First Annual Packaging Awards

In this special report, Strategy highlights the 17 finalists of our first annual Packaging Awards. The awards recognize packages considered to be outstanding from a marketing communications point-of-view. Finalists were chosen in the following categories: beverages, food, household goods, confectionery, and...

In this special report, Strategy highlights the 17 finalists of our first annual Packaging Awards.

The awards recognize packages considered to be outstanding from a marketing communications point-of-view.

Finalists were chosen in the following categories: beverages, food, household goods, confectionery, and health and beauty.

Eight categories were originally proposed, but there were dropped because the judges felt they were too broad, or, generally speaking, did not measure up to the calibre of packages in the other five categories.

The judging took place in two stages.

In the first stage, a panel of 12 designers and marketers from across Canada was given two weeks to nominate up to three packages in each category.

The judges were asked to make their selections against real competition by visiting stores in their communities where these products are sold. they nominated 145 packages.

In the second stage, a panel of five judges, including a retailer, an environmental advocate, a consumer, a graphic designer and a marketer, met June 9 to select three finalists in each category.

The panel conducted a preliminary screening of the nominees and then scored the remaining packages 1-to-10 to determine the top few contenders.

Each package was subject to a round table discussion then re-scored to determine gold, silver and bronze placement.

In both the household goods and health and beauty categories, two products tied for bronze, accounting for the 17 finalists.

Each manufacturer was asked to supply Strategy with a product shot, a list of credits and a brief strategic statement.

Comments by the judges accompany each profile.

The Judges

Nominating Panel

Lee Andrews

Lee Andrews is group product manager of the soup division at Campbell Soup in Toronto.

Before this appointment, Andrews was Campbell’s senior product manager for Red & White Soup and product manager for Prego Spaghetti Sauce and Chunky Soup.

From 1985-88, Andrews worked at Reckitt & Colman in Toronto, where he was product manager on Airwick and French’s products and assistant product manager for household products.

From 1981-85, he was account manager and sales representative at Kraft.

Andrews holds a master’s degree in business administration from York University in Toronto.

Allan Boyle

Allan Boyle is director of design services in the brand communications unit of Nestle Canada

Boyle is responsible for the creation and maintenance of the visual properties of the company’s portfolio of national and international strategic brands.

Before this appointment, he held a senior position in the packaging communications group at the Swiss headquarters of Nestle International.

Boyle’s packaging career spans 26 years, during which he has travelled extensively in a training and consulting role.

Paul Browning

Paul Browning is creative director with Taylor & Browning, a 10-year-old Toronto design studio specializing in brand identity and package design. Browning has managed a variety of assignments in Canada and abroad, earning national and international awards from the British, Toronto and New York art directors associations. He is an active member of the American Institute for Graphic Arts, the American Center for Design, and serves on the board of director of the Art Directors Club of Toronto.

Michael Butler

Michael Butler is president of Design Partners, a Toronto package design and corporate communications firm with extensive experience serving the retail, packaged goods, corporate and financial services industries.

Before co-founding Design Partners in the early 1980s, Butler worked on the account management side of the advertising agency business, where he had responsibility for major packaged goods accounts, including Nestle, Draft and Robin Hood.

Ken Koo

Ken Koo is president and creative director of the Vancouver-based Ken Koo Creative Group.

Koo began his advertising career in Hong Kong with an international agency.

He immigrated to Canada in 1974. Before founding his own company, Koo worked as a senior art director for an international advertising agency based in Vancouver.

His work has been recognized with numerous national and international awards.

Koo is active in the local business community and serves on a number of charitable boards.

Frederic Metz

Frederic Metz is director of the Design Centre at the University of Quebec, a position he has held since 1988. He has been a full professor in the university’s design department since 1977.

Before his work at the university, Metz worked as a designer at Montreal firm GSM and as art director with Omniplast.

Metz is the recipient of numerous international awards, including certificates from the American Institute of Graphic Arts, The Type Directors Club of New York and STA of Chicago. His work has been shown in France, Finland, Czechoslovakia and Japan.

He immigrated to Canada from Switzerland in 1967.

Anne Marie Pagliacci

Anne Marie Pagliacci is field marketing manager, Canada Dry Division, at Cadbury Beverages Canada.

Pagliacci joined the company in 1990 as allied brand manager.

