Pernod Ricard teams up with WMH for new Midleton Craft Collection

Midleton Distillery is home to Jameson – the number 1 selling Irish whiskey across the world – as well as a further six premium, global whiskey brands, each with their own story to tell. Williams Murray Hamm was asked to create an identity that brings these brands together in one collection that resonates with consumers across the globe.

Irish Distillers, a Pernod Ricard-owned company, has been leading the renaissance of Irish whiskey, with Jameson claiming its spot in the top 10 global spirits brands in 2019. Irish whiskey is projected to grow ahead of the total whisk(e)y category, and Irish Distillers wants to continue to lead this next phase in the Irish whiskey journey: premiumisation. Their portfolio of brands produced at Midleton Distillery provides an array of premium, super premium and ultra-luxury whiskey offerings, each targeting different consumers, price points and taste profiles.

Our key challenge was to define the bond that holds these seven brands together in one craft collection, whilst letting each individual brand sing in its own right. The team unearthed a unique truth about Midleton and why it exists, before expressing it through a compelling visual idea.

The source of water is always hugely important when deciding where to locate a distillery and this was the case with Midleton Distillery, where the Dungourney River passes through the distillery’s grounds. Yet this does not fully explain why these seven amazing brands all originate from this single source.

After centuries of worldwide success, by the early 1960s political and economic challenges left just three distilleries in Ireland, clamouring for prominence in an ever-decreasing domestic market. Thankfully, John Jameson & Son, John Power & Son and Cork Distilleries Company came together, to form what we all know now as Irish Distillers, relocating all of its production to the renowned Midleton Distillery in Count Cork. This historic merger safeguarded the source of amazing Irish whiskeys for generations to come.

The design of the Midleton Craft Collection brand world is inspired by water. The Dungourney River became the symbol of this source. From the flowing lines of one letter to the next in the logo, to how the water of the Dungourney has become the collection’s key colour – the river can be found in every aspect the brand world. The monogram is a double-arched bridge crossing the river, incorporating the letter “M, and for the beautifully fluid illustration WMH worked with renowned illustrator Si Scott.

WMH produced a comprehensive kit of parts that provides Irish Distillers’ local markets with full flexibility to select the brands from the portfolio that are appropriate for each market. The brand world assets include key visuals, merchandising, web banners and items for the on trade.

Laura Hanratty, Head of Prestige & Specialty at Irish Distillers says about the new Midleton Craft Collection: “We are delighted to honour the bond between our families of Irish whiskeys by showcasing where they come from. Midleton Distillery is steeped in craft, tradition and innovation and it’s a joy to see this celebrated through The Midleton Craft Collection”.

Wybe Magermans, director at WMH, mentioned: “It’s been a great challenge to work with these seven amazing brands, and find the overarching story that is relevant to both people who already drink Irish whiskies and those who are novices to the category.”

The collection will see its launch later this spring across the Irish, UK and US markets.

Click here for full case study.

Why success shouldn’t change the octopus

Octopus Energy’s widely reported £3bn deal will catapult the energy business from a start-up into one of Europe’s biggest renewable energy investors and fastest growing energy suppliers. Octopus is now targeting 50 million customers in the UK by 2027 and has plans to increase its new renewables division to generate as much clean electricity as it sells.

This kind of trajectory means that it will soon lose its start-up badge. How will this affect the brand?

In the UK, 41% of households switched their energy provider in 2020. People generally shop between the Big Six, led by British Gas, EDF and E-on and currently excluding Octopus Energy. The trigger to switch is more often than not price, with decisions being made easy by the plethora of price comparisons sites. This price war is hard to keep up with for any business. Start-ups attempting to take part in such a war and who solely focus on a price message will inevitably erode their brand’s value over time. For example, AirBnB, who instead of focussing on cheap rooms focussed on local experiences overcame the problem of brand erosion.

Messaging is not the only consideration; many people will think that now is the time for Octopus to rebrand. Many modern start-ups, from Twitter to Deliveroo, reinvent after extra funding is secured. Perhaps they feel that a more ‘grown-up’ brand is required to appeal to a wider audience. This however does not have to be the way. Ryanair has hardly changed, and its brand experience is as unslick as when it started. From its advertising to the on-board experience, the brand’s non-design is considered and there to reassure passengers that they are not paying for any unnecessary fluff they would be paying for with the big, shiny airlines.

