At the end of last month, Hershey’s began rolling out their “Flavors of America” campaign, which has the company including signature regional tastes and ingredients into varieties of some of their most beloved products. So far, options include:
1) Reese’s Honey Roasted Peanut Butter Cups, for Georgia
2) Hershey’s Cherry Cheesecake Chocolate Bars, for New York
3) Strawberry KitKats, for California
4) Orange Cream Pop and Key Lime Pie Twizzlers, for Florida
5) PayDay BBQ, for Texas
6) Hershey’s Coconut Almond Kisses, for Hawaii
This campaign is very much on trend, as food brands are becoming increasingly local. For example, last year ConAgra launched new Slim Jim flavors inspired by regional cuisine, including New York Buffalo Style, Philly Cheesesteak, and Cali Taco. Interestingly, Jill Dexter, brand director from Slim Jim, referred to this rollout as their “Flavors of America” platform. Not only is the concept growing in popularity, the name itself is being applied across different companies.
2016 also saw granola producer Maple Nut Kitchen combining two major trends into one campaign with the release of four regional flavors for their Paleo line: Northern Berry Harvest, Eastern Apple Pecan, Southern Cherry Almond, and Western Cocoa Cayenne.
Frito-Lay might actually be at the top of the regional flavor game, and they’ve been doing it for a long time. It was way back in 2011 that Lay’s introduced three localized varieties at once, with Honey Mustard for the Northeast, Creamy Garden Ranch for the Midwest, and Chipotle Ranch for the Southwest. Even prior to that, they released Balsamic Sweet Onion in the Northwest and Cajun Herb & Spice in the Southeast. As far back as the early 2000s, the company experimented with options such as Chicago Steakhouse Loaded Baked Potato, Santa Fe Ranch, and San Antonio Salsa. Similar to ConAgra and Hershey’s, Frito-Lay predictably named that campaign “Tastes of America”.
Some of Lay’s regional flavors have been so popular that the company transitioned them into national rollouts, such as Garden Tomato & Basil. Unlike Hershey’s, which is rolling out their “Flavors of America” varieties across all regions, Frito-Lay tends to initially introduce a regional flavor into its appropriate local market.
Taking flavor inspiration from local tastes is huge in the snack category, and the trend is expected to continue gaining momentum. Not only does the practice help tailor products to markets based on preferences, it also gives big brands an opportunity to connect more personally with consumers across the nation (and beyond). By incorporating ingredients and styles of various areas of the country, national brands like Hershey’s are able to compete at the local level with smaller companies.
For example, one of Hawaii’s most popular candies, simply called Coconut Balls, comes from local company Hawaii Candy. It is easy to see the similarities between this coveted confection and Hershey’s Hawaiian treat, Coconut Almond Kisses.
It is unclear right now whether or not Hershey’s intends to develop flavors for all fifty states, or how Californians, Hawaiians, Floridians, Georgians, Texans, and New Yorkers will react to Hershey’s attempt at capturing their distinct local tastes. The campaign definitely has an interesting concept behind it, and other brands that are considering localization will surely be watching to see how successful it is.
It can be difficult to create unique Easter packaging designs that can stand up to a sea of pastel treats. With so much competition around the holiday, it takes a lot to grab a consumer’s attention.
Fortunately, each of the designs highlighted below has found a way to create unique, out-of-the-box packaging designs that stand apart from the traditional Easter packaging. Most importantly, they illustrate that Easter designs can mean more than the traditional eggs, bunnies, and carrots.
1. Hotel Chocolat
The Supermilk Facet Easter Egg by Hotel Chocolat needed to have a truly unique design to stand up to their new chocolate line. This Easter egg contains more cocoa and less sugar for a healthier, more guilt-free option. In order to attract consumers to this new gem of an egg, the design needed to take an unexpected angle on the classic Easter egg. It accomplished this by casting the egg itself with a jeweled facet design to represent a “chocolate diamond emerging from a smooth chocolate eggshell”. The outer packaging also illustrates this jeweled facet design.
The Splat Easter Egg is another masterfully crafted Easter egg design from Hotel Chocolat. It features eye-catching pastel packaging with a colorful chocolate splat to emphasize that this is a grown-up kids’ treat.
2. Van Leeuwen
After redesigning its packaging to traditional Easter colors, the high-end Brooklyn ice cream brand, Van Leeuwen, enjoyed a 50% increase in sales. For the redesign, they focused on making something that “looks good on social media”. The company worked with design firm Pentagram to design the ice cream trucks and pints to look “very Instagrammable”.
3. Lulu Guinness Birdcage Egg
Designer Lulu Guinness specially crafted only 100 of these limited-edition birdcage eggs for Fortnum & Mason. The packaging is meant to mix old-school glamour with modern design in order to reflect the designer’s love of all things English. Each label was signed by the designer and the box was decorated by hand for that special touch, making it an extra special gift.