Previously, she spent nine years as marketing manager with Pepsi/Seven-Up.

She is a graduate of the business administration program at Ryerson Polytechnical Institute in Toronto.

Thomas Pigeon

Thomas Pigeon is president of the Thomas Pigeon Design Group Canada, strategic packaging and brand image development consultants.

Pigeon has frequently been published on the subject of package design and is Canada’s only member of the New York-based Package Design Council International.

Bob Russell

Bob Russell is president of Russell Design, a Toronto-based design consultancy, specializing in strategic visual communications.

Previous positions include senior partner and creative director, Boulevard Communications, in Toronto and Los Angeles, and founding partner and creative director, Carverhill Russell Design, Toronto and Los Angeles.

He has been recognized for design excellence by the Toronto Art Directors Club and the American Institute of Graphic Arts and has had his work published by Print, Graphis, How, Studio and Canadian Packaging magazine.

Russell is frequent lecturer to marketing associations and student groups and co-writes a monthly design column in Strategy.

John Ryan

John Ryan joined Imperial Tobacco in 1957, spending the next 35 years in packaging-related jobs.

In 1978, Ryan was appointed packaging manager for the Marketing Division.

He studied graphic arts at the National College of Arts in Dublin and is a graduate of the Canadian Industrial Management program at McGill University in Montreal.

Greg Silver

Greg Silver is president of the Halifax-based Communication Design Group, a marketing and design consultancy he co-founded in 1975.

Silver is formerly national president of the Society of Graphic Designers of Canada and is a member of the board of the Nova Scotia College of Art and Design.

He is a frequent lecturer on the subject of design for business at universities and meetings of trade associations.

He holds a degree in visual communications design.

Brian Woodcock

Brian Woodcock is category manager in charge of consumer marketing of household towels and facial tissue with Vancouver-based Scott Paper.

Woodcock’s marketing career spans 17 years with the company and includes several positions in marketing and market research.

Woodcock, a graduate of the University of British Columbia, is an active member of the Vancouver marketing and research community.

Selection Panel

Jim Dollery

Jim Dollery is president of Dollery Rudman Design Associates, a Toronto-based design and marketing consulting firm specializing in packaging and product design.

Clients include Best Foods, Cadbury Beverages, Gilbey’s Distillers, H.J. Heinz, Kellogg’s, Molson Breweries and Reckitt & Colman.

Dollery is a graduate of the Ontario College of Art in Toronto.

Joe Hruska

Joe Hruska is executive director of OMMRI, a not-for-profit organization funded by private industry that assists municipalities in funding, implementing and expanding their recycling programs.

OMMRI provides municipalities with advice on waste management and helps with market development for recycled materials. The organization has contributed about $25 million to municipal blue box programs in more than 400 Ontario communities.

Before his employment at OMMRI, Hruska was executive director of the Canadian Tinplate Recycling Council, a joint venture between Stelco and Dofasco.

His past experience includes sales in the steel and petroleum industry and commercial finance in the banking industry.

Therese Keating

Therese Keating is marketing services manager at Tambrands Canada, a maker of feminine hygiene products.

Keating’s responsibilities there include the development and execution of all consumer promotions and packaging.

Previous appointments include client service supervisor with Gaylord Planned Promotions, where she executed promotions for several packaged goods manufacturers, production manager at Apex Publications, and general manager with Trans Canada Graphics, where she worked on the design and execution of numerous Canadian consumer and trade magazines.

Keating has 13 years’ experience in the graphic arts industry.

Sue McCormick

Sue McCormick lives in central Toronto with her husband, a city planner, and their four children aged 15, 11, 9 and four.

Before becoming a full-time homemaker in 1975, McCormick taught elementary school, worked in community development and as a faculty secretary at York University in Toronto, taught English as a second language to adults, most recently as a volunteer instructor for the Toronto Board of Education.

She is a volunteer assistant gardener at Spadina House Museum.

John Torella

John Torella is principal and senior consultant with Toronto-based John C. Williams Consultants, a firm that specializes in retail marketing strategy.

Torella was previously general manager of the retail division at advertising agency Grey Canada, and for 11 years before that, head of Vickers & Benson’s retail division, which he set up in 1979.

In the ’70s, Torella was advertising and sales promotions manager with Eaton’s, where he was responsible for advertising, display, public relations and special events.

