Two weeks ago I posted five examples of brand archetypes I observed at this summer’s Fancy Food Show, the most awesome annual display of artisanal and premium food brands in the country. Brand archetypes, as presented by Margaret Mark and Carol Pearson in their seminal book, “The Hero and the Outlaw,” are characters that are immediately familiar to most people. It is as though their personalities were hard-wired into our brains. Brands that adopt archetypal personas are recognizable to consumers upon first exposure, as though they had ridden in on a branding fast lane.

The five examples from my prior post were:

    Here now, are my final five choices.

    Everyman / Every Woman: Skinny Snacks

    The common person, honest, down to earth, hard-working, community-minded, is a powerful attractor, in branding as in life. Where the outlaw stands apart, the regular guy seeks to belong, but without putting on airs.

    Skinny Snacks, packaged with warm colors, a rounded, hand-written typestyle, a line drawn illustration, and the instantly-classic, “Hi, I’m Skinny” slogan, wins our affection easily. All marketing elements, including its trade show booth, Web site and collateral materials, are welcoming, straightforward and simple in tone. Skinny Snacks, you’re hard not to like!

    Alternate: Heber Valley Artisan Cheese

    Hi I'm Skinny

    Skinny Snacks, Everyman (Every Woman)

    The Innocent: Sara Snacker

    Simple and good, the Innocent is familiar to most of us through significant people in our own lives, not to mention countless fairy tales and classically innocent brands like Ivory Soap, the Pillsbury Doughboy, even Coca Cola. They often tell “back to basics” stories, and assure us that our own goodness will be rewarded.

    Sara Snacker, “A Milk & Cookies Company,” was founded by Sara Leand, a mom seeking fun and wholesome snacks for her kids. Sara decided to bake her own childhood memories into this line of additive- and preservative-free cookies. Her colors, like many innocent brands, features soft pastels.

    Alternate: Purely Elizabeth

    Sara Snacker

    Sara Snacker, The Innocent

    The Outlaw: Anarchy in a Jar

    Just as revolutionaries reject an important convention and take a stand for some other principal, outlaw brands place themselves outside convention and challenge the status quo. At the same time, they offer an alternative we may embrace. Like Apple, an oft-cited rebel brand, they can disrupt categories and create new paradigms.

    Anarchy in a Jar rises above the jam and marmalade sheep of the world, rebelling against their standard sets of ingredients and convenient production methods.

    With its sometimes chaotic choice of flavors (Grapefruit and Smoked Salt Marmelade, anyone?) Anarchy in a Jar promotes the heritage of locally-sourced ingredients, all-natural preservation techniques, and small-batch preparation. The name, logotype, and serious approach to labeling tell you that when it comes to wholesome and uncommonly tasting preserves, this brand is not one to be trifled with!

    Anarchy in a Jar

    Anarchy in a Jar, The Outlaw

    The Creator: Neat

    Creator brands share an imaginative approach through product innovation. They often help us as consumers to express our own creative instincts. Creator brands are about artistry and invention, the opposite of brands that “do it all” for us without options.

    Neat is “a healthy replacement for meat derived from nuts and other natural ingredients.” It’s like a bag of magic dust. Combine Neat Breakfast Mix with water and eggs and you’ve got the makings for a vegetarian breakfast sausage you can form into patties, cook into eggs, whatever. Neat Mexican Mix becomes the protein for your tacos, burritos, fajitas, cualquier cosa.

    They’re not yet the Martha Stewart of artisanal food products, but we recognize them as a brand that can help us express our own creativity and imagination in the kitchen.

    Alternate Brand: Roaring Brook Dairy DIY cheese and butter-making kits.

    Neat

    Neat, The Creator

    The Explorer: Dunya Harvest

    Explorers, also called adventurers and iconoclasts, blaze new trails in search of a more authentic, more fulfilling life. Explorer brands help consumers find happiness by providing growth, change and self-actualizing experiences.

    Shah Trading Co. has been sourcing seeds, grains and rices for a number of North American brands from all over the world since the 1970’s. Now, with its proprietary Dunya Harvest brand (so new, there’s no Web site yet), it’s created a statement about exploration and discovery that consumers can experience directly. It’s name, packaging and brand messaging beckon us to new flavors and textures we might otherwise overlook.

    Dunya Harvest

    Dunya Harvest, The Explorer

    My two short posts can only provide a sense of the power inherent in this approach to branding. But if you think it could benefit your brand, feel free to reach out. If you have thoughts on the topic you’d like to share, don’t hesitate to comment below!

    The world gained a new way of looking at brand stories through the 2001 best seller, “The Hero and The Outlaw,” by Margaret Mark & Carol Pearson. There are archetypal characters, they argued, the Outlaw, the Explorer, the Hero, the Sage, and so on, that are hard-wired into our brains, part of what Jung called the “collective unconscious.” They are recognized from certain clues and understood without explanation.

    These characters inhabit our fairy-tales, movies, plays and other creative expressions, going back, well, forever. Brands may express these personalities, telling us instantly who they are, and what they stand for or against. That instant recognition and acceptance can be invaluable in the noisy retail marketplace.

    Javitz Center

    Entry Hall at the Fancy Food Show

    The recent Fancy Food Show at the Javitz Center in New York was inspiring as ever. This year, instead of writing about the best packaging at the show, I focused on brands that tell their stories with brand archetypes.

    I picked brands to represent ten of Mark’s & Pearson’s twelve archetypes. I packaged them into two 600 word posts, the first of which follows here. I hope you’ll agree the selection gives valuable food for thought concerning how you communicate your own brands.

