shopper marketing

Transcription

shopper marketing

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AUG08
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WORKING THROUGH
THE CHALLENGES OF
QUALITATIVE RESEARCH
V
CATEGORY ANALYSIS:
COSMETICS
V
www.brandpackaging.com
LIPTON’S GLOBAL
REPACKAGING
SHOPPER
MARKETING:
It’s not about the brand
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Volume 12
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CONTENTS
AUG08
Number 06
COVER STORY
SHOPPER MARKETING:
IT’S NOT ABOUT THE BRAND
08
Effective in-store programs consider the needs of retailers and shoppers first.
USING QUALITATIVE PACKAGING RESEARCH EFFECTIVELY
16
26 LIPTON’S GLOBAL REPACKAGING
CATEGORY ANALYSIS
WHAT’S NEW AT THE COSMETICS COUNTER
v
32
DEPARTMENTS
02 EDITORIAL
04 NEXT+NOW
20 GETTING IT RIGHT
The needs of a segment should drive design
24 BRAND NEW
38 MATERIALS UPDATE
v
The evolution of a heritage brand
PAPERBOARD
44 PACKAGING THAT SELLS
v
40 PACKAGING THAT SELLS
GLOBAL
48 FOLLOWING UP
v
Go for the Jugular
LOOKING FOR MORE ON A TOPIC?
go to www.brandpackaging.com
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BP-808-p02-03-Editorial
IT’S A JUNGLE
OUT THERE
senior editor
PAULINE HAMMERBECK
hammerbeckp@bnpmedia.com
contributing editor
ERIKA FLYNN
JENNIFER ACEVEDO/
EDITOR IN CHIEF
technical & marketing information editor
AARON BRODY, PH.D.
senior art director
MICHAEL ESCOBEDO
art director
BILL ANTKOWIAK
V
I
have heard some interesting analogies while talking to marketers about the not-so-subtle
distinction between the consumer and the shopper. I will spare you the examples, but let’s
just say that some are, to put it diplomatically, “creative” and at least one evoked images of a
jungle cat stalking its prey. Rarely do we see this level of cunning and premeditation at my
local Dominick’s grocery store, however.
editor-in-chief
JENNIFER ACEVEDO
acevedoj@bnpmedia.com
ADVISORY BOARD
principal, lipson, alport, glass & associates (laga)
HOWARD ALPORT
chairman, pratt inst. graduate
school of package design DON ARIEV
president/ceo, brandscope GARY CHIAPPETTA
president, product ventures PETER CLARKE
While researching our cover story this month, senior editor Pauline Hammerbeck managed to
elicit one of the best explanations I’ve seen on the subject from Saatchi & Saatchi X’s Julie Quick:
“Shoppers are master editors. Their primary job is to find out what to tune out, so they can figure
out what to tune in.” (more on this, beginning on p. 8)
president, the consumer research network, inc.
MONA DOYLE
principal of integrale GRETCHEN GOGESCH
vice dean and director, undergraduate division,
the wharton school BARBARA E. KAHN
dean lindsay design DEAN LINDSAY
chairman, department of food marketing,
st. joseph’s university JOHN B. LORD, PH.D.
Consumers are bombarded by an overwhelming quantity of stimuli while shopping, and, as
marketers, it’s critical to understand what motivates that shopper at the critical point where the
shopping cart meets the aisle. More and more, brands are devoting time, and dollars, to
understanding how packaging can be used to catch and gain shoppers’ attention.
02
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VOLUME 12 NUMBER 6
assistant professor, school of
packaging, michigan state university
DIANA TWEDE, PH.D.
email contact SHAWN KINGSTON
800-409-4443 x828
shawn.kingston@epostdirect.com
I hope you’ll join us Oct. 2-3 at the beautiful
Drake Hotel in Chicago to hear General Mills’ “In the
Consumers’ World, Using their Words” presentation,
along with the balance of our thought-provoking and
engaging program at BRANDPACKAGING’s
PACKAGING THAT SELLS conference. For more
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www.packagingthatsells.com. BP
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At our sixth annual PACKAGING THAT SELLS conference we’ll offer the opportunity to hear
from Lisa Osborne, manager of consumer insights at General Mills, on just this subject. Speaking
with Mark Dulle of Meyers Research Center, Osborne will share key insights into General Mills’
in-context qualitative research methodology and
offer practical how-to’s on how to implement such
an approach for your brand. In-context research
focusing on package design can help uncover
valuable insights beyond quantitative research, and
help you understand how consumers shop so that
key design elements can be translated and
leveraged to create packaging that makes an
impression, and moves the needle.
president, source/inc. WILLIAM J. O’CONNOR
AUGUST 2008
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AUG08
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+NOW
NEXT
RECYCLING PROGRAM
OFFSETS RISING
FOOD COSTS
Brands like Kraft, Evian and Stonyfield
Farm and retailers like CVS and Petco
are signing on with RecycleBank, a
recycling facilitator that awards
points to households based on
the weight of their curbside
recyclables; points are
redeemable for groceries and
other goods. An RFID-embedded
recycle bin and a single-stream recycling process
(no sorting required by consumers) simplifies the
process. Recycling rates in one of the first
Philadelphia neighborhoods that RecycleBank
served rose from seven percent to 90 percent in a
matter of months, according to a report in Time.
HEARD!
“
Retailers and suppliers
must prepare for various
scenarios, including the worst
with continued increases in
commodity prices and
slowing consumer spending.
They must exhibit flexibility,
minimize costs, maintain
multiple supply chain choices
and clearly differentiate
from competitors.
“
—Deloitte Touch Tohmatsu’s
Food and Beverage 2012 report on the
future of rising commodity costs
‹‹
(Our take on this? There’s a huge opportunity
for packaging to help brands more clearly
differentiate in these challenging times)
04
MARKETING MISFIRE: BURGER KING
European Burger King stores are displaying
paper tray liners featuring a VegCity ad
campaign that has been raising eyebrows this
summer. The liners depict a series of irreverent
illustrations, including one dubbed Airport that
shows a pickle donning a rubber glove in
preparation for an embarrassing search of an
onion. Others include VegCity Red Light
District which features a pickle preparing to
enter a brothel with a “Have it Your Way” placard over the door; and Halloween in VegCity
where a masked jalapeno is seen stabbing a tomato with spurting blood forming the
phrase “More Ketchup”. Sure, we might be missing something in translation…but we think
not. File this under “T” for tasteless, Burger King. www.vegcity.de
RESEARCH: CONSUMERS EAT MORE
WITH SMALLER PACKS
It’s logical to assume that consumers believe they’ll eat
less of an indulgent item like ice cream if they eat
from smaller, portion-controlled packaging, but a
study published in Journal of Consumer Research in
June suggests that, in fact, they eat more. Participants
in the study who were presented with larger packages
deliberated more about how much to eat and actually
consumed less than those who were offered the same
product in smaller, portion-controlled packs. The
authors of the study say that larger packaging sizes
may, in fact, reduce consumption.
BIG BEER CANS CAUSE
DRUNKENNESS IN THE UK?
A homeless charity in the UK filed a complaint with Portman
Group, an alliance of alcohol producers that promotes sensible
drinking and responsible alcohol marketing, saying that oversized
500mL cans of Skol Super, Kestrel Super, Carlsberg Special Brew and
Tennent’s Super beer encourage “immoderate consumption and
drunkenness”. The Portman Group’s finding? “Restricting container
size would be inappropriate”, given that there really isn’t a distinction
between cans of strong beer and bottles of cider and wine, which
also contain a high number of servings and, like beer cans, aren’t
readily re-sealable. Bottoms up to logic ruling the day!
AUG08
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®
PACKAGING
THAT SELLS
®
YOUR PACKAGING
IS CRITICAL
TO YOUR BRAND
THE DRAKE HOTEL, CHICAGO
OCTOBER 2-3, 2008
PACKAGINGTHATSELLS.COM
800.337.8989
These days, packaging has to do more than just “pop” at the shelf; it
must communicate the story of your brand and become an essential
part of consumers’ daily lives. Is your packaging powered to do all
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The University of Cincinnati
Keynote Speaker:
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Founder and CEO, Pangea Organics
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SHOPPER MARKETING:
IT’S NOT ABOUT
THE BRAND
By Pauline Hammerbeck
Effective in-store programs consider the needs of retailers and shoppers first.
08
v
W
ith media fragmentation driving them to it, brand marketers are finally waking up to the
fact that retail is an incredibly attractive venue for reaching consumers. ✴ “The potential
of the store to create impressions and build brand equity is tremendous, and it should be
thought of like any other marketing media,” Deloitte Consulting concluded in a 2007 Shopper
Marketing study for the Grocery Manufacturers Association. ✴ The report set out to determine the state of the
emerging discipline. And what it found is that it is growing quite nicely: shopper marketing budgets are increasing by
21 percent, compared with the two percent growth of marketing budgets overall. ✴ “Companies consider
shopper marketing a competitive advantage and market leaders have started mobilizing their shopper
marketing efforts by allocating more funds, restructuring their organizations, investing in technology and
resources and re-evaluating their collaboration efforts with partners and service providers,” the study reported.
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Of course, the allocation of more marketing dollars closer to the
point of purchase is great news for packaging. As the focus on
retail intensifies, marketers are considering packaging
strategically more important in that it’s one of few in-store
elements they can readily control.
RETAILERS DEMAND MORE
Retail consolidation is one reason. Fewer retailers now
dominate the landscape and as they’ve become more powerful
they’ve made demands on CPG marketers to think less about
brand objectives and more about their own.