4. Tesco Finest
Tesco Finest worked with branding and packaging design specialist, Parker Williams, to create unique designs that combine modern style and vintage designs. The custom-made egg coop is successful at “catching the consumer eye whilst placing an emphasis on the eggs”. The design comes complete with a netted metal front and wooden box.
Toblerone focused on creating Easter packaging that would appeal to adults just as much as it would to kids. This successful packaging concept was designed to create high visibility on a crowded shelf. The colorful pattern was inspired by the brand’s elements, as well as the chocolate treats hidden inside.
Toblerone also worked with Bultmann Design Works to create the seasonal packaging displaying an open-the-flap element and rabbit characters to entice younger consumers. It also fits well in any Easter basket.
Founded in 2010 by Rony Abovitz, Magic Leap is a fast-growing startup that has been shrouded in mystery since its inception. In fact, it has earned the reputation as one of the most secretive firms in the tech industry, and its headquarters are located in Southern Florida to maintain its discretion (which would be nearly impossible if it were located in Silicon Valley).
The startup evolved from a small company called “Magic Leap Studios”, which was focused on creating a graphic novel series and feature film franchise. Abovitz had hired visual effects studio Weta Workshop to develop the imagery, following their work on The Lord of the Rings film trilogy.
However, Abovitz became frustrated that the augmented and virtual reality world he’d read about in sci-fi novels wasn’t available in real life. He aimed to make it so. In 2011, Magic Leap Studios became a corporation, releasing an augmented reality app at Comic-Con that year called Hour Blue.
How They’re Trying to Change the World
Magic Leap is working on a head-mounted virtual retinal display that has been compared to the Microsoft HoloLens. It superimposes 3D computer-generated imagery over real world objects by tricking the brain into thinking that digital light signals created in the headset are in fact reality. Gizmodo said they are trying to build “a Google Glass on steroids that can seamlessly blend computer-generated graphics with the real world”.
Forbes perfectly described the experience in relation to Pokemon Go: “VR takes you to another place. AR can make a Pikachu appear in your living room. Mixed reality keeps you where you are-and makes that Pikachu come to life.”
While this technology has outstanding potential for gaming and entertainment, Magic Leap aims to use it to revolutionize the way we work, communicate, and play.
Quick Success Led to a $4.5 Billion Valuation
Forbes estimated that Magic Leap was worth $4.5 billion, even though they have not released a product to market yet. It raised $1.4 billion from a list of impressive investors, including Google and China’s Alibaba Group.
It earned highly publicized early contributions thanks to its overwhelming claims that the technology would “forever change the way we interact with images and information”. The prominent investors were convinced with early prototype demonstrations and technology that was still in development.
Standing Up to Big Competition
Magic Leap is not the first (or only) company to pursue mixed reality. Apple is working on an AR device, startups Meta and Atheer are working on their own headsets, and the MIT Media Lab has also constructed a 3D display using “compressed light fields”. The Microsoft HoloLens is the largest competitor and already has developer kits available. The difference, according to Magic Leap, is that Magic Leap’s breakthrough technology provides better resolution than the HoloLens, making it far superior.
Misleading Claims Revealed
Most people who have tried Magic Leap have positive things to say. However, not all of the attention surrounding the startup has been good.
Magic Leap may have exaggerated what it was able to provide. In a recent interview, it was revealed that Magic Leap posted a misleading video demonstration of its tech. Magic Leap didn’t help things when it used YouTube videos to prove what its tech can do, using a video that was later revealed to be created by Weta Workshop.
As it stands now, the Magic Leap tech won’t outshine the Microsoft HoloLens’ tech. During a recent rare demo with The Information, the images produced by the headset were often blurrier and more jittery than Microsoft’s prototype.
While the startup wasn’t ever planning on rushing to market, it seems as if the technology is in reality years away from completion. The fiber scanning display that was set to be Magic Leap’s breakthrough tech has also been demoted to a long-term research project. They have also promised to provide a small headset resembling glasses, but have not yet trimmed down from the bulky helmet prototype.
However, this hasn’t slowed Magic Leap, which just acquired the 3D division of Swiss computer vision company Dacuda and formed a partnership with Disney’s Lucasfilm and its ILMxLAB R&D unit to create a joint research lab at Lucasfilm’s San Francisco campus. Abovitz believes that one day, Magic Leap’s technology will replace phones, tablets, computers, and televisions.
Born in 1966, John Maeda is a world-renowned graphic designer, visual artist, and computer scientist. Throughout his successful career as a programmer and as an artist, he has found a way to seamlessly interconnect the two.
During his time studying at MIT, famed designer Muriel Cooper persuaded Maeda to pursue his passions for fine art and design. He did so by teaching typographers and page designers to explore the freedom of the web through computer-aided design. Many designers credit him with laying the groundwork for interactive motion graphics.