    The Ruler: Marky’s
    Rulers know they are in control. We defer to their authority, trusting in their ability to get us where we need to go. Ruler brands present themselves as successful and important, and while some may find them imperious, those who buy-in feel protected in the relationship.

    Marky’s impressive booth has a regal feel to it. It’s hardly welcoming, and might as well be surrounded by a velvet rope. But you know that those privileged to be invited will find the finest in caviars and other luxury artisanal foods within. Submit; luxury and privilege are your rewards. (Footnote: as a brand consultant, I would advise Marky’s to elevate its Web site with the same sort of messaging.)

    Marky's

    Marky's, The Ruler

    The Caregiver: Lucy’s Cookies
    Caregiver brands are built on compassion and trust. They often help people care for themselves. Founded by a doctor who’s also a mom with a seriously food-allergic child, Lucy’s cookies are certified gluten free, vegan and Non GMO, and they are absolutely scrumptious in a way anybody, especially those who go through life avoiding gluten, can enjoy.

    I spoke with Dr. Lucy at the show and looked at the friendly, gentle design of her packaging (with its ribbon-shaped letter “L”), and I immediately understood what she and her brand stand for.

    Alternate: Love Grown Foods, which also carries strong characteristics of the Lover archetype.

    Lucy's Booth

    Lucy's, The Caregiver

    The Jester: Ass Kickin
    The Ass Kickin’ line of spicy sauces and other products includes “Products from Hell,” the Whoop Ass subbrand, and Ass Blaster Hot Sauce, among others. It’s a vulgar approach to humor.

    But let’s not quibble about the perils of overestimating consumers’ sensibilities. The folks at Southwest Specialty Food have found a home with the jester archetype, a playful approach to branding that lets people lighten up a shade and enjoy themselves. All the jester wants to do, really, is entertain us.

    Ass Kickin'
    Ass Kickin'

    Ass Kickin', The Jester

    The Lover: Baci
    From its origins in 1922, when the Perugina founder wrapped a love note around a chocolate and hazelnut candy, this iconic brand has always been dedicated to love. Even it’s name evokes amore: Baci is Italian for kiss.

    Lover brands help us express our own gender and to build relationships, as well as to express and receive affection. Classic lover brands include Hallmark Cards and Coco Channel.

    Baci

    Baci, The Lover

    The Sage: IQ Juice
    Sage brands show us a smarter way to address our needs and wants. They are wise and insightful and proud of their intelligence. Classic sage brands include Oprah Winfrey, Harvard University and Betty Crocker. All of them encourage us to solve problems through study and thought.

    The name IQ Juice is a good initial clue to the market position we expect of this line of functional beverages. The slogan “Live Life Smart” is another. Packaging is clean and unemotional, featuring key nutritional facts on the principal display panel. Each beverage uses different medicinal herbs and plants to achieve a specific biologic effect, including memory boosting, fat burning, energy enhancing, and more. They could do more on their web page to reinforce their intellectual authority, but for a 2012 startup, they’ve done a nice job so far.

    Alternate:  See Smell Taste

    IQ Juice

    IQ Juice, The Sage


    Look for five additional brand archetypes found at the Fancy Food Show in my next post: Every Man/Woman, The Innocent, The Outlaw, The Creator and The Explorer. If you care to nominate alternate brands to the ones I’ve selected, feel free to do that! All comments are welcome.

    A while back, Nigel Hollis, Chief Global Analyst at Millward Brown, published an interesting post on brand copycatting in China. (Copycat manufacturers are known there as “Shanzai.”) He presented a discussion about the cultural orientation favoring such products in China, and made some interesting observations about the meaning of brands.

    Coca Cola Knockoff Packaging in China (Shanzai)

    Knockoff packaging for Laoshan brand soft drink in China copies the bottle shape, label color and type style of Coca Cola's world-renowned trade dress. Image Courtesy Nigel Hollis.

    The images Nigel chose for his piece caught my attention. How furious must Coca Cola be, or Gillette, at such bald faced infringement on the most important aspects of their global brand identities.

    Gillette Knockoff Packaging in China

    Beyond package shape, color palette and typestyle, this Chinese takedown of Gillette's trade dress includes an intentionally dis-spelled brand name that even a native English speaker could mistake for the real McCoy. Image Courtesy Nigel Hollis.

    And yet, I am moved to ask, what would be worse, this or a serious brand contender with its own unique and appealing value proposition?

    The empirical backing I have for such a preposterous suggestion comes from the early philosophy of private label brand programs. For decades, copycat packaging was the rule in the US market. I studied the sector extensively in the late nineties and early 2000’s, when the replication of trade dress reached its apex as an art form.

    Dr. Publix vs. Dr. Pepper: Copycat Brand Packaging

    This image from the author's own research, circa 2000, shows the Publix private label brand impersonation of Dr. Pepper. As with Chinese Gittellc, aspects copycatted go right down to the product name!

    Not only did retailers manage to sell their own brands in packaging that looked like national brand packaging, they also got to merchandise their packaging immediately adjacent to that national brand packaging, and they usually priced their products about 30% lower. Consumer comparison was thus not only invited, it was imperative!

    Why would national brands allow this situation to proliferate with such little apparent pursuit of redress? For a series of speaking engagements on private label branding I developed the following rationale:

    One, don’t bite the hand that feeds you. Retailers own the shelf space. National brands need the shelf space.

