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creative industries school

edinburgh napier university

scotland

Lifestyle and Designespecially packaging design

Written by

clotilde heury

viva voice on

23rd june 2010

iut de chambéry, dept. gce

université de savoie

France

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special thanks to

Kristie jamiesoncéline hélary

andjared leto

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tableof Contests02_ Thanks

04_ Introduction

05_ chapter one Portrait: the New Consumer

07_ chapter two Exploration: 5 crucial consumer trends

11_ chapter three Survey: customer-made, the powerful trend in progress

13_ Conclusion

14_ Bibliographie

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IntroductionAdidas launches its sports heritage lifestyle store at mid valley megamall Kuala Lumpur.

Gérard Caron, founding father of Carré Noir agency wrote “the packaging design is the archetypal sort of design that follows closer the evolution of the world media”(2007, p14). In point of fact, it is easier and more economic to refresh a packaging than a product. For example, Coca-Cola imagines new patterns cans to follow local and cultural events while the recipe (more than centennial) has not been changed. Indeed, it is essential to be attentive of the mind of-the-moment to create harmonious design with consumer’s expectations. These are always the same questions: who are verily my consumer? What can I do for that consumer holds out his hand towards my product rather than the competitor’s product, both with similar performances? Clearly, getting acquainted with consumer is crucial, particularly in design packaging. A way of getting closer of consumer’s expectations is to be aware of marketing but also of lifestyle. But what is it exactly? Based on Jamieson’s definition, “lifestyles” are the overall mode of living of an individual or a group of people, as represented by the type of housing, transport they utilize, work and leisure activities in which they engage, type of clothing, food, and other products and services they purchase and image they convey. More, lifestyle is about fashion, identity, status, branding, desire, celebrity and consumerism. Having notions of lifestyle permits to understand a global culture where design is a second nature. Indeed, we live in a

material culture where the material thing is a part of us and its representation is a part of our identity.During this year at Edinburgh Napier University, the module of lifestyle has enabled me to both understand the cultural meanings of contemporary design and the emergence of various trends. Also, this course has allowed me to portray the modern society and New Consumers, the way they advertise their own cultures and subcultures through things and narrate their lifestyles and aspirations. Therefore, the problematic could be stated:

How does lifestyle influence trends in packaging design? How does consumer’s implication be important in design process?

Firstly, we are going to analyse the portrait of New Consumer, his values and aspirations. In addition, we are going to identify five new trends and how these trends are adapted in packaging design. Finally, we are going to investigate the Customer-made trend that encourages the consumer to be more involved in the process of design. We will start from the hypothesis that the Customer-made trend will increase within the next years.

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chapterone Portrait: the New Consumer

According to Lewis and Bridger, “the past few years have seen the rise and rapid growth in economic importance of a group of consumers whose attitudes, aspirations and purchasing patterns are unlike any before them and whose financial and influence are now set to dominate the markets of the developed world”(2000, p3). These are the New Consumers. In order to conceive a powerful marketing strategy or a successful design, it is fundamental to understand the behaviour of these New Consumers and what Lewis calls “their very soul”. Conforming to their lifestyles, we are going to describe these consumers who are challenging the way marketing, selling and of course design are done.

“New Consumers are independent, individualistic, involved and generally well informed.”(Lewis, 2000)

An independent consumer The 1990s saw the emergence of a different type of consumer. Indeed, New Consumers get their legacy into a society that was slowly moving away from years of austerity caused first by the great depression of the 1920s and early 1930s and subsequently by the Second World War. But in effect, the climate has never been improved from that time (according to financial crisis, natural disasters and so on). Now, the new generation is sceptical and realize that all Grand Narratives (Science, Religion, Political Ideologies, etc.) do not have all the answers. They don’t trust in these systems of authority anymore and want to make their own choice, being independent and above all not being told what to think and do. The resistance against consumption uniform mass products is a consequence of this lure of independence. Indeed, contrary to Old Consumers who were influenced by mass-marketing, mass-consumption and conformism, New Consumers are focus on original, innovative and distinctive products and services. From now on, “New Consumers prefer to make up their own mind about purchasing decisions rather than being told what to buy”(2000, p18).

An individuAlistic consumerUnder this “hunt” of independence, a sincere pursuit of self-fulfilment is highlighted. As professor Colin Gilligan observes, “shopping is not merely the acquisition of things, it is buying of identity”(2005, p188).

New Consumers wants to discover themselves but it is an ideal self, the person who they aim to be rather than the real one. According to Lewis “New Consumers are freed to devote more time, effort and energy to closing the gap between their real and ideal selves”(2000, p29). The example of the fair trade’s success is significant: it gives consumers the possibility to make good deeds through their purchases and, at the same time, to contribute in their belief to becoming superheroes.

