• Designer: Saana Hellsten
    Location: New York, NY, USA

    FØLE, which means sense and feel in Norwegian, is an organic, luxurious skin care product line from Norway. The natural ingredients are made from plants grown in the pure and clean environment of the vast mountain ranges, broken up by valleys and fjords. FØLE’s rich textures and fresh scents gives you a sensual experience and a touch of luxury to your everyday life.

    The logo symbolizes jin and jang, the balance between female and male, the equality. It also refers to freshness through the drops created by the negative space

    The target audience is men and women, aged 25–40 years old who want to use natural, organic products. They also appreciate high quality, timeless and genderless aesthetics in design. The shape originates from a stone tool from the Stone Age. It is ergonomic, fits to hand and relates to nature.

    FØLE skin care product line consists of a face cleanser, a face toner, a face oil, a body lotion, a face mask and a face scrub. Different colors help to recognize the products from each other but also show which ones are related to each other (cleanser & toner, face oil & body lotion, scrub & mask). The braille writing on the bottle and packaging make it accessible for the visually impaired. The materials are highly tactile which enriches the user experience. The bottles can be opened with the palm of the hand and without using any finger strength. Even though they have different openings, the front appearance is the same. ​



  • Creative Agency: kissmiklos
    Photos by Daniel Herendi
    Hedonist with black background photo by Istvan Varfi
    Project Type: Produced, Commercial Work
    Client: Viktoria Minya
    Location: Paris, France
    Packaging Materials: Glass, wood, crystals, paper, satin

    Viktoria Minya’s debut fragrance, the Hedonist, became a cult fragrance within just a month after its launching in 2013. The concept of packaging was built in the jewellery box. We would have loved if a woman doesn’t get just a perfume but she can wear this like a jewellery and the perfume will be one of the jewels of her rooms. Like a valuable ring or necklace. All perfumes from the line are presented within beautifully crafted bottles filled with hundreds of genuine Bohemian crystals that sparkle brilliantly. The bottles are enclosed within a handmade wooden box, fashioned to capture the sleek look and feel of snakeskin leather.

    2 new fragrances are completing now the Hedonist line, both worked around the most prestigious and noble raw materials of all.

    Hedonist Iris
    Hedonist Iris’s essence is the most prestigious raw material of all – Iris butter, its cool elegance is laced by Viktoria Minya with tantalising notes of cocoa and blackcurrant, and crowned by a fine blend of musks. The scent is best described by timeless elegance; it is effortlessly chic and graceful, delicate but powerful - for a woman who cares for sensual luxury.

    Hedonist Rose
    Hedonist Rose is created around the queen of raw materials: Rose Oil, which is often considered opulent in its pure beauty – therefore it is meticulously chilled by Viktoria Minya with sparkling notes of white wine and a hint of peach. An audacious perfume for a woman who recognises the strength and allure of her own femininity; a perky rose that doesn’t want to be taken so seriously, but its audience cannot help it, and end up falling in love with her.

    Eau de Hongrie
    This novelty is a true surprise, and a very personal creation by Viktoria Minya. She discovered the legend of Eau de la Reine de Hongrie (The Queen Hungary’s Water) while still in perfumery school, and the idea of its modern version was instantly born. The original Eau de la Reine de Hongrie was the first modern perfume referenced ever. According to the legend, the perfume gave back youth and beauty to the ageing Elisabeth, hence the Polish king fell in love and married her.

    In the 1300's the juice smelled mostly of rosemary tincture, so Viktoria Minya needed to choose carefully the essence of the revisited famous scent in order to reflect the modern context.
The inventive Eau de Hongrie by Viktoria Minya is inspired by Hungary’s world class wine specialty, the Tokaji Aszú ( Tokaji Essence ) which does not only taste divine, but has proven medical benefits. Delicate notes of honey, jasmine and immortelle are completed with the suave texture of sandalwood resulting in a rich, gripping scent, worthy of its predecessor of the 1300’s.
Eau de Hongrie is presented within a finely designed bottle, an ode to the world famous Tokaji wines and is enclosed within a handmade wooden box recalling Viktoria Minya's signature packaging.



  • Designer: Nemanja Hutalarovic
    Location: Belgrade, Serbia
    Project Type: Concept

    Concept packaging design for red table wine.

    Illustrations for bottle labels were created by merging musical instruments commonly used in jazz.

    There are two merged instruments per label.

    The goal was to create the feeling of improvisation and fusion into unique and harmonic image.



  • Creative Agency: BridgerConway
    Presidents: Marcelo Bridger y Santiago Felippelli Conway
    CEO: Alejandro Tinivelli
    Creative Director: Fernando Arendar
    Creative Team: Pablo Espasandin y Emiliano Ocantos
    Account Director: Alejandra Pouchot
    Account Manager: Julieta Fabricius
    Project Type: Produced, Commercial Work
    Client: Cabcorp Ecuador – Güitig
    Location: Argentina
    Packaging Materials: Glass bottle

    Ecuador’s premium sparkling mineral water Güitig has chosen once again BridgerConway for the design of a Christmas Special Edition pack for the holiday season.