“As they have shaken out and concentrated, retailers have
become brand builders,” says Al Witteman, managing director
of retail strategy for TracyLocke, the Dallas-based marketing
agency. “They’re doing what CPG companies did in the ’70s and
’80s, which is target the shopper, develop segments and
understand their attitudes and behaviors.”
Sure, retailers want to be successful with individual brands. But,
according to Witteman, they’re really more concerned about success
across categories and with their customers.
“They are demanding equity products
and programs from their [suppliers] to
customize and differentiate themselves
as brands,” he says. “I’ve seen some
manufacturers continue their brandand consumer-only push and the
retailer says, ‘Hey I’m not here to
build your brand. I’m here to build
my category with my shopper,
and, oh, by the way, if you want to
sell your product to me you need
to align to that.’”
v
v
But there’s one key difference for brands operating with a shopper
marketing mindset—in this context, you can’t just seek to drive
preference for your brand; you have to start with shoppers and
retailers and then roll their needs back into your brand.
The Help line of
medical products
was packaged to
clearly explain what
problem it solves—
it's a shopper-friendly
orientation that just
might endear this
start-up to retailers.
v
GETTING THE RETAILERS’ EAR
There are ways, though, for brands to catch the ear of these
prominent retailers and find commonalities in their differing
objectives. One way is to tout your experience across
multiple retailers; it’s perspective that any one retailer
customer simply doesn’t have.
Another method, according to Julie Quick, vice president of
account planning for Saatchi & Saatchi X, is to demonstrate that
you have category competencies other brands don’t.
“Go deep in the business you’re in. That’s what your retail
partners are counting on,” she says, offering the example of a
leading CPG company that has taken ownership of
understanding mothers.
“Retailers know this company is a mom expert in categories
that range from cosmetics to laundry. And so when retailers
want to understand mom, this is the supplier they call,” she
explains. “It’s a good example of where, as a manufacturer, you
want to be famous for something with retailers, because they’re
looking for a deeper understanding of their business.”
CPG companies like Unilever are doing just that. Since 2005, the
brand owner has released a series of “Trip Management” studies
for retailers that report on the changing landscape of shopper
missions. The research has detailed types of retail shopping trips
(2005), offered insights on Hispanic shoppers (2006), Baby
Boomers (2007) and, earlier this summer, reflected on how
retailers might win shoppers over in turbulent times (their advice?
work on the shopping experience).
Unilever’s goal is to provide value to its retail customers with
shopper insights that can guide their assorting, merchandising
and marketing efforts and increase the type of visits they may
be losing or most want to gain.
Of course, this strategy makes tremendous sense for big CPG
companies because they have a larger portfolio (and budget)
to leverage. But brands of any size can develop shopper
insights, expertise or category solutions that might curry favor
with a retail customer.
Help is an upstart brand of over-the-counter medical products that
launched this March with a shopper solutions orientation that any
retailer can appreciate. The product name clearly and immediately
explains the problem the product solves (e.g., Help, I Have a Headache
describes the pain tablets) and a stripped down package design
eliminates the complexity common in the healthcare category, making
Help brand products effortless to shop. (See Packaging that Sells, p.42)
The insight to simplify the shopping experience is something the
founder of Help stumbled across when, one day, he discovered that
10
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v
shopping for headache tablets amidst “shouting” product claims
and complicated packaging made his pain worse. He later found a
2005 Campbell Soup Co. shopper survey that confirmed his
experience, revealing that the OTC medication aisle is the most
unpleasant aisle for consumers to shop.
CONSUMER OR SHOPPER?
One thing Help clearly understands is that there’s a significant
difference between reaching out to a consumer and a shopper.
Consumers have traditionally been analyzed and understood
through demographic or psychographic variables, and that’s
important information for a marketer. But it’s just not
accurately descriptive of a shopper.
“The shopper is a consumer in a different state of mind. She’s
on task and in the moment. She’s on a mission,” explains
Saatchi’s Julie Quick.
The same consumer can become a different shopper in
different retail formats depending on the purpose of her trip
(e.g., a convenience store visit for a candy bar has emotional
motivators versus a weekly grocery stock up for the family,
which is a functional concern).
And while shopper insights are needed to understand how to act
on those different mindsets, the greater implication is that
effective shopper marketing is not about creating brand preference
but, rather, about meeting in-the-moment shopper needs.
The challenge, according to Laura Jakobsen, senior director of
brand strategy at Hornall Anderson Design Works in Seattle, is
to balance environmental realities (e.g., size and depth of
shelving, what the brand is shelved next to) with the need to
emphasize an “intuitional” grab.
“If I’m a cereal and I’m shelved next to a box ‘cut’ horizontally in
the middle, I might do something vertically to stand out,” she says.
v
RETAILERS NEED CPG HELP
It would be logical to think retailers—ripe with loyalty card
and other in-store data—would naturally lead the charge in
mining such shopper information. And some of them are.
But many lack the ability to properly interpret such data and
deliver effective insights.
And while Glick believes it’s a challenge that both retailers and
AUG08
v
“There is an overabundance of shopper research tools, data and
analytics, yet the true synthesis of findings to insights are not
mastered by most,” says Lily Lev-Glick, vice president of research
services for the New Jersey-based LG&P In-store Agency. “I
don’t think most people working with this data truly understand
the distinction between facts and findings and insights.”
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brands face, others say that the strength of interpretation is
currently on the side of CPGs.
“Retailers are behind the power curve,” says Saatchi’s Quick. “When
retailers study shoppers they do it at the macro [level], so they
appreciate the depth that manufacturers can dive into on a category
or segment basis. Retailers are looking to brands for leadership.”
Just as Unilever has done with its Trip Management studies,
leading CPG companies are taking up that mantle.
“Best in class companies are spending on shopper insights
because it’s the new currency,” says TracyLocke’s Witteman. “Not
only are they spending on shopper insights but they’re
innovating against shopper insights—and not just promotion
and communication ideas but products and packaging as well.”
SHOPPER INSIGHTS IN ACTION
A good example of that, he says, is All Small & Mighty
laundry detergent.
“One of the insights was that the shoppers—the heavy laundry
users—called the large size of all laundry detergent a ‘hernia jug’,”
he says. “So there was a lot of brainstorming to say, ‘Hey what can
we do with this package. Can we put a handle on it so it hangs on
the outside of cart? Can we put it on the second shelf?’”
The ultimate solution, of course, was to famously offer the detergent
in a concentrated form and in a downsized package that innovated
the way people could shop for laundry. The new smaller format is
easier for shoppers to hold, carry and, once at home, to store.
“You can have the same brand essence, but understand that
you’ve got to communicate that message differently to the
consumer versus the shopper in-store,” says Witteman.
“Shopper insights and product and packaging innovation
based on that are really the new currency for building
and activating your brand at retail.”
Not everyone can simply reinvent their packaging,
though. There are also simpler, strategic executions
of shopper insights. For instance, Julie Quick says
it’s important to gather insights on what the
shopper needs to know in order to buy you.
v
10:07 AM
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Ultra-concentrated All Small & Mighty in
a downsized bottle came out of insights
that revealed shoppers were calling the
large container of All a “hernia jug”.
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v
Mountain Dew’s bold graphics offer a fun
way to engage shoppers at a time when
retailer “clean store” policies limit how
much brands can market in-store.
And with all there is to gain with an effective shopper
marketing program, there’s also a caveat in that these
programs must still be part of a holistic effort—they
shouldn’t operate in a vacuum.
“Rather than focus on decision criteria, it’s more about
deselection criteria,” she says. “Shoppers are master editors.
Their primary job is to find out what to tune out so they can
figure out what to tune in.”
If they deselect by brand, for instance, you need to consider
whether brand identity is the largest element on your package. If
the next deselection step is type or form, you need to assess
whether those elements are easily identifiable. If they deselect on
product attributes last, well, then maybe that information
doesn’t need to be on the face of the package at all (a hard
thought for most marketers to swallow).
“What we see is that brands are very fine tuned, as if they’re the
only product on the shelf, in the category or in the store, when,
in fact, the bigger question is whether there are cues that help
distinguish the product for the shopper and help her deselect
quickly,” Quick says. “Brand marketers need to make sure the
shoppers’ deselection criteria maps to their package design.”
It becomes critically important when retailers’ “clean store”
policies, which minimize the number of displays and other instore communication, restrict brands to where packaging is
often the only thing speaking for them inside the store.
“With clean store policies on the rise, packaging has to work
harder to close shoppers,” says Quick. “The challenge is to provide
functional communication as well as emotional inspiration.”
Mountain Dew is one brand that has managed to balance those
two elements well, she says. The brand’s limited-edition series of
aluminum bottles feature bold graphics in what Quick says is a
“fun new way to engage”.
“If we spend too much time fine tuning packaging, we don’t
spend enough time having fun with packaging and
remembering it’s a way to surprise and delight the shopper and
give them fresh ways to engage with the brand,” she says.
14
“Shoppers may finalize certain aspects of their decision at
the shelf like quantity, flavor or brand—and that is where we have
an opportunity to influence them,” says LG&P’s Lev-Glick. “But the
process starts way before they enter the doors of the retailer.”
From how shoppers segment attitudinally to their emotional
needs states in a category, to loyalty and even the DNA of the
channel or retailer they shop in, says Lev-Glick “in order to be
effective at the point of sale we need to understand the
complete path to purchase.” BP
Pauline Hammerbeck is the Senior Editor of
BRANDPACKAGING magazine. Contact her at
hammerbeckp@bnpmedia.com.
