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Kaylea Blindell N0380038 FASH30002 WORD COUNT:5,478

With thanks to Photographer:Lauren Mustoe Product Designer:Stephen Jessup Model: Amie Groves


Contents 1: CONTEXT

The MarketThe CompetitorsThe Consumer-

2: IMPLEMENTATION The Big IdeaThe Creative Idea-


3: CREATIVE OUTCOMES -The Branding -The Packaging -The Promotion

4: CONCLUSION -Future Plans -Limitations


Bourbon is becoming more fashionable than it’s been. (Bryson, L, 2013)


Introduction ................................... This project is aimed at creating a brand that repositions whiskey bourbon as a youthful drink, encouraging this consumer to experiment with softer tasting bourbon in order to acquire the taste. A recent survey showed that 89% of 1830 year olds don’t drink bourbon with many reasons including they didn’t like the taste, it was too strong or they wouldn’t think to buy it. Surprisingly just under a quarter of the respondents claimed they didn’t know what Bourbon was (See Appendix 3:1). This shows that this age category need more knowledge of the spirit, encouraging them to try out different mixes and cocktails which softens the flavour.

A new Bourbon whiskey brand will be created that emphasises youth and rebellion ensuring the branding reflects a colourful style that will stand out from the Bourbon brands currently existing that stick to the brown, heritage style. The target market is between the ages of 18 to 30, this market has great potential as research shows that “about 72% of millennials legally consume alcoholic beverages” (Beverage Daily, 2012). Also research shows that ‘The future of the whiskey market is dependent on the ability of bourbon whiskey to appeal to younger consumers’ (Forsyth, J, 2011). This proves that marketing to this age group will be beneficial for the industry as well as the new brand.


............................................ The Gap In The Market

Bourbon can be difficult to brew outside of America as there is a complexity

of achieving proper Kentucky Bourbon

at reasonable prices, ‘at present 95% of Bourbon comes from Kentucky’ (Binder, Y, 2014). This form of whiskey also

has certain regulations that

need to be met in order for it to be classified as Bourbon (See Appendix 2:1). Due to these factors it means that there

aren’t many brands stepping

out of their comfort zone and creating Bourbon outside of America. This project will be working with professionals from the drinks industry, collaborating with

Ylva Binder a business woman

who has a distillery in Sweden. Ylva will be

importing Bourbon from Kentucky

and ageing it in a small village within Sweden.


Figure 1 shows Bourbon brands already in the market, as you can see they all stick to dark, rustic colours which represents the alcohol well however it means that there is no stand out brand. However Wayne Rose, the brand manager of Woodford Reserve Bourbon explained how he believed the image of Bourbon has changed over the past decade. Further explaining how,

“Ten years ago it wasn’t about quality, or attracting a cocktail culture. It was more about Kentucky and authenticity and heritage. We were not connecting in a contemporary fashion” (Bryson, L, 2013) This provides the opportunity of creating a new, colourful Bourbon brand that is distinguishable from those already in the market as well as ensuring it maintains the image of quality.


So you think you’re original?


FIG 1: Blindell, K, 2014. BOURBON BRANDS WITHIN THE MARKET.


THE ALCOHOL MARKET ........................................... “Whilst the bourbon market remains a relatively small part of the overall whiskey market (11.8% in 2010), until the recession negatively influenced sales in the on trade, the segment was the only one in the market seeing any growth� (Forsyth, J, 2011). Bourbon has been at a steady growth since 2002 shown through figure 2 with 2011 being a very successful year for sales reaching 14,500 9L cases which increased from 12,800 in 2002. This shows that more people are choosing to drink Bourbon and suggests that there is still room for growth.

FIG 2: Blindell, K, 2014. BOURBON GROWTH INFOGRAPHIC.


..

Figure 3 illustrates the Bourbon geographical spread, as you can see USA, Australia, Germany and Japan are in the top 4 markets for this spirit. With other locations such as the UK, Russia and Europe also being popular destinations for Bourbon. For this project I will be focusing on implementing within the UK as a starting point with the view of expanding the brand elsewhere.

FIG 3: Blindell, K, 2014. BOURBON GEOGRAPHICAL SPREAD.


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Figure 4 shows the spirits category market share, from this you can see that vodka is most popular taking up 41% of the market followed by whiskey with 27%. Whiskey has the second highest market share proving that this is a popular spirit and therefore is a strong market to branch into.


“In order to gain traction out of home, brands may need to play on their suitability for mixing, a popular trend in the on-trade. Brands such as Jack Daniel’s have done this particularly well and provide the blueprint to follow for other whiskies such as bourbons, which are often drunk with mixers such as colas� (Wisson, C, 2014a) Bourbon is a popular spirit within the bar trade due to its flexibility and complexity of flavour. This means that this spirit has the opportunity to be utilised by showing the consumer how they can mix flavours to create exciting drinks and provide recipes. Mixability is suggested to be a key marketing message and as a result this brand will need to push the idea of suggested recipes and cocktail tutorials.


F

........................................... flavoured spirits A recent focus group produced a

tasting

experiment in which the results emphasised how the young market struggle to acquire the taste for bourbon, with all of them struggling to drink it neat. However when mixed with citrus flavoured drinks such as Fanta, Irn Bru and Sprite they seemed

enjoy the alcohol much more. Figure 5 shows popularity of each mixer used, identifying that Fanta and Irn Bru were the most popular. to


..

