802006 Email us stephen.frier@pira-international.com Mail us Pira International, Cleeve Road, Leatherhead, Surrey, KT22 7RU, UK Visit us online www.pirapacksummit.com

SUSTAINABILITY UPDATE

Perceptions, Realities, and Material Choices Making the hard and easy decisions By Wendy Jedlicka, CPP

“P

ollution is nothing but the resources we are not harvesting. We allow them to disperse because we’ve been ignorant of their value.” (R. Buckminster Fuller) In the past few years, more and more companies are getting their arms around the idea that waste is a waste. To do what they do profitably, really profitably, there should be no waste. Everything and every effort should not only serve its primary function, but also have a next-life plan that feeds back into the system, creating economic synergies—the win-win-win of triple bottom line economics. Today, paper and paperboard are enjoying a pretty good relationship both with the packaging industry and consumers. As a material, it is one of those ideas that people “get” right away. Trees are renewable, and forest products, especially when they come from a well-managed forest (FSC-Certified, for example), offer a whole host of “this life” and “next life” uses and advantages.

Because this new Energizer lantern package does not enclose the product in plastic and uses minimal paperboard, its material content is reduced dramatically.

july/august 2010 | PackageDesignMag.com

Plastic packaging, on the other hand, is loved best by the people making and using the stuff. Fuel savings alone over similar containers made from glass, for example, are staggering. But consumers don’t really connect on that level. They don’t look at a plastic package and see how little oil it took to get that thing into their hand. What they see is future garbage, made from fossil resources, encasing the thing they want to buy. As the tide comes in

Consumer advocacy sites today point readers toward seemingly any plastics alternative, even though some of the alternatives they suggest burn more energy per product delivery unit. But as long as it’s not plastic, they’re all over it. As millions of gallons of oil continue to spew into the Gulf of Mexico, wreaking havoc on the economies and ecosystems of an already beleaguered region, how plastics are viewed by the general public is not improving—even though not all plastics are made from oil. Moving from the mainstream view of packaging as part of the bigger ongoing pollution problem— coupling it as a chronic litter/ocean-pollution problem, with visions of helpless animals choked with heavy black oil—plastic packaging carries a bit more weight than just the product these days. But let's be clear here, plastics are not the enemy, the issue is how we in the industry have chosen to misapply this incredibly versatile resource. For the companies that had already made the commitment to remove or reduce plastics packaging, the current environmental crisis in the Gulf is making their choices look even more brilliant. A number of companies have developed plastics-reduced clamshell alternatives (70% to 90% plastics reduction in many cases). A few examples are Winterborne (EnviroShell™), International Paper (SafePak™), MeadWestvaco (Natralock™), Colbert Packaging (BlisterGuard, EnviroGuard), and J&J Packaging (SuSTANDable). With these products, the consumer, retailer, and producer enjoy the advantages of a sealed clamshell without the annoying, angering plastic encasing each product. The key clamshell characteristics are maintained, such as tamper evidence, easy product viewing, plenty of display area for product info, favorable transport attributes, and pilfer resistance. New to this list of attributes though, is the fact that many consumers “get” what the manufacturer is doing in the bigger picture, and appreciate the lack of over-packaging that has been the bane of consumers for some time. Consumer Reports magazine, for instance, presents annual Oyster Awards for hard-to-open packaging.

In addition, as primarily paper-based structures, the new clamshell replacements help consumers understand right away that they can help close the loop and feed the bulk of this type of packaging back into the resource stream. (Triple bonus score: Many of these clamshell alternatives are also made from postconsumer waste.) Going one step further, for more durable goods, plastics are being eliminated altogether in favor of a simple but robust paperboard structure that lets the product hang in the store (or sit on a shelf ), while still letting the consumer really feel and interact with the product (a big plus when it comes to tools for example). Getting your product into the consumer’s hand is a huge step toward getting it into their cart, and part of what a good package should do. To do that, and to do it with a tiny eco-footprint anyone can feel good about, is what a great package does. n

The proprietary Natralock package system from MWV (MeadWestvaco) replaces traditional clamshells with a highstrength, tear-resistant package that can easily be opened with scissors, leaving a smooth, safe edge and preventing “wrap rage.”