With growth comes change. The temptation to evolve everything is sometimes a hard one to resist, from what brands say, to the way they look. But change can be destructive.

Firstly, even if price was the initial reason for the switch to Octopus, the brand needs to remind its customers that they’ve made the right choice beyond a cheap deal. Customers need to constantly recognise Octopus as one of the flagbearers in the fight against climate change. They need to be repeatedly delighted by meaningful promotions and see how the business uses its influence in other areas through brand partnerships. Octopus should leverage its current feel-good factor and build salience. Only then will it be able to change its customers from bargain-hunters to fans that show loyalty beyond reason.

Secondly, Octopus Energy would be making a mistake to shed its current identity. Many people who have come in contact with Octopus Energy often site how much they love the way the brand interacts with them – from Constantine, their loveable octopus mascot, to personalised waiting music (which is based on what was No.1 in the charts when you were 14). Having said that the brand can come across as a little one dimensional. It sings one purple note, which isn’t always in tune and its visual assets don’t seem to work well in the digital space. Nonetheless, there is a lot there for Octopus’ marketing department to maximise. Could the octopus mascot come more to life – meerkats spring to mind?

Octopus Energy should be wary of not losing its sense of self. Its brand has quirks that are based on social values and its wish to do things differently. This does not mean Octopus should keep things as they are. The business needs to galvanise what it has and say it better and louder.

From musicians to politicians, everyone can fall victim to their own success. Similarly, thriving challenger brands can grow into exactly the thing they were originally rebelling against. Octopus Energy is an exciting player to watch in a hugely important sector. Let’s hope they can continue to use their business growth for good.

Author: Wybe Magermans, as originally published in MarComms News

Helping Castrol Switch On An Electric Future

WMH has collaborated with its long-time client partner Castrol, to create the name and identity for a new umbrella brand that will cover its range of e-Fluids for the electric vehicle market. Castrol ON signals the business’s move into electric mobility.

The business approached WMH over 18 months ago to create the positioning, name and identity for this advanced range of products which are already used by the Jaguar Racing Formula E Team.

Focusing on the desire to position Castrol as pioneers in e-mobility, WMH wanted to create a brand that was forward thinking, bright and futuristic. Positioning Castrol as a business that helps the global switch to electrification, the name ‘ON’ was established as the brand name and created simultaneously with the brand identity which uses the globally familiar digital toggle button – swiping from left/off to right/on – as inspiration.

Easily recognisable, the physical movement is represented on the graphic, as the ‘O’ comes from a colour gradient going from dark blue, through vivid blue to bright fluorescent green communicating both its e-mobility credentials.

The silver ‘O’ and ‘N’, at a slight angle shows a brand forever in motion and always moving forward whilst emitting a future-focused feel. In its online activated state, the Castrol ON switch energises illuminated graphics, while the energy lines communicate progress and show how Castrol ON helps to make the switch to an electric future.

On the launch of Castrol ON, Phil Neck, Global Marketing Lead for Castrol e-Fluids, said; “The launch of Castrol ON is a clear indication of the work we are doing at Castrol to help drive the electric vehicle sector forward. The new name and identity are crucial to position Castrol as a credible player in this future market”.

Garrick Hamm, creative partner at WMH added; “We been working with Castrol for over 10 years now and I’m thrilled we are part of this next bold & pioneering step with them, as they launch their e-Fluids brand.”

Click here to read the full case study.

The Role Of Creativity In A World After Covid

As governments across Europe announce their post-lockdown plans, people are slowly starting to dream of a sunnier life. This hazy optimism may well keep us going through isolation but how might we prepare for what’s coming. For every CEO who is banking on a potential economic boom, there is an economist with a grim outlook. Many of us in the creative industry who struggled through 2020, will be wondering how much need for our skills there will be, or will creativity have become a nice-to-have luxury.

The good news is that business needs us, be it hospitality, retail or any other sector that has been radically altered by the pandemic and business-as-usual-thinking does not apply anymore.

Whenever pubs do reopen, drinkers will be lining up three rounds at a time to minimise visits to the bar, which will make for pretty long queues of (hopefully vaccinated) people. What is the innovative service solution to getting the new customer service right?

The thought of shopping might be anxiety inducing right now, is it possible that shoppers might soon expect a radically different approach to product display? Something that limits their exposure to the next contagious devil’s spawn.