WHERE TO GO
F O R M O R E I N F O R M AT I O N . . .
SHOPPER MARKETING STUDY
Shopper Marketing: Capturing a Shopper’s Heart, Mind and
Wallet (available for download at www.deloitte.com)
RETAIL AND SHOPPER MARKETING
Al Witteman at TracyLocke (214.969.9000 or
tracylocke.com). Julie Quick at Saatchi & Saatchi X
(479.575.0200 or jquick@satchix.com)
UNILEVER’S TRIP MANAGEMENT REPORTS
Available for download at
www.unileverusa.com/ourcompany/aboutunilever.
SHOPPER-CENTERED PACKAGE DESIGN
Laura Jakobsen at Hornall Anderson Design Works
(206.467.5800 or www.hadw.com)
SHOPPER AND RETAIL RESEARCH
Lily Lev-Glick at LG&P In-store Agency
(201.634.9099 or www.lginstore.com)
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SHOPPER RESEARCH
GETTING PAST THE
by Scott Young
BEAUTY CONTEST
W
e regularly pre-test many packaging
systems through quantitative on-shelf
assessments. On those occasions when
new packaging systems perform poorly
in our studies, we’re likely to hear a
familiar refrain, “They loved it in the qualitative...”
Qualitative research is rarely touted as “predictive”, but it is
intended to lead marketers towards effective packaging solutions.
However, qualitative findings are often misleading, which has
driven some marketers to abandon traditional group sessions for
one-on-one personal interviews (IDIs) or Internet-based
screening studies.
v
Working through the challenges of qualitative research.
THE EMPHASIS ON
APPEAL/AESTHETICS
First and foremost, qualitative study findings are often a
reflection of “what people like,” rather than a function of
communication (driving appropriate product expectations,
embodying desired brand imagery, etc.). While aesthetics do
matter—and research certainly should identify design elements
that are alienating or confusing—the most appealing design is
not always the most effective. Many qualitative studies quickly
disintegrate into beauty contests in which shoppers pick their
favorite and then claim that it also happens to be the option
that best supports brand imagery and product communication.
v
PRESENTATION OF LIMITED STIMULI
Our perspective is that there is significant potential value in
qualitative packaging research. Tied to the depth/flexibility
of questioning, it allows a hands-on learning
experience for marketers and designers. However,
there’s no question that qualitative research is
often misused.
With that thought in mind, we’d
like to highlight three common
sources of misleading
feedback—and offer
suggestions to
minimize their
impact.
16
What comes out of qualitative research is largely a function of what
goes into the studies. Here, we often find two types of problems. The
first, and most obvious, is stimuli that simply don’t “do justice” to
the packaging concept. For example, when two-dimensional
renderings are used to illustrate new packaging structures
or delivery systems, they typically fail to convey the
tactile feel of the packaging—and thus fail to drive
strong visceral reactions from shoppers.
A second (and more subtle) issue is the range of
concepts brought into qualitative research. Many
marketers are inclined to avoid showing
“further-out designs” on the premise that
the company would never actually
introduce these ideas. However, the value of
qualitative research often comes from
understanding boundaries, which can come
out of “going too far” with some designs—
and understanding when/where you have
compromised brand equity and/or alienated
shoppers. When qualitative stimuli stay too
close to current packaging, learning is
sacrificed, and the result is often overstated
minor differences among options, which
won’t have an impact in market.
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LACK OF SHELF AND
COMPETITIVE CONTEXT
v
Show concepts in their totality
Perhaps most importantly, qualitative studies can be misleading
because they don’t address the key factors that drive in-market
success. In-store, the fundamental reality is that packaging
must work within a cluttered shelf context—and that packaging
typically has only a few short seconds to gain attention,
differentiate from competition, lead shoppers to the right
product—and ultimately close the sale.
In qualitative research, respondents often encounter
packaging concepts outside such a competitive context—and
they may spend up to two hours discussing alternative
concepts. Inevitably, this dichotomy will lead to some
misleading findings, as shoppers will often use this extra time
to overthink concepts, or place themselves in the role of
amateur designers or brand managers.
v
BEST PRACTICES:
PRESENTING AND PROBING
The good news is that these minefields can be minimized.
The cardinal rule and guiding principle is to keep shoppers in a
shopping mindset. We want their input as people buying
products, not as replacements for our marketing and design
teams. To encourage this mindset, it is critical to:
Present packaging concepts within
competitive context
When concepts are shown next to competition, it is more
realistic to the shopping experience and allows us to gauge
competitive differentiation, which is critical to in-store success.
It also encourages people to think like shoppers (deciding
which product to purchase) and, thus, to focus on the role of
packaging in supporting brand imagery and product benefits,
as opposed to aesthetics. Specifically, we’d recommend that
alternative concepts be presented and discussed sequentially,
within a competitive context.
Often, a primary objective of qualitative research is to
understand the contribution of individual design elements, in order
to optimize them. However, it’s also important to remember
that shoppers encounter packages in their totality and
that the “gestalt” of a design is often more than the sum
of its parts. Therefore, we recommend consistently
showing shoppers full packages and then
probing to understand which design elements are
driving reactions. In other words, the process should be
one of “deconstructing” packages (to understand key
elements), as opposed to “building” packages on an
element-by-element basis. If the objective is to isolate and
understand a single design element, an effective strategy is to present
several complete packages in which only a single element varies.
Show concepts alone (without marketing support)
Finally, it’s important to remember that packaging typically has
to work on its own, without the benefit of advertising or pointof-sale support. In this day of fragmented media, it is simply
unrealistic to assume that shoppers have recently seen your
commercial, or even that they have any awareness of a new
product prior to seeing the package in store. Thus, when
shoppers are shown concept statements before exposure to
packaging, it almost inevitably biases the research. Instead, we’d
recommend listening to whether shoppers are spontaneously
“playing back” elements of the brand positioning from the
packaging. A concept statement or advertisement can then be
introduced at the end of a discussion, to confirm alignment with
the packaging and discuss any inconsistencies.
WHAT NOT TO DISCUSS
v
In terms of discussing packaging concepts with shoppers, the
primary focus should be on what not to ask. Simply put, there
are some questions that are not consumer issues—and many
others that are likely to provide misleading feedback:
Strategic branding issues
Conversely, when shoppers see alternative design systems for the
same brand simultaneously on a side-by-side basis, it immediately
takes them out of a shopping mode and encourages a focus on
aesthetics. These side-by-side comparisons also tend to
overemphasize the differences between options, and thus overstate
the potential impact of a relatively minor design change (which
may never be noticed on a competitive shelf).
While these side-by-side comparisons can add value in
clarifying distinctions, we’d recommend that they come at the
end of a discussion—and that steps are taken to discourage
exercises that encourage shoppers to select their favorite
elements from different packages (“Take that cap from design B,
and the logo from design F…”)
AUG08
Certain issues, such as underlying positioning or branding
relationships on packaging (master brand vs. co-brand or subbrand, etc.) should generally be guided by brand strategy, rather
than consumer reaction or preference. In this realm, the role of
consumer feedback should be to determine if the packaging is
conveying the intended strategy, rather than overturning the
strategy itself. Thus, if shoppers are saying that the logo is too small,
the reaction should be to understand what is driving this comment
rather than reconsider the product’s branding strategy.
Shelf visibility
Across studies, we have consistently found that shoppers can’t
accurately gauge which packages they would see (or miss) at
shelf. Even when people are shown shelf sets, what they claim to
notice or recall differs significantly from what they actually see.
v
Minimize side-by-side design comparisons
17
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Therefore, asking shoppers if a design system is eye-catching is
likely to provide very misleading answers. And while presenting
new concepts in shelf context is valuable to gauge competitive
differentiation—and perhaps to uncover and explore issues of
confusion and shoppability—this should not be mistaken for an
accurate gauge of visibility.
following a set of best practices to guide how concepts are
presented and discussed. However, as with virtually all
consumer research, it often comes back to how feedback is
interpreted and applied. For this reason, we’d also offer two
guiding thoughts regarding the interpretation of findings:
Focus on themes, rather than “winners”
Pricing issues
Pricing is perhaps the single area where qualitative research, or any
form of direct questioning, is most likely to provide misleading
feedback. When asked if they would pay more for new packaging,
many shoppers will understate their willingness—or place value
only on “hard” functional benefits (product protection or ease of
use), as opposed to “softer” advantages (a more appealing visual
presentation or clearer communication).
In speaking with shoppers, the focus should be on uncovering
shapes, visuals and messages that resonate and differentiate,
along with sources of confusion, misinterpretation and
alienation. When the research is instead centered on the
objective of picking one or two winning designs and/or driven
by preference rankings, these elements can be missed, as they
are lost within less compelling design systems.
Don’t apply shoppers’ input too literally
The value of qualitative
research comes in learning
how shoppers
react to packaging
concepts and
uncovering why.
However, experience suggests that a more compelling appearance
can drive higher price expectations and value perceptions and that
price increases can often be “passed along” without impacting
sales. Certainly, qualitative research can be used to explore pricing
issues, in terms of uncovering whether new packaging concepts
are perceived to add-value and in understanding how best to
convey new features/benefits on labeling. However, these insights
should lead to appropriate quantitative research. It is important to
know where to stop and avoid getting too specific about pricing
implications (“Is this worth an extra 10 cents?”).