    Two, imitation is the sincerest form of flattery. Doesn’t the presence of copycat packaging suggest that the product inside is a mere copy of the original as well? The preferred alternative is always inside the original package – the national brand. Isn’t that worth a price premium?

    Band-Aid Brand Private Label Knockoffs from Target, Eckerd and Walgreens

    Any of these packages (circa 2000, author's library) could readily be mistaken for the Band-Aid branded original. Colors, type-styles, images are in lockstep across the range.

    Three, the effect of these shelf sets is to amplify the presence of the original brand! The same container shapes, sizes, colors, type styles and other slavishly adapted elements of the national brand’s visual architecture all evoke mental impressions of the original brand. They draw the eye towards a known brand entity. To national brand managers, there is advertising and merchandising value in that.

    Taken together, these arguments suggest that national brands evaluated the tradeoffs, decided the pros outweighed the cons, and everyone went on with their lives.

    In the decade since, supermarkets have grasped the power of private labels to differentiate their stores and offer customers a brand value proposition that resonates with their experience of the stores themselves. Private labels are now every bit as visually appealing and as professionally executed as those of national brands. They no longer offer a copy of the national brand product but a unique experience, at a value that reflects a specific and expected level of quality.

    And I wonder, what do national brands think now? Which is worse, the copycat branding of old, or the head-to-head competitive branding of today? I feel I should add a fourth element to my explanation: that the national brands may have known that copycatted labeling was the lesser of two possible evil outcomes!

    Not that Coca Cola or Gillette have the same criteria in evaluating the copycat situation in China, but it does make you think.

    An earlier version of this post was one of the most popular I’ve published. So here it is again, 2013 style. Whether you enjoy my comments or not, please let me know. If you have alternate nominations, post them below!

    Let’s get started.

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    BEST PACKAGE DESIGN

    Tea Forte Cocktail InfusionsTea Forte Cocktail Infusions packaging offers gorgeous photography, full of dynamic tension. This is an awesome use of color; it’s simply alive with energy. Understated design architecture perfectly balances the master brand with varietal information. The booth display was majestically staged too. Congratulations on this strong execution!

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    Wisecrackers Packaging

    There’s so much to like, starting with the name, about Wisecrackers’ flatbread packaging from Partners. The visual flow begins with each plain but tastefully displayed hero image. This perfectly frames the brand badging, a ribbon that floats from one package to the next, multiplying the impact of a contiguous shelf set, and steering the eye across the product range. I think they could improve the layout of the remaining information: the brand descriptor, the flavor name, and the callout points; but that’s a minor point in the overall context. On the macro level, this is a well-balanced, inviting, and highly-effective design system.

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    BEST BRAND POSITIONING LINE EMPHASIZING FLAVOR

    Vermont Real Sticks Positioning SloganSo many artisanal brands are so darned good to eat that it becomes hard to build a platform on taste alone. I always find it enjoyable to see new ways of making the “tastes great” claim. From Vermont Smoke & Cure comes this winning line: “Damn Fine Flavor You Won’t Find Anywhere Else.” It ties a reason-to-believe (Vermont) to bold colorful packaging, with a folksy, genuine promise. All in eight simple words.

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    REPEATED THEME: PIGS AND CHOCOLATE
    Just what fine chocolate has to do with pigs I may never understand. But it’s a connection that’s made so many nice ways in artisanal branding that I just have to call attention to it.

    Hammond's Pigs 'N Taters Chocolate

    Hammond’s Candies Pigs N’ Taters bar had an inspiring taste that opened my eyes to the possibilities of combining the two great tastes of bacon and chocolate!

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    Vosges Noble Pig Chocolate LibraryVosges three-bar collection, packaged like a set of books, is visually rich and offers strong production values. Along with the name, Noble Pig, it’s guaranteed to catch your eye in an upscale retail environment.

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    Bacon Bark from Bear Creek Smokehouse

    I don’t care for this package design from Bear Creek Smokehouse. The product is probably too expensive for the average retail offering, and in contrast to Vosges’ approach, it lacks the design sensibility needed to stand out on a more upscale shelf set. But hey, it’s got pigs and bacon!

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    Truffle Pig from Hagensborg Chocolate

    This offering from Hagensborg Chocolates is not only well-named, but features an appealing design that makes me believe something delicious is inside.

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    Fat Toad Caramel from Fat Toad Farm

    Not quite pigs and chocolate, but toads and caramel comes from the same school of brand imagery! Kudos on the execution from Fat Toad Farm.

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    MOST ARTISANAL PACKAGE DESIGN

    Blackberry Patch Fruit Syrups, Most Artisanal Packaging winner, chosen by Goldforest on Branding, Fancy Food Show 2013

    This simple two colors-on-white presentation, combined with equally simple illustrations and an appropriate typeface, gives Blackberry Patch a strong home-made appeal. You just know this belongs in a guest house or on any special dining table.

    .Bonnies's Jams, a winner for Most Artisanal Packaging, chosen by Goldforest on Branding, Fancy Food Show 2013

    Bonnie’s Jams accomplishes the same task with one color and an attractive “handwritten” font. It works, but as a design consultant, I’d like to see better varietal differentiation, especially when the label covers up so much of the product. But don’t think I wouldn’t love to have a couple of jars in my fridge right now!

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    Grace & I, winner Most Artisanal Packaging, chosen by Goldforest on Branding, Fancy Food Show 2013Grace & I, winner, Most Artisanal Packaging, chosen by Goldforest on Branding, Fancy Food Show 2013

    The name and visual identity of Grace & I’s line of fruit & nut presses and condiments are unique and original. The double entendre is intriguing; is the brand about personal redemption or partnership? The visual is a little coarse, like homespun fabric. It’s all just perfect for an artisanal brand.