Governments might find it even more difficult to maintain discretionary services and balance the books. Where a pre-pandemic response may have been to slash and burn, what is the solution in a society that is now far more aware of its neighbours? Who will be the creative thinker that will encourage central or local governments, who are inherently uninventive, to change the way they service their communities?

The world has changed, the creative industry can be certain that opportunities won’t come in the same shapes or sizes. It is only the agile creative who is able to spot new openings and trends, in order to adapt what they offer. You can already see this happening with branding agencies starting to provide social media content for their clients. And with moving image producers growing their creative teams to go direct to end-clients, cutting out traditional (and less agile) advertising agencies in the process.

As lockdown is lifted, we are going to get busy. Afterall, it is creative thinking that clients continue to come to agencies for. From redefining customer journeys to advising local authorities, from creating new products and reinventing existing ones, creativity will play a key role to economic survival.

There is much to do.

Author: Wybe Magermans, as originally published in MarComms News

Going back to a ghost town

Since the Mayor of London declared a state of emergency on 9th Jan, Zone 1 Londoners have been living in “28 Days Later”. The centre of London has turned into a ghost town.

The latest UK lockdown closed everything apart from the essentials and the government’s strong advice to stay indoors continues. But of course, people still need to get out. The result of this need is that we are once again promenading like we did in the 18th and 19th centuries, packing out suburban parks and other local open spaces in huge numbers, leaving Central London rather sad and empty.

The burbs are back

This reinvigoration of open and green space is also affecting where we want to live. The PropCast of The Advisory is a weather report that shows levels of ‘buyer demand’ in UK housing markets. Their latest forecast shows Central London as cold as the Arctic, whilst property demand in the suburbs and further out is not only rising in the UK but in other European countries too.

The lockdown will eventually ease and vaccines will reboot (some) of our old lives. But how likely are we to return to our love of the dense and smoggy inner city now we’ve had a taste of what’s on the other side of the hill?

In order to bring back residents, workers and visitors, local authorities and property developers will need to reinvent central areas into remarkable destinations. A strong brand will both increase the value of property assets and support the tenants and retailers within. Too many destinations however currently rely on cliché messages that do not reflect the authentic personality of a place.

A sense of place

Look at The City for example, London’s financial heart, where currently the only activity is the hustle and bustle of hard hats and high-viz jackets. New glossy towers of glass and concrete are still going up. This nonstop global development ready for the arrival of ubiquitous shops, restaurants and buildings leaves less and less distinction between London, Frankfurt or New York.

Leadenhall Market in the City by contrast offers origin and heritage – when you visit you know precisely where you are in the world. In the City’s maze of narrow passageways, Leadenhall Market opens up as an oasis. This unique feature could be more prominently used as a vehicle for visitor attraction.

Focus on what matters

There are areas of focus, which may seem obvious but combining and applying them in a meaningful way is less so.

1. Digital
Online will very soon be our primary shopping channel, with in-store purchases becoming a secondary consideration. Retail destinations will never be able to compete with the endless product selection and always-on nature of online shopping. But how technology is used to deepen relationships with people before and after a visit is something that Local Councils and property developers should be considering now.

2. Experience
Often developers will focus marketing efforts on the launch of a destination, forgetting that any space needs to continuously evolve and surprise visitors. Innovative destinations are already incorporating elements that regularly reframe what each place and space is about. In its simplest form this could mean keeping 10% of your retail space open for short-term experiential elements, such as concerts, classes or even pop-ups that provide a level of entertainment that cannot be successfully replicated online.

3. Sustainability
Consumers are beginning to demand true sustainability from their favourite places. This means that treating sustainability as a part of CSR is no longer enough. The Nordic Citycon shopping centres have as their motto: “We believe that operating sustainably is a key cornerstone in creating long-term value”. They apply this principle to the way their destinations connect to public transport, how they approach the community and their commitment to continuous improvements on CO2 emissions, energy use and waste in all of their operations.

Think differently

Our cities have undergone dramatic changes before of course. It wasn’t a virus but racism that drove the White Flight of the sixties, the mass exodus of white people from areas becoming more racially diverse. Although this phenomenon was most apparent in the States, it happened across Europe too. While many businesses stayed, it wasn’t uncommon to find entire downtowns with little street life after 5:00pm. The new Millennium then saw a return of downtown population growth. It was innovative thinking that created New York’s High Line, Paris’ Velib bike scheme and London’s Silicon Roundabout all of which have helped to completely reinvent each city centre. With the mass roll out of vaccines, hope is on the horizon. Now is the time for reconceptualisation. It’s creative vision that will once again repopulate our ghost towns.