Perhaps most importantly, it’s important to discourage very
specific design recommendations. The value of qualitative
research comes in learning how shoppers react to packaging
concepts and uncovering why.
When shoppers become “art directors,” the results are often
packaging systems that do not perform in-market because they
are divorced from marketing strategy.
v
GETTING MORE
FROM QUALITATIVE
How can we leverage the considerable value of qualitative
research, while minimizing its potential to mislead? The trick
is less about adhering to a specific methodology or sampling
approach and more about investing in appropriate stimuli and
18
It’s also important to avoid being held captive by the literal
words of shoppers, particularly in terms of specific design
recommendations (“Make it more yellow”). Instead, the trick is
to uncover the issues driving these comments and interpret
their potential implications. When conclusions are framed in
terms of issues and objectives, instead of mandates, the research
becomes far more diagnostic—and allows designers the
freedom to develop more effective solutions.
Finally, getting more from qualitative packaging research requires
recognizing its inherent limitations, and using other methodologies
to complement traditional approaches. For example, we are now
regularly tracking package viewing patterns in conjunction with
traditional qualitative approaches: The viewing patterns document
each packaging system’s initial communication hierarchy, while indepth discussions uncover shoppers’ reactions to each approach.
Similarly, we find ourselves starting at the shelf far more
frequently, not to numerically measure visibility or shoppability
but, instead, to ground consumers in the shopping experience,
present concepts within a realistic context and include a
behavioral component to complement attitudinal questioning.
As these innovations suggest, a primary objective is to link
qualitative studies more directly to the realities of the shopping
experience. By adding value in this manner—and grounding
studies in several consistent best practices—qualitative
packaging research will be more likely to lead marketers and
designers towards in-market success. BP
The author, Scott Young, is the president of Perception Research
Services, a company that conducts more than 600 studies
annually to help develop, assess and improve packaging systems
and help marketers “win at retail”. Contact Scott at
syoung@prsresearch.com or 201.346.1600.
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GETTING IT RIGHT
THE NEEDS OF A SEGMENT
By Gail Ritacco
SHOULD DRIVE DESIGN
v
Of course, there are a variety of ways to classify
consumers, but the most common variables are
demographics like age, gender or ethnicity;
psychographics like lifestyle,
attitude or values; and
behaviors like purchasing
patterns. The logic is that
20
Tropicana Twister’s
playful package
structure (left)
appeals to shoppers
looking for a fun
drink, while
Odwalla (right) has
straight lines that
appeal to the
practical side of
“healthy” shoppers.
NEEDS MOST RELEVANT
TO PACKAGING
And while segmenting consumers according to these
common dimensions—demographics, psychographics
and behaviors—is important to overall marketing
strategy, the most significant variable for package design
is something called a need state.
A need state is defined by a group of consumers who are
alike in terms of the product benefits and attributes they
seek in a particular use occasion. For the same product,
a consumer can experience different need states over the
course of the day or across the occasions they will use
that particular product.
For instance, a yogurt user may want a product for
weight control that fits into her fitness routine for
breakfast, and maybe lunch; at these occasions, she
would desire a yogurt that is low in calories and fat.
Later in the day, that same person may want an
indulgence and seek a yogurt that is sweet, has a bold
flavor and is worth the extra calories.
While you can’t be all things for all needs, it is important
to understand the range of needs, to size each needsbased segment, to understand the landscape in terms of
what the competition is delivering and to determine
where your product best fits.
Understanding these individual needs states enables you
to design packaging that satisfies your consumer on a
deeper level—a level that fills the need she is experiencing
at the very moment she is considering your brand.
Only when the brand team understands how customers
are segmented, determines which segment to target and
intimately understands that targeted segment can it
connect with the right consumers and deliver long term.
v
Segmenting consumers can serve the brand in a variety
of ways. It can help focus design efforts. It can also
pinpoint a direction for mining insights, which can help
identify strategies and optimize packaging features and
benefits. Segmentation also creates the opportunity to
have your designs connect with consumers on a
functional and an emotional basis.
consumers within a particular segment share certain
characteristics that typically cause them to have
similar wants and needs.
v
W
ith thousands of brands
screaming for your
consumers’ attention, it is
important to clearly define
your target—to know who
you want your package to
speak to and what message you want them to hear. One
way to do that is to organize your total customer base
into groups, to segment your consumers.
AUG08
9/10/08
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ADVERTORIAL
Optimizing the
Supply Chain
An inside look at process
improvements
T
he ultimate goal of any process
redesign is to eliminate waste,
reduce costs and improve results.
In this second installment of a three-part
series, we’ll explore xpedx case studies
focusing on two multi-national and one
regional brand. Their stories illustrate the
value delivered to xpedx customers
through sustainable package design,
supply chain services, contract
packaging, and kitting and fulfillment.
Cost savings meet speed to market
A leading manufacturer of consumer
electronics engaged xpedx to find new
opportunities for cost savings. In a
matter of weeks, xpedx re-engineered
the product’s internal and external
packaging, creating a 25% reduction in
materials used and a 22% reduction in
packaging weight. The smaller box also
allowed the client to ship more units
per pallet, resulting in a 33% reduction
in freight costs.
“Speed to market is critical to all our
customers, but especially in the
electronics and technology segment,”
says Mark Matthews, xpedx vice
president of marketing, Packaging. “We
are able to exceed expectations because
we have strategic relationships with the
top companies in the supply chain, and
work with our customers’ global
manufacturing operations to make sure
everyone has the information and
product when they need it, in the right
quantity, and with the right design.”
Sustainability in design
Another leading consumer electronics
manufacturer had sound business reasons
for reducing the package size of its
consumer ink cartridges. The company
hoped to reduce the cost of materials,
“We are able to exceed expectations
because we have strategic relationships
with the top companies in the supply
chain, and work with our customers'
global manufacturing operations
to make sure everyone has the
information and product when
they need it, in the right quantity,
and with the right design."
—Mark Matthews, xpedx vice president of marketing, Packaging
maximize shelf efficiency, and provide
superior protection for the product.
In less than 18 months, the xpedx
team produced a production-run
package design that used 63% less
material overall. Not only was the
package more compact, but it required
less packing material to protect the
cartridge inside. The box itself served as
a shock absorber, eliminating the need
for extra, internal material and
providing easier access to the product.
The packaging was improved, and
sources were reduced, resulting in a more
sustainable — and cost-effective —
package design.
Focus on logistics
A manufacturer of private label vitamins
and supplements came to xpedx for help
with kitting, fulfillment, and logistics
services. Their existing vendors lacked
the experience and resources to keep
pace with their growth, creating
congestion in shipping and receiving and
rising costs for freight and warehousing.
Over time, xpedx facilities replaced
multiple vendors and warehouses. The
new logistics infrastructure used an
xpedx-designed inventory management
system that increased productivity and
streamlined product movement. Better
use of the client’s manufacturing space
poised the company for growth
opportunities and productivity went from
10,000 bottles per day to more than
40,000 with the new program in place.
“xpedx helps companies at the retail
shelf while optimizing back-shop
functions,” Matthews said. “No other
company can manage the entire
spectrum—from idea to implementation—
quite like we do.”
Additional case studies that showcase
xpedx capabilities will appear in the
September edition of Brand Packaging
magazine and will be featured in the
xpedx booth at Pack Expo. ■
To learn more about xpedx services, go to
xpedx.com for more information.
xpedx is a registered trademark of
International Paper Company.
9/10/08
10:14 AM
Page 22
Consider the juice category, where consumer need states
could range from a desire for something that is fun to
consume to something that is healthy to drink.
A juice brand that targets the entertaining end of the
need-state range is Tropicana Twister. The brand features
a package design that embodies “fun” with a dynamic,
playful, active structure, which features a top portion
that twists in the form of a tornado.
On the other side of the juice continuum are
healthy, premium brands like Odwalla and
Bolthouse Farms. These brands have simple,
straight-lined, yet sophisticated package
structures that communicate health, and appeal
to consumers at a time when they desire
something more practical—a juice drink
that is good for them.
v
Looking at just these few juice brands, we
see how packaging can appeal to different
need states (fun vs. healthy) with different
structures (active, twisting forms over
more static, straight-lined forms).
Jamba incorporates both “fun”
and “healthy” need states in its
package design. The twisting
form says “fun” while the
squared off foundation conveys
a more serious practical
message around health.
the essence of a freshly blended smoothie and is indicative
of the fun Jamba Juice retail experience. At the same time,
the simple, square foundation communicates a more
serious, premium message around health. Consumers who
desire a fun product to satisfy a healthy need are attracted to
this new brand’s twisted square bottle.
RESEARCH REVEALS
NEED STATES
v
Needs states can be identified through a variety of
means, but they are best captured using a combination
of qualitative and quantitative research tools.
Focus groups with techniques like laddering (an
interviewing method that invites consumers to reveal
specifics), projection (where consumers are asked to role
play), and contextual interviews (observing behavior and
product/category interactions, either in person or via
video diaries), are important qualitative techniques that
offer insight into consumers’ different usage occasions
with the brand and the needs that define them. These
techniques can also elicit consumer language that
describes their need states. Combining consumer
articulations with our own observations allows us to
understand what’s working and what’s not working so
that we can interpret design opportunities.
Quantitative tools like online journals and usage diaries
(where consumers relay their habits and practices), attitude
and image surveys (consumers react to functional and
emotional attributes), and market structure (relating
product usage to demographics, needs and occasions) help
quantify consumer need states and provide a strategic focus
for the marketing plan and the packaging execution.