FIG 5: Blindell, K, 2014. FOCUS GROUP MIXERS INFOGRAPHIC.


Flavoured spirits are gaining traction in the industry with strong spirits such as whiskey wanting to appeal to a younger audience who have not acquired the taste and need a softer flavour to begin with.

‘The launch of flavoured Jack Daniels, and Jim Beam’s Red Stag will bring fresh impetus to the growing bourbon market, and continue the segment’s success in appealing to a younger consumer group than those historically attracted to the more traditional blended and single malt segments’ (Forsyth, J, 2011). This proves that the use of flavoured spirits appeals to a younger audience and is important to take into account in order to compete with big brand such as Jack Daniels.


FIG 6: Blindell, K, 2014. 50S SUMMER COLLAGE.

“27% of dark spirit/liqueur users aged 1824 state that they would be interested in drinking dark spirits with exotic added flavours� (Wisson, C, 2013a). This suggests that there is opportunity for the whiskey market to be experimental with exotic flavours increasing the demand from the 18-24 market. A Mintel study further stated that the beer category is coming under pressure from cider and spirits. This is due to flavour innovation which is appealing to younger drinkers shown through successful brands such as Kopparberg and Jack Daniels Honey. (Wisson, C, 2013b)


Figure

6

shows

a

innovations

variety

of

recent

flavour

within spirits, this includes

pineapple coconut vodka and apple cider whiskey. These flavours are

softening

the harsh taste

of spirits and therefore are more attractive to the younger market. The

dark spirit

category

are using flavours such as smoked maple and honey which are not sweet, exotic flavours however they still manage to soften the harsh

taste.


FIG 7: Blindell, K, 2014. ALCOHOL FLAVOUR INNOVATIONS.


THE COMPETITION ...........................................

“There are currently only 3 brands which sell in excess of 1 million 9L cases with a diverse range of smaller brands within the category�(Binder, Y 2014). The fact that there are only 3 brands that sell this much means that there is the opportunity for a new brand to come in and compete with those brands focusing on selling quantity however retaining quality at the same time.

FIG 8: Blindell, K, 2014. WHISKEY SALES INFOGRAPHIC.


The luxury bourbon market is dominated by Woodford Reserve shown in figure 7. This brand is the only luxury bourbon brand to benefit from international distribution and therefore would be a difficult brand to compete with. Due to this the decision was made to not focus on luxury and to situate the brand in the standard segment of the market.

FIG 9: Blindell, K, 2014. LUXURY BOURBON SALES INFOGRAPHIC.

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A perceptual map was created show the competition and the

brand.

(see appendix 1:3) to

market gap for the new

From this map you can see that most bourbon brands tend

serious brand image that reflects heritage and sticks to rustic brown colours. This shows that to have a there is a

gap in the market

for a colourful, fun brand that

contrasts with those already out there. Also there are a

variety of price ranges

for bourbon brands

the premium sector having strong brands

with however in the value section it seems there are only a few including Jim Beam that are

stand out brands in this sector.


.. A focus group was conducted, see appendix 3:3, in which the attendees were asked to put a number of spirit brands in order depending on the words given. When asked to put in order the brands from fun to boring it was interesting to see that a large amount of dark spirit brands such as Captain Morgan, Jack Daniels, The Famous Grouse and Sailor Jerry’s were considered boring. This was in comparison to lighter spirits such as Absolut, Sourz, Southern Comfort and Bacardi. From the premium to cheap category you can see that the focus groups decision could have been influenced by the packaging. For example Chambord and Bombay Sapphire were considered premium and these have beautiful bottles however they are not as premium as other spirits included in the task. The brands which were chosen to be put at the cheap end of the list were Smirnoff, Malibu and Schnapps these brands have very simple bottles and plain colours used which could suggest low quality.


THE Consumer

...........................................

88

For this project the decision was made to focus on the 18-30 consumer. There are many reasons for this however the most prominent of these being the fact that this consumer group are not drinking dark spirits as much as the older age category. As explained previously it was discovered through a 2014 survey that 88% of those questioned don’t drink bourbon. The most popular reason for this was because the taste was too strong or the fact they had little knowledge of the spirit. This shows the opportunity for a new brand to encourage the 1830 consumer to try something new and acquire the taste for dark spirits such as bourbon.

%


..

Amy Preske, the public relations and event manager for Buffalo Trace Distillery explained how,

“Young people are becoming more drawn to bourbon because they are used to sweet drinks from a very young age, with flavoured water and sodas.” She further described how “As their taste profiles mature, they move on to other (non-flavoured) bourbons and they find there is so much out there they can experiment with to find what they like” (DiBattista, D, 2013). This suggest that this consumer group need to be slowly introduced into the Bourbon category with flavoured Bourbons which are less strong enabling the consumer to acquire a taste for non-flavoured bourbon. A recent observation (See appendix 3:4) revealed cider, beer and light spirits being popular among the younger audience. These alcohol choices help to prove that this targeted audience don’t seem to have acquired a taste for dark spirits and therefore choose to stick to lighter drinks.