He is a member of several industry associations and sits on the programs committee of the Retail Council of Canada. He is also the author of several retail marketing publications, including Success Retailing.

Torella’s clients have included Coca-Cola, Woolco, Beaver Lumber, 3M Canada, Oshawa Foods, Woodwards, Royal Doulton, Hudson Bay, Computerland, Bank of Montreal and Sporting Life.

Winners

Beverages

Gold: Tetley Iced Tea Mix

Silver: Chilliwack Milk Maid Bottled Milk

Bronze: Minute Maid Premium Orange Juice

Food

Gold: President’s Choice Hot Red Pepper Jelly

Silver: French’s Squeeze Mustard

Bronze: Classico Pasta Sauce

Household Goods

Gold: Excel Hand Dishwashing Liquid

Silver: Red Bird Strike Anywhere Matches

Bronze: 20 Mule Team Borax

Bronze: Liquid Tide

Confectionery

Gold: Chocola

Silver: Ferrero Rocher

Bronze: Toblerone

Health and Beauty

Gold: Pears Transparent Soap

Silver: Persian Cold Wax

Bronze: Mennen Crystal Clean

Bronze: Claritin Antihistamine Tablets

Beverages

GOLD

Tetley Iced Tea Mix

THE CREDITS

Manufacturer: Lyons Tetley Canada

President: C.A. Robinson

Package Design: Christopher Plewes, William Plewes Design, Toronto

Illustrator: Andrew Plewes

Color Separator/Printer: Sonoco Products, Hartsville, S.C.

STRATEGIC STATEMENT

Having successfully entered the iced tea market with Tetley Iced Tea in ready-to-drink Tetra Briks, Lyons Tetley Canada continues its efforts to take advantage of the growing cold beverage market by entering the powdered mix category.

In offering the marketplace iced tea in ready-to-drink and powdered mix form, Tetley continues to appeal to the younger tea drinker, with beverages that are an attractive alternative to sweet, carbonated soft drinks.

Good flavor promise was accomplished through illustration and color to create excitement for a consumer that is looking for new taste sensations in traditional beverage products.

One of the challenges provided by the Tetley Iced Tea packaging has been the need to adapt it to a broad cross-section of reproduction processes.

Current packaging uses lithography, flexography, dry offset and silkscreen printing to print Tetra Briks, Pure Pak cartons, bottle labels, plastic pails and for powder, spiral wound tins.

The Tetley Iced Tea design has proven to be adaptable.

JUDGES’ COMMENTS

‘I like the simplicity of the design. It clearly communicates what it is.’-John Torella

‘The branding is clear, and it comes in a reusable package.’-Sue McCormick

‘It clearly says Tetley. The whole thing comes together really well.’-Jim Dollery

‘Good branding. It’s obvious what it is. I like the colors. It’s very appealing.’-Therese Keating

‘It’s environmentally sensitive. I knew what it was before I read it. The resealable package means the products doesn’t go stale. It’s functional.’-Joe Hruska.

Beverages

SILVER

Chilliwack Milk Maid Bottled Milk

THE CREDITS

Manufacturer: Chilliwack Milk Maid

Bottle Supplier: Consumers Glass, Vernon, B.C.

Cap Supplier: Stanpak, Smithsville, Ont.

STRATEGIC STATEMENT

Chilliwack Mild Maid Bottled Milk was introduced in January 1990. The product is available in 500-millilitre and one-litre glass bottles.

The shape of the bottle is square, making it easy to hold, particularly for children.

The principal reason behind the decision to use glass was environmental, but Chilliwack Milk Maid clients say milk tastes better when packaged in a bottle. It is also something people associate with their past.

A 50-cent deposit encourages consumers to return their empty bottles. The bottles are then washed and re-used 60 to 80 times before recycling. The company name is not printed on the bottle, making the glass easier to recycle.

The product is aimed at females aged 20-40 who make buying decisions and are willing to spend a little extra to make a difference.

JUDGES’ COMMENTS

‘It’s a classic piece of packaging. Simple, clean, but perhaps a little dull. When in doubt, leave out.’-John Torella

‘It’s simple, but I don’t think it would be economical for families. I do like the fact that it would fit in the door of my fridge.’-Sue McCormick

‘It’s pure packaging. We all grew up with it. The glass gives a guarantee of freshness. I like it.’-Jim Dollery

‘The bottle doesn’t clearly tell me what type of milk it is, I like to buy milk and go.’-Therese Keating

‘What can I say? It’s clean, recyclable.’-Joe Hruska.

