Essential Marketing | Marketing
Advertising agency essential mk homepage, where you can explore recent work, news, knowledge and see a summary of their history, and customers. 
We convert users into customers. We are specialists in marketing strategies and digital strategies.
Marketing, marketing strategy, strategic marketing, planning, strategy, marketing consultancy, marketing consultant, differentiation marketing, innovation strategy, creating value, new opportunities, innovative approach, digital strategy, digital marketing, digital creativity, digital agency, digital consultancy, digital consultant shopper marketing, retail, retail marketing, shopper experience, consumer experience, digital experience, purchase, shopper journey
archive,category,category-marketing,category-146,ajax_fade,page_not_loaded,,select-theme-ver-4.1,wpb-js-composer js-comp-ver-5.2,vc_responsive

9 Standout Packaging Designs

This post is an extract of article published on, on March 16, 2020.


Packaging design surrounds us, wherever we are. Creating an eye-catching packaging design that suits the product, stands out on crowded shelves, and doesn’t cost a fortune to produce is a real challenge.


And now more than ever, there’s the concern of environmental impact. Increasingly, ‘excess’ packaging or non-eco-friendly materials will result in a backlash from potential customers. Throw in a challenging economic landscape for retailers, and it’s safe to say packaging design isn’t an easy job right now.


However, designers have risen to the challenge. In this post, we’ve rounded up standout examples of packaging designs to inspire you and guide your efforts.

01. Cameron’s Brewing


As the beer market grew, Cameron’s Brewing was in decline. It needed a brand-new identity that would grab attention, yet hold onto the existing consumer base. Cactus came up with a solution. First, it decided to ditch the bottles and house its beer in cans (for increased shelf presence), and then went for a new look that’s reminiscent of childhood scout and camp badges. 


Each beer style is now unified with a bright colour palette, a different one for each beer, and the iconography and stories highlight the unique products to ‘reinforce overall brand recognition‘. Beer naming was a crucial part of the story, adding personality. The modular design strategy works across its applications in apparel, advertising, digital and social media. 

02. Kololak House Wine


This stunning packaging was created by Backbone branding for fusion restaurant Kololak, in Armenia. Kololak means a round shape, or meatball, and the rounded design reflects that. The collection is made up of the restaurant’s house fruit wines, and each wine was given an individual identity that fits with the restaurant concept. This is centered on the rich Armenian tradition of socialising around the table


The branding team aimed to represent Armenian ethnic and folk art, in particular the Armenian miniature, manuscripts and calligraphy. The hand-drawn illustrations and calligraphy depict famous toasting quotes and the culture of feasting and wine serving. The bottles have round corks, aiming to unify the packaging and symbolising the ‘Kololak’.

03. Hardy


The packaging for this premium smoked salmon is made from raw micro-corrugated cardboard printed in UV colour.


Third-generation family business Hardy specialises in smoked salmon. The company turned to Portugal-based studio This is Pacifica to design stationery, packaging and a website that would communicate the premium quality of its product. “It’s a long-lasting process that can’t be rushed. From salting to smoking, each stage is executed to perfection. So we created the idea of Hardy ‘Smoked Masterpieces’,” explains creative director Pedro Mesquita.


The identity combines two main elements: an abstract salmon symbol, and a fun, sharp wordmark that could have been cut by a knife. “The packaging was treated as an extension of the brand,” says Mesquita, “and is entirely made of raw micro-corrugated cardboard printed in UV colour.”

04. Thomas Kosmala


Looking to break into European and global markets, emerging perfume brand Thomas Kosmala tasked Toronto-based agency Concrete with a complete brand overhaul. The new packaging marries classic with contemporary, unexpectedly wrapping a sophisticated custom typeface around the edges of the perfume box and over a subtle emboss.


“The brand needed to appeal to both Middle Eastern and Western audiences,” explains chief creative officer Diti Katona. “Sensuous, provocative and sometimes raw photography conveys the depth and richness of the scents, but is abstracted in the packaging to comply with the conservative sensibilities of the Middle Eastern market. A more explicit use of the imagery is employed in digital media, and it’s more subtle in print experiences,” Katona adds.

05. Stefano Sauces


Montreal-based agency Ig2 took an original approach to its branding of the first ready-to-eat products from well-known chef Stefano Faita and his partner Michele Forgione. Featuring a jovial, energetic caricature of Faita, the identity gives each sauce a unique typographic treatment – with nutritional and legal information presented in an unusual vertical fashion outside the shape.


“It was a major challenge to differentiate the brand in this type of category, where all brands merge into one,” says David Kessous, creative director at lg2. “The concept’s originality produced a real, appealing identity and packaging that leaps out.”

06. CS light bulbs


Everyday products such as light bulbs tend to lend themselves to fairly utilitarian packaging, but these, produced by Belarus electrical company CS, boast beautiful boxes that turn the product into an important part of the packaging design.


Designed by Angelina Pischikova, with line illustrations by Anna Orlovskaya, this amazing packaging uses detailed drawings of insects, and the bulbs themselves are paired with certain bugs depending on their shape and size.


Long, thin bulbs are stored in dragonfly boxes, while the coiled stripes of an energy saving bulb become the abdomen of a bumble bee.

07. Brandless


US company Brandless has taken minimalism to the extreme by trademarking white space in its range of food and home items. Co-designed with Brooklyn agency Red Antler, each product is made up of a single colour with the white box design dropped on top. The text in the boxes is effectively negative space, and is readable thanks to the colour underneath peeking through. 