Maeda wrote the book on simplicity – literally – in 2006. His book, titled “The Laws of Simplicity”, covers the 10 laws and three key principles of simplicity, which range from thoughtful reduction to organization and time-saving.
In his early work, he redefined the use of electronic media by combining artistic techniques with advanced computer programs to create truly unique pieces. He is also a proponent of the “STEAM” movement: He strives to have an “A” for Art added to the STEM programs (Science, Technology, Engineering, and Math).
Maeda focuses on creating simplicity in the digital age by intersecting complicated technology with art and design. As a member of the Technical Advisory Board for Google’s Advanced Technology and Projects Group, he is constantly faced with the challenge of creating something that is simple, yet still meets our complex needs.
Maeda aims to balance simplicity and complexity in business, technology, and design. To achieve this, he said: “Simplicity is about subtracting the obvious and adding the meaningful.” He believes that we can learn to simplify without sacrificing quality, both in our professional and personal lives.
He has taken influence from Paul Rand and his love of creating pieces that are less structured. He also frequently praises Apple’s designs and how they simplify our complicated needs. Maeda found that “while great art makes you wonder, great design makes things clear.”
His work has been exhibited in Tokyo, New York, London, and Paris. It is also a part of the permanent collections of the Smithsonian Institution’s Cooper-Hewitt National Design Museum, the San Francisco Museum of Modern Art, and the NYC Museum of Modern Art. Along with his museum contributions, he has also worked with companies like Absolute Vodka, Reebok, and Shiseido to create limited edition designs that showcase his appreciation for art and technology. He is also the founder of the SIMPLICITY Consortium at the MIT Media Lab.
He is the recipient of many awards, including the Smithsonian Institution National Design Award, the Raymond Loewy Foundation Prize in Germany, and the Mainichi Design Prize in Japan. He was also named one of the 75 most influential people of the 21st century by Esquire and deemed the “Steve Jobs of academia” by Forbes.
Chris Burton, our Art Director, travelled all the way to Anaheim last week for Expo West 2017. The four-day event is the country’s largest natural foods show, and it gives industry professionals the opportunity to see what’s in store for the future of organic foods. Shifts in consumer tastes usually lead to major design shakeups, and here are four of the biggest packaging trends that we noticed.
With consumers becoming increasingly interested in buying local small-batch products, branding is taking on a distinctly “handmade” look. Handwritten logos, drawings, and rough edges are all major trends, as brands are moving away from the overly polished “hipster” look of the last few years in favor of appearing wholesome and healthy.
Protein Protein is in everything right now, from plant milk to pancakes (FlapJacked wins best name). As a result, we’re seeing categories looking a lot more diverse than they have in the past. For example, protein-packed cookie brand Bite Fuel is using a very heavy black font in all of its branding, which is unrecognizable from the bright colors and gentle script of more familiar players like Mrs. Fields and Famous Amos.
With this sudden interest in protein, we’re also seeing more artisanal varieties of meaty products like beef jerky. Duke’s came to Expo West with dried brisket and Cajun-style dried sausages, with elegant packaging that highlights the seasonings and flavor additives over the meat.
This protein phenomenon is manifesting itself in two ways – products that traditionally would not contain much protein are being set apart with strong, commanding designs, and products that have always been known to be great sources of protein are trying to appeal to new consumers.
Consumers want to feel closer to the food that they eat, which means becoming more comfortable with the animals at the source. Meats, cheeses, and flavored snacks are all beginning to feature realistic depictions of livestock, sometimes using straight-up photographs.
Meat-and-dairy-free products are using images of animals as well. Los Angeles’s Kombucha Dog, for instance, puts photos of homeless dogs from local shelters on their labels, using store shelf space to help them find homes.
Mascots were all over the place this year, which is interesting for a natural foods show – mascots are most commonly associated with sugary cereals and fast food. Brands are now recognizing that mascots can help build relationships with consumers, who can feel personal and emotional connections to them. They can also considerably boost a brand’s recognition potential, which is especially attractive for new products in crowded categories.
Package redesigns are famously tricky. On the one hand, updating a product’s look can be an important part of appealing to new consumers and staying fresh in an evolving market. On the other hand, companies risk losing valuable brand equity when they sacrifice recognizable design. When faced with the challenge of a redesign, sometimes brands just don’t get it quite right, and would have been better off sticking with their original look. Here are three recent examples of redesigns that did not deliver the effect that companies intended.
In Kraft’s defense, Miracle Whip was due for a modern upgrade. The redesign that they chose in 2009, however, was uninspiring and bland. It’s clear that they were trying to go more minimalist, but the result made the product look unappetizing and generic, with no indicators of flavor other than the words “The Tangy Original”. Kraft quickly realized the error of their ways, and in 2010 a new design was released that retained more of the fun and color of the original packaging.