“25-34-year-olds are the most likely users of most types of dark spirits and liqueurs and the expected 8% increase in their number by 2018 is therefore good news” (Wisson, C, 2013a) This quote explains how this age group will be a good target market as there is an expected increase and the opportunity to encourage the younger market to be introduced to dark spirits such as bourbon enabling them to learn to appreciate the craftsmanship and taste. Mintel research investigated the 18-24 age group and discovered that 35% of this young consumer category are drinking more at home in reaction to the economic downturn (Forsyth, J, 2011). However another market research report concluded that “other whiskies such as bourbon are more associated with high tempo occasions such as out of home drinking” (Wisson, C, 2013a).


The consumer for this project will include the bartenders as well as the 18-30 target group. A few bartenders were interviewed from venues around Nottingham, this was to understand their decisions journey when serving customers as well as getting an idea of how a brand can influence them (See appendix 3:9). From these interviews it was a common theme found that the bartenders mentioned that bourbon isn’t as popular as it should be. They described how this drink was easy to mix and can create exciting cocktails however the customers stick to what they know. This shows that the consumers need to be encouraged to experiment and try flavours and spirits outside of their comfort zone. Also they described how they leave the decision of spirit brand to the customer, the spirits are usually displayed at the back of the bar and therefore they have the choice in front of them. If the customer does not choose a specific brand then the bartenders give them the cheapest spirit brand.


FIG 10: Blindell, K, 2014. BARTENDER PROFILES.


The research gathered identifies a gap in the market in which the majority of bourbon companies stick to branding heritage resulting in no stand out brand. Also it was discovered that the 18-30 age group don’t seem to choose bourbon for reasons such as they aren’t educated or find the taste too strong. The focus will be on creating a fresh, youthful brand that appeals to the 18-30 market, encouraging this age group to acquire a taste for bourbon whiskey.


BIG

........................................... THE big idea Creating a FLAVOURED BOURBON that provides a softer taste for THE 18-30 MARKET enabling them to acquire a taste for BOURBON WHISKEY.


KUMQUAT

Calamansi

............................................. The chosen flavour for the bourbon will be Burnt Calamansi, which is a hybrid of kumquat and mandarin orange. Burnt Calamansi is considered to be, ‘the next generation of citrus flavours’ described as ’a unique citrus profile similar to a sour orange or a slightly sweeter lime with caramelized notes, with a fragrance to match’ (Food Product, 2013). From the focus group created (See Appendix 3:3) it was shown that the citrus flavours were most popular when mixed with bourbon and therefore supports the decision to go down this route.

CITRUS

CARAMELIZED

MANDARIN


IDEA

...........................................

R

THE CREATIVE idea

ockabilly

ˈrɒkəbɪli/

-noun

1. A type of popular music, originating in the south-eastern US in the 1950s, combining elements of rock and roll and country music. “an offbeat blend of country, swing, and rockabilly”


ROCKABILLY

REBELLION

..

FREEDOM

new brand will be reflecting freedom, youth and rebellion the decision was made to have rockabilly as the focus of the brand image. Rockabilly hasn���t As this

been used for an alcohol brand before and this means that the branding will be

market

unique

within not only the spirit

but in the alcohol market as a whole.

Tom Bulleit,

founder and master distiller of Bulleit

Bourbon explained how he believes that

bourbon

has

a great story, with it being the drink of choice for guys like Frank Sinatra. With this whiskey having

American culture’ and further ‘as the vintage vibe has returned to so have the delicious rye cocktails

a ‘special place in mentioning that

modern culture, that came with it’ (DiBattista, D, 2013). This shows that

rockabilly vibe’ will be

is perfect for this spirit as the ‘vintage

reflected through the trend with the 50’s and America.

YOUTH

being linked


The page opposite displays the results of a recent survey in which respondents were asked to write words that they relate to rockabilly. From this it shows that America, country, rock and 50’s were the most popular responses. Rockabilly is a trend seen in fashion and is a subculture that has been around since the 50s.

“popular from the mid-1950s to 1960, with a revival in the late 1970s” (Morrison, C, 2014)

As the 50’s is heavily related to rockabilly the brand ensured that the era was referenced throughout all creative outcomes.


FIGURE 9 ROACKBILLY WORDS


Billy

Gibbons, a rockabilly enthusiast was interviewed to understand a little more about the culture (See appendix 3:6). He explained how the first thing that interested him about the rockabilly culture was the music, with Rock and Roll and Elvis being the main influencers. He was asked what would be the main message the brand should convey about rockabilly the response was,

“rockabilly as a subculture; it’s fun, lively, exiting and, the style of dress, cars and the general lifestyle is as exciting as the music itself.� This brand wants to be fun and exciting, therefore rockabilly will be suitable for this. Figure 10 shows a paradigm for the interests of a typical Rockabilly enthusiast.


FIG 11: Blindell, K, 2014. ROCKABILLY PARADIGM.


“The rockabilly crowd is made up of people with a variety of interests from a love for the greaser and teddy-boy culture to a general love of replicating elements of the 1950’s today” (Bodgie, TCB, 2014)


FIG 12: Blindell, K, 2014. 50S MODERN MAN COLLAGE.