Beverages

BRONZE

Minute Maid Premium Choice Orange Juice

THE CREDITS

Manufacturer: Coca-Cola Foods, Leesburg, Fla.

Distributor: Coca-Cola Foods Canada

Consumer Marketing Brand Group: Jerry Bell, Robin Danielson, Suzanne Dudack, Steve Rice

Package Design: Stuart Werle, Cathy Werle and Peter Reny, Werle Design Associates, Toronto

STRATEGIC STATEMENT

Minute Maid is the No.1 brand of orange juice in Canada, with a corporate objective of continuing to build upon its market share leadership position.

As a result, Minute Maid Premium Choice chilled orange juice was introduced into Ontario and Eastern Canada in 1991.

It is a superior-tasting orange juice because it is not made from concentrate. It is targetted towards the segment of the orange juice category that is predisposed to buying high-quality, premium-branded orange juice.

The screwcap on the gable of the carton is an integral element of the package. It provides resealability to keep the juice fresher, and in doing so, attracts consumers who purchase chilled orange juice in traditional pure pak cartons and plastic jugs.

The base color of the carton is white, thus differentiating it from the Minute Maid orange juice ‘from concentrate’, sold in the standard black-and-orange carton.

The gold diagonal line rules and scripted lettering are used to communicate ‘premium’ and ‘not from concentrate.’

JUDGES’ COMMENTS

‘When I see it, I smell oranges. that’s how clear it is. It’s very functional. A beautiful box.’-Joe Hruska

‘I like the cap. Minute Maid says orange juice, but the picture of the oranges is not too appealing.’-Therese Keating

‘It’s a nice presentation. I like the illustration. It’s simple, clean.’-Jim Dollery.

‘I like the design, but I probably wouldn’t buy it because the frozen stuff takes up less space in the fridge.’-Sue McCormick

‘It’s functional, but boring and outdated.’-John Torella.

Food

GOLD

President’s Choice Hot Red Pepper Jelly

THE CREDITS

Manufacturer: E.D. Smith, Winona, Ontario

Distributor: Loblaw Companies

Director of Packaging: Brian Farb, Intersave Buying & Merchandising Services, a division of Loblaw Companies

Designer: Russell Rudd, vice president of design, Loblaws International Merchants

Artist: Dori Burchat, Loblaws International Merchants

Painter: LMG Widmeyer, Leamington, Ont.

STRATEGIC STATEMENT

President’s Choice Hot Red Pepper Jelly is just one of the unique products we bring to market each year.

In order to compete effectively in the jams and jellies section of our stores, we designed a bold-colored, easy-flowing label with a hand-lettered typeface that was fun to look at.

Commensurate with the initial write-up and launch of the item in our famous ‘Insiders Report,’ we color-coded the cap and inscribed the words ‘Memories of Savannah’ on it.

The overall look of the package was designed to convey this Southern sweet, sour, and hot image, while not appearing to be too intimidating to those who typically shy away from hot sauces.

Dave Nichol, president of Loblaws International Merchants, approves all designs and is the main man behind the whole President’s Choice/’Insider’s Report’ program.

JUDGES’ COMMENTS

‘The design says yuppieville. It’s unique, but if you’re not in the target group, who cares. If you’re in that target group, you’d probably buy it.’-John Torella

‘The jar doesn’t evoke hot spicy food to me.’ – Sue McCormick

‘It fits into the simplicity of the President’s Choice line. They had fun with the type. It’s fun, it’s colorful, it’s bright, but it’s still President’s Choice. It’s bang on.’-Jim Dollery

‘It’s very trendy. It’s something new. It says California.’-Therese Keating

‘It’s really catchy. It evokes spiciness and hotness to me.’-Joe Hruska

Food

SILVER

French’s Squeeze Mustard

THE CREDITS

Manufacturer: Ricket & Colman

Product Manager: Ken McCormick

Package Designer: unknown

STRATEGIC STATEMENT

French’s is Canada’s favorite mustard and the French’s squeeze pack was specially developed to be the preferred mustard package, appealing to families with children.