A well-informed consumerAccording to Lewis “information is the fuel that drives the New Consumer”(2000, p18). Today the number of products with similar performances increases; consequently, consumers need information about products to decide which one is the best choice for them. Lewis observes, “New Consumers check labels, study contents, compare prices… they ask pertinent questions”(2000, p18). Thanks to the Internet, information is cheaper and more readily than ever before. Thus, New Consumers are becoming better and more active.

An involved consumerMore active means also “be involved”. To fully understand New Consumers, we must consider the importance of experience. New Consumers must involve themselves in the production and consumption process to certify that their purchases exactly match their needs. To create an experience, it is necessary for the consumer to get closer to the producer and to establish interactivity and a dialogue.

Level Ground Trading is dedicated to trading fairly and directly with small producers and offering their customers ethical choices.

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 According to Gilmore and Pine (2007) “we live in a world of increasingly staged experiences. Interactions with companies are more and more mediated by technology.” Indeed, more and more companies used platforms such as Facebook or Twitter to share, to inform and to involve consumers. As reported by Pine (2007) “it is the age when everyone create.” In other words we are becoming a society of producers than real consumers.

An Authenticity seekerThe lure of authenticity concludes the New Consumer description: while Old Consumers are largely motivated by need of convenience, New Consumers are driven by the quest of authenticity. It is a key component of contemporary life. The oxford English dictionary defines authenticity as “genuine, reliable, trustworthy, real, actual, original and established credit.” Newtalgia, Urbany, Handmade, Eco-easy, Embedded generosity or Customer-made…at the heart of every current trend, authenticity can be underlined. Indeed, we can consider the construction of the authenticity by the Past (see Newstalgia) or on the contrary, by the truth of the Present (see Urbany). Authenticity can

also mean “honesty” and “human” (see Handmade, Eco-easy, Embedded Generosity). Finally, authenticity can be comprehended as a sincere participation of the consumer as a member of the process (see Customer-made). All of these trends are going to be analysed in next parts.

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Nike iD Bespoke, NY - By appointment design experience : work one-to-one with design consultants to produce the uniqueness.

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The world around us is in eternal movement. It has become extremely complex, unpredictable and very fast. Nevertheless, it is possible to define five current trends that inspire designers today. This study is based on the behavioural analysis of New Consumers, journalistic information, various readings and my own observations.

Trend one:Newstalgia

Today, scientific discoveries and high technologies are a part of everyday-life. As unbelievable as it may sound, society needs to restore its roots and deeply refund its heritage to understand the meaning of progress and change. People seek the security of true-life and learned things through the Past. They would like to revive a time when life was maybe not better than today but less unsettled and complex. Packaging that pay tribute to the Past attract New Consumers. The sixties, seventies and even eighties patterns make their comeback [1&2] and major events such as the music festival Woodstock is brought to light [3&4] —through all its symbols like flower, dove of peace or rainbow— to satisfy the demand of authenticity.

In addition, the use of illustrations [1&2], black and white [3&4] or sepia photographs are preferred instead of ultra-polished photos.

The role of typography is meaningful for this trend. By the Past, typography was often used instead of illustration on packaging. Today, old-school types —like decorative [1&3], gothic [2] or calligraphic illuminations [4]— are used.

But the lure of authenticity does not just mean reliving the past; it means using it to find new ways of living, maybe new kinds of progress. New Consumers appreciate the mix of past and present. The example of the success of Urban Outfitters —who sell new and second hand— is significant. Also, It can explain why packaging with old-school appearance attract New Consumers even if the product inside is contemporary.

chaptertwo Exploration:

5 crucial consumer trends

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Trend two:Handmade

Even if modernization, virtual solutions and high technologies have permitted brilliant ameliorations of everyday-life, it has also moved away from human statecraft and the genuineness. As a consequence, there is an urge to experience the original. According to David Boyle “the most authentic is not necessary the most true to the past, it could be the most human” (2003, p44). New Consumers find their values of authenticity through handcraft, small mass-produced models and products with handmade appearance (in absence of the real handmade). Boyle argues, “it is a new attitude that’s discernible behind all this demand of authenticity […] and one of that is tolerant of human failings” (2003, p15). That is why New Consumers are looking for handmade products. Craftsmanship implies that there is a direct relationship between the object and the person making it, whereas when it is mass-produced the person that is gifting the green and red button does not have the same effect on the end product and therefore has no real relationship with the product.

The example of Lush, a handmade soap company, is interesting for its concept and its packaging.Lush stores are fitted out in provençal-style butcher’s block wood, giving them the look and feel of a delicatessen or cheese shop. Soaps, wrapped in sheet of paper, are looking like loaves and freshly baked bread. The handwriting font gives packaging the expression of authenticity. Furthermore, many cosmetics are sold by weight or size after being cut from blocks and offered with a minimum of packing.