The previous quote helps to explain why this brand will be incorporating a variety of elements that link to rockabilly. The rockabilly culture can also be associated with other interests including tattoos, cars and music meaning that this can attract a wider audience. As explained earlier rockabilly is considered a lifestyle and nowadays enthusiasts love to fix old cars such as Chevrolets and meet up at festivals and events to show them off (See appendix 2:5). Cars will be integrated into the brand identity helping to represent the image of freedom as travel allows you to go wherever you want and escape your normal life.


is it timely enough? ........................................... “There are active rockabilly scenes in many major US cities, particularly on the west coast; as well as major festivals such as Viva Las Vegas and Hootenanny and the Heavy Rebel Weekend festival on the east coast” (Aces and Eighths, 2013). Rockabilly is popular in the US and Europe’s rockabilly scene is remaining to be a vibrant and active subculture. “Some people can sometimes be intolerant to newer members of any scene, and the rockabilly scene is no exception from the rule” (Bodgie, TCB, 2014). Rockabilly is a subculture that is followed strictly by those within the scene however this brand will not be focusing on just appealing to those interested in rockabilly. This trend can be linked to many interests ranging from tattoos, cars, rock and roll and the 50s. Figure 13 shows examples of aspects of the rockabilly and 50s culture which is popular in fashion and music today. The perfect example is Alex Turner from Arctic Monkeys, one of the biggest UK bands. He encompasses the greaser, rockabilly style and is considered a big influence on men’s fashion. Other examples include Paloma Faith, 50s hairstyles and menswear trends discovered on WGSN. “Vintage-inspired looks combine influences that span 1950’s Beat Poet style to punk and rockabilly, with timeless hand-me-down basics and well-loved pieces that have a washed and worn quality and take on an elevated thrift-store look” (WGSN Menswear team, 2014). This quote identifies that the rockabilly and 50s era is influencing the youth of today.


FIG 13: Blindell, K, 2014. MODERN ROCKABILLY MOODBOARD.

..


the 18-30 consumer A survey questioned the age category of

18-30

on their

FIG 14: Blindell, K, 2014.

.............................................. alcohol habits (See appendix 3:1). When asked what affected their alcohol choice the top answer was taste with 22%, this was followed by price at 20%. Packaging, brand loyalty and promotion were also popular answers showing that it will be vital for this new brand to focus on these aspects. Figure 14 shows an example of a day in the life of a typical consumer. From this it was identified that travelling to and from work is an important part of the day and therefore this could be a point in which the brand targets them. Another aspect is the use of social media on lunch breaks, Rockabilly Bourbon can use this opportunity to give the consumer something to talk about or inspire them to get through their long days at work. Also encouraging them to have a drink of bourbon after work to relax.

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.............................................. FIG 14: Blindell, K, 2014. A DAY IN THE LIFE.

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C

Figure 15 illustrates an example of a typical consumer decision journey when purchasing alcohol. The key stage of this is when the consumer is speaking to the bartender, this therefore identifies that this brand will want to be one that the bartenders will want to suggest. The brand will be representing experimentation and will have the softened flavour of burnt calamansi and this should be enough to encourage the bartenders to suggest this drink.


CHOOSE LOCATION FOR DRINKS

BROWSE DRINKS BEHIND BAR

SPEAK TO THE BARTENDER

DRINK UP!

FIG 15: Blindell, K, 2014. CONSUMER DECISION JOURNEY.


BILLY BOURBON Race With The Devil


B

........................................... the branding

The term race with the devil was used because this is a

popular Rockabilly song by Gene Vincent and also represents the image of cars. Race with the devil is used to imply Billy being the devil and she is encouraging you to join her on a journey of discovery.


............................................. Billy Bourbon is the face of the brand, she remains a mystery and represents the brand on all media platforms.


A brand identity model was created, this can be seen in Figure 16. The brand essence of Rockabilly Bourbon displays signs of freedom, authenticity and rebellion. The personality of this brand respects freedom and youth ensuring rockabilly is a theme kept consistent and creative throughout.

ORIGINAL ACCESSIBLE ATTITUDE GOOD VALUE

ROCKABILLY YOUTHFUL FREEDOM REBELLIOUS

CONSISTENCY EXPERIENCE FUN

ROCKABILLY AUTHENTIC

FIG 16: Blindell, K, 2014. ROCKABILLY BOURBON BRAND IDENTITY MODEL.


Kraken Rum and Sailor Jerry’s are successful dark spirit brands that have a fun and coherent branding that are aspirational for

this new brand. These brands were analysed to gain a picture of how the brand image they created became successful and coherent in a short amount of time. Appendix 2:2 and 2:3 show case studies on these brands in which their promotion and packaging were explored. As you can see from these case studies their brand image flows through all routes to the consumer making them recognisable, stand out brands. In a recent interview (Appendix 3:5) Kraken rum explained why they believe their branding is so successful;

“In a nutshell it succeeds because it tells a great, fun story and it respects customers’ taste and intelligence” It is important for this new brand to be fun and to have a story for the consumers to relate with. Also this quote explains the significance of a brand understanding that the consumer is intelligent and this needs to be respected.