The package shape complements the heritage of the French’s glass jar and in keeping with the brand’s character, adds convenience and fun to product usage.

JUDGES’ COMMENTS

‘We all grew up with it. You know exactly what it is. My kids don’t know how to read, but they know where the mustard is. It’s got great branding, and a strong identity.’-Joe Hruska

‘It’s a brand name that’s been around for a long time. Its competition is not going to do as well, because it’s getting into glass.’-Therese Keating

‘It’s the only mustard that offers a squeeze bottle. They missed out on making it a little more contemporary. There are ways to improve on a perfect presentation.’-Jim Dollery

‘It makes me think of greasy spoons.’-Sue McCormick

‘Classic.’-John Torella

Food

BRONZE

Classico Pasta Sauce

THE CREDITS

Manufacturer: International Gourmet Specialties, N.J.

Distributor: Borden Catelli Consumer Products

Package Design: Chuck Anderson, Duffy Designs, Minneapolis

Illustrators: Chuck Anderson, Haley Johnson, Lynn Schulte, Duffy Designs

Typographers: Typeshooters, Minneapolis

STRATEGIC STATEMENT

The Classico line of pasta sauces was introduced into the Canadian marketplace in September 1990 by Borden Catelli.

Classico is a premium-quality sauce, with several flavors based on authentic, regional Italian recipes.

The illustrative labels and mason-jar packaging convey a sense of Old World, Italian heritage and authenticity, while at the same time communicate the taste of each flavor.

JUDGES’ COMMENTS

‘It’s a nice package, but it doesn’t stick out. Environmentally, it’s sound.’-Joe Hruska

‘You can see the product. The mason jar suggests it’s homemade. The label is a little understated in terms of branding.’- Therese Keating

‘It’s cutting through the clutter. This bottle is totally unique to that category. It says `top quality sauce’. It’s unique. I like it a lot.’-Jim Dollery

‘I like the size of the jar and the way it looks. Something about the label says it’s old-fashioned, homemade.’-Sue McCormick

‘It comes close to being a home-run in every sense, but it’s not simple enough. It blows it because theres too much on the label.’-John Torella.

Household Goods

GOLD

Excel Hand Dishwashing Liquid

THE CREDITS

Manufacturer: Lever Bros. Canada

E. Peter Elwood, Vice-President, Marketing

Stephen Kouri, Brand Manager

Charles Oliver, Marketing Manager

David Edge, Development Director

Michael O’Dwyer, Packaging Development Manager

Bottle Design: Lever, Germany

Unit Molds: Desmacon, The Netherlands

Mold Refinement and Modification: Terry Chow, Lever Canada and Kantrail Plastics

Original Label Design, Illustration and Typography: Keith Young, account director and Philip Clements, creative director, The Design Bridge, London

Label Modifications: Davis & Associates, Mississauga

STRATEGIC STATEMENT

Excel was launched by Lever Bros. as a premium performance dishwashing liquid positioned as ‘simply the best there is’. The brand was targeted against that segment of consumers willing to pay a premium price for a superior performing product.

The aesthetics of the bottle and label were designed to be unique to the category and support the brand’s premium price and performance positioning.

Key elements in the design are:

- The choice of blue, which research showed, reinforced efficacy perceptions.

- The elegant shape of the bottle.

- The first use within the category of Polyethylene Terephthalate (PET) or colored PET as a packaging material to highlight the richness of the liquid.

- The use of the diamond symbol and silver inks to support the communication of premium.

JUDGES’ COMMENTS

‘It gets away from the `lemon freshness’ theme. It’s crystal clear.’-Sue McCormick

‘It’s okay.’-John Torella

‘The sparkle really caught my eye. The color is dark and recessive, but the words pop right out at you.’-Jim Dollery

‘It suggests good, cold power. It’s different from everything else. Environmentally, that type of packaging is now going into the blue box.’-Joe Hruska

Household Goods

SILVER

Red Bird Matches

THE CREDITS

Manufacturer: Eddy Match

National Sales and Marketing Manager, Retail: Sid Barber

Designer/Illustrator: Gillian Hall Advertising, Toronto

STRATEGIC STATEMENT

The Eddy Match Company has been producing matches in Canada since 1851. The Red Bird design was introduced in the 1940s, but was discarded in the 1960s, when the company integrated all product lines, including disposable cigarette lighters, under the name EddyLites.