    We worked on the design of three new flavors, Peppermint Twist, Apple Candy and Fruit Punch.

    Considering the specific features of the pack printing, the design proposals were developed in a 700 milliliters glass pack and in a 500 milliliters plastic PET option.

    For this special edition we wanted to generate a language that refers Christmas from a nontraditional and classic view that can coexist with the premium identity of the brand, the one that the agency works with from more than two years.

    From the beginning, the idea of this edition of Güitig bottles (specially the glass one) was to stand out at the point of sales and become collectibles.


  • Rexam Creates Stand Out Christmas Cans For Efes Brewery

    For more than 15 years, Rexam, a leading global beverage can maker, and Russian drinks company Efes Rus have engaged in a strategic partnership which has resulted in the creation of many innovative products.

    The most recent milestone in this fruitful collaboration has been the development of an original winter limited edition can for the Velkopopovicky Kozel dark beer brand. The new can joins a portfolio of successful designs developed by Rexam for Efes Rus. Rexam’s high definition printing technology brings to life the intricate knit and suede details of the can. A value added, matt-over varnish finish completes the overall effect with a premium, seasonal feel, using warm festive colours of red and white.

    Produced out of Rexam’s Naro-Fominsk plant in Russia, the 0.5 litre limited edition cans will be available nationally in Russia.


  • Creative Agency: ButterflyCannon
    Project Type: Produced, Commercial Work
    Client: Glenmorangie

    Glenmorangie has launched this years bespoke gifting pack, containing a bottle of Glenmorangie’s signature expression The Original and two of the brand’s elegant tumblers.

    The distinctive packaging, developed by ButterflyCannon, has a wrap around window displaying the contents in a dramatic and eye-catching manner. Inspired by the mesmerising window displays of luxury boutiques throughout the world, Glenmorangie wanted to create its own mini boutique.

    ‘The Original Collection’ pack arranges this season’s gift contents in a dynamic presentation that can be viewed from the front and the side through the pack’s unique corner window. The brand’s signature Orangie colour is textured with the watermark pattern to add depth and complexity to this arresting colour.

    “Each year we identify a new creative thematic to inform the packaging. This year’s inspiration came from the amazing festive window displays you see at the designer boutiques across the world. Glenmorangie is a prestigious whisky brand but doesn’t have its own stores, so we thought we would create one for them.” Jon Davies, Creative Director, ButterflyCannon

    “This innovative packaging is a great way of showcasing the Glenmorangie bottle and glasses whilst reflecting Glenmorangie’s quality and creativity.” Michael Atkinson, Marketing Manager at The Glenmorangie Company.

  • Creative Agency: Side Effects Comunicación Visual
    Project Type: Produced, Commercial Work
    Client: Finca La Estacada
    Location: Spain

    Side Effects have developed a new wine concept called Hello World. A new fresh wine ready to take on the World. An ingenious wine that will make your palate its own, waiting for the world to discover it. We have developed the name, branding and illustrations. Giving the product a unique and new identity based on native Wildlife. We also developed an app with the key features of each product range.


  • Creative Agency: Atelier Christian von der Heide
    Project Type: Produced, Commercial Work
    Client: Nasengold
    Location: Germany
    Packaging Materials: Iriodin-Pigment varnish

    G. (g-spot), the new perfume from Christian Plesch, raffish for a younger target audience, for whom emoticons, social media and a fair amount of impudence are the norm. At first glance of the collapsible packaging, the Iriodin effect pigment catches your eye, as the light strikes it amazing glimmering colours are produced.



  • Designer: Dauren Serikbaev
    Project Type: Produced, Commercial Work
    Client: Nutriboost
    Location: Kazakhstan

    NutriBoost - The Dutch company sells nutritional supplements. The company's mission - to help people achieve the maximum good health and its maintain. We do it, providing high-quality super products at the best prices. The task consisted in making design of packing with natural super products. The matter is that old packing did not disclose the unique and the natural products made by the company.


  • Creative Agency: Senyor Estudi
    Photographer: Marc Roca
    Project Type: Produced, Commercial Work
    Client: Ous Empordà
    Location: Empordà, Spain

    Between the mountains of the Salines-Bassegoda National Space of Natural Interest and on the bank of the River Muga, there lies an ecological farm named Mas Rimbau de Dalt, located in Sant Llorenç de la Muga. Hens, bees and an ecological market garden coexist in harmony in this idyllic spot, and its products are sold in a small shop set up in the old barn of the farm. On the basis of economising on inks and standardising the labels – which are completed manually with the appropriate information – a single label design is adapted to the various jar formats.