 

Author: Wybe Magermans

Originally published in Marketing Communications News

 

 

Two pencils!

D&AD has awarded WMH with two pencils at this year’s ceremony.

We are incredibly proud to have added two more beautiful D&AD pencils to our awards cabinet. The recognition was for our poster design that raised funds to bring Afghanistan’s First All-Female Orchestra to Oxford, and support their music education. The poster is an image of a wool rug we created. A rug is an iconic symbol of Afghan culture, often used as a stage. They say, “when you look at an Afghan rug, you can see its soul”. We designed a traditional handwoven rug, incorporating the apparatus of war depicting the orchestra’s incredible journey from hardship to musical harmony. We commissioned its production with a women’s charity from Kabul and then photographed it to create a poster.

It is a project that has captured jurors’ imagination at many awards this year, including Design Week and winning the Grand Prix at the Drum Design Awards. Read more about this project here.

A rug tells the story from hardship to harmony

 

These awards are rubbish

On the 18th June 2020, FAB announced the winners of the 22nd FAB Awards, who will all receive a newly designed award’s trophy.

FAB are the only international awards programme that recognises the best creative work for food, beverage and restaurant brands. Although they liked their 21-year old logo, FAB came to Williams Murray Hamm to create a new identity that reflects their special place in the creative industry.

WMH hit upon FAB’s zest for what it does, delivered in a simple, unpretentious way. After all, the clue is in the title, so we set out to capture the creative and joyous world of Food And Beverage. For example, the striking sans serif logo has a bite mark out of one its letters. Whilst you can also see the new logo magically appear in all kinds of your favourite food and drink.

Garrick Hamm, creative director at WMH, said: “The old logo served FAB well, but it was definitely time for a new look. Working with FAB we quickly saw that they needed an identity with a bold personality that was, well, just as fab as they are.”

Right from the beginning of the project, FAB wanted to change the actual award trophies. They felt that they should be made out of recycled food and beverage packaging. WMH made this into a reality working together with Smile Plastics, who are specialists in manufacturing exquisite hand-crafted materials from recycled packaging.

Each trophy is made from recycled material and is 100% recyclable. For instance, the Silver award is made from recycled yogurt pots. Its white, marble-like surface has fragments of silver from yoghurt foil lids to reveal the material’s unique recycling story. By using waste to create FAB’s prestigious awards, we hope we can change people’s perceptions around recycled materials and unlock their hidden potential – turning rubbish into beauty.

The identity has also been rolled out across all other FAB properties, including FAB News, which is being supported with a Google partnership and the FAB Forum.

Neeraj Nayar, Chairman of the FAB Awards, said: “We are absolutely delighted by WMH’s genius. The simplicity and boldness of the new mark had us hooked the minute we saw it. Sitting perfectly across FAB News, Forum and Awards this is truly excellent and hopefully reflects the creative excellence acknowledged here at FAB.”

We want to thank the many people who collaborated with us on this project. In particular we would like to mention Smile Plastics and Unit 22 Modelmakers for creating the beautiful award trophies, and our sister agency, Studio4, for their help in the image production.

 

 

 

 

 

 

For any press enquiries email press@wmhagency.com or call +44 (0) 20 3217 0000. Unless otherwise cited, © copyright 2020 Williams Murray Hamm, all rights reserved.

 

A rug tells the story from hardship to harmony

We are thrilled to announce that Williams Murray Hamm received the Grand Prix at The Drum Design Awards 2020.

The recognition was for our collaboration with the Orchestra St John (OSJ) in Oxford. The orchestra is a charity who passionately believes that music has the power to transform lives. They raised funds to bring Afghanistan’s First All-Female Orchestra to Oxford to support their music education.

To thank all their supporters, the OSJ asked WMH to create a commemorative poster. We designed a traditional handwoven rug incorporating the apparatus of war depicting the Orchestra’s incredible journey. We commissioned its production with a women’s charity from Kabul and photographed it to create a poster. The posters were sent in a rubble sack which traditionally Afghan rugs get dispatched in.

Together with the Grand Prix this poster received another four Golds in the following categories; Physical Product Design, Poster Design, Illustration and Design for Good.