The Sustainability Update is coordinated by Wendy Jedlicka, CPP – Jedlicka Design Ltd. (www.jedlicka.com), Minneapolis College of Art and Design’s groundbreaking Sustainable Design Certificate Program (www.mcad.edu/sustainable), and editor of two sustainability books: Packaging Sustainability and Sustainable Graphic Design (www. PackagingSustainability.info).

july/august 2010 | PackageDesignMag.com

TRENDWATCHER

Consumer Trends That Could Keep Your Brand Off the Kitchen Table By Lisa Baer

ne thing is certain: federal regulation changes are coming for packaged goods. It is already clear that health claims will be a focus—particularly in the children’s market. While the FDA is still deciding if high-fructose corn syrup qualifies as natural, parental associations, government agencies and schools are sounding the alarm over childhood obesity and hyperactivity. The Children’s Food and Beverage Advertising Initiative along with the new emphasis in school “healthy eating” programs will ensure that both children and parents are more alert than ever with healthy choices in the grocery store. What does this mean for your brand? Marketers and brand managers must monitor this changing landscape carefully to stay ahead of competition and identify packaging trends as they emerge. Trends that could be keeping your products from moving off the shelf. Are you losing sales to one of the following?

Two minutes is a long time in a grocery aisle to study product claims. These claims need to be accurate and chosen carefully to insure your product isn’t left on the shelf. Functional foods marketed to children

Selling health to kids is a unique balance of fun and fact. Disney just created a licensing agreement to market fresh fruit in European supermarkets. This means that Winnie the Pooh could show up on a banana. Given a choice, which banana do you think your kid would choose? For this market, children shopping with their parents are prompting for the purchase. Does your packaging talk directly to kids? This category is priming to be a serious contender. According to the Nutrition Business Journal’s “2009 U.S. Healthy Kids’ Market Overview,” the functional food kids segment is burgeoning: “The largest contributor to the healthy children’s market, as NBJ defines it, is the functional foods category, which holds a 76% share of the healthy kids’ market and was worth an estimated $7.7 billion in 2008. According to NBJ’s estimates, 21% of the total U.S. functional food and beverage market is targeted toward kids.” This isn’t surprising when you consider that childhood obesity and Type 2 diabetes are on the rise. Not to mention that children and adolescents 17 and younger make up nearly a quarter of the U.S. population. This combination offers an attractive proposition for those branding health-focused products for this group—or anyone who would like to. In-store nutrition tagging

Food with functions

Functional foods are the new stars—get to know them and who consumes them. The functional food shopper is primarily driven by a desire to reduce their use of medicine, improve their long-term health and stay fit. They span every age category, with roughly half of every age group occupying the “food as medicine” niche (48% of shoppers under the age of 30, 56% of those 30- to 70-years-old, and 46% of shoppers over 70). However, functional foods are only as successful as the claims they can communicate. And their marketing (and labeling regulations) require sturdy scientific research. Did you know that 78% of the consumers in this market take the extra two minutes required to read the labels and claims before buying? 44

JULY/AUGUST 2010 | PackageDesignMag.com

Naturally, retailers are getting in on the action, too. Larger supermarkets have created their own shelf-level marketing to direct consumers to healthier products. At Albertsons stores, “Nutrition IQ,” uses color-coded tags to identify the nutritional content and ranking of qualified food items. This system alerts to shoppers to a key health fact and may sway them to the purchase of a new brand. Now the hurried consumer who before barely had time to read a price tag will also have nutritional standing to consider. It is indispensable that your packaging works with this system so that it is not done for you...unfavorably. ■ Lisa Baer is president of Baer Design Group, a strategic branding and package design firm that gives brands the joy of market share. The team of veteran designers, seasoned brand architects, talented copywriters, and established brand managers has been creating recogized brands and packaging for more than 14 years. Contact Lisa by visiting www. baerdesign.com.