Interestingly, the lack of identity means that the range can dodge a fee known as Brand Tax, which means Brandless is able to sell all the products at a standard price of $3.

08. Onuma Honey


This offering from Japanese studio Akaoni Design is a bee-utiful example of ‘less is more’ when it comes to packaging. It consists of a small jar, simple stickers and classic brown paper, with an array of sweet coloured stamps to finish it all off.


Art direction and design was taken care of by Motoki Koitabashi and it’s clear he knows what’s he doing when it comes to making a striking impact in the aisle.

09. Poilu paintbrushes


This excellent example of packaging design comes from Simon Laliberté and offers the function of assembling two paintbrushes together with only one cardboard piece, which is printed on both sides.


The natural hairs of some paintbrushes have been dyed to give the illusion of the moustache and beard combos. The font at the top of the handle is also noteworthy.

Branding the world’s first plastic-free supermarket aisle

To design the logo and accompanying campaign for Plastic Free Aisle, a new initiative from Dutch supermarket chain Ekoplaza.

Made Thought has created the logo and campaign for Plastic Free Aisle, an initiative launched in collaboration with environmental charity A Plastic Planet and Dutch supermarket chain Ekoplaza.

London-based studio Made Thought has collaborated with environmental campaign group A Plastic Planet to create the identity for the “world’s first plastic-free aisle”.


The studio has been commissioned to design the logo and accompanying campaign for Plastic Free Aisle, a new initiative from Dutch supermarket chain Ekoplaza.

Launching at the supermarket’s Amsterdam store, more than 700 food items and other goods with recyclable packaging are included in the aisle – all of which bear the “plastic free” mark.


Made Thought’s identity for the initiative aims to bring “much needed clarity and focus” to the growing issue of plastic pollution, says the studio.

The black and white, three-dimensional logotype is inspired by the aesthetic of propaganda, and will be used to help shoppers quickly identify plastic-free products as more items start to be packaged in compostable bio-materials that replicate the look of traditional plastic packaging.


The studio also created the mark with the idea that it is simple enough to be replicated in supermarkets all over the world.

Made Thought founding partner Ben Parker, says: “In taking on this challenging brief, we wanted to look beyond the overused lines about environmentalism and altruism. The brief was all about fashioning a new way of looking at plastic and its place in modern life.”


The second Plastic Free Aisle will open at Ekoplaza’s The Hague branch in June 2018, before rolling out across its 74 branches in the Netherlands by the end of this year.

This article is an extract of Aimée McLaughlin’s article published on Design Week.

7 great examples of branded content

What it is and how leading brands are using it well.

This article is an extract of Tom May’s article published on, on June 2018. Tom May is a freelance writer and editor specialising in design and technology. He was previously associate editor at Creative Bloq and deputy editor at net magazine, the world’s best-selling magazine for web designers.



We live in fast-changing times for branding, marketing and advertising. As more and more of us use recording devices that let you skip TV commercials, along with ad-blocking software online, how does a brand get its message across?

One increasingly popular strategy is to use branded content. From sponsored magazine articles to online webisodes, music videos to short films, this kind of content is so entertaining, informative and engaging that consumers are happy to view and share it of their own volition.

The marketing message may be upfront or almost invisible, but that’s not what’s important. It’s all about making people want to see it, rather than being forced or tricked into seeing it.

Here we look at some of the best examples of branded content in the 2010s so far.

01. Newspaper article: Netflix


With the number of people willing to pay for newspapers and magazines falling, old media needs to find new sources of revenue – online as well as in print. One way to boost income is to run sponsored articles, but matching the right marketing message with engaging and informing content can be a tricky business.


This New York Times article, Women Inmates: Why the Male Model Doesn’t Work, hits exactly the right note. Sponsored by Netflix’s hit prison drama Orange is the New Black, the longform read is fascinating, relevant and elegantly presented. Interactive images, a captivating video and strong journalistic content all add up to a great article that ticks all the boxes for both brand and reader.

02. Music video: Honda


OK Go is an alternative rock band from Chicago known for its funny and creative music videos. And its video for 2014’s I Won’t Let You Down, which debuted on NBC’s Today Show, put a whole new spin on product placement:


In it, the band members cavort around on Honda’s UNI-CUB self-balancing unicycles, which represented a massive PR coup for the company. Although there’s no actual mention of Honda, the video on YouTube – which has so far had over 38 million views – linked to an interactive website (now offline), allowing people to see behind-the-scenes footage, interviews, and information about the Honda UNI-CUB itself.

03. Print magazine: Net-a-Porter


As one door closes, another opens. And with traditional publishers reluctant to launch new magazines, companies are fast stepping in to fill the vacuum. One of the most critically and commercially successful to date has been fashion retailer Net-a-Porter’s magazine, Porter.


By combining access to the website’s audience data with global magazine market intelligence, the company has been able to target the magazine’s content with laser accuracy, and achieve a circulation of around 180,000, outselling many traditional fashion magazines and even coming within spitting distance of Vogue.


As well as making money from the cover price, Net-a-Porter has put a lot of effort into making sure the bi-monthly title also drives retail sales. For example, readers are able to scan a print issue with the Net-a-Porter app, and immediately arrive at the relevant purchase page, making for a seamless shopping experience.


Porter’s sister title The Edit is even more transparent about its brochure-like ambitions, with buttons in the free digital magazine taking readers to ‘shop the issue’.

04. Viral video: Dove

Dove’s Real Beauty campaign stems from research suggesting that only four per cent of women would describe themselves as beautiful. This short video highlights this gap between perception and reality in brilliant fashion.