The Drum Awards Jury’s thoughts:

“The judges felt it impossible to ignore this entry and during the judging sessions found that it covered many categories. We found ourselves on occasion split, then almost-simultaneously unanimously in favour of it. Any Grand Prix award needs to inspire conversation, debate and passion and considering the isolated conditions enforced on us all we found no shortage of exchange. In many ways this piece of work brought us closer together.

“The entry represents many things – a struggle, a journey, resilience, liberation, a story that needed to be told. This story perhaps was the thing that engaged us the most. It inspired rage, disgust and sadness but also a wonderful feeling of optimism and possibility brought through imagination and honest craft. If ever there was a symbol of overcoming adversity and delivering a message of hope, then this is it.“

 

 

For any press enquiries email press@wmhagency.com  or call +44 (0) 20 3217 0000. Unless otherwise cited, © copyright 2020 Williams Murray Hamm, all rights reserved.

COVID-19. Expect the Unexpected

Many people will have never witnessed a worldwide emergency like COVID-19. The banking crisis was twelve years ago and 9/11 nineteen. We all thought things would never be the same again. For the young, COVID-19 must seem earth shattering, but for people of a certain age age, well, it’s just another global catastrophe from which the commercial world always seems to recover.

However, seismic events do engender new behaviours and we never quite go back to our old ways, but the effects of these events are not always what we might have predicted.

When the PLO took to blowing up civilian aircraft in the late 1960s and 70s, we thought we’d stop flying because it had become so unsafe. That did not happen – there were 4.5bn air passengers in 2019. Instead, we created a massive new airport security industry. There were new jobs for security officers, expensive new detection devices became essential and airlines screwed more money out of us by creating Fast Track. A crisis is always an opportunity to make money.

In 1973 OPEC made oil prices quadruple. For a time, Americans resorted to buying smaller cars made by Japanese companies they’d never heard of, but once the crisis passed, they reverted to their old gas guzzling ways. By then the Japanese had a foothold in the market that they’ve never lost. Japanese cars subsequently destroyed Detroit and their manufacturing methods had a huge influence on worldwide manufacturing – all courtesy of OPEC.

Beyond gloves and face masks becoming fashion accessories, what might change thanks to COVID-19?

1. Air travel
Hundreds of passengers, cooped up for 14 hours, sharing the same air and spreading their germs offers a business opportunity. Imagine sterilised air becoming the value added. Business and First Class would be ‘Cleanroom’ clean, while poor old coach class breathes its own fug. Who is going to be ‘The World’s Most Hygienic Airline”?

2. Business meetings
For most telepresence is Skype or Zoom. Better than nothing, but a bit rubbish. Video conferencing will improve, but the real breakthrough will come when we feel we are really together. That transformation will happen when virtual reality meets telepresence. If you are sceptical, shell out £140 and try an Oculus Go. You will look an idiot wearing it, but things will never seem the same again – you are really there, in the jungle, in a Spitfire or perhaps, in a meeting.

3. Working hours and time zones
If COVID-19 proves anything, it illustrates just how strongly we are interconnected. With technology that lets us meet sufficiently well online, how long is it before we adopt more aligned working hours/days? It is mad that the UK and Europe do not share the same time zone. Should the US become a magnet for our trade, might we see a swathe of businesses running two shifts, one for Europe and one for the US? It’s called service and Americans swear by it.

4. Exercise
Do we really want to go to a sweaty gym and share unhygienic equipment? Peloton has paved the way for online training. Expect exercise to be done at home, with innovatively designed trainer devices that morph like Transformers into the exercise device of your choice that you can keep under the bed.

These are just some random thoughts and they probably won’t happen, of course. Please get involved and add your own comments and observations. Tell us what you think the consequences might be and remember…the exception to the rule is always the rule.

Author: Richard Williams

For any press enquiries email press@wmhagency.com  or call +44 (0) 20 3217 0000. Unless otherwise cited, © copyright 2020 Williams Murray Hamm, all rights reserved.

Untangling the tracks

WMH creates campaign for “Untangling The Tracks” exhibition at London Transport Museum.

How can you keep millions of passengers moving while undertaking a huge project to transform an ageing railway and its stations – and make sure they’re kept up to date?

The UK’s railway network is the oldest in the world and today railways are more congested than ever. Passenger journeys in London and the south east have more than doubled in the last two decades leading to a capacity crunch. The Government-sponsored £7bn Thameslink Programme was an ambitious 10-year programme of extensive infrastructure enhancements and the delivery of 115 new trains that have (and continue to) bring faster, more frequent, more reliable, better connected journeys for passengers.