It is even more important for new brands to take need
states into consideration in their packaging. A brand
that’s new to the market must understand the current
category landscape in order to identify the “white space”
and connect its packaging to need states not already
addressed by the competition.
That’s what Jamba Juice has done. With a foundation in
Jamba Juice retail stores, the new ready-to-drink entry in
the premium juice category is positioned between health
and fun; its packaging was strategically designed to
balance the two ends of the spectrum, to incorporate
both fun and health needs states.
Such tools are invaluable in helping you understand the
needs your packaging is addressing. Need-based
segmentation helps the brand team identify what makes
the consumer tick, both functionally and emotionally.
And when you translate those deep emotions into design
language, you can be assured that your package will
speak loudly to your intended consumer and make that
powerful brand connection at shelf. BP
Gail Ritacco is vice president of market insights
at Product Ventures, a creative agency for
structural packaging innovation. The former
leader of market research at Dannon, Gail has
more than 20 years of consumer insights
experience. Contact Gail at
gritacco@productventures.com.
The slight twist in the brand’s structure, for instance, conveys
22
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ADVERTORIAL
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BP-808-p24-25-BrandNew
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BRANDNEW
THE EVOLUTION OF A
by Jennifer Acevedo
HERITAGE BRAND
v
The story: Established in 1971, the Crock-Pot® brand
introduced consumers to the concept of slow cooking. But as
anyone who has since retired her avocado-hued slow cooker can
tell you, a lot has changed since the brand’s inception.
v
The challenge:
v
After more than four decades of leadership, Crock-Pot® introduces
a logo and packaging that better reflects its brand.
The goal: Crock-Pot® partnered with brand identity and
A segmentation strategy
makes sense of the various
offerings, and is based on
BEFORE
shopper behavior,
unifying the product line
while allowing room for product differentiation and new
launches. Distinctive display panels on the packaging
communicate features and promotions without compromising
brand focus, a previous concern.
The practice of slow cooking is enjoying a
resurgence in popularity, likely due to consumers’ busy lifestyles
and a growing focus on healthy eating. But the Crock-Pot brand’s
identity, and packaging, had become dated, and its marketing
team decided a redesign was in order.
“This is an important moment in the Crock-Pot® brand
history,” says global brand development manager Meagan
Bradley. “This brand is seen by millions of people every day and
has touched the lives of so many. The change to the logo,
imagery and packaging ensures the Crock-Pot® brand will go
forward into the future with a strong, contemporized image.”
The solution: The Hughes team conducted extensive
research to uncover the perception of the brand at the category
and consumer level. They soon found that, despite enviable
shelf real estate, inconsistent branding and dated brand design
meant the Crock-Pot® brand could make more of its position.
The team, which looked to lifestyle magazines like Real Simple
and Martha Stewart Living for inspiration, selected a new palette
of colors that conveyed the concepts of healthy nourishment
and nurturing. Burgundies and creams that evoked more staid
or traditional imagery were replaced with colors that speak of
world spices, savory veggies and fresh fruits.
A redesigned logo now features an “aroma” icon that was added
as a visual and emotional cue to suggest the sensory aspect of
the slow cooker experience. Product photography is clean and
modern, depicting meals that today’s sophisticated cook would
aspire to make for her family.
24
v
v
packaging design firm Hughes Design Group to revamp its logo
and packaging to link the brand to the modern kitchen, and cook.
The results: The new brand identity and packaging is part
of a fully integrated campaign. The Crock-Pot® brand
reinforced its leadership position in the category and created a
better shopping experience. BP
Jennifer Acevedo, is the Editor-in-Chief of BRANDPACKAGING
magazine. Contact Jennifer at acevedoj@bnpmedia.com.
WHERE TO GO
CONSUMER INSIGHTS, BRAND IDENTITY
AND PACKAGE DESIGN
Hughes Design Group (203.866.9696; www.hugheslink.com)
AUG08
Page 25
v
Modern product
photography depicts
hearty, healthy meals
that appeal to today’s
sophisticated cook.
10:18 AM
v
9/10/08
An “aroma” icon
suggests the sensory
aspect of the slow
cooker experience.
v
BP-808-p24-25-BrandNew
Display panels clearly
communicate each
product’s distinct
features.
AFTER
AUG08
25
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BRAND PROFILE
LIPTON’S
by Erika Flynn
GLOBAL REPACKAGING
A more contemporary ready-to-drink tea bottle helps
Lipton make a better connection with consumers and, in
some countries, meet them for the first time.
C
reating an ownable equity around the world can strengthen a brand’s
position in the marketplace. But it doesn’t come without a set of
challenges, especially in the beverage category.
In a joint venture between Pepsi and Unilever, Pepsi Lipton
International (PLI) set out to make a global packaging change for all
Lipton ready-to-drink teas, beginning in 2005, after it realized that its current bottle—
and overall marketing strategy—was missing the mark with consumers.
The Lipton Leaf bottle, a modern form that communicates the brand’s repositioning, is
now in more than 60 percent of intended markets and has been widely accepted by
bottlers worldwide. Getting there, though, was a test in technical creativity.
A MORE EFFECTIVE APPROACH
The marketing team at Lipton wanted to switch gears and
begin focusing more on the vitality of the brand and its
natural attributes.
At the time, according to Mark Lollback, chief marketing officer of
PLI, most of the world’s ready-to-drink teas were packaged in
industry hot fill bottles. “They were non-descript with similar
shapes and the only thing that made them look different was the
label,” he says. “We wanted Lipton to stand out on-shelf and make a
statement about being modern, vital and natural. Separating the
form from the rest of the industry was really important to us.”
v
The new bottle structure
for Lipton ready-to-drink
tea avoids reference to
carbonated soft drink
bottles and, instead,
makes a more "natural
vitality" appeal.
v
v
“The challenge right up front was the reality that each country around the world can
have its own technologies, its own requirements from a physical bottle size, material
configuration and filling type,” says Stuart Leslie, president of 4sight Inc., the
structural branding firm charged with creating the new
packaging. “So we needed to come up with a universal equity
that could be applied to multiple formats.”
26
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The bottle, therefore, became a focal point of the redesign.
According to Leslie, structure is one of the most powerful tools
for communicating to consumers. “The language of form is the
language the consumer trusts implicitly,” he says. “We’ve been
trained over the years as consumers to not trust, or at least to be
skeptical of, what we read. Form is a language consumers
understand but can’t speak to, and it seems to be the language
that says the most to them about the actual brand.”
Lollback agrees that the priority was to get the best form. “We
wanted something very different and wanted to push the
boundaries of current hot fill technology,” he says.
The new bottle would find its way to shelves in existing as well as
new international markets, where consumers would see the readyto-drink teas for the first time. Lollback says that while his team is
responsible only for product outside the United States, it
recognized that the current bottle both in the U.S. and
what was coming off the lines internationally mimicked
carbonated soft drink bottles, which are often simple
and plain. The emphasis for this project, he notes, was
on creating a bottle that “had less what we call ‘CSD
codes’ and more natural vitality codes.”
So how does a company communicate vitality with a
three-dimensional form? The design team chose a
swirl that symbolizes unwinding energy for the
18- to 29-year-old target market. “But not in an
energy drink, over-your-head Mountain Dew
kind of way,” says Leslie. “A more subtle,
swirling water, active refreshment. It’s energy,
but it’s refreshing and soothing.”
A contemporary bottle using the
Lipton leaf in different materials—
PET, glass and hot fill—can be
manufactured in different countries using the latest technology
and production processes.
A TECHNICAL CHALLENGE
Through the design process, the team had to ensure the look
would remain consistent on any bottle throughout the world,
whether hot fill, aseptic or glass.
Addressing the technical challenges of each material was key.
“We ended up with a shopping list of all the materials and filling
technologies that could be used to create this product around
the world,” says Leslie. “Our role was to create a series of
elements and equities in shape, treatment of logos and form so
we have something that has a similar identity around the world.”
In India, for example, returnable bottles made of very thick
glass are used. “They reuse the same bottles for 10 years,” Leslie
says. “The bottles have to be the same diameter and height so
when they’re brought in, cleaned and refilled on the filling line,
they all run the same. That’s a huge technical challenge because
it doesn’t give you a whole lot of freedom.”
Add to that the fact that PLI demands the same volume in all
bottles and that each can fit within a very narrow footprint and
size envelope. “It really takes some stretching of the concept to
get there, so we have to ensure that we have a design that is as
flexible as possible and that’s not too dependant on any one
format for it to be successful,” Leslie says.
Designs are always created for hot fill bottling first, because it
most dramatically impacts shape, he notes. “We know that
anything we do in hot fill can generally be adapted to aseptic
and glass more easily than trying to go the other way.”
The swirl is repeated under the label of the hot fill bottle. And
while consumers see it as a dynamic swirling grip, in reality it’s
all about hot fill functionality, Leslie admits. “It’s where the
bottle is able to contract as the product cools without making a
kink in the bottle or deforming. So it’s a very controlled way for
the bottle to shrink, but the consumer sees it as a grip feature.”
Using “implied ergonomics” versus “actual ergonomics”, the
bottle gives consumers the feeling that it can be taken
anywhere. “The label area is the narrowest diameter, giving
you the feeling of having a secure grip,” says Leslie. And
increased utility features are always a good thing. “People
don’t generally drop any bottle; it doesn’t fall out of their
hand. But when it’s contoured to the hand, they feel like it
was made especially for them.”