Moreover, there are different ways to give packaging a handmade appearance.The use of handwritten and brush typographies is the most efficient way to obtain craftsmanship feeling. In addition, it can be mixed with raw materials (card [1], recycled paper, wood [2]) or fabric [3&4].

Trend three:Urbany

Authenticity can also mean to be comfortable with the present’s reality and the local area. For the most of New Consumers, this local area is the city. As reported by the Global Report on Human Settlements 2009 “Less than 5% of the world’s population lived in cities a century ago. In 2008, for the first time in humanity, that figure exceeded 50%. By 2050, it will have reached 70%, representing 6.4 billion people”. The city becomes the epicentre of innovation, new lifestyles and trends. Then, urbanites are more sophisticated, more demanding and prone to new experiences. Their watchword could be “nothing happens without risks”. Consequently, designers can push the innovation envelope in any possible way (daring, original, quirky or wired designs).

This trend inspires packaging designers.They embezzle symbols —like sign boards [4], graffiti [2], buildings [1,3,5&6]— to pay tribute to the city’s identity.

Lush company is a perfect illustration of New Consumers aspirations.

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Celebrating the city and its lifestyle with Absolut Cities Series.

Today, inhabitants’ identities are closely tied to a city’s culture (its brand, its heritage, its ‘being’). In consequence, several brands deliver city-specific products that truly incorporate a city’s character. And so, it is a great, human and fun way to pay respect to urban citizens around the world.

Absolut Cities Series is an example of this “urban pride”.The concept is “a specific blend with a specific graphic design for a specific city”. Thus, the Absolut Cities Series first launched in New Orleans in 2007, when the brand developed a special mango and black pepper blend inspired by the city. Later in 2007, Absolut rolled out the City Series to Los Angeles, and in August 2009, Absolut released the taste of Boston, a black tea and elderflower vodka that has a backdrop reminiscent of Fenway Park’s Green Monster.

Trend four:Eco-easy

Be aware of the reality and its problems are included in the lure of authenticity. For several years, global warming is in every mind. But today, the question is not “what could I do?” any more, it is “what do I have to do?” The approach is more offensive. Making the right thing is the only choice.But, it does not mean that ecological actions have to be painful. Corporations and governments have to forcefully make it ‘easy’ for consumers to be more green, by restricting the alternatives. Designer also has a leading role in this movement.More than for every other trend, consumer need brilliantly smart design to make the ecologic act easy, relating to a game and above all instinctive. Here are different eco-easy packaging. They are designed to have a second life. Audacious, smart or totally genius, it belongs to consumers to judge.

“we are not just cardboards packages”

Racquel Youtzy designed this in response to the growing demand for safe refillable water bottles.

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Trend five:Embedded generosity

New Consumers try to become better people. They have an ecologic conscience —see the precedent trend— but also a social conscience. They seek initiatives that make giving and donating painless, if not automatic. Indeed, they want to make it easy good deeds without changing their habits. On top of that, New Consumers expect lots of innovative corporate giving schemes that letting them co-donate and/or co-decide. This collaboration producers/customer is the issue of the next part. Before that, here is a topical outline of different packaging conveying generosity.

Alibi has developed a pomegranate flavour of their drink. For every can sold 5p will be donated to POM354 (help to reduce the amount of heroin

produced in Afghanistan).

Project 7, a consumer goods company passionate about social change and dedicated to addressing the seven most critical areas of need in the world

today, as determined by Project 7 - Build the Future, Feed the Hungry, Heal the Sick, Help those in Need, Hope for Peace, House the Homeless,

and Save the Planet.

These cans were installed around Manila (Philippines) to encourage donations and show the difference that a small donation to Childhope can make a street child’s life. Now this is packaging that makes a difference!

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chapterthreeSurvey:

customer-made, the powerful trend in progress

Designers have been moving increasingly closer to the future users of what they design. The next new thing in the changing landscape of design research has become co-designing with your users. The Customer-made trend is actually not new but it will become essential to develop new products, services and experiences.

“Some trends are worth tracking for years and years, especially if they represent a radically new definition of what constitutes value to consumer. And from a business and innovation angle, we would like to argue that the Customer-made trend, co-creating with your customers, is the most important one to watch.”(Trendwatching, 2004)

WHat is Customer-made exaCtly?Traditionally the consumer sits outside the company. They purchase the product and their only relationship with the brand is, essentially, a transactional one. Where new product co-creation is concerned, customers are involved on a much deeper level. The Customer-made trend is a closely collaboration between producers and consumers. But, it is necessary to take care to not get co-creation and customisation confused. Indeed, co-creation is not customisation or do-it-yourself, it is not even personalization, as all of these actions take place after companies have decided what the basics are, which products, services and experiences they’re willing to hand over to consumers. With the Customer-made trend, consumers work with the company to develop design products or services that they may not even want.

why does customer-mAde constitutean important trend? To fully understand the New Consumer’s lure of authenticity, we must take into account the importance of consumer’s experience through the Customer-made. Thus, to create an experience, it is necessary for consumers to get closer to the producer and to establish interactivity and a dialogue.