“To Infinity and Beyond…” Digital Printing Untangles a Shampoo Snarl for L’Oreal

It is one thing to promise no tangles, but to give the shampoos from L’Oréal Kids a true “must have” appeal, the company redesigned its labeling in North America. Partnering with Hollywood, L’Oréal produced limited edition, shrink wrapped bottles with themes tied to newly released children’s movies. The only snarls in the project were color and quality. Traditional printing methods were unable to meet the critical color the movie producers demanded. For the Toy Story 3 Limited Edition shampoos, L’Oréal turned to Sancoa International Company L.P. in Lumberton, NJ, and its HP Indigo WS6000 digital presses. Despite being a considerable run length, the shrink sleeves turned out to be ideal for these machines. The Limited Edition has four different bottles that feature the popular Toy Story characters—Buzz Lightyear, Woody, Jessie, and Rex. Each formula is also themed to a fruit, and the labels have the appropriate bright, pure color. Digital printing hit both the colors and the tight registration necessary to achieve consistent, repeatable quality. “We thought digital would be too expensive for our long run lengths,” says a representative from L’Oréal. “While there was a per unit price increase, when we did a cost/pricing analysis, the total system cost was better than for traditional processes. What’s more, we got the quality we needed, and our lead time was cut dramatically so that we achieved faster time to market.” Sancoa serves the personal and beauty care markets, particularly Fortune 50 companies like L’Oréal, Procter & Gamble, Johnson & Johnson, Unilever, and others. Sancoa has always used leading-edge technologies for printing, mostly because of its customer profile. The company evaluated digital presses for years, but they didn’t meet its customers’ or its own needs. The HP WS6000 presses have the speed Sancoa requires. There are other market factors favoring digital production as well. Sancoa’s experience is that even the largest consumer products companies are no longer willing to live with inventory, so runs are more frequent and their lengths shorter. In addition, global SKU proliferation is a factor that cannot be underestimated. Sancoa president and CEO Joseph Sanski explains that in the U.S., it’s differentiation that drives consumer product goods companies. In the past, global hair care brands used to have as few as two formulas—today they have as many as a dozen or more. In Europe, the demand for digital presses is growing because of both multiple SKUs and the requirements for multiple languages. The

EU has gone from eight official languages to 22. For these major brands, that’s 22 variations times 12 or more SKUs. The new HP Indigo WS6000 digital press is ideal for this kind of production. It runs at a high-speed throughput of up to 98 feet per minute for four-color jobs. Large-volume ink canisters allow uninterrupted printing for longer periods and can be replaced on the fly. The press also lets printers use mixed spot color and four, six, or seven simulations. Its exceptionally broad color gamut helps match the widest range of customers’ color requirements and brand guidelines. It supports substrates from 12 to 450 microns in thickness, so it can be used for labels, flexible packaging, shrink sleeves, and folding cartons. L’Oréal is also using a multi-channel marketing approach to boost interest in the shampoos. It has set up a special website (www.lorealkids.com) where children can register for a sweepstakes and see a trailer from Toy Story 3. L'Oréal is considering leveraging the variable data capabilities of the HP Indigo WS6000 in the future, which will make it feasible to add some fun features on the shampoo bottle label that are only possible through digital printing.

july/august 2010 | PackageDesignMag.com

DESIGN GALLERY Health & Beauty

HCT’s Busy Summer Introduces Three Fresh Makeup Packages

elebrating the return of warmer months, Urban Decay recently released a special limited edition “Summer of Love” palette. Following on from the success of last year’s “Get Baked” kit, the Summer of Love features four of Urban Decay’s popular pressed eye shadows and 24/7 eyeliner. HCT manufactured the slimline cardboard kit complete with a generoussized mirror and a secure magnetic closure. Nick Gardner, executive v.p. of HCT CA, comments: “The packaging is made from sturdy cardboard with decorative paper wrap finish, accommodating bestselling Urban Decay eye shadows and liner. The kit is small enough to fit into a handbag with the design allowing it to withstanding any potential everyday knocks. A magnetic closure ensures the product inside is safe and secure.” Created by Danish-born, New York-based makeup artist Kirsten Kjaer Weis, new cosmetics brand Kjaer Weis combines high quality, natural, and organic formulations with contemporary luxury design. Kjaer Weis worked with renowned designer Marc Atlan to create the designs for the compacts based on Kjaer Weis’s vision. HCT supplied the expertise in Zamac alloy engineering to manufacture a collection of visually stunning, heavyweight compacts for eyes, lips, and cheeks. Each compact is refillable, a principle which was very important to Kjaer Weis. The white enamelled KW logo housed in red lacquered grain-textured boxes is reminiscent of prestige jewelry boxes. Kjaer Weis comments: “Zamac was a conscious choice due 46