Figure 17 is an AAKER MODEL that has been created to give further details on the BRAND IDENTITY. The brand as an experience is a very important factor as the underlying idea of the brand is to create experiences for the consumer. REBELLION, YOUTH and FREEDOM are all used to describe the brand as an EXPERIENCE. The brand as a person is someone who is PROUD, HONEST and likes to do things their own way reflecting hints of REBELLION.


BOURBON FLAVOURED CITRUS

REBELLIOUS FUN YOUTHFUL FREEDOM

CARS ROCKABILLY 50S

FREE CONFIDENT REBELLIOUS HONEST

FIG 17: Blindell, K, 2014. ROCKABILLY BOURBON AAKER MODEL.

INNOVATIVE PREMIUM


............................................ Rebellion was an aspect chosen because research showed that followers of the rockabilly trend tend to be rebellious in many different ways. Their style of dress broke away from

the standard, hair styles were different than what was popularly acceptable, and the music was a brand new creation like nothing that had ever been heard before. Rockabilly tattoos were also a form of rebellion (Rock it roost, 2014). Freedom was chosen for the reason that this brands wants to encourage the consumer to experiment and try different things. Rockabilly Bourbon wants to be a brand that excites the consumer and makes them want to try something different or step out of their

comfort zones.

............................................


. FIG 18: Blindell, K, 2014. REBELLION MOODBOARD.


....

.

the logo

.. . . .

.. . . .

....

.. . . . . . .. . ....

....

.. . . .

....

.. . . .

....

.. . . .

....

.... ....

Figure 19 shows the finalised logo that was created for the brand ensuring it represented rockabilly focusing on the car aesthetic. Appendix 4:1 displays the logo progression, first of all sketches were made taking sections off old cars such as a Chevrolet and Cadillac’s. These were then simplified and edited to produce the logo shown below. The consumer was asked to choose a logo they liked best and this was most popular for reasons such as it looks ‘Slick’ and ‘it represented rockabilly and cars well.’


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RO

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AB

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BO

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BO

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LO G

O.

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Research on WGSN identified that the long history and preservation of classic 1950’s diner signage in the US can be seen all over the state. “Huge monolithic signs often in distressed and faded ice cream colour grace the freeways and sidewalks� (Coleman, C, Clarkson, A, 2011). This is something that was to be used as inspiration for the branding, ice-cream colours contrasting with bright colours taken from the old chevrolets. Distressed imagery will be used to influence the aesthetic relating to the 50s. The brand colours have been included in the following page.


FIG 20: Blindell, K, 2014. ROCKABILLY BOURBON COLOUR MOODBOARD.


P

........................................... the photoshoot A photoshoot was produced to create the identity of Billy Bourbon, figure 21 shows the mood board of inspiration for this shoot. Figure 22 on the next page gives examples of ideas for various poses and facial expressions. Billy needed to be photographed in a way that would ensure she came across as a bit rebellious and a free loving person. As the idea of being able to travel in your car to a place of freedom is the idea behind the brand. The styling was produced with a 50s summer image in mind. This therefore meant that lots of bright colours and patterned clothing were used to imply a person who is confident and free.

FIG P


..

FIG 21: Blindell, K, 2014. PHOTOSHOOT INSPIRATION.


FIG 22: Blindell, K, 2014. PHOTOSHOOT POSE INSPIRATION.


A report on WGSN was found describing how inspiration for S/S 2015 could be taken from the Stella Dallas New York vintage store. The report further explained, “Paisleys, geometrics and painterly florals in neutral and pastel combinations, or vibrant pink, retro brown and yellow tones provide summer colour and print direction at this New York vintage store� (Coleman, F, 2014). There are a variety of photoshoot results which are displayed on the next page and further images have been presented in appendix 4:2. The images have been cut out and will be placed on various backgrounds resembling freedom and taking a journey to an

undiscovered place.


photoshoot Results The photoshoot wasn’t as successful as expected therefore the decision was made to use images that didn’t show the models face. As a result Billy Bourbon will be anonymous creating mystery and allowing for the freedom to experiment with the character.


FIG 23: Blindell, K, 2014. BILLY BOURBON PHOTOSHOOT RESULTS.


P

. ........................................... the packaging

Jason Nussbaum, the global marketing manager for Wild Turkey explained how he sees packaging as a strong factor as to why people came to Wild Turkey’s premium brands. He also described how, “You get recommendations from bartenders, friends and family. But in-store, packaging plays a part in that; you look at the shelf and see a good package.” Furthermore it was stated that, ‘ultimately taste and quality keep you, but for that first taste, packaging can be a strong contributing factor” (Bryson, L, 2013). This proves how important the packaging for the brand is, showing that the bottle needs to be something that stands out and attracts the consumer.


........................................... FIG 24: Blindell, K, 2014. BOTTLE CHOICE INFOGRAPHIC.

Market research was conducted to understand the consumer groups preferences on the shape of bottles. Figure 24 shows the choices respondents were given, from this research it was concluded that the consumers seemed to prefer the wider, square shaped bottles. These findings echo current market trends which identified that men are more likely to prefer square, angular bottles demonstrated through brands such as Jack Daniels and Disaronno Amaretto (Mintel, 2014). From these findings the decision was made to create a bottle that would resemble a square, angular shape.