As the majority of the work has now been completed, Thameslink had the incredible opportunity to showcase the  Thameslink Program in an exhibition at the London Transport Museum. The exhibition is entitled ‘Untangling the tracks’ where visitors can learn about the upgrades through the ages and how Thameslink have done things differently in their decade long program.

The campaign follows various projects WMH has worked on with Network Rail and Thameslink that inform travellers on these engineering upgrades and the benefits they bring. Yet this campaign needed to not only reach travellers, it needs to grab the attention of kids, parents and teachers, making them feel as though they can’t miss out on this fun (and educational!) exhibition. The idea – Wow, What A Fact! – is therefore centred around the amazing facts and figures of the complex underground works, the rebuilt stations and new trains. The media includes out-of-home, digital and direct-to-passenger communication. WMH collaborated with its trusted production partner, Magnet Harlequin, on the implementation.

The run of the exhibition has been extended, so you can still visit the exhibition this Spring time at London Transport Museum.

For any press enquiries email press@wmhagency.com or call +44 (0) 20 3217 0000. Unless otherwise cited, © copyright 2020 Williams Murray Hamm, all rights reserved.

Tackling hunger in schools

The faculty of the South Bank Arts Centre, Bedford, approached Williams Murray Hamm to help with a project for their 2nd year graphic design students. WMH wanted to use this opportunity to tackle the Hunger in Schools problem. In the UK, 1.8 million school children are at risk of hunger each morning. A hungry child cannot concentrate and research shows that hungry children find it more difficult to learn, and are harder to teach as a result.

We believe a great creative idea can create a meaningful difference – from igniting dialogue to initiating long lasting change, also with child hunger.

Chris Ribet, senior creative at WMH, headed up this project and asked the students to think of different ways to inspire a call to action. To help them on their way, his brief set out three approaches:

1. Government led awareness campaign
2. Campaign to reform policy led by an NGO
3. Fundraising and activation in collaboration with a brand

Choosing the best idea

The students separated into seven teams and created seven great ideas, which they presented at our studio to a panel of experts from relevant NGO’s, local government and the marketing community. In a Dragon Den’s style format, the judges discussed the projects. After some deliberation, the judges chose “The Whole Truth”, by Alex Wong and Oliver Judd as the winners. Runners up were “Bloom Card” by Amber Serali & Jordan Jones and “20p” , by Grace White & Cameron Dunn. The winners have been awarded an internship at WMH.

Chris Ribet says: “By identifying a clear insight about Hunger in Schools, the Bedford College students developed bold, creative and ambitious ideas that tackled the problem head on. Congratulations to the winners and runners up. The Whole Truth stood out as a brave, single-minded campaign delivered in all its unvarnished truth to the policy makers. We look forward to having Alex and Oliver in the WMH studio later this year.”

Many thanks to the judges who gave up their precious time to review, discuss and critique the ideas.

– Ellie Kershaw, Programme Delivery Manager at Tower Hamlets Council, tackling poverty
– Claude Barbe-Brown, Marketing Manager at Inspire
– Molly Long, reporter at Design Week
– Richard Williams, founder of Williams Murray Hamm

And of course many thanks as well to Bedford College and its 2nd year graphic design students.

 

 

For any press enquiries, or if your college would like some involvement from WMH, email press@wmhagency.com  or call +44 (0) 20 3217 0000.

A new look for FAB Awards

Proud to announce that Williams Murray Hamm is behind the new identity for the international FAB Awards programme, which recognises the best in creative work for food, beverage and restaurant brands in over 60 countries.

FAB awarded WMH the brief without a pitch and asked the agency to create a new identity that would reflect the unique status of the awards and make it feel fresh having had the same look since the 1990s. The identity needed to work across other FAB properties, including FAB News, which is being supported with a Google partnership and the FAB Forum.

WMH hit upon FAB’s zest for what it does, always delivered in its simple, unpretentious way. The new look captures the creative and joyous world of food and beverage.

The logo uses a bold sans serif brand name with a bite mark out of the A and a straw in the B. WMH decided to keep the red and white palette but adjusted it to a new, deeper red.

FAB unveiled the initial part of new branding with the first call for entries for the 22nd annual awards in 2020. The complete brand identity will be presented over the coming months, including an entirely redesigned awards trophy to be unveiled at the ceremony in May next year.