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to its elegance, natural beauty, and weight, which, along with the closing click of the compact, is like the sound of an old classic car door closing. I wanted something unique, modern, forward-thinking, but also socially responsible.” Professional makeup artist and global cosmetic brand developer Eddie Funkhouser recently launched his professional makeup line, EF | STUDIO™. The new makeup artist-focused line features exquisite formulas and shades, as well as high quality professional makeup tools. Having previously worked with HCT on the development of the E. Funkhouser™ New York collection, Funkhouser worked closely with Anthony DeMarco and HCT’s East Coast office for choosing much of the line’s sleek components. He sought out a clean, refined design for primary packaging with an ultra-glossy “piano black” finish. Funkhouser also consulted HCT for many of the ranges exquisite formulas and shades. The professional grade formulas, edge-of-the-art shades, and eye-popping effects are all aimed at allowing makeup artists to return to their creative roots. Funkhouser comments: “HCT has been an ideal business partner in developing products that have consistently exceeded our expectations for innovation, quality, and performance. It’s rare to find companies who ‘get it’ the way that they do.” The EF | STUDIO™ range features lip, eye, and cheek palettes alongside high quality professional makeup tools including custom-designed brush sets, bags, and brush belts. n

RESEARCH Waterpik Insights » continued from page 40

that were matched across substrates. Brandimage delivered color standards and digital application data sets for printing characterizations and printing processes. All four Chinese printers, for instance, followed the near neutral calibration with all press sheet samples received having a very low Delta ^E

color variation measurement (less than 2.0 between all press runs). Additional benefits include shorter make-readies and less waste in the overall runs, not to mention great color execution. “It’s a new era in managing color—color engineering instead of color management,” Mannira says. n

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COMPS PROOFS DISPLAYS SALES SAMPLES FLEXIBLE FILMS MODELS & PROPS INDUSTRIAL LABELS PROTOTYPES & MORE

Brandimage began the project with the intention of creating a brand platform that could expand to products in the category and beyond.

project was the delivery of the design intent. Part of the solution was creating an information hierarchy on all the panels that could be applied consistently without exception. “Waterpik needed a system that would flex with them and grow,” says Todd Mannira, production director at Brandimage. Realizing and translating the new colors were imperative for success. Knowing this, Brandimage implemented a global print management and print quality program called Design Integrity Management. It partnered with EskoArtwork and Sun Chemical to utilize real ink color targets and leveraged the in-house Kodak Approval to provide accurate color target proofs to all the printers. Mannira explains that these tools make it possible to predict accurately what the packages will look like ahead of time, from profile to proof. Waterpik wanted to “own” its vibrant Caribbean blue color and maintain the integrity of its color targets across substrates and across the world. Sun Chemical’s SmartColor Ivue, which predicts how a million colors look on a wide variety of substrates, helped achieve that goal. “We didn’t design ourselves into a corner,” Mannira explains. The backend visual management went well because of the precalibrated profiles

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Pack expo countdown

DuPont Sponsors Project 2020 at PACK EXPO International 2010

onveying brand value through packaging remains a powerful strategy to entice consumers to notice—and ultimately buy—products. To help brands develop that identity and preference with consumers, PMMI is bringing The Brand Zone to Pack Expo International 2010 (October 31 – November 3; McCormick Place, Chicago, IL) for the first time. Making its Chicago debut, The Brand Zone will cover more than 60,000 square feet and showcase a range of innovative containers and materials, in addition to approaches that can help brand owners increase shelf impact, maximize shelf life, improve sustainability, and add functionality. Exhibits will include advances in glass, plastic, metal and paperboard, and a variety of decorating and labeling techniques and reclosable packaging options. “Packaging is an essential marketing vehicle—keeping brands competitive and relevant with consumers even as priorities and tastes change,” says Charles D. Yuska, president and CEO of PMMI, the sponsor and producer of PACK EXPO. “The Brand Zone helps brand owners stay connected to the latest technologies so they can position themselves for longterm success.” Project 2020: The Consumer Experience