A sketch artist creates two drawings of a series of women. One is based on their own description of how they look; the other based on a stranger’s description. The discrepancy between the two highlights powerfully how inaccurate women’s own views of their beauty are.


With over 114 million views in just one month, this ad became the most viral video ad of all time. While it says nothing about the qualities of the product itself, the campaign got the world talking, and Dove has been part of that conversation – boosting sales massively in the process.

05. Radio station: Pedigree

Content marketing isn’t just about print, TV and online: broadcast radio remains a powerful and popular medium, and fertile ground for branded content. But perhaps the most unlikely example comes in the form of a New Zealand radio station for dogs.


K9FM was based on advice from pet experts that people should leave the radio on when they leave the house, to keep their dog company. But rather than a normal radio station, Colenso BBDO Auckland thought, why not one tailored to dogs themselves?


The agency created hours of original content to play all day, every day on the channel, including discussions on topics like The Frisbee: Voodoo, Magic, Science?; a sports section called Fetch in the Park, and a thought for the day entitled Chew on This.


K9FM received more than 1,000 phone calls from dog owners during the first two weeks of broadcasting, and within the three months of the campaign, Pedigree dog food enjoyed a three-year sales high.

06. Short film: Procter & Gamble

The maker of Always, Procter & Gamble, wanted to place puberty’s profound impact on girls’ confidence into the media spotlight. So it commissioned this short documentary by filmmaker Lauren Greenfield, which approaches the topic via the phrase ‘like a girl’.


A series of interviews show that for young children, ‘like a girl’, means to do something well, whereas for teenagers and young women it means to do it ineffectively.


The fourth most viewed ad in 2014 on YouTube, the video was followed up by several positive #LikeAGirl videos featuring sporting and cultural role models offering proactive solutions. For example, a 2015 video featuring Game of Thrones star Maisie Williams, Unstoppable, encourages girls to smash limitations set on them by society, which are visually interpreted as boxes stamped with prescribed roles for girls.

07. Feature film: Lego

You know you’ve succeeded at branded content when people are having so much fun, they don’t even notice they’re being marketed to.


The hilarious and surprisingly clever Lego Movie earned a worldwide total of over $469 million, all the while promoting Lego to a new global generation of kids.


It has been followed up so far by the Lego Batman Movie and Lego Ninjago Movie, with more in the pipeline – proving that when you get branded content right, everything really is awesome.

Amazon Safety houses

GRC is a unique material: respectful with the environment, it can acquire virtually any shape or colour, offering infinite versatility for unique projects.

In 1939, Mr Mateu Planas, present CEO Francesc Planas’ father, founded a prefabricated concrete company. He began to manufacture small artificial stone elements, beams and tubes.


Today, Prefabricats Planas is a recognized company, in the industrial and architectural buildings world. Always in constant evolution, they work on the innovation, improvement and the quality of their products and services.


In 1981 the company adopts the present name and, from then, they continue its expansion process in the prefabricated concrete sector. Today, the production infrastructures currently occupy almost 100,000m2, which more than 15,000 are covered.


The main business areas are the following: logistics, sustainable building, civil works, shopping centers, rehabilitation, industrial buildings, equipments, housing, industrial estates and port hydraulics, and some of their main clients are Coca-Cola, Frit Ravich, Noel Charcuterie, TMB, Acer, Dentaid, Toyota, Mango, PickingFarma, Port de Roses, Amazon…


And it is specifically Amazon, the multinational US e-commerce company, that recently opened a new logistic center in El Prat de Llobregat, near Barcelona Airport, that has commissioned the construction of several safety houses in Prefabricats Planas.


These little houses will be built on a GRC panel. GRC is a unique material: respectful with the environment, it can acquire virtually any shape or colour, offering infinite versatility for unique projects.


The safety houses look for originality and have a cardboard box shape, due to the company’s commercial orientation.

The Renault EZ-GO electric autonomous concept car

Unveiled at the Geneva Motor Show 2018, Renault's EZ-GO concept is a 'robo-vehicle' - a shared, electric, driverless vehicle.

This article is an extract of an article published by Martin Hislop on Designboom, March 2018.

Renault’s EZ-GO is both a vehicle and a service. It becomes part of the smart city ecosystems that are being developed by governments, municipalities and the private sector. Its modular platform allows other possible uses. The concept provides an on-demand mobility solution for all. It works through an instant-booking service from an app, or from in-town stations, depending on the preference of the operator.

The service may be operated by private or public organisations. It can potentially operate 24/7 and it supplements car ownership and mass transit such as subways and busses. It combines the flexibility and comfort of individual transport with the efficiency and the safety provided by public transport.


The driverless car represents the french-automaker’s vision of a future on-demand mobility service that would be a genuine asset for any city, potentially even a recognizable design, representing its philosophy and commitment to providing sustainable, efficient mobility for everyone. Over and above this aspect, EZ-GO’s functional aspects give it a dual role in cities.


First, it simplifies travel for everyone, either as a stand-alone means of transport or as part of a multi-transport framework. door-to-door or to/from a station. It will be affordable because it is a shared service. Making trips easier for users will help reduce stress and provide new personal and professional choices. Leisure and work activities will take the place of driving for the users.


Next, the driverless car has a positive impact on cities. in addition to encouraging shared mobility that by nature helps improve traffic flow and reduces the number of parking places needed, it is respectful, silent and pollution-free, thanks to its zero-emission design, smart grid systems, and intelligent second-life battery use.