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    BEST USE OF COLOR

    It’s a four-way tie in this category, demonstrating once again, the power of color to engage the customer, differentiate varieties, and establish a brand proposition.

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    Maya Kaimal Indian Simmer Sauces, winner, Best Use of Color, chosen by Goldforest on Branding, Fancy Food Show 2013Provenance, or place-of-origin branding, can be a powerful brand platform.These otherwise simple labels for Maya Kaimal Indian Simmer Sauce work from a palette of colors that instantly evokes the visual richness of Mother India herself.

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    Republic of Tea Be Active Teas, winner, Best Use of Color, chosen by Goldforest on Branding, Fancy Food Show 2013The Republic of Tea created this energetic color palette for its Be Active line of herb teas. Leaning also on its healthy-looking sans-serif type treatment, this line has an upscale feel that lends credence to the functional claims the product names imply.

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    Taffy from Sweet Candy Company, winner, Best Use of Color, chosen by Goldforest on Branding, Fancy Food Show 2013You can’t get more summery than this packaging from Sweet Candy Company. These bright and charming gift boxes say just about everything that needs said about what comes inside.

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    Siggi's Swedish Style FilmjolkYou don’t need a lot of color to use color wisely! Siggi’s provides a splash — in the illustrations on its otherwise pure white containers. It conveys a healthy, delicious and gourmet image.

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    MOST ORIGINAL PRIMARY PACKAGING

    Found Beverages, winner, Most Original Primary Packaging, chosen by Goldforest on Branding, Fancy Food Show 2013The unique shape of Found beverage packaging from Australia, along with the strong graphic presentation, were a nice “find” at the show. I loved the enthusiasm and positive energy of its manufacturers, who were able to slow me down long enough to pass along their vision for an environmentally conscious beverage company (carbon neutral, pesticide free and more) with label-free glass bottles that encourage adaptive secondary uses.

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    Bornay Desserts Orange Sorbet, winner, Most Original Primary Packaging, chosen by Goldforest on Branding, Fancy Food Show 2013It’s not the retail packaging for this line of sorbet treats that thrills me. (The design seems more appropriate for home décor than food.) No, it’s the use of a real orange for the primary package that surprises in this presentation from Bornay Deserts. Along with sorbet-filled watermelon wedges, coconuts and other natural casings, the use of real fruit to contain and serve frozen desert earns applause for impact. You can’t get more original than this! (Although you could get a more heroic looking photograph.)

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    MOST UNFORTUNATE BRAND PRESENTATION
    No idea can succeed without proper execution.

    Sweet Potato Crackers from Millchap

    Characters that animate products, mascots if you will, must be instantly loveable. The bar has been set high in this approach to branding. For Millchap Sweet Potato Company, the image on its line of salt and savory crackers more closely resembles a rough concept than a final design. It is unappealing in this presentation, and probably not worthy of the product inside.

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    gimMe Roasted Seaweed Snacks

    Having presented for client consideration thousands of product names, I know that colloquial phrases and unique spellings can provide a strong brand foundation. The challenge is in knowing the line beyond which shoppers may struggle to read or understand your proposition. I feel that gimMe all natural Roasted Seaweed Snacks, a Sofi Awards Finalist, has crossed it.

    Maybe it’s the capitalization. Maybe it’s the lounging turtle. But I don’t think they’ve succeeded in conveying the intended “gotta have it” feeling with the product name. For that matter, the pedestrian photography does not match the upbeat, almost whacky mood of the rest of the package design. I’d love to be asked to convey this product’s Sofi-winning qualities in a more compelling way!

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    Tukas Brand Tomato Paste

    Unless your target market is extremely focused, cultural sensitivity should be liberally applied before the brand name goes on. This Turkish brand is more than 50 years old. That’s long enough to know what tukas means in American slang. This is the tomato paste equivalent of selling the Nova automobile in Mexico.

    That’s my take on the show folks. I had a great time. Met lots of interesting people. And as you can see, found plenty of great design!

    And I was serious when I said you should leave your thoughts. The button is just below.

    If you scanned the QR code on the promotional piece you received at the Fancy Food Show, you’ve come to the right place. Please review the slides below to see some of Goldforest’s brand-building work. It’s all based on strategy and backed by consumer research. Like what you see? We’re available to help juice your existing brands, create new ones, consult on strategy, or meet with your team to facilitate a day-long learning and brainstorming session.

    Interested? Call Michael David Gold at 954-929-7790. If you’re still at the show and want to meet him face to face, call his cell at 305-984-9971.

    If you sell artisanal foods or beverages, or if you sell something that breaks out of better into best, you’ll be at the Jacob Javitz Center from June 30 to July 2 this year.

    The economy continues to bubble. The recovery is real for a meaningful proportion of previously shorthanded Americans. Retailers feel it. They’ll be at the show looking for the next big thing, and doubling down on the last big thing. They’ll be helping some brands earn profits for their owners, and signaling hardship to others who can’t meet their standards or demands.

    Yes, the show is a heady game whether you purvey or peruse. It’s a big investment that signals you are stepping up to the plate.

    Let’s find out what’s in store after you arrive. What do you fancy from the Fancy Food Show?

    Fancy Food Show Swami

    What would YOU ask of the Swami at the Fancy Food Show?

    Here are some questions you might consider asking the business Swami you just might find as you arrive to set up your booth.