Pack Expo will also introduce attendees to the future of packaging with Project 2020: The Consumer Experience, located in The Brand Zone. DuPont will be the exclusive sponsor of this new area of The Brand Zone, which will examine the consumer demands expected to drive packaging innovation 10 years from now. “DuPont’s commitment to innovation has resulted in a number of breakthroughs in packaging technology that have enhanced product freshness, convenience and visual appeal,” says Yuska. “This philosophy makes them a perfect match for Project 2020: The Consumer Experience, which at its core, is about 48

july/august 2010 | PackageDesignMag.com

pushing the boundaries of packaging and anticipating what will drive purchasing decisions in the years to come.” Project 2020: The Consumer Experience will feature packages of the future as imagined by the package design and development community. Designers have been invited to submit concepts for consideration, and prototypes of the 20 judged most creative solutions will be displayed. “Sponsorship of ‘Project 2020: The Consumer Experience’ at Pack Expo is completely in line with DuPont’s commitment to collaborative innovation,” says Yasmin Siddiqi, global packaging and consumer marketing director, DuPont. “This project will stimulate thinking about future brand owner needs, especially in terms of how brand owners and suppliers work together, using a collaborative problem-solving approach to serving consumers.” From the field of 20 finalists, the judges will select one Grand Prize Winner to receive the Complete Studio Bundle from EskoArtwork. The other 19 finalists will receive copies of Studio Designer, EskoArtwork’s 3D visualization plug-in for Adobe Illustrator. The judging panel will include representatives from PMMI; media partner Package Design Magazine; software partner EskoArtwork; and ABI, PMMI’s marketing p.r. partner. To bring The Brand Zone and Project 2020: The Consumer Experience, sponsored by DuPont, to life, PMMI will again partner with Lippincott, a global brand strategy and design consultancy firm that has worked on retail design initiatives with top brands including McDonald’s and Nissan. Lippincott will provide its expertise and services to create a unique experience for Pack Expo attendees. n For more information about PACK EXPO International 2010, visit www.packexpo. com or contact PMMI’s Show Department at 703.243.8555 or expo@pmmi.org.

Sustainable Cosmetics Summit Brings Together Thought Leaders Some of the thought leaders in sustainability will be discussing practical initiatives for the beauty industry at the upcoming Sustainable Cosmetics Summit taking place in Paris from October 18-20. The summit is the first of its kind that focuses on various methods to reduce the environmental and social impacts of beauty products. Titled “Lowering Environmental Impacts,” the opening session of the summit explores the various sustainability activities beauty companies can undertake. Professor Michael Braungart, author and founder of EPEA International, will illustrate how the Cradle-to-Cradle (C2C) design approach can be used to measure and reduce environmental impacts. Rainer Plum, founder of Tautropfen and New Ethics Institute, will highlight positive case studies of corporate social responsibility and ethics in the beauty industry. Rik Kutsch Lojenga from the Union for Ethical BioTrade will reveal the group's latest biodiversity barometer research, while Beraca, a Brazilian supplier of natural ingredients, will show how ethical sourcing can have a positive impact on social communities and the environment. In other sessions, Ido Leffler, cofounder of Yes To Carrots, will discuss the challenges and pitfalls of expanding distribution. Since its launch in 2007, Yes To Carrots has expanded distribution to over 25,000 outlets. A separate Sustainable Packaging session will open by giving a broad overview of the various ways beauty companies can reduce their packaging footprint. The potential of biopolymers in beauty packaging applications is explored by Mirel Bioplastics, while a leading packaging firm looks at novel uses of recycled packaging in beauty products. John Delfausse from Aveda will share some of the company’s pioneering packaging initiatives. Aveda is the world’s largest user of post consumer grind packaging in the beauty industry. Sustainable packaging is also the subject of an interactive workshop on day three of the program. Organized by Organic Monitor, the aim of the Sustainable Cosmetics Summit is to encourage sustainability in the beauty industry by bringing together key stakeholders and debate key industry issues in a high-level forum. Visit www.sustainablecosmeticssummit.com.

design rewind

Anti-Freeze Brands And New Designs Proliferated in 1940

n our continuing series, from the December, 1940, issue of Packaging Parade, published in Chicago by Haywood Publishing Company. This segment was called â&#x20AC;&#x153;Meet the Antifreeze: A Good Study in Labels and Names.â&#x20AC;?