Its trapeze shape, its limited height and large glazed surfaces make it a genuine window onto the city, less obvious than a conventional bus or shuttle. Its shallow angle makes it easy for people to get in with a suitcase on wheels, a stroller, a wheelchair, or on crutches. Its benches are comfortable and made for lounging, without division between passengers; and its screens show useful information about the city that helps everyone, even those who don’t use the car.


All images (c) Renault

Contenido, por favor, y a ser posible memorable

La época de interrumpir al público con publicidad en Internet está al borde del abismo.

Óscar Peña de San Antonio, Chief Digital Officer & Analytics Director, at Grey España. Universidad de Barcelona Professor, tech writer and digital trends lover.


No es ningún secreto. La época de interrumpir al público con publicidad en Internet está al borde del abismo. Y esto lo saben de sobra las marcas de nueva creación que están agitando todas y cada una de las categorías que conocemos, desde la banca a los seguros, desde el turismo al transporte, desde gran consumo a las telecomunicaciones. No hay empresa o startup que no esté en estos momentos revolucionando los cimientos de la comunicación. Y son muchos los nombres que están liderando esta revolución silenciosa mientras otros duermen plácidamente: Hawkers, Airbnb, Vans, Uber, Norton, Marriot, Paypal, Redhat, Apple, LVMH o Chipotle, entre otros.

Esta revolución silenciosa en la que la publicidad pasa a un segundo estadio viene dada por varios factores que, en conjunto, representan una amenaza a los principios más convencionalistas del marketing. Veámoslos:


1. La manera en que el consumidor explora el contenido ha cambiado. Es tan selectivo, brillante y conspicuo que los algoritmos de búsqueda se están volviendo igual de inservibles que el posicionamiento de la publicidad display en medios digitales, donde el clic es considerado ya un mero “accidente”.

Se trata de algo parecido a lo que está ocurriendo con el momento cero de la verdad y la búsqueda de información, en el que Amazon, Alibaba, Etsy o eBay, entre otros, están ganando terreno a Google en relación a las búsquedas de producto (ver el excelente artículo de Daniel Colin James titulado ‘This is how Google will collapse’).


2. El consumidor está cansado del marketing de contenidos y de piezas irrelevantes. Busca historias que le inspiren y contenidos de utilidad que le ayuden a poner en orden sus necesidades, prioridades y decisiones que ha de tomar día tras día. Por ese motivo, en el listado de preferencias en la exploración de contenido, los buscadores tradicionales comienzan a resentirse por plataformas de contenido nicho que, mediante la creación de nuevos formatos de contenido acaparan la atención e, indirectamente, las interacciones: Netflix, HBO, Vimeo, VICE, pero también Udemy, Codeacademy, Khan Academy, Lynda, Coursera, entre otros.


3. El branded content continúa siendo efectivo, pero lo es aún más el contenido memorable, aquel que deja de lado hablar del producto y sus valores asociados para hablar del entorno cultural en el que se desenvuelven sus individuos, su target, sus tribus, con todos sus logros, sus aspiraciones, sus desafíos, sus inquietudes, sus temores, sus sueños… Contenido, en definitiva, que conecta y te agita. Contenido que te lleva a querer más, a seguir explorando.


4. El ecosistema de puntos de contacto se ha vuelto tóxico y lleno de información irrelevante. Si en los 90 hablábamos de televisión basura, ahora nuestros dispositivos se llenan de desperdicios que nos hacen perder el tiempo. Pero es el peaje de una red democratizada en la que cualquier individuo puede inyectar contenido al sistema. De una televisión de seis o siete canales a un medio de infinitos canales.

En ese panorama, ser diferenciador o relevante (o lo que muchos anunciantes insinúan cuando te piden algo viral, como si tuviéramos la receta de la felicidad), es difícil.

Se mezcla en un mismo repositorio el contenido que produces para la marca a la que representas con el de millones de personas que aspiran a tener el mismo impacto. Y tampoco vale que pagues por ello. No hay receta mágica.


5. Ni videos ni artículos. El comportamiento en el consumo de contenidos está cambiando. Un reciente informe de Hubspot refleja un cambio en los tipos de contenido sobre el que las personas prestan atención. Así mientras el contenido en social media y los videos continúan siendo la preferencia, los cursos online y las herramientas interactivas comienzan a arrastrar el interés hasta situarse inmediatamente por detrás en la cola, desplazando los artículos largos, los blogs y los podcast a las últimas posiciones de la lista.


Ante este escenario en el que las magnitudes son infames, las marcas están redefiniendo o complementando –según se mire- su estrategia en entornos digitales. Buscan un nuevo posicionamiento que simpatice con la dictadura de los motores y algoritmos de posicionamiento, pero que tenga la frescura y el ímpetu de transportarles a nuevos territorios afines y dejarles gozar de un rol determinante en ellos.


En la construcción de ese nuevo camino hay unas pocas marcas que arriesgan, exploran y experimentan con libertad. Son éstas las que están optando por construir el nuevo posicionamiento de manera artesanal:

a) produciendo contenido memorable que inspire y ayude a las personas a tomar decisiones (contenido que perdure en el tiempo y sea recurrente para los individuos en aquellos lugares y momentos en los que sea necesario);

b) alineándose con grandes plataformas de contenido mediante acuerdos directos y sin intermediarios que doten a su posicionamiento de credibilidad;

c) construyendo por sí mismos crisoles de interacción que atraigan el interés de la gente a lo largo del tiempo y no puntualmente.