    • How do I get profiled by Good Morning America within hours of the doors opening on Sunday?
    • Will I get one major distributor to fall in love with my line?
    • Can my products in the new product showcase win an award?
    • Is my goal of opening 70,000 case orders to two new accounts realistic?
    • How do I solve my cash flow problems?
    • Can I get my booth moved within sight of my biggest competitor, and away from that practical joker with the buttons and pinwheels?

    You can pick your own questions of course.

    What do you think the Guru would say?

    “All that you wish for can be achieved if you can answer ‘yes’ to the following question.”

    You lean forward, forgetting to breathe. Your lips are dry.

    She opens her eyes and looks deeply into yours. You melt just a little.

    “Are your brands meaningful?” she asks, and returns to her meditation.

    “What?”

    Graciously, she opens her eyes again. “What do you promise of value? Would your package tell me that? Would I care?”

    “Well,” you reply, offended, “I suppose someone who sits on a mat all day communing with the infinite might not care about something as mundane as $24 a pound yak jelly, but then you’re not really my market, are you?”

    A kindly monk takes your elbow and ambles you along.

    “A moment please,” the swami gestures with a precise nod to her courtier. He releases. “You got yak jelly?!”

    That's a Yak! Creative Commons Credit: http://bit.ly/fYFX4r

    Your inner salesperson takes over. You have her ear, if not yet her heart. You tell her how the hooves of 16 adolescent yaks are required to crush each bud of the florid bangtao bush, hand selected from volcanic slopes on the Sumatran coastal range. In February. And then  only when the moon is gibbous. And so on.

    You show her the delicate packaging you’ve designed, with a natural finish and hand-written font. It explains that your profits support sustainable forests.

    You describe your scalable production network, and assure her of domestic warehousing capabilities.

    Just then, Robin Roberts emerges with her crew from the new product showcase warren. “Did someone say Yak Jelly? I just saw that package. A word with you please!”

    ***

    In today’s world a viable brand is the closest thing there is to a silver bullet. It’s key to earning sustained premiums over the cost of production. It drives the market value of your company, gets you shelf space when there are no facings left, is raved about by customers to their friends, and it just might be the thing that saves you from ruin in a PR crisis.

    Yak Jelly

    Earliest known image of Yak Jelly. Based on Creative Commons Image: http://bit.ly/1a7FqEo

    Creating a brand, on the other hand, is so difficult that most products content themselves with commoditized returns, and live in fear of the next retail reset. They’re like dogs chewing off their own tails each time new concessions are demanded.

    If your products are brands then you know that your brand is your entire offer. In fact it’s the only thing you CAN offer. This seems basic, yet executives at many CPG firms still treat the brand as a box they can check; it’s not at the core of every decision. You’ll find people like this in small companies that won’t get a shot. And you’ll find them, surprisingly, in some very big companies as well.

    But when I meet with thriving companies and those on the verge, I usually find someone who gets the importance of brands, and knows how to manage them.

    Which kind of company are you? You might think about that as you prepare for The Show this year. You might consider it as you ready the list of things you fancy.

    You’re a brand marketer, so naturally, you think more than most people about packaging. But I’d like to demonstrate that your concept of packaging is probably based on a fixed set of notions. That’s not a criticism. You need a framework that helps you negotiate a retail universe constructed entirely around today’s packaging structures and graphics.

    As a packaging professional, my concepts must also be fixed in order to deal with economies in materials and machinery, as well as existing distribution networks and retail models. But I scan the horizon frequently, because every now and then something cross-pollinates into an amusing sense of the possible.

    The Invisible Dress

    Last week on Springwise, a free weekly update on new business concepts the world over, I read about a dress fabric that turns transparent when the wearer’s heartbeat passes 85 beats per minute. Ludicrous? Forgive the irony, but I thought it worth a look.

    Invisible Dress

    Opaque Dress

    In its natural state, the fabric is opaque. When electrically stimulated, it becomes transparent.

    I was floored not only by the erotic beauty of the presentation on the website of designer Daan Roosegaarde, but also by the inevitability of our someday rendering packaging materials invisible on the shelf.

    Activated by touch, packaging graphics will seem to melt away, revealing a perfectly protected fruit or confection, or a prime cut of meat. Perhaps a sculpted primary package that could otherwise not be displayed at retail. Or a product form that would be hard to notice without the aid of visual cues imprinted on this new type of outer pack.

    Outer graphics will also differentiate brands and features, and provide required disclosures just as today. But this technology will allow a final close up inspection of the contents themselves. A last moment of romance before the purchase decision. How inspiring will that be?

    After watching the effect on evening gowns, imagine sending a gentle wave of light through your packaging material, letting it wash over your product, shimmer, and then go opaque again…

    Here’s where it could get creepy. Imagine sensors that detect a shopper’s gaze at the shelf-set. An imperceptible hesitation in her scan might trigger a package to reveal itself. An increased flow of blood to the facial capillaries. A dilation of the pupil.

    If you doubt Roosegaarde’s legitimacy as a designer, I urge you to watch this short interview.

    The Split Personality

    There was also a story I found through MediaBistro covering a Spanish poster campaign focused on child abuse prevention.

    Anar Foundation Child Abuse Prevention Poster

    Lenticular graphics enable different versions of the same image to be seen by adults and children.