April 2009 | PackageDesignMag.com

Package Designersâ&#x20AC;&#x2122; Datebook september 2010

october 2010

Sept 14 - 16 | LabelExpo Americas Donald E. Stephens Convention Center Des Plaines, IL Web: www.labelsummit.com

Oct 3 - 6 | Graph Expo10 McCormick Place, Chicago, IL Web: www.gasc.org Phone: 703-264-7200

Sept 14 - 16 | Digital Label Summit Donald E. Stephens Convention Center Des Plaines, IL Web: www.labelsummit.com

Oct 5 - 8 | Tokyo Pack 2010 Tokyo Big Sight, Tokyo, Japan Web: www.tokyo-pack.jp/en Phone: (+81) 3-3543-1189

Sept 16 - 18 | International Packaging Congress Istanbul, Turkey Web: www.ambalajkongresi.org Email: sekreterya@ambalajkongresi.org

Oct 12 - 16 | 17th IAPRI World Conference on Packaging Renaissance Tianjin TEDA Hotel and Convention Center Tianjin, China Web: www.iapriweb.org/events.php

Sept 22 - 24 | InterBev Orange County Convention Center, Orlando, FL Web: www.interbev.com Email: interbev@naylor.com Phone: 703-934-4700 Sept 28 - 30 | HBA Global Expo Jacob K. Javits Convention Center New York, NY Web: www.hbaexpo.com Email: FFelicia@hbaexpo.com Phone: 212-600-3322

Oct 13 - 14 | MidPak Minneapolis Convention Center Minneapolis, MN Web: www.midpakshow.com Email: mpinfo@cancom.com Oct 20 - 22 | Luxe Pack Monaco Grimaldi Forum, Monaco Web: www.luxepack.com

Oct 31 - Nov 3 | Pack Expo McCormick Place, Chicago, IL Web: www.packexpo.com Email: expo@pmmi.org Phone: 1-888-ASK-PMMI Oct 31 - Nov 3 | CPP Expo McCormick Place Web: www.cppexpo.com Email: susan.duval@cancom.com Phone: 203-601-3745

november 2010 Nov 14 - 16 | PLMA 2010 Private Label Trade Show Donald E. Stephens Convention Center, Rosemont, IL Web: www.plma.com Email: info@plma.com Phone: 212-972-3131 Nov 22 - 25 | Emballage/Pack the World Paris Nord Villepinte Web: www.emballageweb.com Email: stephanie.dryander@comexposium.com Phone: (+ 33) 01-7677-1280

index of advertisers ABG3x2ad.qxd

page

advertiser

H17

All Packaging

17 (insert)

Laser Excel

Alpha Packaging

Luxe Pack

H19

Allen Field

H10, H11

H13

Ares

Arjobex America

IFC

Boutwell Owens

Brushfoil

IBC

Clearwater Paper

Paperworks Industries

Diamond Packaging

PIRA

EskoArtwork

PMMI (Pack Expo)

Georgia-Pacific

RMS

page

Mimaki Owens-Illinois PackageDesignMag.com Pantone

HBA Global Expo

Unisource

33 (insert)

Henkel

Yupo

45 (+insert)

Lablabo

Classified Access Business Group

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11:21 AM

Milliken & Company

H15 (insert) Hazen 7

2/12/08

advertiser

Roland DGA

7575 Fulton Street East Ada, Michigan 49355-0001 800-879-2732 www.accessbusinessgroup.com

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NEWS

Beardwood&Co. Infuses Collection With Modern Apothecary Aesthetic

Specific Beauty is a category first skincare line designed for African American, Latina, and Asian women. Developed by prominent dermatologist Dr. Heather Woolery-Lloyd, Specific Beauty turned to New York-based brand, insight, and innovation firm Beardwood&Co. to design the striking new packaging for the mass-market line. “My specialization in ‘multi-hued’ skin tones, which refers to the range of tones including tan, olive, and brown skin, coupled with my determination to create an effective skincare line that would deliver radiant, even skin at a price point accessible to all women, was the driving force behind the creation of Specific Beauty,” says Dr. Woolery-Lloyd. “The packaging needed to inform women about the products’ functions, reassure them that the formulas are based in the science of dermatology, and convey a sense of serious beauty.” The Specific Beauty regimen consists of five products that are formulated for use together. The regimen promises to deliver a more even skin tone, improved skin texture, and a complexion that is bright and radiant. The Beardwood&Co. team, led by creative director/partner Sarah Williams, eschewed traditional design cues for beauty products targeted for the ethnic market, such as rich color palettes, and instead designed clean packaging inspired by apothecary traditions. The Beardwood&Co. team designed bright bold blue bottles topped with serious-looking black pumps. The simple, white medicinal labels highlight the function of each product and its role in relation to the total skincare system. The sophisticated logo features a custom bronze typeface—an important cue for

radiant skin tones—surrounded by a blue and a purple circular seal that indicates precision and focus. Dr. Woolery-Lloyd’s prescription pad was the inspiration behind the design of the regimen charts found below the logo. Beardwood&Co.’s Williams concludes: “As drug stores are upping the level of premium products and improving the overall shopping experience, it was important to create packaging for the mass marketplace that could stand out and compete in this environment with its modern, clean, and fresh graphic treatment.”