Appendix 4:3 shows the creation process of the bottle with examples of other styles. The decision was made to

produce

plain bottle that would be visual package. This decision

a

placed inside a more was made for the reason that it can be difficult to create a

bottle

that would be colourful when the liquid

clash. For the bottle design the logo has been used and raised in certain places keeping it very minimalistic. The outer packaging is shown in figure 25, this was created with 50s patterns in mind. The box will have a lid that had the logo cut out so you can see through is brown and therefore may

the pattern and when this is removed the bottle will

be inside and you can still see the cut out logo. There will be a variety of patterns available appealing to both men and women, this means that the consumer can

choose

the one they want based on their own taste as well as the opportunity of collecting the boxes for

bright patterns means packaging will stand out on the shelves also represent the fun brand. display. The use of

that the

and will


FIG 25: Blindell, K, 2014. PACKAGING EXAMPLES.


Stephen Jessup packaging designs realistic and Product designer

helped to make these

to

scale.

These are

shown through the images below. The next step is to create a

prototype

to show the interactive vision of the packaging.


FIG 26: Jessup, S, 2014. PACKAGING MOCK UPS.


the INSPIRATION ........................................... It is important that when marketing the new brand that the EU guidelines of social marketing alcohol are taken into account (See appendix 2:4). There are many guidelines however the most relatable ones to this brand is that all communication tools must be accompanied by a responsible drinking message as well as consumers having to confirm their age when interacting with

digital media communications.

Collages were created to inspire the promotion and brand image, the artist Richard Hamilton was used as the inspiration

for this, figure 27 shows examples of his work along with other images that provided inspiration. From this the progression was made by printing out a variety of 50s, rockabilly and car images as well as patterns. These were then put together into different compositions shown in figure 28.

FIG 27: Blindell, K, 2014. PROMOTION/BRANDING INSPIRATION.


..


FIG 28: Blindell, K, 2014. 50S COLLAGE RESULTS.


FIG 29: McGinnis, R, 2011. ELLESSE, SPORT DELLA VITA.

ELLESSE, 2011 ........................................... SPORT DELLA VITA CAMPAIGN FIG 30: McGinnis, R, 2011. ELLESSE, SPORT DELLA VITA.


..

........................................... The campaign produced by Ellesse

in 2011 was also a point of inspiration, these These

are shown in figures 29 and advertisements were produced by

illustrator the

images

were

Robert

created

30. the

McGinnes,

to

represent

Passion, freedom and romance in

The

a

nostalgic

decision

way

was

inspirations

(Armstrong,

made

and

to

J,

use

2011).

these

recreate

the collages using modern imagery however keeping the 50s style aesthetic.

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From the inspiration gathered posters were created integrating different aspects from the artists and visuals researched. Appendix 4:4 shows examples of the progression of these designs. From this it shows how trying to replicate the 50s style collages resulted in unsuccessful designs. The decision was then made to use the collage style however modernise it. As Billy Bourbon is styled in a 50s way it meant that the theme was still present.


The role of these posters is to represent freedom. Simple scenery implies the idea of having nothing in the way to stop you from doing what you want. The road was included to show following the route to freedom which connotates the brand being a route to freedom.

FIG 31: Blindell, K, 2014. ROCKBILLY BOURBON POSTER DESIGNS.

Race with the devil is represented through the idea of Billy Bourbon being the devil. The viewer will look at the poster and see that racing with Billy is a way of going on a journey of experimentation and trying something new.


........................................... the PROMOTION

The posters created will be displayed in the London underground as well as bus stops as the brand wants to target young individuals on their way to and from work. These posters have been produced in a way that is warm and eye-catching through the use of colours that stand out against the dull underground. Rockabilly bourbon wants to encourage the viewers to want to try something new.The posters will do this by showing them the road to freedom where there is the simple life of no distractions and beautiful views. These posters will be located in a position that will be in the view of those who are going by with their usual routine encouraging them to take note from the brands advice and ‘race with the devil.’

FIG 32: Blindell, K, 2014. ROCKBILLY BOURBON UNDERGROUND AD.


FIG 33: Blindell, K, 2014. ROCKBILLY BOURBON BUS STOP AD

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Figure 34 shows another example of how the brand could be represented in the underground. This will be a moving image that will be put on the interactive posters along the escalators. Billy bourbon will be enticing the viewers in, showing them the long open road with endless opportunities. Billy’s character will be portrayed as fun, rebellious and representing freedom. FIG 34: Blindell, K, 2014. ROCKBILLY BOURBON ESCALATOR PROMOTION.


Brand Ambassadors

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Brand ambassadors will be used to represent the brand, these will be carefully chosen individuals that represent the brand identity. Those chosen will need to be confident, fun, free and have hints of a rebellious side. These ambassadors will be sociable people who will hold various events to promote the brand. The pack shown in figure 35 will provide the ambassadors with various items to encourage them to join and to allow them to represent the brand. When the ambassadors hold events the brand will provide alcohol for these similar to that of Red Bull in which they provide the drinks for a house party (See appendix 2:7). However in this case the events will be on a smaller scale providing an intimate atmosphere. Unique rockabilly style events such as roller derby will be encouraged to represent that brand image.