    By using lenticular graphics, adults — viewing the poster from a higher angle — would see the face of a healthy child and the message “Sometimes child abuse is only visible to the child suffering it.” Children, looking up from below, would see the same face, bearing a bruise, with the message, “If somebody hurts you, phone us and we’ll help.” Brilliant!  The following video shows the campaign and how it works:

    There are obvious, if less socially pressing uses for such technology among brand marketers. Consider in-store signage promoting the nutrition and provenance of fresh produce to adults, and at the same time pitching crunch and natural flavor to kids? Or, legal issues notwithstanding, why couldn’t a cereal box use the same technology, presenting health and wholeness to adults, and a more visceral experience to children?

    Might little people or shoppers in electric carts object to being spoken to in such a way? That’s probably no joke; the headlines covering court involvement could be as amusing as the technology itself.

    “Non-existant” Packaging

    As a final example, you might have read about the emergence of actual edible packaging in Brazil. That’s right. A burger chain named Bob’s made eating fast food even more convenient, while (possibly, and you really have to think this part through) reducing downstream wrapper waste. The video evidence has been taken down, but the story was reported widely enough to be credible.

    Edible Fast Food Wrappers

    It doesn't look very appetizing, but it is edible, and may offer advantages beyond mere publicity value.

    Further, Huffington Post reports that an LA establishment named Coolhaus currently sells ice cream sandwiches in edible wraps, and that significant other activity is underway to give this technology broader US application.

    There’s also significant R&D underway into materials that will allow us to coat food products with a protective shell that is either washed off before consumption or simply consumed. One such venture, Wikicell, the brainchild of a Harvard professor and a French designer, has already raised $10 million in venture capital.

    Many foods and vitamins already come in edible packaging. But emerging technologies aim to elevate other products into the same strata of convenience, sanitation, and environmental benefit.

    Here’s My Wrap

    Economics must be the driver of any these technologies. As with most innovations, initial markets will support only premium products (e.g., liquor, perfume). Such developments might even skip the grocery channel in their first evolution, until scale and refinement are achieved. Given a thriving economic climate, changes seemingly even more bizarre than these, from our current perspective, are inevitable.

    As you consider the requirements of today’s market on your own packaging, it’s fun (and helpful) to keep your eyes open to new possibilities. You might be able to recognize an opportunity, become a “first mover,” and distinguish your brand as a market leader on the basis of your early adoption.

    And please, keep this conversation going. What seemingly unusual technologies are you aware of that might someday be applied to packaging design? What implications might they have for the shopping experience itself? How does the continued evolution of online shopping, even in the grocery channel, relate to the changes these technologies will cause at the brick and mortar level?

    Further Reference: Anton Steeman, a smart and broad thinking Brazilian consultant on packaging technology, is someone you might consider following through his blog, Best In Packaging. He reports regularly on fascinating developments that are not ten or twenty years distant, but actually just around the corner. Check it out.

    Breaking down categories by brand perception is one of my passions. It doesn’t matter how big or small your brand is, this kind of analysis never fails to provide competitive insight. Recently, I had a chance to take a brand snapshot of a playing field in the domestic beer sector. In addition to the bench-emptying kerfuffle among hundreds of individual labels, it turns out that conflict also lies at the place in the market spectrum where “mass” and “craft” beer categories reach out to each other.

    Another passion is baseball, and since the new season is here, I hope you’ll forgive me for structuring this post as a metaphor to America’s game.

    Setting the Playing Field
    For the record, the domestic beer market is controlled by a very small number of America’s breweries. About 93% of US beer production comes from just 56 breweries (that’s 2% of all breweries). The other 7% comes from the 2,360 companies considered craft breweries by the Brewers Association, the trade organization of craft brewers. (www.brewersassociation.org, April 2013.)

    Domestic beer consumption dropped 1% in 2011, while the craft sector grew 13% in volume! Not surprisingly, the trend was maddening (and terrifying) to the two percenters. In 2012, there were about 200,000,000 barrels (BBL) of domestic beer sold in the US. You figure the dollars foregone.

    The volume below which a brewery, including all its labels, is considered by the Brewers Association to be a craft brewer is 6 million BBL annually. If you’re looking to hit a grand slam (the next Bud Light?), this isn’t the sector to target. It’s appealing enough, however, that the majors have stroked a series of singles and doubles in its direction, any one of which could potentially exceed the craft barrel limit.

    Batter Up for the Bigs
    Gambling that there might be a large demand for something that tastes like a craft, the big labels are pushing what are often referred to as “faux craft” beers, like AB InBev’s Shock Top, and from Miller Coors, Third Shift as well as Blue Moon Belgian Wheat. Working the free agent market, they’ve also bought actual craft breweries like Widmer Brothers, Redhook, Goose Island and Leinenkugel. Finally, although this master brand naming approach removes them from the craft beer conversation, beers like AB InBev’s Budweiser Black Crown and MillerCoors Molson XXX are super premium extensions of flagships.

    Packaging for Shock Top, Blue Moon Belgian Wheat, Budweiser Black Crown, Third Shift

    Faux Craft and Super Premium Packaging. Upscale, distinctive, and appealing.

    The Brewers Association also takes the position that any label with more than 25% ownership by a major brewery is not a true craft beer. So AB InBev and MillerCoors can sell as much as they want, but they seem to have run up against a wall of perception regarding their craft legitimacy.

    You’re Blind, Ump!
    Hang on a gosh darned second. If it’s made like a craft and tastes like a craft, who says it isn’t a craft, barrel limits and ownership percentages be damned? That’s where an understanding of perception is involved. Managers who focus on numbers and fail to account for what ordinary people think about beer miss the boat.