By the late 1980s, match sales had decreased. In addition, the company had received many letters from ‘old timers,’ who wanted to know why the traditional designs had disappeared.

In a review of traditional names and packaging, it was determined that the brand Red Bird had been the biggest seller. In late 1989, the company commissioned an illustration that looked traditional, but also modern.

Since reintroducing the Red Bird name, sales have increased by 4,000 cases a year, or about 3%.

JUDGES’ COMMENTS

‘I associate Red Bird with an Indian symbol. I thought it was strong against its competition.’-Therese Keating

‘The package didn’t strike me at all.’-Joe Hruska

‘The design is simple, pleasing.’-Jim Dollery

‘I like the design, but I wouldn’t necessarily know they were matches.’-Sue McCormick

‘Here’s a small, unknown brand that has been able to achieve uniqueness in packaging.’-John Torella

Household Goods

BRONZE

20 Mule Team Borax

THE CREDITS

Manufacturer: The Dial Corp., Phoenix, Ariz.

Design/Illustrator: unknown

Modifications*: DJMC Agency (now Davis, Ball & Columbodo), Los Angeles

Creative Director: Peter Controulis

Creative Writer: Howie Krakow

Illustration and Logo Type: Bob Hickson

Typography: PTH Typographers and Anderson Typographics.

* modifications were overseen by Woody Tella, manager; Richard Saccoman, product manager; and Trish Weber, illustration and production, at U.S. Borax, former owner of the product line.

STRATEGIC STATEMENT

In 1988, Dial bought the 20 Mule Team Borax product line from U.S. Borax. The package had recently been updated, incorporating the existing graphics.

The Borax Bill, Jr., illustration first appeared in U.S. Borax (then Pacific Coast Borax Company) advertising around 1905.

The character was loosely modelled on ‘Borax Bill’ Parkinson, the most famous of the mule skinners (drivers) of the 20 mule teams which hauled borax out of Death Valley from 1883-89.

Dial will be changing the 20 Mule Team Borax package this month and removing the Borax Billy illustration in line with the following objectives:

- To develop a 20 Mule Team Borax brand signature that can effectively function as an umbrella brand for a group of related products.

- To provide strong brand name registration at point-of-sale.

- To explore the visual equity of the current Borax typestyle and the green/blue color.

- To clearly communicate the primary brand positioning, that of a laundry detergent booster.

- To graphically convey the laundry benefit of cleaner, brighter clothes, vis-a-vis a strong graphic visual element.

- To verbally define detergent booster to enhance understanding by using the qualifiers ‘laundry brightener’ and ‘stain remover.’

- To retain an optimum level of western heritage to maintain the connection between 20 Mule Team Borax and the Death Valley Days legacy.

JUDGES’ COMMENTS

‘I’d notice it on the shelf, but I’m not sure I’d buy it. In terms of the box, it’s neither strong nor weak.’-Joe Hruska

‘It’s unique. It almost looks like a cereal box.’-Therese Keating

‘Here you have a smaller brand playing on its heritage. The old type and illustration style works well. It looks like a Norman Rockwell painting.’-Jim Dollery

‘I think it’s trying to fool the consumer, somehow. I don’t like the picture.’-Sue McCormick

‘The box combines a rational name – Borax – with an emotional illustration. I like it.’-John Torella.

Household Goods

BRONZE

Liquid Tide

THE CREDITS

Manufacturer: Procter & Gamble

Marketing Manager: P.D. Chadder

Art Director: C.M.L. Jones

Corporate Packaging Co-ordinator: J.S. Weston

Bottle Designer: Plastipak, Ohio

Label Designer: David Anderson, Quadra Graphics, Toronto

STRATEGIC STATEMENT

The Liquid Tide 2.7-litre bottle communicates the superior cleaning performance of Tide in the convenience of a liquid. Features include a self-draining cap, which ensures excess product drips back into the bottle.

The cap is also used as a dosage device. The bottle contains 25% recycled plastic and can be used as a refill container for the Liquid Tide Enviro-Pak.