According to Thomas W. Leigh “the authenticity derived from these collectives experiences […] in sharing and communicating the enjoyment with others” (2006, p483). To ensure authenticity, New Consumers must involve themselves in the production and consumption process to certify that their purchases match their needs. This is where it gets really interesting: consumers receiving a cut of whatever gets developed based on their inputs, suggestions, design or ideas. Companies need co-creation too. they need these ideas —found or developed by the users— because they correspond to a real demand. As reported by Trendwatching “if you involve customers in your development processes from day one, you eliminate the possibility of out-of-the-blue bad reviews upon launch.”

HoW is Customer-made applied?Technology creates a dialogue between consumers and producers. According to Gilmore and Pine “we live in a world of increasingly staged experiences. Interactions with companies are more and more mediated by technology”(2007). Thus, the Internet, especially Social Medias, makes easier co-creation. More and more companies take advantage of platforms such as Facebook or Twitter to share, to inform and to involve consumers.

Social Medias have already spread to the packaging design. For example, Perrier seems to be making a comment on our age of digital conversation. Each product is wrapped in packaging that has bubbles of conversation.

Trough Twitter, the ice cream company Ben & Jerry’s asks consumers if they have idea for a new ice cream flavour when it is “stuck for ideas”.

Perrier’s limited edition packaging is called ‘Conversations’.Developed by Hartlandvilla, a graphic studio based in Paris.

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Some forward thinking companies are incorporating the use of Twitter ID’s on their product.

VitaminWater Connect is a significant example of product that shows how co-creation through a Social Media can make a beautiful design. project. Here’s a first. VitaminWater “Connect” is a result of a contest the brand has been conducting on its Facebook page that invited fans to design their own flavours and label. The packaging is complete with a Facebook logo and a full paragraph description loaded with references to untagging, friend requests, and photo stalking.

Pepsi has included a Twitter tag on the can of its newest line of bubbly drinks Pepsi Raw.

“VitaminWater Connect” also happens to be the first Facebook created drink.

The idea is to pass from crowdnsourcing – that use creativity, intelligence and savoir-faire of a large number of the Internet’s users – to the co-creation; of a horizontal mode of creation where each brings his own idea to a vertical mode where each builds on the ideas of the others. Eternally, the group exceeds the sum of the individuals. And it is a question of taking advantage of it. It is necessary to stop thinking that the Internet’s wild and disrupted initiatives work alone. Indeed, miracles do not exist more on the virtual sphere than in the offline world.

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ConclusionHere is the future shop.

This work has explored how lifestyles express themselves in design application and why the quest of authenticity is a key component of contemporary life and an endless inspiration for designer.Through this dissertation, we have also understood that the Customer-made trend is about to become the most powerful trends within the next years. Today, it is not consumers on one side and producers on the other side anymore. There is a global brain with a permanent dialogue and interactivity.

the evolution in design research from a consumer-centered approach to co-designing is changing the role of the designer, as well as the person formally known as “the consumer”. It is also changing the landscape of design practices and developing new domains of collective creativity. Co-creation could revision the way to purchase as well as the way to consume. It is hoped that this evolution will transform toward more sustainable way of living in the future.

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bibLiography

Boyle, d. (2003). Authenticity: brands, fakes, spin and the lust for real life. london, Flamingo.

Gilmore, J., & Pine, J. (2007). Questioning authority - jim gilmore & joe pine. across the board, 45.

GreGson, n., & Crewe, l. (2003). Second-hand cultures. Materializing culture. oxford, berg.

leiGh, T-w., (2006). the Consumer Quest for Authenticity:The Multiplicity of Meanings within the MG Subculture of Consumption. journal of the academy of marketing science. volume34, no. 4.

lewis, D., & BriDGer, D. (2000). The soul of the new consumer authenticity - what we buy and why in the new economy. london, nicholas brealey pub.

TrenDwaTChinG. online (update 5 jan 2010) available at http://trendwatching.com/trends/10trends2010/ accessed 1 june 2010.

Urvoy, J-J., & sanChez, s. (2007). Packaging: toutes les étapes du concept au consommateur. paris, éditions d’organisation.

wilson, r. m. s., & GilliGan, C. (2005). Strategic marketing management planning, implementation and control. amsterdam, elsevier/butterworth-heinemann.