Package Redesign Gets Coverage In a Major Consumer Magazine

In the “Shopping Guide” section of the June 2010 issue of Allure magazine, Sarah Z. Wexler explains the different elements of the Noxzema brand update. The One Pica marketing agency helped Noxzema created the more modern label with a pearlized finish and metallic touches. Several elements are new, such as the bubbles in the background, but the logo is more evolutionary than revolutionary. To reassure loyal customers that the redesign did not accompany a reformulation, a light blue oval confirms: “Same Trusted Formula.” ■ JULY/AUGUST 2010 | PackageDesignMag.com

WOW! WHAT A PACKAGE

A Thirst for Blood An IV package holds a potent energy drink By Lynn Dornblaser

o, you want to be a vampire. But the challenge is that blood thing. A bit messy it is. Definitely not for the squeamish. Or for those who would rather not break the law. (Biting necks must be considered assault, I’m assuming.) Well, for those consumers who want to fully embrace the vampire ethos without having to go to all the bother to find victims and bite their necks (and all the rest), there is apparently an option. A small company in the U.S. has introduced an energy drink that the company says not only looks like blood but also has the consistency and nutritional makeup of blood. The drink does not, however, taste like blood—more like fruit punch, actually. Harcos Laboratories’ Blood Energy Potion completes the entire picture of living the vampire lifestyle with the product package. The flexible pouch holds 3.4 oz. of energy drink, capped with twist-off closure. Usually, pouches of this sort have a flat bottom so that they can easily stand. Not this one. The Blood Energy Potion package is intended to be merchandised closure down, to remind one of a blood transfusion pouch or intravenous drip bag. A hole in the pouch base—the top in this case— allows for pegboard display. And to help reinforce the point of the product, the display case for the drinks also has the pouches in the spout-down position, making them look a bit like they have been lifted from the local blood bank. A female vampire illustration graces the display, which features the benefit statements of “For Humans or Vampires” and “similar nutrients to real blood.” Cleverly, the company continues the sleight of hand with the pouch with the package graphics. The graphics look somewhat like a label that you would see on a true blood transfusion pouch, right down to a fake barcode. And to complete the look, the pouch printing re-creates a few bloody fingerprints on the front. This particular product illustrates quite well how a hot trend and an interesting formulation can be elevated to another level via smart packaging. In this case, clever and funny elements play on the current fascination with all things vampire. Putting this energy drink in a standard bottle would greatly lessen the impact and the appeal. Normally with a novelty package such as this, the downside would be that the trend will 52

JULY/AUGUST 2010 | PackageDesignMag.com

eventually fade, making the product obsolete. However, the Blood Energy Potion is in a category that seems to be defined by relatively quick in-and-out products and shorter-term products that have a strong sense of fun. Just think: once upon a time, vampires were horrible, nasty old men (recall Max Schreck in 1922’s “Nosferatu” and Bela Lugosi in the classic 1931 “Dracula”. Now, they are young and beautiful, and apparently drink fruit punch. Wow, how times have changed. ■ Lynn Dornblaser is the director of the Custom Solutions Group at Mintel International. She can be reached at 312-932-0400 or lynnd@mintel.com

WHAT WILL YOU MAKE WITH PLUS?

Introducing The Plus Series, the next generation of the Pantone Matching System®. 566 new colors. One big Plus. pantone.com/plus PANTONE® and other Pantone trademarks are the property of Pantone LLC. Pantone LLC is a wholly owned subsidiary of X-Rite, Incorporated. © Pantone LLC, 2010. All rights reserved.

Final Good Reflection Ad:Mech 3525 PkgPrint Half Ad

3/16/09

4:16 PM

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Good Reflections

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