Entre estos exploradores se encuentran algunas marcas que están marcando tendencia. Comparto con vosotros los mejores ejemplos que ilustran esta reflexión:



Airbnb #experiences

Si hace nueve años le hubieran explicado a Brian Chesky el impacto que tendría su marca a nivel mundial antes de cumplir su décimo aniversario, no se lo creería. Más allá de lograr ser la primera plataforma que permite a propietarios de viviendas privadas y viajeros ponerse en contacto y contratar temporalmente el espacio (192 países y más de dos millones de propiedades en línea), Airbnb es conocida por su estrategia de posicionamiento basada en el contenido. Hagan el ejercicio. Si buscan en Google existen más de 82 millones de resultados de búsqueda. Coca-Cola tiene algo más de 14 millones. Sobran las palabras.


Tres han sido los hitos de Airbnb en la construcción de su propia plataforma de contenidos:

– Apostar por las historias de personas de la comunidad de Airbnb con el objetivo de colocar a los propietarios de las viviendas como héroes de la plataforma.

– Entender que el espacio es lo de menos en el proceso de reserva de un viaje, sino las experiencias que los mismos propietarios pueden ofrecer como mismo complemento al viaje. Experiencias únicas, con sello personal, de oficio, irrepetibles.

– Convertir esas experiencias y esa vasta comunidad en contenido editorial de estilo propio compartible por medios convencionales. De hecho, la semana que viene Airbnb lanza de la mano de la editorial Hearst la publicación impresa Airbnbmag.

Vans #livingoffthewall


Para esta marca textil especializada en ropa vinculada a skaters y deportes extremos, la búsqueda de su propio territorio en la producción de documentales únicos que narran la historia de personas que ha encontrado rutas alternativas para alcanzar sus objetivos, caminos únicos que marcan la diferencia.

UBS #nobelstories


El sector bancario es, tradicionalmente, product centric. Centrado en la búsqueda de soluciones financieras, se encuentra alejado de las personas y su contexto. Por eso, para el banco suizo UBS, era necesario posicionar al banco entorno a las grandes reflexiones mundiales que definen nuestro mundo y su devenir, y las reflexiones próximas al día a día de las personas. De lo macro a lo micro. Pero entendió que la mejor manera de hacerlo no era mediante vídeos de expertos en inversión carentes de emociones, sino desde un enfoque centrado en personas.


Para responder a las inquietudes macro recurrió a conocidos premio Nobel en economía, con documentales que, acercándose a su día a día en familia, explicasen de manera didáctica, los conceptos más complejos y preocupantes de nuestro devenir mundial.


Para responder a las inquietudes micro recurrió a personajes famosos, restauradores, artistas, músicos. Ellos irían a responder y a inspirar sobre cuestiones o situaciones que nos colapsan en nuestra vida y para las que, normalmente, no hay libros ni guías: ¿cómo afrontar tu vida a los 60? ¿qué ocurriría si un gran porcentaje de la población viviese hasta los 100? ¿soy un buen padre? ¿qué le depara el futuro a mis hijos? ¿debería empezar mi propio negocio?

Redhat #opensourcestories


Para los geeks como yo, Redhat representa lo mejor del movimiento de código abierto. Redhat es la distribución de Linux orientada a empresas más conocida.


Su última jugada para mejorar su posición en el mercado respetando el espíritu de lo que representa, reside en la plataforma de contenidos creada por la marca ‘Open Source Stories’. Su último documental, ‘Road to A.I.’ es su máximo exponente. Documentales y píldoras de contenido de entre cuatro y veinte minutos de duración que cuentan el trabajo de aquellas personas y o proyectos que llevan el concepto de open source a su máximo exponente. Open Source como actitud.

Nowness #thebestinculture


Hablar de LVMH es hablar de un conglomerado francés de más de 60 marcas de lujo alrededor del mundo. Hablar de Nowness es hablar de una plataforma de contenidos inspiradores vinculados a la cultura, el lujo, viajes, moda, belleza y música, entre otros, creado por LVMH en 2010.


Una estrategia de posicionamiento y apropiación de territorios del grupo, guiado por la excelencia y el storytelling que genera más de un millón de visitas mensuales y millones de contenidos distribuidos y compartidos en social media.

Predicting the Top 9 Retail Trends for 2018

Now, retail is a relationship instead of a series of transactions. Technology is the great equalizer and the consumer is at the center of the new retail ecosystem.

The rise of e-commerce and customer experience has changed the face of retail. In its very early days, retail was built on a barter system. Now, retail is a relationship instead of a series of transactions. Technology is the great equalizer and the consumer is at the center of the new retail ecosystem.

Niall O’Gorman, ChannelSight’s CCO and co-founder, talks through some of the biggest trends we can expect in retail for 2018.

1. The marriage of Omnichannel and technology will drive sales


As a multichannel approach to retail, omnichannel provides an integrated shopping experience for the consumer. The idea is simple: give the customer a seamless retail experience between their channels, i.e. from their desktop to mobile phone to in-store experience.


For example, a shopper might start their transaction on desktop before later moving to mobile and then making the final purchase in-store. With omnichannel, the initial first touchpoint shouldn’t matter as the experience should be the same across every channel.


Of particular interest is Pointy, an Irish start-up which raised $6 million in funding in September 2017. Leveraging digital to drive in-store sales, Pointy’s tech links in with barcode scanners. Every time a product is scanned, Pointy automatically generates a web page for the item with real-time, localised product information. “The power of this is huge for smaller retailers which lack resources. This little widget is essentially a piece of plastic that plugs into the till and scanner.”

2. Personalisation will continue to grow


Personalisation is a tactic that small brands are using to go toe-to-toe with megaliths such as Amazon. The avenues for personalisation vary: it could be as simple as personalised packaging or as large as printed products with thousands of name variants, as Coca-Cola did with its Coke bottle campaign.