JUDGES’ COMMENTS

‘It’s a functional piece of packaging. It works well.’-John Torella

‘Storage-wise it’s good, but I don’t know how many loads I could get from that package.’-Sue McCormick

‘Tide’s been around for a long time, so has the bulls-eye. You can’t miss it on the shelf.’-Jim Dollery

‘Tide has really strong branding. It’s something you’ll never forget.’-Therese Keating

‘It’s easy to carry. There’s a measuring cup on top. The brand image is so strong, you can’t miss it.’-Joe Hruska.

Confectionery

GOLD

Chocola

THE CREDITS

Manufacturer: Lacasa S.A., Spain

Distributor: Lacasa USA

Package Designer: Michelle Smith and Sabine Dodane, Sonoma, Calif.

Design Manager: Brian Smith, Business Resources International, Weston, Mass.

Marketing/Advertising Manager: Carmen Tita, Lacasa USA; Utebo Zargoza, Lacasa S.A., Spain

STRATEGIC STATEMENT

The packaging is meant to attract the segment of ‘self-treaters’ in the confectionery category. Self-treaters look for products which are unique in taste and texture, easy to share, easy to eat part of, easy to reseal, and if possible, not too high in calories.

Their philosophy is that if they are going to indulge, they want quality (a real treat) and will pay extra for it. The demographic segment is 70% women, between the ages of 20-45, with the mean age in the early 30s.

Packaging, therefore, has to be unique, upscale and memorable, to maximize repeat purchases. The package features resealability of inner foil and recloseablility of the triangular box.

JUDGES’ COMMENTS

‘It’s a catchy shape. It exudes quality, because of the dark colors. If I bit into it, I don’t think I’d be dissatisfied.’-Joe Hruska

‘The shape is unique. It separates it from other high-end chocolate products.’-Therese Keating

‘I like the shape. The box is a self-merchandiser. The coloring is subtle – it says `high quality chocolate’. It’s the kind of thing that’s an impulse type of purchase. It just invites you to buy it.’-Jim Dollery

‘It’s just a sensual little treat.’-John Torella.

Confectionery

SILVER

Ferrero Rocher

THE CREDITS

Manufacturer: Ferrero S.p.A, Alba, Italy

Distributor: Ferrero Canada

Product Manager: Tony Selina

Package Designer: unknown

STRATEGIC STATEMENT

Ferrero’s philosophy has always been to deliver to the consumer innovative, quality products at an affordable pice. A product’s packaging, merchandising and ‘look’ on the retail counter must mirror this philosophy.

The Ferrero Rocher distinctive box was created according to specific instructions by M. Ferrero that the packaging allow consumers to clearly see what the product is and that the presentation clearly convey the quality of the brand.

Furthermore, as a European-based company, Ferrero knew that the box must stand apart from a myriad of competitive pralines.

The reusable nature of the box configuration reflects the far-sighted views of M. Ferrero, who continually researches consumer attitudes, trends and expectations.

JUDGES’ COMMENTS

‘I like the use of gold. You can see how big the chocolates are. I also like the fact that it’s a reusable box. It’s something my kids might use for crayons.’-Sue McCormick

‘It’s a great example of packaging adding value to the product.’-John Torella.

‘This is an example of Europeans taking their chocolate seriously. North Americans don’t. It’s very high quality.’-Jim Dollery.

‘It says ‘decadence, richness’. Who cares about the environment? I’m going to have fun.’-Joe Hruska.

Confectionery

BRONZE

Toblerone

THE CREDITS

Manufacturer: Jacobs Suchard

Distributor: Kraft General Foods Canada

Product Manager: Randy Thornton

Package Designer: unknown

STRATEGIC STATEMENT

Toblerone, the flagship of the Tobler product range, can be bought in more than 120 countries. Up to 75 tons, or nearly 750,000 Toblerone bars, leave the plant on a peak day.

The secret of the Toblerone shape will probably remain a mystery forever. Numerous documents from the years 1908 and 1909, the period when the Toblerone bar was invented, do not give a final clue. An association to the Matterhorn? Probably. The purely practical thinking that a chocolate bar with teeth can easily be broken into bite-sized pieces? Possibly.

As for the package colors, one theory says inventor Theodor Tobler was fond of Paris and frequently went to see the Folies Bergeres, whose dancers wore costumes in cream and red.

JUDGES’ COMMENTS

‘I like it. It’s been around, it’s dependable, it’s go