“It’s a very nice tactile experience,” says Lollback, adding
that in traditional hot fill bottles the middle panel section is
filled with straight up and down, chunky panels, which don’t
accept shrink labels very well. “What 4sight was able to do
was twist those panels for us, making the bottle feel much
better in the grip of the hand.”
v
v
A simplified version of the signature Lipton
leaf—the element that best symbolizes the
brand—was also added, with the Lipton logo
running through it. “The logo is literally of the
leaf, so the brand would be tied directly to the
naturalness of the leaf while having this
dynamic element travel through the entire
bottle in three different places,” says Leslie.
v
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Keeping the label contained in the middle section of the bottle
wasn’t all about ergonomics, though. To fully communicate the
high quality, consumers need to see the clarity of the product.
Tests in every market have shown that consumers associate clarity
with purity—and that goes a long way when selling tea products.
Whether the Lipton Leaf bottle is sitting in a cooler or onshelf, the contours built into it refract light, helping to tell the
brand story. “If you look at a round bottle with no features on
it, you’ll see a darkness to the tea, but if you build features in
and they reflect light differently, you start to see shards of light
and dark colors so it makes it very dynamic and speaks to the
vitality of it,” says Leslie. “In addition to the shapes, the color
of the product changes because of the refractions going
through it. Full-wrap graphics can be very impactful with
color, but you don’t really see the product and it doesn’t
communicate the product attributes as well as the partial
shrink we ended up with.”
“We wanted something
very different and
wanted to push the boundaries
of current hot fill technology.”
—Mark Lollback, chief marketing officer,
Pepsi Lipton International
The shrink wrap on the hot fill bottle exceeded expectations, says
Lollback. “It had some movement and dynamism because the
label was actually twisted as well, not just a boring flat label.”
While the graphics had to remain strictly intact, PLI’s global
packaging manager Emmanuel Chivot says there were some
cases where shrink wrapping was not an available technology.
In those instances, a non-shrink wraparound label was used,
and Lollback’s team worked with 4sight to keep the integrity of
the design at the top and bottom of the bottle. “We had the
texture and detail and could see through the product, but the
label section was straight,” Lollback says.
v
“It’s not the ideal bottle but [it] looks better than what we had
in the past,” says Lollback. “Our Holy Grail was the original
bottle, but you can’t do that everywhere. Bottling equipment is
a lot of infrastructure, and we have to work within those
parameters while at the same time try and bring alive the
differentiated, proprietary bottle.”
THE WORLDWIDE LAUNCH
“The Pepsi/China team, like us, is very passionate and believes
that almost every brand should have a unique and proprietary
bottle,” he says. Prior successes of launching proprietary bottles,
particularly in non-carbonated beverages, helped the cause.
“When we briefed 4sight we said, ‘Guys, here’s our best chance.
We need a new bottle for the rest of the world but we have a real
customer who needs it ASAP, so let’s put all our effort and
energy behind getting the China bottle right. Once we’ve
cracked that we’ll use it as the base to roll out across the world.’”
Distribution into Eastern Europe soon followed. “Improving the
marketing mix and packaging in this industry is a very critical
part of positioning,” says Lollback, “so we were trying to drive it
very hard through our important markets of Eastern Europe.”
Markets in Southeast Asia, Latin America and Australia now also
have the new bottle and Lollback says there’s still more to come.
“These things take a long time and, where possible, these
changes need to be linked to business needs as well,” he says.
“Just going in and trying to do it without it being linked to
some business need is quite difficult, so we used different
opportunities to make it happen.”
Lightweighting the bottle—making it both cheaper and more
environmentally friendly—was a key factor in getting it
accepted. “The bottlers are businessman,” Lollback says. “They
want to make sure that any change they’re making to the
business is either going to help them sell more or it’s going to
help them reduce costs and therefore improve margins and be
able to invest more. They don’t just do it out of charity.”
Ultimately, though, having a differentiated bottle is seen by all
as a critical part of a brand’s success. “In most parts of the
world, we position ourselves as a premium above carbonated
soft drinks, so, if you’re in the same bottle, most consumers
struggle to understand why they’re paying more for
something that looks exactly the same,” Lollback explains. “If
we’re going to command a premium and help consumers
understand this is a more natural product and deserves a
premium, we need a pack that says that for us.” BP
WHERE TO GO
STRUCTURAL PACKAGING
The new bottle launched first in China during a test market.
Lollback says it was a natural starting point because the bottling
30
unit in China did not require a change in bottling technology,
and it also held similar beliefs regarding packaging.
4sight Inc. (212.253.0525, www.4sightinc.com)
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CATEGORY ANALYSIS: COSMETICS
ALL THAT
by Jeffrey Spear
GLITTERS
What’s new at the cosmetics counter?
ith the successful release of Sex and the
City: The Movie, it seems appropriate to
venture into the world of beauty—
specifically what’s been going on in the
realm of cosmetics packaging. While
Carrie, Charlotte, Samantha and Miranda were unavailable for
comment, I am sure they’d agree there are plenty of cosmetics
products and packaging that dazzle the senses.
W
It’s interesting to note that, while there are plenty of new and
exciting packaging solutions that stand out from the pack,
create cut-through and generate undeniable emotional appeal,
the solutions tend to be matured, next-generation versions of
tried and true packaging and marketing concepts.
For those of you who attended Luxe Pack New York recently,
I’m sure you’ll agree. While there were plenty of provocative
and exciting structural, material and graphic design solutions
throughout the show, very little was entirely new or close to
earth-shattering.
v
GREEN IS BEAUTIFUL
v
While chatting with various exhibitors, seeking their
perspective on all things revolutionary and/or trendy in the
realm of cosmetics packaging, I found their responses to be
unanimous. In one form or another, respondents lost no time
answering with terms such as “earth-friendly”, “sustainable”,
“organic”, “all-natural” or “recyclable.”
Organic Wear face powders—the first makeup line
to feature a patent-pending, dual-compartment,
completely recyclable paper compact.
32
For plastics manufacturers, reformulating or finding ways to
recycle their products was top of mind. Others noted a shift
from inorganic and man-made materials to glass, recycled paper
and fiber-based materials. And the paper makers were thrilled—
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noting that their products were perfect for this realignment of
material preferences and industry-wide paradigm shift.
Outside the show, where I was exploring retail environments to
support this perspective, I found the best example of earthfriendly cosmetic packaging to be the Organic Wear line
produced by Physicians Formula.
To start, the company believes that going green is not a trend,
but, rather “a lifestyle that is here to stay”. When you consider
the overall look and feel of the line’s packaging—from the
“Organic Wear” name and associated soft colors to the matte
finishes and leafy graphic pattern that adorns the surface of
each product—there is no doubt that this brand is certainly
nature-oriented. While not alone in its approach, Organic Wear
is a far cry from the glitz and decadence that has been so heavily
exploited by other beauty brands for so long.
Environmentalism is gaining momentum, and it does not
mean that design has taken a back seat. I found evidence of
that from mass-retailers such as Target and K-Mart to
neighborhood supermarkets and pharmacies. These operations
recognize and appreciate the influence that well-crafted and
emotionally inspired packaging plays, and have lined their
shelves accordingly.
v
PACKAGING AS SCULPTURE
One of the ways cosmetics marketers are making a splash is
through exceptionally well-crafted and elegantly sculpted
containers. While there are lovely solutions being created with
traditional geometries, there are a large number of marketers
who feel more distinctive, organic, curvilinear and abstract
shapes are better suited to cosmetics.
This has been, and continues to be, the operational standard for fine
fragrance brands like Gaultier, Issey Miyake and Donna Karan. A few
of the more recent and eye-catching designs also include Bulgari’s
Omnia, Calvin Klein’s Euphoria and Kenzo’s SummerbyKenzo.
With its unique structural shape and eyecatching colors, Caress encourages women to
unleash their sensual sides, vivacious charms
and Brazilian spirits.
v
Going one step further, functional embellishments like
distinctive cords, ribbons, outer wrappings and closures are
being used to increase the overall on-shelf impact and appeal of
packaging and enhance brand impressions. Fragrance brands
like Lolita Lempicka and Juicy Couture are excellent examples.
In the personal care arena, Archipelago Botanicals, a brand that
employs innovative closures and detailed outer wraps on many
of its packaging solutions, is noteworthy.
v
This approach, however, is not restricted to the parfumeries of the
world. To varying degrees, and while not as overtly decadent as some
of the higher end fragrances, mass-brands such as Giovanni, Caress
and Joico are all embracing more organic, undulating and
undeniably sensuous geometries for their containers.
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ARE YOU TALKING TO ME?
The use of inspired, sensuous and emotionally appealing
structural designs has been a mainstay within the cosmetics
industry for years (after all, the foundation of the industry is in
aesthetics), but the use of edgier copywriting is also helping to
distinguish brands. In a crowded and competitive marketplace,
where distinctions between brands are becoming increasingly
hard to define, attitude is stepping in.
Marketing strategies that exploit clever brand names such as
“Urban Decay”, “Soap & Glory”, and “Bed Head” as well as
individual product names including “Dr. Feelgood”, “Sexy
Mother Pucker”, “Dumb Blonde Smoothing Stuff ” and “Control
Freak” are gaining in popularity. It seems that, while some brands
are founded in beauty, everlasting youth, elegance, luxury and/or
decadence, others are founded in wit, comedy, spunk and sass.