  • Creative Agency: Foxtrot Studio
    Location: Warsaw, Poland

    The concept of the old brand of vodka whose tradition dates back to ancient Slavic times. Starka alcohol is distilled from rye grain and aged in oak barrels with a small addition of lime or apple leaves. The aging period can be from 5 to over 50 years. The process of production is similar to what's used with whiskey, but the final product has a completely different nature which makes Starka one of the most unique vodkas in the world. For such a unique product we wanted to create a stand-alone image that differs from anything that exist in the premium spirits sector. We wanted to emphasize this using it ancient origins reaching deep into the mythical Slavic times.

    We refered to the oldest Slavic alphabet - the Glagolitic alphabet - contains characters not found in any known alphabet. Inspired by the shape of the Glagolitic letter S , we created logo - a simplified monogram representing Starka. At the same time we wanted that antiquity value does not dominate in the project, we wanted Starka to be modern and luxurious and fit well into modern spaces of bars, restaurants and also apartments. The logo is perfectly harmonized with minimalistic feel which we wanted to get for the whole brand. The shape of the bottle, and the direction of thinking about the other components was the result of simple geometric figures contained in logo, consistent throughout the whole project following the consequent character.

    The result is a bottle of an axial section of a triangle with three variations depending on the length of aging which appeared through the selection of the materials from the clean glass for 5 years, sandblasted glass for 30 years and white ceramics for 50 years. The choice of materials was also intended to illustrate the process of aging Starka from the original completely transparent to white perfect stage of the aging of this unique alcoholic beverage. The complement for the project based on the same principles is a special glass called "kulawka" which in translation means "limping". It is an another forgotten already Slavic tradition of drinking alcohol in glasses without feet - which can't be set aside on the table without emptying the glass. Heating the drink in hand can help release the Starka's full bouquet of flavor.



  • Designer: Saana Hellsten
    Location: New York, NY, USA

    Our current society is very diverse and full of individuals who do not fit into the norms and stereotypes that society has given them. The border between male and female gender identities has become blurred and gender roles are less defined. Packaging design is our first interaction with a product and it currently perpetuates gender stereotypes. Designing gender-neutral packaging will encourage gender equality and will create a more sustainable world.

    In the first project I am questioning the use of gendered visual language in communicating an attribute of a product. As an example I used regular household products because they are part of our everyday life and used by everyone through the society.

    The gendered visual language carries heavy symbolism. The masculine design is often used in products, which have the same characteristics as (stereotypical) men. Strong and powerful products need to communicate their effectiveness and this is achieved by using masculine visual language. Soft and sensitive products instead use the feminine visual language. By using these stereotypes, we are enforcing the traditional stereotypes of men and women when we should do the opposite.

    In the second project I chose personal hygiene: shaving products. Razors and shaving creams use highly gendered visual language. By the look of the product, you will know which razor is marketed towards women and which towards men. I questioned whether there is really a difference and through a study case I made, I learned that there in fact are physical differences in the razors for men and women. Though, these differences are related only to the function of the product, which isn’t always related to the gender of the consumer. For example, the blades are different for shaving beard than for shaving legs, but this doesn’t mean that they should be marketed only towards one gender.

    My project takes away the gendered design from the razors and shaving gels. Like the razors, shaving gels have highly gendered design, although the purpose is usually the same; to make the skin smooth. The project focuses more on the function by giving the option to choose the blade and handle based on the purpose.



  • Creative Agency: CP+B Scandinavia
    Art Director / Designer: Anders Olausson
    Design Director: Kristian Hallberg
    ECD: Gustav Martner / Björn Höglund
    CD: Mattias Berg
    Account Director: Carl-Johan van Heesch
    Copywriter: Per Rundgren
    Motion Designer: David Forss
    Experience Designer: Andreas Folkestad
    Producer: Mikael Lindqvist
    Developer: Arvid Sollenby
    Project Type: Produced, Commercial Work
    Client: Scania
    Location: Gothenburg, Sweden

    CP+B Scandinavia was tasked with creating a full product identity and branding of a 999 piece limited edition Scania smartwatch.

    The product identity took its start in a historic part of the Scania brand identity – the griffin – which is still included in the company logo to this day in a stylized version. The combination with the sleek black watch led to the name ”Black Griffin”. The Griffin mythos represents value words such as valiance, watchfulness and strength, and is often portrayed as the guardian of great treasure – all semantically very valid for the product in itself. So to represent the name and product identity of the black griffin, yet create a soft and graceful visual impression to balance out the hard and technical side of ”new technology”, we decided to work with black wings as a defining design asset in everything from interface design of the watch itself to the product video, the website – and naturally the packaging.