EXCLUSIVE BUMPER STICKERS

. A BRAND ZINE

AN INVITE TO THE LAUNCH OF THE BRAND

A COMPLIMENTARY BOTTLE TO TRY THE BOURBON

FIG 35: Blindell, K, 2014. ROCKBILLY BOURBON BRAND AMBASSADOR PACK.

The brand ambassador pack will be sent in a limited edition packaging. They will be given information about the brand as well as an invite to the launch event. A small bottle will be given to the individuals to try out the new flavoured bourbon.


BUMPER STICKERS ........................................... Car bumper stickers have been produced and will be given out with the alcohol to go on the back of cars with the slogan, ‘Race with the devil.’ Below shows a couple of examples of what these stickers may look like. They would be edited to add the colours of the brand to make them more eye-catching. This will be great for creating interest in the brand as people will notice these stickers and may want to discover more.

FIG 36: Blindell, K, 2014. ROCKBILLY BOURBON BUMPER STICKERS.


.. Appendix 2:5 evaluates that popularity of many rockabilly, car and tattoo events/ festivals. This brand will be present at many of these events across the UK, a stall will be set up with a bartender serving up delicious cocktails as well as a brand ambassador. Free items will be given away such as the bumper sticker and key rings with the logo or the ‘race with the devil’ slogan on.


DRIVE-IN

BOURBON BOURBON

Bourbon drinks will be given to the attendees enabling them to feel exclusive as they will be some of the first people to try out the new alcohol. The decision to have a drive in cinema was for many reasons, first of all cars and the 50s represent the brand and therefore a drive in cinema is suitable. Also the message from the brand is to encourage experimentation and new experiences, as there are only two outdoor cinemas within the UK it implies that there aren’t many people who would have visited a drive in cinema (Route66, 2013). By creating a unique experience it can encourage brand loyalty and help to enable a secure brand identity. After the launch Rockabilly bourbon will continue to create experiences such as this example encouraging and backing up the idea of trying something new.

EXPERIENCES EXPERIENCES

EXCLUSIVE


........................................... SOCIAL MEDIA

This brand will use social media to interact and create conversations with the consumer. It will be important for these networks to enable the brand identity to come across and be consistent throughout all forms of media. Facebook, Twitter, Pinterest and Instagram will be the core social mediums used for Rockabilly Bourbon. These mediums have been chosen for the reason that the consumer research shown earlier identified that these are areas of interest within the target market which are regularly used. This means that the brand will be able to get relevant information across to the consumers as well as creating a community encouraging brand loyalty.

Innocent Smoothie is a great example of a brand that uses social media effectively (See appendix 2:6). Rockabilly Bourbon will use this brand as inspiration, the tone of voice will be friendly and will ensure to make the followers feel part of a community. The brand will aim to always reply to their followers solving any queries as soon as possible enabling for a good brand image. Also like Innocent posts will be about other interesting facts, insights into the rockabilly culture and more to create interest and conversation between followers.


FIG 37: Blindell, K, 2014. 50S HOLIDAY COLLAGE.

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It is important that these social mediums follow the 5 C’s which are: content, context, community, continuity and cohesion.

CCCCC

CONTENT

is vital for the brand ensuring that the social media networks chosen are relevant. This brand will use the networks to create conversations for example by talking about experiences, activities and interests linked to the brand identity. Rockabilly Bourbon is a brand that puts promotes a lifestyle and therefore this means that there can be a variety of content to interest the users.

CONTEXT

is about finding a theme and using it to define the content, for this brand the running themes are rockabilly, 50’s, rebellion and freedom. Billy Bourbon, the face of the brand will be the person to write on the social media, she will speak using 50’s slang in order to link the brand with the era ensuring there is a clear tone of voice. The page opposite shows examples of 50’s slang that was gathered through research.


BABY.

A TERM OF ENDEARMENT. HEY ‘BABY,’ I GOT SOME BREAD, LETS PAINT THE TOWN. BAD. GOOD. THAT DUD WYNTON MARSALIS DOES SOME ‘BAD’ ASS PLAYIN’. BLOW YOUR TOP. A PHRASE WHICH EXPRESSED ENTHUSIASM OR EXASPERATION. HEY MAN, I KNOW IT’S TOUGH, BUT