Copywriting has also embraced the sensuality of food. While
fruit fragrances have always been alluring, shopping for
shampoos and body washes in the drug store now feels more
like shopping for weekly groceries in the supermarket.
Appetite-inducing descriptions such as “Grapefruit and
Lemongrass”, “Cucumber and Green Tea”, “Cherry Blossom and
Almond”, “Fresh Pear and Apple Blossom” and “Pomegranate and
Mango” are rapidly replacing botanical and herb nomenclatures.
Consider that Bulgari describes its newest fragrance, Omnia, as
“a sexy blend of mandarin, saffron, Masala tea, and white
chocolate. This scent smells truly good enough to eat.”
We’re also seeing copywriting that exploits the exotic and
mysterious nature of far-off destinations. It’s this approach that
Caress has embraced when it suggests you “give your skin a
rejuvenating vacation” with its Tahitian Renewal Body Wash. The
brand also advises consumers to “discover the magic” in its
Moroccan and/or Japanese Exotic Oil Infusions. Most recently,
and with a more energized and daring tone, buyers are
encouraged to “unleash their sensuous sides, vivacious charm and
Brazilian spirits” by using Caress Brazilian Exotic Oil Infusion.
There’s little doubt that marketers are looking for new and
different ways to distinguish their brands, reach their audiences
and appeal to specific lifestyle preferences. By embracing clever
wordsmithing, the sensory appeal of foods and the allure of exotic
destinations, the language of cosmetics is rapidly changing.
v
COLOR IS KING
Eye-catching proprietary shapes, detailed embellishments and
clever copywriting are not the only ways to create cut-through
and make impactful brand impressions. In many cases,
traditional packaging geometries are effectively enhanced with
relatively simple, yet still artful, applications of distinctive
colors and surface treatments. The end result is fiercely
competitive—effectively dismissing rival brands.
Borrowing heavily from the look and feel of tabloid magazines,
Soap & Glory serves up a cheeky, intensely witty and
unmistakably pink line of products.
34
Another example where metallics are put to excellent use is
Joico. The brand’s metallic copper and gunmetal grey color
schemes, while considerably more sedate than Kenra, are
immediately recognizable. The fact that Joico’s approach to
packaging also employs distinctive, proprietary geometries
gives its products an obvious competitive advantage.
While not necessarily metallic, the same can be said for the
brilliant green that adorns each of Garnier Fructis’ products as
v
v
While metallics have been around for a long time, Kenra’s line
of hair care products makes excellent use of metallic silver
through contrasts in finish, utilizing both high-gloss and matte
finishes throughout its line of products. The result is an
unmistakable on-shelf presentation that would be hard to
confuse with any other brand.
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well as the signature purple that is employed by Aussie across its
competing hair care line. In both cases, the use of a single,
dominant color facilitates immediate brand recognition and
designates shelf space as brand-owned territory.
v
WHAT ABOUT GRAPHICS?
Most of the packaging that’s been described so far can be
categorized as contemporary—relying on more recent design
trends and technological advances. There are, however, a
significant number of marketers who feel their brands are better
served by expressions of a more traditional heritage.
In some cases, designs embrace typefaces, patterns, color schemes
and materials in a manner that takes obvious reference from history,
and subsequently blends them with more traditional design
configurations. In other cases, the references are seemingly
unadulterated and historically accurate, approximating the serenity
and simplicity of days gone by without contemporary artifice.
Companies such as Fresh, a brand that is “building on cultural
foundations of the past,” along with Thymes, Philosophy and
Gianna Rose, typify this first category of marketers. Their
packaging solutions are elegant, decorative, inviting and
compelling, frequently integrating old world graphics
with contemporary manufacturing techniques.
v
Kiehl’s and C.O. Bigelo, however, are both prime
examples of unadulterated, historically relevant
packaging. They both celebrate and exploit their
heritage as old-world apothecaries, each with
more than 150 years of operation.
Accordingly, their products rely on
containers that are considered oldworld standards—boston rounds,
simple cylindrical cosmetic jars and
tubes. Applied graphics come in the
form of no-nonsense black and white
labels crammed with informational
36
Bedhead successfully integrates
sculptural shape, distinctive
color, metallic finishes and inyour-face copywriting. Regardless
of which design element catches
your eye first, these products are
hard to miss. (Photo courtesy of
Global New Products Database;
www.gnpd.com)
text—a design approach that accentuates and reinforces the
brands’ historical roots and operational longevity.
GOOD THINGS COME IN
SMALL PACKAGES
v
9/10/08
Many buyers enjoy sampling, finding out how products make
them feel or proving efficacy prior to purchase. Marketers are
finding that sample-sized “gifts with purchase” as well as retailoriented gift sets—SKUs that offer an assortment of smaller
volume containers—represent a significant sales opportunity
and are valuable additions to their product lines.
It’s not surprising to find that, as with the rest of the cosmetics
industry, design is playing an important role in the look and feel of
these single-dose and sample-sized packages. While samples have
not always required tremendous attention to design, many of the
very same marketing strategies, visual concepts and material
considerations that are being applied to full-sized products are
now deemed essential in the realm of sampling.
LOOKING GOOD
v
With an industry built upon the pursuit of ultimate beauty,
self-confidence, health, well-being and, of course, sex appeal,
there can be no doubt about the volume of opportunity for
creative inspiration and artful execution. From fine fragrances
and facial products to shampoos and body washes,
manufacturers are constantly pursuing new marketing
strategies and creative executions to promote their brands.
The ever-increasing influence of environmental issues will
certainly have an effect. To what degree depends upon advances
in technology, how packaging materials are manufactured and
regulated and what happens post-consumer. While notions of
decadence and self-indulgence may be at the core of the
cosmetics trade, taking steps to take care of our planet can no
longer be ignored.
The wonderful thing about the cosmetics industry is that it
has never been afraid to seek out new ideas or take risks. For
the marketing and creative communities supporting these
efforts, the bar is constantly being raised. It’s clear that, no
matter where the influences come from, there will never be a
shortage of emerging trends and innovative design solutions
to keep things interesting. BP
Jeffrey Spear provides strategic and creative direction for Studio
Spear, a national marketing consultancy specializing in consumer
products. Studio Spear approaches consumer products and
brands, from research and planning to packaging, point-of-sale
display and promotions, in ways that generate undeniable
interest. Contact Jeff at 410.486.8822 or jeff@studiospear.com.
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UPDATE:
PAPERBOARD
v
MATERIALS
GIVE YOUR
BRAIN A BUZZ
v
For those who have grown weary of
mere sports drinks, Brain Toniq
touts itself as the “world’s first
cognitive enhancement drink”.
Packaged in a paperboard sleeve
with a large “IQ” die-cut window,
the multi-pack contains four cans
of the organic, botanical-based,
non-caffeinated “think drink” in a single row. An entry perforation at the top
allows consumers to remove one can at a time without destroying the packaging.
(Package design: MalowanyPerlmutter Creative, www.bestcoloradodesign.com;
Paperboard: All Packaging Company, www.allpack.com)
PACKAGE PROMISES SLIMMER WAISTLINE
v
Multi-Grain Cheerios are a low-calorie extension of General Mills’ well-known cereal
brand. Packaging for the line extension uses a shaped carton to clearly communicate
the benefits of the dietary product: a slimmer silhouette. Despite its unique shape, the
integrity of the offset-printed carton was not compromised, and the package meets all
requirements with regard to storage, distribution, warehousing and display.
(Paperboard: Graphic Packaging International, www.graphicpkg.com)
A BOX FULL OF MAGIC
The first five installments of what will be the sevenmovie Harry Potter collection are cleverly stowed
away inside packaging designed to simulate the
young wizard’s travel trunk. The Harry Potter Years
1-5 Limited Edition Gift Set is packaged in a roundcornered trunk made of chipboard wrapped in Hyflex
Chrome and then antiqued with an overall embossed
pattern. Inside, Disc Packs are held in place with a black
grosgrain ribbon, a Velcro closure and foil-stamped
embossed “wax” seal of the Harry Potter logo. (Package
design and paperboard: Shorewood Packaging,
www.shorewoodpackaging.com)
38
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v
PACKAGING
THAT SELLS
CAULK GUNS ON THE WAY OUT?
v
Caulk isn’t something most consumers like to keep around in bulk
quantities. That’s why Momentive Performance Materials’ GE Caulk
Singles make sense. The 1.25oz packages of caulk are made for single
use, with a tear-off top that offers easy access and internal fitments that
help guide the bead of caulk. “Caulk Singles will do for caulk what the
bleach pen and disposable razor did for busy people on the go,” says
Rodney Hawkins, the company’s general manager. The flexible nature of
the package also allows the user to push every last bit of product through
the pouch. Caulk Singles retail at a suggested price of $2.29 to $2.99.
DENNY’S DOME ENCOURAGES
BREAKFAST TO GO
v
Denny’s introduced a to-go breakfast solution it calls the
Denny’s Dome, a proprietary container that keeps a full
breakfast fresh for 30 minutes. Main entrees fit in the Dome’s
base, which has sections to keep food separated. The next layer
is the insert plate, for items like pancakes, which rests on the
base to seal in heat. A clear lid tops off the package and allows
customers to see their order at a glance. Vents in the lid and a
cutout on the insert plate allow steam to escape from crispy
items like bacon in the base; the opposite side has a tight seal
that keeps moisture in for wet foods like eggs.