    "The box itself must match the product inside, the experience of a product begins even before you got it, but especially when you get it in your hand. And when you hold it in your hand, that's when every detail counts. The result was really what we wanted from the start, and our vision through the entire branding work really fell into place." Says Anders Olausson (Art Director/Designer) & Kristian Hallberg (Design Director).

    The Unique Points Of The Packaging:
    The box is created from high quality 400g cardboard with carefully folded corners to ensure no raw paper stock is visible. The design was offset-printed and surface coated to match the near satin look and rubber-like tactile texture of the silicone band of the watch – creating a homogenous experience between packaging and the product within.


  • Agency: Sack Lunch Marketing
    Project Type: Produced, Commercial Work
    Client: Onli Beverages
    Location: Delray Beach, Florida, USA
    Packaging Materials: Glass

    Taste is everything. When the great chefs of our chefs of our time combine ingredients, they lay out an intricate palate of tastes that expand upon each other to shape a culinary masterpiece. Onli Beverages are created in the same way; with a mission to transform a drink from a mere accompaniment to a feature taste sensation! Free from artificial ingredients and made with the intent to be savored rather than served as a "functional" beverage, recipes for onli Beverages embody a variety of complimentary flavors that stimulate the senses and enliven the spirit. Sip back and enjoy!



  • Creative Agency: Garage Comunicazione
    Photo: Nanni Spina
    Project Type: Concept
    Location: Italy

    Visual identity that Garage Comunicazione studied for Salumificio Falcone is based on specific points:

    - Giving a strong, elegant, easily recognizable image to the company, in order to represent a summary of family charcuterie tradition.
    - Providing the company an effective logo that can be used in all of business items, without confusion among consumers and partners.
    - Strengthening the brand equity related to the reason why and mission.
    - Maintaining the approach of tradition and quality.

    In Roman age Lucania and Bruttium were the places for the production of sausages, Sila was the site of the timber recovery. Garage Comunicazione adopted a tone of voice that enables countless forms: products, point of sale, any other initiatives (sponsorship or publishing projects), without never lose unitary and hierarchical domination. Logo looks like the union of three types of animals: the hawk, the sheep and the pig. It is based on a synthesis between the falcon wingspan, the horns of the cow and pig's snout. The hawk is also recognizable by charting the eyespot, beak and feature spot on the neck. Monochrome logo recalls earth and wood, brown is free from the use of other competitors, it is highly recognizable and declinable on corporate and labels.

    Garage Comunicazione has also realized the identity of the three product lines: The traditional line , the Falcone 1846 line and Suinonero - The authentic Calabrian.
    The brand positioning that emerged following weeks of company analysis was ‘Italian quality and local tradition ’. This positioning brought together the company’s two great strengths: its innovation to provide the marketplace with the best-quality products, while adhering to the founder’s greatest value — honesty.


  • Designer: Enric Garcia
    Project Type: Produced, Commercial Work
    Client: La Patrona
    Location: Mexico

    The client (La Patrona) wanted to show his beer like a gastronomic experience for sharing with people and enjoy it (with a similar size of a wine bottle. 650ml). He wanted a classical design, elegant and consistent. These are a part of a collection of some beers.

  • Written by Joe Hickman. Packaging Specialist of Charlotte Packaging.

    It may sound a bit cliché but there is very little in this world that is universal aside from time and mathematics. So, when it comes to planning your packaging it makes a lot of sense for you to consider the ramifications of using the same design or materials everywhere. Colours, specifically, can evoke a completely different emotional response from certain cultures.

    Here are just a few ways that you should modify your packaging to appeal to different cultures:

    Multi-Lingual

    While English may be the official language of business, it isn’t spoken by everyone. In fact, only around 27% of the world currently speak English – that’s including people who have it as a second language. If your product is sent to several different countries then you need to make sure that each specific country’s language needs are met through your packaging.

    Appeal to the Audiences

    Image: renaissancechambara

    If you’ve ever travelled internationally then you will have undoubtedly have noticed that there are huge difference between supermarkets in the UK and abroad. Japan for example have very bright and vibrant packaging on almost everything, utilising cartoons and drawings to the max. Swiss packaging on the other hand is very subtle and understated, using plain colours bold writing and minimalist imagery. Luxury products in the UK are often packaged in black block bottom bags, whereas in China it is considered very bad to use black for packaging as it hints at death.


  • Creative Agency: Senyor Estudi
    Photographer: Marc Roca
    Project Type: Produced, Commercial Work
    Client: Ous Empordà
    Location: Empordà, Spain

    Eggs and elastic bands have been closely related for a long time. In the past, we bought eggs “loose,” and it was only at the end of the sale that they were placed in a simple box that was then closed with an elastic band, which was known as a “chicken band” because it had previously been used to tie a chicken’s legs together.