Digital personalisation is taking off too, with personalised video’s building momentum. One such example is Treepodia, a personalised video platform, that create real-time, shoppable video content. An example of some of Treepodia’s work is a video recipe for Cadbury – which worked to great effect.


“If you visit a site, you might see a slightly different version than someone else. The imagery, the messaging, and the promotional mechanics can be personalised around you.”


Likewise, websites are becoming increasingly personalised to users. Content is smarter with products and information changing to suit consumers’ past browsing habits. It could be as straightforward as providing similar products to once the user purchased or as complex as changing the call-to-actions relevant to the buyer’s purchase patterns.

3. Consumers are driving an information-economy – but rules will apply


Where websites were once linear, brands increasingly need to know who they are talking to – and how and when consumers want to be talked to. The array of pixels, cookies, and smart content/targeting allows for that – but there’s a caveat.


“Consumers now have the power,” Niall says. “They’re more in control. It’s going from the brand being king to the consumer being king. It’s the consumer choosing what level of contact, promotion, and content they want to be exposed to by brands, retailers, and organisations.”


For example, consumers can opt-in or out of your newsletter on a whim or they can choose to ignore or interact with your online advertising relative to how interesting it is to them. With so much choice for purchasing, consumers can afford to be flaky – someone else is probably selling the same thing for a comparative price.


With GDPR coming in in May 2018 this means that brands, publishers, and media companies will need to reconsider their opt-in processes and how consumer data is stored. Retargeting and hyper-targeted content are useful, but could be considered invasive – which in turn, reflects in the rise of AdBlock.


“There has to be balance between personalisation and privacy controls and data regulations,” Niall reasons. Brands need to accept that the path to purchase is no longer linear. Consumers are choosing how and where they convert.


To be truly effective, brands need to move away from the idea that social is strictly for selling. Social is a platform built on engagement and – if implemented correctly – has the potential to build long-lasting relationships with customers. It’s part of the reason why ‘Buy Now’ buttons are so powerful. When placed contextually and into a relevant step in the purchasing path, they can be the missing link for consumers to make the final step to conversion.

4. Voice search will gain wider proliferation


Voice search gained steam in 2017, but it’s still on the cusp of being mainstream. Where voice search on mobile is useful in the car or when you’re handsfree, the true benefit comes with IoT and smart homes.


It’s a simple equation that places retail at the tail-end. ChannelSight recently worked with Hi Mum! Said Dad to showcase the potential of the connected home in the FMCG space for FrieslandCampina. An app was created to link a fridge with reactive recipe suggestions.


It starts with a voice query: “Hey, Alexa, what’s in my fridge?”


Alexa and the smart fridge pair in real-time and the chatbot springs to life, asking if you’d like a recipe suggestion and later reading out the ingredients you’d need. You can then automatically make an order to replace the produce, down to payment and delivery.


Of course, as the technology progresses, the capabilities will go further: your oven may even begin to pre-heat based on when you want to make dinner.

5. The rise of conversational commerce


Chatbots bridge the gap between consumer and call centre by offering pre-programmed information on returns, pricing, size, stock, and promotions. In a recent project with Duracell, ChannelSight created a shoppable chatbot that was hosted on Facebook, giving consumers another conversion path.


Chatbots have the capabilities to look like a real person and speak naturally. Crucially, they can hand over to a human if necessary. “The benefit is clear,” Niall says. “The customer service team can spend longer and have richer conversations because they know that the virtual version of them can answer basic queries.”


It applies to omnichannel too, and the idea of conversational commerce. A consumer talk to a chatbot and then moves in-store. Their smartphone activates a beacon which pulls up the consumer’s details. The floor staff or salespeople will then see the important details of prior conversations and can take over from there.

6. Reality is virtual


The big drawback of virtual and augmented realities has been the slow adoption of its hardware and understanding of the differences of what each technology offers. For gaming and immersion, virtual reality works – but the headset can be a drawback for anyone wanting to passively experience something.


On a macro scale, augmented reality has a long way to go but it can translate in-store. If you’re walking into a store and you hold up your phone to find a certain item, your phone can activate to give you that information. Fashion and FMCG are also seeing the beginnings of AR adoption. Converse released the Sampler mobile app in 2016 where consumers could ‘try out’ the shoe on-foot by pointing their camera at their foot.


While the technology is still in development, expect a wider uptake in 2018.

7. The instore visit will be experiential


The format of the typical store is changing. Retail owners need to consider their shop’s role in the overall framework of how they attract, interact, and retain consumers.


Much consideration comes down to space and its utilisations. For example, Lidl’s AW17 fashion collection with Heidi Klum featured across small pop-up stores. As omnichannel grows, retailers will need to consider if they require a large physical store or if something more akin to a virtual showroom will suffice.


Make-up giant, Sephora, is known for its large storefront with rows of multi-brand product. However, in mid-2017 it launched its first Sephora Studio in downtown Boston. A much smaller affair, the studio aims to provide an intimate experience for consumers.


It’s all about finding the right balance for consumers and their shopping preferences. “There are so many different dynamics as to why someone might want to buy something in a given moment,” Niall says. “The worst thing you can do is try and sell something when someone doesn’t want to be sold to.”

8. The Internet of Things will change the face of delivery


When you think of advancements in delivery, you might think of drones. In practical terms, a sky full of drones is never going to happen. However, ‘ground drones’, or IoT-enabled mobile units, will likely be the future of delivery. Amazon has shown intent with the release of Amazon Key, a high-tech package delivery system. The idea is to create an Amazon-enabled delivery ecosystem: install the Amazon camera and lock on your home, and make your order.