MILK’S GONE SQUARE
Sam’s Club has introduced its Members Mark store brand milk in a new square-shaped
jug with a flat top that makes it stackable, minimizing labor by eliminating shipping
crates or racks and increasing efficiency by fitting 384 more milk jugs in each truck.
There are also other benefits. “One of the best advantages is that we can pass on the lower
costs to our members,” says Heather Mayo, vice present of merchandising for Sam’s
Club. The savings translate to 10 to 20 cents per jug, as compared to the traditional milk
gallon. The new containers are in limited distribution—about 189 Sam’s Club locations
currently stock them—but, as more milk producers adopt the design, the retailer says it
plans to expand distribution. Initial consumer response has been mixed.
40
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v
PACKAGING
THAT SELLS
SIMPLE HEALTHCARE PACKAGING
TOUTS SOLUTIONS
Help Remedies launched this spring as a line of over-the-counter
products designed to solve simple medical issues. By stripping
away the complexity of the healthcare industry, the brand says
it hopes to make a “frightening category less frightening”.
The brand’s two launch products include “Help I have a
headache” (high-dose acetaminophen tablets) and
“Help I’ve cut myself ” (clear bandages) packaged in
molded paper pulp cartons, which are unique in
the category. By clearly explaining the problem it
solves (e.g., Help I have a headache) and what it contains (e.g., 12
acetaminophen tablets), the packaging clearly differentiates Help as a
softer, friendlier—and dare we say chic—healthcare brand. [Packaging
by ChappsMalina, www.chappsmalina.com]
v
SMOOTH LAUNCH FOR EOS PRODUCTS
Eos Products is making its debut with a shave cream for women and an overriding philosophy that
personal care products can be beautiful as well as effective. “Unlike many products tagged ‘for women’,
which are derived from men’s formulas and packaging, eos is truly a women’s product,” says Sherry
Jhawar, the company’s director of “smooth strategy”. A soft-touch plastic bottle features organic
indentations that serve as design elements and also grip-enhancing features. The product launched at
Target, Shoppers Drug Mart and Wegmans stores, and online at www.drugstore.com, at a suggested
retail price of $4.99. Future introductions include moisturizer, body wash and lip balm products.
v
BP-808-p40-43-PTS
BRANDED PARMIGIANO
REGGIANO CHEESE DEBUTS
This fall, the Lucini Italia Company will introduce the first branded Parmigiano Reggiano cheese
to the American market. Cheese makers in Parma, Italy, hand cut the certified organic cheese into
an 8oz wedge and vacuum seal it, then package it in a paperboard carton with a die-cut window
that reveals the textured rind. The carton provides consumers with the convenience of
nutrition information and a “Denominazione di Origine” (DOP) symbol that guarantees
the product’s origin to be Northern Italy. The new Lucini Organic Parmigiano Reggiano
will retail at a suggested price of $25 in premium grocery stores and specialty food markets.
42
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v
PACKAGING
THAT SELLS
GLOBAL
THE NETHERLANDS
HOT AND COLD SALADS
Dutch private label brand Ah Albert Heijn hopes to address the issue of
packaging ready-to-eat salads with both hot and cold elements. Marketed
under the name Lauwwarme Maaltijdsalades (Lukewarm Salad Meals),
single-serving salads for the office or picnic are packaged in segmented PET
containers with a removable inner tray. The tray contains ingredients that are
to be heated in the microwave or oven and then combined with the cold
salad in the main bowl. Dressing is in a separate flexible pouch.
v
UNITED KINGDOM
“GREEN” MILK, IN A JUG
v
As consumer brands and retailers continue their quest
for sustainable packaging, it seems that milk is front and
center. Developed by Dairy Crest in conjunction with
UK retailer Sainsbury’s, JUGIT is a pouch-based
packaging solution that uses significantly less packaging
material than conventional plastic milk containers. The
pouch is used along with an easy-to-pour, reusable
plastic jug. After the pouch is dropped into the jug and
the main body of the lid closed—trapping the top of the
bag using secure clips—a spike attachment on the inside
of the lid punctures the pouch. A recloseable spout then
flips open for pouring. (Injection-molded jug: RPC
Group, www.rpc-marketrasen.co.uk)
POLAND
PACKAGING REINFORCES A THEME
Brand owner Diversa Spezialitäten has introduced Grasovka Bison, a Polish vodka in a glass bottle with
numerous design elements that allude to the grassy plains where buffalo, ahem, bison roam. A single blade
of Bison grass inside the 500mL bottle adds flavor along with visual appeal to the vodka, while an
innovative bar code has been screen-printed on the rear label to look like grass, again reinforcing the
theme. Both front and rear labels are flexo- and screen-printed onto self-adhesive polypropylene labels.
A tamper-evident cap keeps product safe.
44
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BR NDRESOURCES
YOUR SOURCE FOR PACKAGING MATERIALS AND SERVICES.
CALL THESE COMPANIES BEFORE STARTING YOUR NEXT PACKAGING PROJECT.
5/12/08 1:43:56 PM
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INCLUDE YOUR
COMPANY IN
BRANDRESOURCES.
FOR INFORMATION
CALL DIANA ROTMAN
AT 847-405-4116.
BP-808-p48-50-Index
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Page 48
UP
FOLLOWING
ith thousands of products competing
for a spot on the retailer’s shelf, smart
marketers are using high-impact label
graphics to help make the sale. We most
recently reported on this topic in the
July 2008 issue of BRANDPACKAGING (archives at
www.brandpackaging.com).
V
W
GO FOR THE JUGULAR
When Gamma Pharmaceuticals looked to launch its Jugular
Energy Gel product in an already crowded category, the brand
knew it would need compelling packaging to win over retail
buyers. Printer CL&D Digital was brought on-board to tackle
the development of pressure-sensitive labels and to produce a
range of complementary packaging and display program
elements that would seal the deal.
Fruit punch-flavored Jugular Energy Gel is available in 17, 30
and 80g pouch sizes, in individual servings or in multi-pack
boxes. Labels were created in English and Spanish to decorate
pouches, as well as the display boxes, counter displays and six-
foot freestanding displays. The
individual pouches were adhered to
insert cards designed to prop up the
pocket-sized product and allow it to
stand vertically, enhancing
visibility from a distance.
“The retailer not only has the
choice of how he’s going to
buy Jugular Energy Gel, but
how he’ll stock and display it,
too,” says Hao Zhang, chief
marketing officer at Gamma
Pharmaceuticals. BP
WHERE TO GO
DIGITAL LABEL PRINTING
CL&D Digital (800.777.1114; www.clddigital.com)
INDEX OF ADVERTISERS
4sight inc. . . . . . . . . . . . . . . . Inside Back Cover
BRANDRESOURCES. . . . . . . . . . . . . . . . . . . . 47
BRANDPACKAGING
PACKAGING THAT SELLS
CONFERENCE . . . . . . . . . . . . . . . . . . . . . . 6, 7
CardPak . . . . . . . . . . . . . . . . Inside Front Cover
The Comp 24 Group . . . . . . . . . . . . . . . . . . . . . 5
Curtis Packaging . . . . . . . . . . . . . . . . . . . . . . 32A
Curwood A Bemis Company. . . . . . . . . . . . . 31
Gravity/Phototype . . . . . . . . . . . . . . . . . . . . . . 37
Haney PRC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
HBA Global Expo. . . . . . . . . . . . . . . . . . . . . . . 46
In-Store Marketing Expo . . . . . . . . . . . . . . . . 43
Kaleidoscope . . . . . . . . . . . . . . . . . Back Cover
MeadWestvaco . . . . . . . . . . . . . . . . . . . . . 15, 39
Planet Canit LLC . . . . . . . . . . . . . . . . . . . . . . . 45
PMMI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Precision Valve Corp. . . . . . . . . . . . . . . . . . . . 29
Product Ventures . . . . . . . . . . . . . . . . . . . . . . . . 3
Silgan Containers Corporation . . . . . . . . 12, 13
Swerve Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
William Fox Munroe. . . . . . . . . . . . . . . . . . . . . 27
xpedx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
York Label . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Zunda Group . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
READER & MARKETING SERVICES
LETTERS
Jennifer Acevedo
acevedoj@bnpmedia.com
155 Pfingsten Road, Suite 205
Deerfield, IL 60015
BNP Media
155 Pfingsten Rd. Suite 205
Deerfield, IL 60015
(847) 405-4000 Fax: (847) 405-4100
www.bnpmedia.com
48
PRINT & INTERNET
ADVERTISING
Gerri Brownstein
brownsteing@bnpmedia.com
(973) 243-9624
BRANDRESOURCES
Diana Rotman
rotmand@bnpmedia.com
(847) 405-4116
SINGLE COPY SALES/BACK ISSUES
Gisele Manelli
manellig@bnpmedia.com
(847) 405-4061
REPRINTS
Deb Soltesz
solteszd@bnpmedia.com
Phone: (248) 786-1596
Fax: (248) 786-1405
CUSTOM MEDIA
Pierce Hollingsworth
hollingsworthp@bnpmedia.com
(847) 405-4101
LIST RENTAL
For postal information please contact
Rob Liska
800-223-2194 x726
robert.liska@edithroman.com
For e-mail information please contact
Shawn Kingston
800-409-4443 x828
shawn.kingston@epostdirect.com
For subscription information or
service, please contact
Customer Service at:
Phone: (847) 763-9534
Fax: (847)763-9538
E-mail: BP@halldata.com
AUG08
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shopper marketing

Transcription

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