In 2012, Weight Watcher’s had their logo redesigned by Pentagram. Keeping with the trends of the time, they opted for a gradient and a heavy font, with no space between the words. The company, which sells products related to dieting ranging from books to packaged foods, wanted their new look to highlight the transformation that consumers experience through the brand. What they were not counting on, however, was that a vulgar British slang word was now smack dab in the middle of the logo, which consumers in the U.K. found very difficult to look past.
The Happy Meal
Few things are as iconic to the children of America as the Happy Meal box. The simple, sweet design had a lot of personality, and it represented years of brand loyalty that McDonald’s had built with families. In 2014, the company decided to reintroduce mascots into their branding, including a new one in the form of “Happy”, whose realistic smile and crazy eyes terrified consumers. The new boxes quickly became the subject of public ridicule and scorn, inspiring everything from memes to thinkpieces about how McDonald’s had evidently lost their minds.
An important thing to keep in mind here is that all three of these companies – Kraft, Weight Watchers, and McDonald’s – are multimillion-dollar corporations with huge marketing teams and expensive consumer research, yet even they have gotten redesigns very, very wrong. It’s difficult work, and both the design community and the food and beverage industry are still figuring out the best ways of going about it. But for every failure, we all learn a little more about how to do better next time, which is especially true for companies that are as large as these three. If the public disaster of the new Happy Meal box prevented us from having to deal with more disturbing mascots that may have been in the works, then it was worth it.
Pop culture has always and will always be a great tool to leverage for information. It is a bridge that connects marketing teams to consumers when updating an old, tired look or developing a new product for a new target audience.
A Yale University study from a few years back revealed that the use of movie and TV characters on food packaging is designed to access certain feelings, memories, and associations, making them seem more desirable.
That’s why cartoon characters are often used on packaging to help sell junk food and other foods that companies are trying to appeal to little ones. Not that it’s all bad; for every Fred Flintstone on a cereal box, there is a Dora the Explorer or a Big Bird being used to help sell fruit and vegetables.
But it’s much more than food. Other brands have tied TV and movie character packaging to items such as wine, vitamins and even electronics.Tien Nguyen , lead industrial designer for Studio One Eleven, a division of Berlin Packaging, says that in the past couple of years, the firm has noticed companies of all sizes have been leveraging endorsement from celebrities in the music, TV, and movie industries to gain more brand awareness, and the impact can be seen on packaging.
For example, Studio One Eleven recently launched a multivitamin gummies package with a leading nutritional supplements manufacturer, where they were able to leverage the multi-generational following of the Star Wars saga.
“Our team designed and engineered special-edition overcaps based on the characters from the series to make their products more fun and appealing for kids and adults,” Nguyen says. “We were able to target both young kids that may be experiencing Star Wars for the first time (with the recent launch of Episode 7), and the diehard fans that fell in love with the saga from the original series.”
Davidson’s Organics—the first certified organic, fair trade and specialty tea company in the U.S.— just completed a package redesign for its 400 varieties of teas and accessories, centered around pop culture, such as its teas featuring movie legend Bruce Lee. “We identified that millennials need to be visually stimulated with colors and buzzwords before they take a look at price and nutrition labels. We identified the words that young and old tea-drinkers look for, and put them on the face of our packaging,” says Davidson’s owner, Kunall Patel. “Pop culture has everything to do with what’s interesting right now. Every company should aim to stay that relevant in today’s fast-paced, social environment. No content is evergreen forever.”
A new energy drink released a few years ago capitalized on popular cartoon character, Popeye, who is known for his incredible strength after eating a can of spinach. That association led to a strong rollout.
“It’s important to stay in touch with the multi-cultural and ever changing lifestyle of today’s consumers, especially for younger and smaller companies. Staying up to date with trends and what consumers want is vital to build brand awareness and ultimately market shares among the larger players,” Nguyen says. “The CPG industry is a very fast pace industry. On average, we’ve seen companies target a complete redesign of both structure and branding within 2-3 years, depending on the breadth of their product portfolio.”
Before the Internet and social media, people were perhaps less informed, or they at least did not have such easily accessed resources to become informed. This led to the need for more content on packaging, as opposed to imaging.
“At that time, in order to create a brand, you first needed to introduce it. And more often than not, your first introduction to a consumer was through the physical handling of your packaging,” Patel says. “Now we’re able to establish brands through videos, websites, online images, etc. This emergence of visual interest has now led to this interest as it relates to physical products and their packaging. Our new packaging paints a picture worth a thousand words about content literally through brand imaging and design.”
Marvel has deals with numerous CPG companies—representing drinks, shampoos and yogurts—and you can find plenty of Pixar characters on packages of similar items when new movies come out.
Packaging that relies on TV or movies to help sell a product is a savvy move by companies, and is a strategy that won’t be going away anytime soon.