The delivery person comes to your house, enters the code, and is given access to complete the delivery. In the future, it may even be a case that a drone could navigate its way to a consumer’s car for package delivery. A code would be sent to the customer’s phone for verification, they’d okay the delivery, and the car boot would pop open to accept the parcel.


The response, however, has been divisive: most Amazon Prime subscribers actually said  that they don’t want to buy the Amazon Key to grant access to their homes. “If you think of it from a volume perspective and you want something to be really effective,” he says, “a lot of these things [in the IoT space] are just show and tell: shiny objects and innovation for PR. But from that comes innovation that becomes mainstream. Many of these advances then become the go-to and are used in home systems and security.”


However, Amazon don’t yet have the monopoly they may have envisioned: in September 2017, Walmart announced a partnership with August Home, a smart lock start-up, that would allow a delivery person enter a customer’s order, deliver their groceries, and even put them away in their fridge. Since January, an Estonian start-up, Starship Technologies, has been using robots to deliver food to doorsteps in Silicon Valley and Washington, D.C. While the future may not see swarms of drones, robotic deliveries are a foregone conclusion.

9. Influencer transparency will be a big shift in retail for 2018


Influencer marketing has taken a beating in the last six months, having reached critical mass (and critical disapproval). However, from a brand perspective, influencer marketing is still laden with potential – especially in instances where the brand is new and its awareness doesn’t yet exist.


To see ROI, retailers will need to look at the mechanics of how influencer and brand co-exist. As Niall says, it’s all about accountability. “There have always been influencers,” Niall points out. “It’s not a new medium. Just like there have always been rockstars and musicians and actors.”


It’s not so much about big influencers anymore, but leveraging brand advocates. “It’s democratising what an influencer can be,” Niall says. “It’s not the few; it’s the many. An individual can be an influencer if they’ve got something to say that people are interested in.”


The results speak for themselves too. ChannelSight worked with drinks company, Tassimo, to mobilise the power of user-generated content. Product pages enriched with user-generated review videos saw a huge uplift and brought a:

  • 74% increase in add-to-basket conversion rate.
  • 161% increase in session duration.
  • 127% increase in pages per session.


User-generated content (and influencers) are great for providing social-proof, but brands still need to hold their influencers accountable as the digital landscape is in the midst of a reformation of metrics. It echoes in the biggest retail trend of all: the consumer is the heart of the new retail ecosystem – but that offers a window of opportunity for retailers who are willing to embrace it.

The best 10 cursive logos of all time

These brands all harness handwriting fonts to create iconic logos.

This article is an extract of Tom May’ article published on, on November 2017. Tom May is a freelance writer and editor specialising in design and technology. He was previously associate editor at Creative Bloq and deputy editor at net magazine, the world’s best-selling magazine for web designers.

01. Harrods


Since 1834, Harrods has been the premier department store of London, England. Occupying the high end of the market, the store occupies five acres of land and contains 330 departments. But for many years, that caused a problem, because these all had different visual identities and there was a lack of a consistent brand message.


In 1967, Marcello Minale and Brian Tattersfield – aka Minale Tattersfield  – were tasked with devising an overarching identity for the store. The understated design they created, based on the store owner Charles Harrods’ signature, hits the perfect sweet spot between austere tradition and friendly inclusiveness.


Relatively unchanged since, it now adorns not just the storefront but numerous products, from bags to apparel, so has a high monetary value in its own right.

High-end London department store Harrods strikes a balance between formality and friendliness.

02. Virgin


In the early days of Virgin Records, its original logo was about as different from its current one as you could imagine. Designed by the great English artist and illustrator Roger Dean, this psychedelic extravagance featured a naked set of Siamese Twins and a suggestive-looking dragon.


But when owner Richard Branson signed the Sex Pistols to his label in 1977, whose generation-defining slogan was ‘Never Trust a Hippy’, it was clear that a new design was needed. A stark red, graffiti style design was the result, and was much more in keeping with the times.


It’s a sign of how quickly punk style was adopted by the mainstream that it’s survived pretty much intact ever since, and now promotes such mundane fare as fizzy drinks, air travel and insurance services. You can read more about the development of the Virgin logo on the company’s website.

The Virgin logo was a child of the punk era.

03. Paul Smith


Signature-style logos work well when the brand and its owner are inseparable, and that’s certainly the case with the famous logo for British fashion designer Paul Smith.


Known for his idiosyncratic take on traditional English tailoring, Smith has grown an empire of more than 300 shops worldwide with an annual turnover of £200 million (around $263 million). And this quirky but elegant logo fits in well with his ethos of ‘classic with a twist’.


As elegant as his shirts and suits, this cursive logos speaks to the style and panache of the genius behind the brand. So it’s surprising that it’s not actually based on his signature at all: it was designed by a friend of his called Zena.

Paul Smith’s autograph-style logo has helped propel his fashion empire to greatness.

04. Kleenex


Since Kleenex tissues came on the market in 1924, it has been the number one brand of facial tissue in the world. So, it’s not surprising that its logo is so recognisable.


But what you may not know is that one of the best-known iterations of Kleenex’s logo was designed by iconic designer Saul Bass in the 1980s.


His upbeat and friendly design (above) used a style of joined up lettering that’s subliminally full of ‘smiles’, striking the right emotional note for a product otherwise connected with weeping and illness.

Saul Bass’s classic logo for Kleenex.