DON’T ‘BLOW YOUR TOP.’ THE BOMB. VERY COOL. THE CRUSADER’S NEW DISC, ‘LOUISIANA HOT SAUCE’ IS ‘THE BOMB.’ CHICK. A YOUNG AND PRETTY GIRL. HEY, BUSTER, LEAVE IT ALONE. THAT ‘CHICK’ IS OUTTA YOUR LEAGUE. CRIB. SAME AS PAD. HEY, BABY, COME ON UP TO MY CRIB AWHILE AND RELAX. DAD, DADDY-O. A HIPSTER’S WAY OF ADDRESSING ANOTHER GUY. HEY, ‘DADDY-O’, WHAT’S COOKIN’. DIG. TO KNOW OR UNDERSTAND COMPLETELY. HEY, DAD, I BEEN LISTENIN’ TO WHAT YOU BEEN DOIN’ AND I ‘DIG’ THAT CRAZY MUSIC. DRAG. AS A VERB-TO DEPRESS OR BRING DOWN A PERSON’S SPIRITS OR, AS A NOUN-A PERSON OR THING WHICH DEPRESSES. LET’S GET OUTTA HERE, THAT GUY IS A REAL ‘DRAG.’ FLY. SMOOTH OR SLICK. HEY, EDDE, DID YOU SEE THE HAT-CHECK GIRL BERNICE? MAN, SHE IS ‘FLY.’ OUT OF THIS WORLD. A SUPERLATIVE WHICH IS NO LONGER IN COMMON USE. I’M TELLIN’ YA, MAN, THE WAY BENNY GOODMAN BLOWS IS ‘OUT OF THIS WORLD.’ SCENE. A PLACE OR ATMOSPHERE. IN THE LATE TWENTIES, ARMSTRONG WAS THE MAN ON THE NEW TORK ‘SCENE.’ SHARP. FASHIONABLE. HEY, RUFUS, THAT’S ONE ‘SHARP’ LOOKING SUIT OF CLOTHES YOU’RE SPORTIN; THERE. WIG, WIG OUT. TO FLIP OUT. ALSO TO THINK PRECISELY. I DON’T KNOW WHAT HAPPENED, MAN, WE WERE JUST SITTIN’ THERE AND LOUIE JUST ‘WIGGED OUT.’ WILD. ATONISHING OR AMAZING. IT’S REALLY ‘WILD’ THE WAY LEE PLAYS THE TRUMPET. BABY. A TERM OF ENDEARMENT. HEY ‘BABY,’ I GOT SOME BREAD, LETS PAINT THE TOWN. BAD. GOOD. THAT DUD WYNTON MARSALI


COMMUNITIES

can be considered as the main reason for using these social mediums is to create and interact with existing communities. Rockabilly itself is a community that has loyal followers and the brand will be including other communities such as those interested in cars and travelling. Rockabilly Bourbon is a brand that will be present at many events and festivals which also help to create communities through shared experiences.

CONTINUITY

is very important, ensuring that the brand keeps the conversation going by posting regularly and ensuring not to neglect any of the social networks used. All social networks get used in different ways for example Twitter is straight to the point where as Facebook can be in more detail. Even though content will be used across the platforms they will be edited to suit each network.

COHESION is based on using social media to integrate

campaigns such as the launch of the product ensuring that they all link online. Figure 38 shows social media mock ups for the brand visualising the way that Rockabilly Bourbon will be portrayed online.


FIG 38: Blindell, K, 2014. SOCIAL MEDIA MOCK-UPS.


PROMOTION SUMMARY BUILD

Promoting the brand before the launch to establish an engaged audience. -BUMPER STICKERS -SOCIAL MEDIA -ATTENDING RELATED EVENTS

UPDATE

Keeping people engaged with frequent updates & brand activity. -SOCIAL MEDIA -NEW CAMPAIGNS -AMBASSADOR EVENTS


FIG 39: Blindell, K, 2014. PROMOTION SUMMARY INFOGRAPHIC.

TEASE

Generate excitement for brand launch with target market, media and influencers. -CONTACT BRAND AMBASSADORS -BRAND AMBASSADOR EVENTS

LAUNCH

Attract interest in brand by creating something to talk about. -DRIVE IN CINEMA LAUNCH -POSTERS IN UNDERGROUND AND BUS STOPS


........................................... THE FUTURE OF ROCKABILLY BOURBON Rockabilly bourbon will continue to push the idea of freedom and rebellion within various other campaigns which encourages experiencing new things. The launch event produces an experience for the customers with an outdoor cinema, the brand will continue to come up with new and exciting ideas for events that encourage experimentation. An example of another event that the brand could produce is the idea of producing a 50s style ice-cream parlour that is present at related festivals over summer. All events will continue to maintain the 50s, rockabilly branding and will enable for a secure brand identity. As this brand will be introducing flavour innovation there will be the opportunity in the future to come up with new flavoured bourbons creating a varied product range. This will be great for appealing to different tastes, providing a variety of options for the consumer and helping them to acquire the taste for bourbon. Having a unique brand identity means that there is the likelihood that the brand will be able to expand overseas. For now Rockabilly Bourbon will be present only in the UK but this doesn’t mean that this is where it will stop.


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LIMITATIONS

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There are a number of limitations which may occur from this project, first of all the target market for this brand are less likely to spend a large amount on alcohol which was shown through a recent survey produced. The survey showed how price and offers were the in the top three of options which affected this target groups choice of alcohol (See Appendix 3:1). Another factor affecting this project is how Captain Jerry will be a big competitor has they have similar links with pin-up and tattoos as their focus. This therefore encouraged the decision of the brand to focus on other aspects of rockabilly such as old cars, the 50’s and the style.


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.. . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . .... .... .... .... ...... .... ..... . . . .... . . . A SWOT analysis was produced to identify opportunities as well as problems for the brand (See appendix 1:2). This brand may take time to launch due to the fact that bourbon takes at least 2 years to age this could be a weakness for the reason that trends which have been researched may be irrelevant by the time it launches. There are also a few threats for the brand including the fact that the target market have little knowledge of bourbon and therefore the task is to educate and

encourage experimentation.



Rockabilly bourbon