    It turns out that craft beer drinkers themselves care deeply about the distinction between mass-marketed beers and craft beers. They take pride in their ability to enjoy a wide range of tastes in limited production, often very local brews made with high quality hops, barley and other natural ingredients. In fact, and without the benefit of research that surely exists somewhere, I believe they control the public perception that this craft / non-craft construct is important. It seems to me that Americans accept the notion that, as with wineries, small makes better possible, while big means drinkable, reliable and reasonably priced.

    The consultation that afforded me this sector snapshot was a review for market research firm Blueshift Research. A significant aspect was developing a POV, strictly from a brand perspective, on the infringement of faux crafts upon the traditional territory of Sam Adams brand labels. Sam is the most valuable craft in the sector (MVC?). The majors’ strategy must account first for him.

    So let’s take a look at the brand identity issues involved.

    Sam Adams brand extensions. The visual brand architecture is formalized.

    Sam Adams, The King of Craft • 62 labels featured on web site (about 30 with formal Sam trade dress) • Brewed by The Boston Beer Co. • 3 million barrels (bbl) per year production • Respected among beer drinkers though some purists consider it “too big” • Founder and CEO Jim Koch is a fifth generation brewer

    Scouting Report: Sam Adams’ Brand
    Starting from scratch in the mid-1980’s, Sam Adams was the leader of the craft revival movement. Given its heritage in the craft brewing world, Sam’s is a pioneering brand identity, worthy of its historic New England namesake. It’s perceived as having integrity, courage and strength of character, in flavor as well as brand personality. Like the beers his great great grandfather and each successive male descendant in founder Jim Koch’s family brewed, it’s made with a craftsman’s touch. Sam Costs more than Bud, and an awfully lot of people buy it. Sam Adam’s brand identity seems well-matched to the craft beer sector.

    Yet aspects of Sam’s identity resemble the national brands more than they do other crafts.

    Its label hews to the principles of commercial graphic design, with consistent repetition of graphic icons, handsome and traditional typefaces, a helpful and attractive color palette, and more.

    Craft Beer Labels

    Craft Beer Branding. In contrast to Sam Adam’s more formal trade dress, many traditional crafts celebrate the uniqueness of their approach to brewing with highly expressive, sometimes even hand-drawn labels.

    With a market cap over $2 Billion, the Boston Beer Co’s large scale (for a craft) affords it a more traditionally organized distribution system, including national coverage in multiple channels (liquor, supermarket, on tap, etc.)

    It also provides a workable advertising budget (in 2010, about $30 million). It’s campaign effectively conveys Jim Koch’s obsession with taste and quality.

    Sam gets the best of two worlds, the lucky boy! He’s found a sweet spot in the market that’s rooted in the craft sector, but delicately steps beyond it into the mainstream market without compromising its fundamentally “craft” identity.

    On the Other Bench . . .
    Threatening Sam’s prosperity, perhaps, is the emergence of faux crafts. What’s their brand identity? To true craft beer fans, the kind that care about the 6 million bbl size limitation, they’re not worthy. (See some reviews for Shock Top at beeradvocate.com.) But what about those on the rungs below, consumers who like a uniquely flavored, higher quality brew they can rely on for consistent satisfaction. How vulnerable is Sam in this area?

    After all, real success for faux crafts depends on upgrading enough mainstream beer drinkers (of which there are tens of millions) to affect the bottom line, not stealing significant share from the smaller and more discerning craft sector. Early results are positive. In 2012, according to Nielsen (quoted here by food and beverage pundit Phil Lempert), the domestic super-premium segment generated sales of $2.1 Billion, with dollar growth of 29% year over year. That’s “just” a third less in dollar sales than the entire craft sector, which itself grew by 18% to $2.8 Billion.

    I would argue that as long as the Boston Beer Co. plans to remain a true craft brewer, success for faux crafts is not a threat. The core markets are too different, as are the brand images. I think the bigger problem belongs to the makers of faux craft beers, which have to be perceived as superior to mainstream beers to earn price premiums. To communicate this, do they not have to reach out toward identity characteristics owned by the craft sector? Here’s a major source of their image problem. Authenticity is a critical brand element of most craft beers. Yet the majors do not even declare parenthood on their faux craft labels. A lot of people think that’s sneaky. And sneaky is the opposite of authentic.

    Blue Moon and Shock Top "Faux" Craft Labels

    Faux Craft Labels. These labels are craft-like, albeit slicker looking than is typical in the sector, suggesting distinct character and personality. Neither one declares its connection to the world's larges brewers.

    A Look at the Telestrator
    These charts provide a graphical summary of my point of view. Plotting perceived “craftiness” against sales volume, the dogleg shape of the distribution is clear. High quality and distinctiveness has been a niche market play. Craft manufacturers like Boston Beer Company might push outward toward the area of opportunity (the green rectangle), but if they remain true to their identity, they won’t exceed the craft manufacturing limit. Major brewers, on the other hand, not encumbered by the Brewers Association’s guild-like distinctions, are trying to approach the opportunity as well.
    "Craftiness" of Craft Beer vs. Sales Volumes by Beer Label

    Perceived Beer "Craftiness" vs. Sales Volumes in BBL (by label). There are hundreds (even thousands) of low volume but very crafty beers, dozens of low-to-moderate volume and non-crafty ones (the amorphous purple shape), and a few very large brands. The latter dominate mass market mind-share. Craftiness ratings are the author's. Volumes are approximated based on various published sources.

    When Craftiness is plotted versus the size of the parent brewery, the market perception gap is even more apparent. As long as craft beer lovers prefer attributes like small and local, the majors will have difficulty luring them, no matter how craftily their beers are brewed.