05. Barbie


First created in 1959 by Ruth Handler and inspired by a German doll named Bild Lilli, Mattel’s Barbie has been the best-selling toy brand in the world for more than five decades.


That’s partly down to a ruthlessly consistent approach to branding. This has resulted in Barbie virtually ‘owning’ the colour pink, while her handwritten logo has become one of the most instantly recognised in the world.


First introduced in 1959 at the New York Toy Show, this cartoony cursive logo has gone through many iterations, but the current version is almost identical to the original, highlighting just what a clever creation that was. There’s a real verve, playfulness and confidence to this design that speaks to the subtle sophistication at the heart of the Barbie brand.

Barbie’s current logo is little different from the 1959 original.

06. Kellogg’s


Many cursive logos come with company-approved backstories, and the Kellogg’s logo is no exception. Legend has it that in the early 20th century, founder William Keith Kellogg would sign each packet of his corn flakes personally, as a guarantee of their quality.


This signature style logo began to become standardised in the 1910s and 1920s, and quickly became one of the globe’s most recognised logos. The latest version was created by the Kellogg’s marketing team in collaboration with Interbrand in 2012.


The changes over the years have been so incremental, though, that few people outside the design world (or the very advanced in age) are likely to have noticed any difference. And that’s a good thing. Brand consistency is hugely important with a product like breakfast cereal, where the goal is to sustain people’s love for their favourite brand (often hard-wired during their formative years) throughout their lives.

The Kellogg’s logo has remained broadly consistent over the last century.

07. Ford


We like to think multi-tasking is something new, but people had it covered in times past too. Take the classic stylised Ford script, which was developed by the company’s first chief engineer, Childe Harold Wills, in 1909.


Wills, the chief contributor to the design of the Model T Ford, was also known for designing and printing business cards, so used the calligraphy from his own cards to crate the letters of the Ford logo. The oval was added in 1912, and not a huge amount has changed since, the most recent update being carried out by The Partners.


The Ford logo is now inseparable from the brand, and even though the company has never claimed it to be the signature of its founding father, Henry Ford, the cursive style still helps to evokes a warm, friendly and familiar connection to the brand.

Many assume Ford’s logo is based on Henry Ford’s handwriting, but it was actually his chief engineer’s.

08. Wendy’s


Founded in 1969 in Columbus, Ohio, Wendy’s has since become the world’s third largest hamburger fast food chain, behind Burger King and McDonald’s. Its logo has always offered a more family-friendly vibe than those of its rivals, with an emblem based around a stylised portrait of founder Rex David Thomas’s daughter Wendy.


Until recently, the wordmark was based on all-caps, classic Western-style lettering. But its most recent redesign in 2013 changed this to a hand-drawn, marker-style cursive logo.


This update makes the logo both simpler and more streamlined, and more personal and family-oriented, and was accompanied by a similar clean-up of the girl-in-pigtails emblem.

Wendy’s has switched from all-caps to a cursive style.

09. Disney


So what about Disney’s logo? Surely that was based on founder Walt Disney’s signature, right? Well, yes and no.


Firstly, this now-classic logo didn’t actually come into existence until almost two decades after Walt’s death. And secondly, photos of the founder’s original signature show little similarity between that and the logo.


What it does seem to be based on, though, is his “official” signature, which was signed on his behalf by an employee, Hank Porter, thousands upon thousands of times, to save Walt time and energy that he could better devote to business matters.


Either way, that doesn’t stop Disney’s world-conquering logo being a must-include on our list of world-conquering cursive logos.

Is it Walt’s signature or not? Well, yes and no.

10. Coca-Cola


Many products that are world-famous now didn’t actually pay much attention to branding in their early days. But for Coca-Cola, it was a key ingredient right from the start. Way back in 1885, just after John Pemberton had come up with a new drink based on kola nuts and coca leaves, his partner and bookkeeper Frank Mason Robinson came up with the name and a logo based on script lettering.


Robinson suggested the name Coca-Cola because he felt that two capital C’s would look good together in advertising. He couldn’t have been more right, and that decades-long headstart means that rival brands have struggled vainly ever since to break Coke’s hold as the world’s go-to cola.

Coca Cola’s Spencerian script has become an icon of modern design.

A limited edition, illustrated cans by Guinness

The cans feature the artist’s famous toucan and lobster illustrations, created during his four-decade-long association with the brand.

John Gilroy was a 20th century British artist best known for his comical and colourful advertising campaigns for Guinness that he created over a period of four decades.


Gilroy’s work for the brand dates from the 1930s to the 1960s, and includes the famous “My goodness, My Guinness” campaign. Featuring a hapless zoo keeper character that was intended to be a caricature of the artist himself, it went on to become one of the world’s longest running campaigns, according to Guinness.


To celebrate what would have been Gilroy’s 120th birthday, the brewery has released a series of cans featuring some of the artist’s most enduring designs. The series includes an illustrated toucan; a symbol that has been associated with the Guinness brand since 1935, and regularly appears in its posters, adverts and other promotional materials.


Another design features a lobster illustration by the artist, and nods to the popular practice of pairing Guinness with different foods as seen in its advertising. The relationship between the stout and lobster apparently dates back to the early 1900s, as its slightly bitter taste was said to go well with seafood, according to Guinness.


The cans have been designed in-house by Guinness, and see a departure from its classic black packaging. Instead, the illustrations are set against a simple, white background, allowing Gilroy’s classic designs to speak for themselves.


The limited edition cans are available at major retailers across the UK.


An article by Aimée McLaughlin