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pr o d u c t Dry Port Wine
de s I g N F I r m Risedesign
lo c at I o N Zibo, China
cl I e N t Tiancun Group
B e
This design is rich and typical of Eastern class and style.
I love the rich, Indian-blue gradient from which the
decorative characters sing out, and the unusual positioning
and smaller-size branding make this box striking.
m k
This is an example where the cultural nuances of design
can be lost on a foreign audience. The radiant blue structure
with the white symbols and gold Chinese characters is
quite appealing, but clearly, the overall authenticity of the
products is the component of the design that will resonate
with the consumer.
pr o d u c t Jack Daniel’s Outer Gift Packaging
de s I g N F I r m Mayday
lo c at Io N London, England
cl I e N t Brown Forman
B e
Jack Daniels, a veteran of crafted labels, has been given a
modern twist, using the iconic bottle shape as a masking
device. This works brilliantly, as Jack Daniels is so
established that, even cropped to just “JA,” it’s instantly
recognizable. The unusual cropping highlights the existing
label to full effect, forcing us to look afresh at its intricacies,
and using the die cut instead of printing straight onto the
carton adds a premium feel. Continuing the bottle-shape
device for the type on the reverse side makes this box feel
beautifully considered, crafted, and unusual. I’ll be looking
out for one!
m k
This brand is so iconic that it would not be difficult for the
average consumer to visualize the glass bottle and label
graphics. It really makes a statement when 80 percent of
the brand identity can be covered by placing it inside a die
cut of the contoured glass bottle and still be completely
recognizable. Love the signature, placed as though the artist
signed the masterpiece, and the way the well-engineered
box unsnaps from behind, unfolding forward to reveal the
trophy inside.
s W
This is stunning, smart, handsome and—more importantly—
not over the top. It takes a strong, iconic bottle and label
and uses them to build and enhance the brand, rather than
adding more stuff. Beautiful typography. I’m not sure what
the button in the back does, but who cares? I would buy this!
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B e
Charged with the redesign of the world’s most iconic brand,
this team has achieved what so many designers have longed
to do—taken Coca-Cola back to its iconic roots. This is
one example where “make the logo bigger” is actually a
welcome directive, and the resulting, confi dent use of an
oversized, no-fuss logo has managed to make Coke fresh,
clean, and strikingly strong again. It’s back to what it’s best
at...how refreshing.
r W
Only Coke could get away with this. But when you absolutely
own a color, a shape, and a typestyle, what else do you
need? Anything more would be superfl uous. While the
logo’s rather large size prevents it from being read in its
entirety from any angle, every consumer knows at a glance
exactly what’s in this bottle. Bravo to Turner Duckworth
for resisting the urge to gild the lily. Bravo to Coca-Cola
for their brand-building zealotry, providing this absolutely
unique opportunity.
pr o d u c t Coca-Cola Aluminum Bottle
de s I g N F I r m Turner Duckworth
lo c at Io N London, England and San Francisco, CA
cl I e N t The Coca-Cola Company, North America
s W
There really isn’t anything else to say; it’s perfect! But since
this is a book about explaining packaging: They’ve taken
three of the most recognizable elements of the brand (really,
of any brand) which are known the world over—the Coca-
Cola bottle shape, red, and the script—and boldly let them
speak. The bottles look great all together as they complete
the name. Was this really produced? Where is all the legal
stuff? I’m thirsty.
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pr o d u c t Selfridges
de s I g N F I r m Lewis Moberly
lo c at Io N London, England
cl I e N t Selfridges & Co
B e
This is just a little sneaky preview of a huge range that this
design covers within Selfridges and, for such an enormous
task, this design is pure class. The unusual color choice
stands out a mile from the branded competition, and the
considered, restrained type and luxury fi nishes all deliver a
seriously premium product line. I particularly love the gothic
S die cut; it makes the design iconic, strong, and modern,
yet still exudes gravitas.
m k
Out of the context of this notable retail establishment, it is
diffi cult to truly appreciate the value of design for this line of
products. Selfridges says “fashion” and this line beautifully
expresses that dictum. Each packaging refl ects attention to
detail. The elaborate gathered fabric, holly-decorated cover,
hinged book box, bottleneck collar, die-cut over-wrap, the
contrast of soft, matte textures with foil stamping, and the
die-cut S are all symbols of distinction.
r W
Just look at the combination of colors and textures. Check
out the details of the crimped fabric and the box pull. Lush.
And while its overall impression is just a little bit cold and
perhaps overtly sophisticated (if not snobbish), I’d still be
proud to bring this entire line of products to Christmas
dinner. Although my family might consider the packaging
too nice to open!
B e
The understated, well-executed idea in the logo itself—
effortlessly hijacking a street sign—still plays true to the
traditions of beer branding. The simplicity of the color
palette supports the rustic, homegrown attitude, but the
simplicity of the type keeps it modern. It’s unfussy, quaint,
and evokes nostalgia without dwelling too heavily on it.
r W
I would love to have seen the brief on this project to
discover the signifi cance of the delivery peddler’s wagon.
Nevertheless, great design tells a story, and this street-sign
label tells all: Local, hand-brewed, and custom-delivered
only to places within biking distance of the brewery. If, in
fact, this is the brand’s authentic story, this design is an apt
visual testament to it.
s W
This will become a classic—that is, if the product lives up
to the package. This is true to the beer category but takes
it to a more refi ned and elegant place. The typography is
impeccable, and the quaint illustration adds a bit of whimsy.
I wonder if the designers tried something besides the oval
label shape? Although it fi ts comfortably in the category—
too comfortably—it could be mistaken for a competitor.
pr o d u c t St. Urbain Rousse
de s I g N F I r m Nolin Branding & Design
lo c at I o N Montreal, Canada
cl I e N t Labatt Breweries Inc.
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B e
Simplicity is this design’s best attribute in a category that’s overwhelmingly
fussed. It certainly rejuvenates a stuffy genre, and the reference to pirates
is a softly witty idea that works well.
m k
The intriguing modern twist on a skull and crossbones—which historically
represents the warning of danger (as in poisonous substances)—and
the stereotypical pirate flag (pirates got drunk on rum, right?) combined
with uppercase sharp serifs and wide-open kerning create a memorably
mischievous brand identity. The shelf appeal—beyond the intriguing name
and identity—is enhanced by the amber bottle and an ACL white identity.
The well-formatted black-and-white label with the red signature has a
classic, premium sensibility.
r W
It’s hard not to be impressed with how Turner Duckworth combined a
rather cumbersome brand name with a cliché icon and transformed them
into an ownable and relevant brandmark. The elegant neck label balances
the masculine symbol, making the brand at the same time more premium
and more approachable. The bottom label organizes all the additional
information, underscoring this simple and effective identity.
s W
The matte-finished bottle is a great canvas for this intriguing icon and
product name. It feels like a spiced rum without falling into all the
trappings of the category—pirates, parrots, etc. The skull and crossbones
winks at the iconography but does it in an ownable and memorable way. The
limited color palette is bold and provides good shelf presence in a back-bar
situation. My only negative comment is the kerning on “Handcrafted” on the
neck band.
pr o d u c t Kilo Kai
de s I g N F I r m Turner Duckworth
lo c at I o N London, England and San Francisco, CA
cl I e N t Apostrophe Brands
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