    Perceived Beer Craftiness vs. Sales Volume by Parent Brewer in BBL

    Perceived Beer "Craftiness" vs. Parent Brewer Sales Volumes in BBL. The Perception Gap. (The size of each square represents sales volume by that specific label.)

    Respecting Your Legacy

    As a corollary, if The Boston Beer Co. is to remain true to it’s own brand, it won’t care about the success of faux crafts. An awakened taste in quality beers, and a continued migration upward toward “real” craft beers should be good for them and the craft sector as a whole. Also, the company is pursuing alternative beverage categories for now (hard tea and cider), a strategy that carries diversification value as well as the possibility of continued growth without compromising BBC’s craft brewery status.

    The best news for crafts in general, at least those whose managers care more about quality than market domination, is that if they stick to their core identities, there appears to be plenty of room for continued growth, even in an economy that is still in recovery.

    The Wrap
    In EVERY category, brand identity analysis is a big league tool you can use to size up the competition. It’s not enough to know the current stats: sales, penetration, promotional spending. You have to establish a context for evaluating potential. I’ve written elsewhere about the fundamentals of brand identity (for example here and here), but the bottom line is that every brand has an essence that carries valuable genetic information about the strategies and tactics it can pursue to fulfill its destiny, as well as those it must avoid. If you understand the brands, you’re half-way home!

    What are your thoughts on this line of thinking? If you’re in the brewing sector and have a take on the category, please chime in. And if you’re in another sector, do you see how these principles apply in your case too?

    A graphic designer named Ben Pieratt created a visual brand identity system for a non-existent entity he named Hessian, and he’s offering it for sale at $18,000. Wanted: one entrepreneur with an idea for “a restaurant, a startup, a clothing brand or more”, according to Ben’s website at hessian.tv. For that sum, you get the name, the URL, the Twitter and Tumbler accounts, designs for various logotypes, stationery, various app icons, Web site and app interfaces, and some tee shirts. You also get 30 hours of Mr. Pieratt’s time to complete the project.

    Here are some of the elements of the system:

    Hessian Logotype

    One of several logotype options from Ben Pieratt's system.

    Hessian App Icon

    An app icon for Hessian.

    Hessian Tee Shirt

    A Tee Shirt Design

    Hessian Letterhead

    Letterhead and Business Card

    Hessian Store Front

    Environmental Graphics suggesting a coffee shop, a bookstore, a clothing boutique?

    Some in the design community were offended at this step toward the commoditization of their profession. But in his blog, Mr. Pieratt makes the point that as a designer, he instinctually understands brand models that may or may not exist, who their customers are, and how those brands should be positioned and launched. It’s an interesting point.

    I think it took guts for Mr. Pieratt to step outside the box that defines brand design. Time will tell if his paradigm has value. But if you look at the big picture of brands and the branding process, his is a low-end solution more appropriate to managers who lack creativity and self-confidence than for those who have the vision and desire to engage in a genuine relationship between their products and their loyal customers.

    What Mr. Pieratt has created is not a brand at all. It’s a set of symbols that, if he’s lucky, might be associated with a product and even come to embody it in customers’ minds.

    He’s betting that, let’s say, a breakfast food manufacturer will see the possibility of positioning new Hessian Cereal as a vital part of a daily regimen worthy of “the Germanic warrior in all of us.”

    The online publication Design Taxi very appropriately referred to Mr. Pieratt’s process as “Backward Branding.” (See also coverage on Wired.com and FastCoDesign.com)

    This type of branding looks nothing like real branding, the kind that starts before the product even exists – when there is only an unmet need. Forward branding is hard stuff, much harder than blue sky, whatever looks good on paper imaginings. It’s not about what’s in your own mind, but rather finding a place in your customers’ minds: an opening, an invitation.

    My partner and Creative Director, Lauren Gold, pointed out that there are successful brands, like Virgin, that do what Hessian does, routinely. Virgin took its existing brand along with the symbology that represents it, and applied it to new categories, moving from music, to airlines, to cola and beyond. And their “branded house” strategy is by no means unique.

    I argued with her that this is different from dreaming up a new set of symbols that have no existing meaning in a market context and applying it to whichever category feels right for it. But I had to concede that Virgin was arbitrary and essentially meaningless at its birth, just like Hessian!

    To visualize the challenge of backward branding, it helps to remember the difference between a product and a brand. This figure, reprinted from “Brand Leadership,” a very enlightening book on brands and branding by David Aaker and Erich Joachimsthaller, is useful.

    Brand vs. Product

    A brand is a product imbued with higher order meanings and associations.

    The brand includes the product, but imbues it with meaning in human terms. These higher order associations come from a shared process whose participants are you (with your brand manager hat on) and your customers.

    A prefabricated design system like Mr. Pieratt’s can never encapsulate a brand identity. As a symbol, it’s just one element of the overall brand identity, the fullness of which emerges when you’ve generated sales and opened yourself up to consumer relationships. That’s when you’ll learn the true meaning of your product in peoples’ lives. When THIS occurs, you adjust course by it, rather than waiting for customers to adjust their attitudes to your vision.

    So if like Virgin, Hessian is to thrive, it needs much more than an entrepreneur with $18,000 to invest. It needs a mission, a personality, a relationship with its customer base, a value proposition, consistent management, and so much more. And if that $18,000 is precious, it would be better to arbitrarily name the product on your own (“Cossack” will do)  and invest your money in other, more customer-relevant aspects of the branding process.

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