Garrick Hamm, creative director at WMH, said: “The old logo served FAB well, but after 20-plus years it was definitely time for a new look. Working with FAB we quickly saw that they needed an identity with a bold personality that was… just as fab as they are.

Neeraj Nayar, Chairman of the FAB Awards, said: “We are absolutely delighted by WMH’s genius. The simplicity and boldness of the new mark had us hooked the minute we saw it. Sitting perfectly across FAB News, Forum and Awards this is truly excellent and hopefully reflects the creative excellence acknowledged here at FAB. We LOVE it and hope you do too.

For any press enquiries email press@wmhagency.com or call +44 (0) 20 3217 0000. Unless otherwise cited, © copyright 2019 Williams Murray Hamm, all rights reserved.

 

A gem of a brand reinvention

WMH creates new brand identity and campaign for Hirsh London

Hirsh London, the Mayfair luxury jewellery house, has launched a new brand identity ahead of its 40th anniversary in 2020, created by Williams Murray Hamm.

Founded in 1980 by Anthony and Diane Hirsh, today the business is run by their son Jason Hirsh and his wife Sophia, who have grown the brand into a thriving company that is anchored in the heritage of London jewellery houses, combined with wit, technical innovation and contemporary appeal.

WMH was appointed to create a strong, bold and clearly defined brand identity and campaign to capture the attitude and quintessential Britishness of the business through completely new creative work across print, environment, and digital platforms

Hirsh London is one of the capital’s most respected jewellery boutiques. Its speciality lies in its large variety of rare, unusual, natural coloured gemstones which Jason and Sophia Hirsh go to extraordinary lengths to source. Each of their one-of-a-kind pieces are designed around a central gem and entirely handmade in the brand’s London atelier.

Hirsh London has been championing natural coloured gemstones for forty years and is now at the forefront of a movement towards bolder, more colourful designs, particularly in the engagement ring market. This, alongside their personalised service and exquisitely handcrafted bespoke designs, has established them as the leading authority on rare and unusual jewellery.

WMH was introduced to Hirsh by a former client and won the project through a chemistry meeting and subsequent competitive proposal. Its creative input stretches across advertising in European and Chinese markets, and a new brand identity across packaging, website and collateral.

Garrick Hamm, WMH’s Creative Director, says “Hirsh London designs and produces the most exquisite and joyous jewellery using natural coloured stones. They are immensely creative and have a wonderful Britishness to them. Our new brand campaign captures their spirit at the same time as giving them visibility and cut-through in a sea of mainstream, luxury jewellery sameness.”

“We were impressed with the creative direction that WMH took. They understood the very personal nature of our business, the care we put into selecting each of our gemstones, and our commitment to excellence in craftsmanship. We also liked their ethos of working with one company in each industry, rather than specialising in one sector. This has enabled them to come up with a fresh approach in fine jewellery marketing, which we are confident will carry our business forward as it continues to grow into one of London’s most respected jewellery houses,” said Sophia Hirsh, Managing Director, Hirsh London.

For more detailed case study, please see here.

For any press enquiries email press@wmhagency.com  or call +44 (0) 20 3217 0000.
Unless otherwise cited, © copyright 2019 Williams Murray Hamm, all rights reserved.

 

 

The power of creativity in delivering change

On 21 February, Wybe Magermans will be speaking at an evening by the Change Management Institute.

There are countless theoretical models about how an organisation can transform successfully. Yet for all the good these models do to structure change, the crux of successful transformation is centred around how people feel and behave differently. A rational approach alone isn’t sufficient.

Make sure to join Wybe, as he will be sharing key insights on how creativity helped Lamb Weston reshape from a company processing potatoes, to a $3,2bn multinational brand. One that is on now firmly on its way becoming the world’s No.1.

Wybe will be joined on stage by Leon Labovitch. An experienced business change and transformation consultant who has worked at the likes of KMPG, Shell and Sema Group, before setting up his own consultancy.

Register for tickets here!

The event is in partnership with King’s College London. The venue will be the remarkable Bush House in Aldwych, Central London. This iconic building has seen some huge changes since its opening in 1925. The Grade II listed building was originally an American-owned trade centre before becoming the headquarters of BBC World Service. Bush House’s latest purpose is that of higher education. King’s College moved in 2016, this time transforming the building into a centre of knowledge, learning and creativity.

An award-winning start of 2018

Williams Murray Hamm wins Best Of Show at Mobius Awards.

The new year kicks off in a celebratory fashion, with trophies for our work on Aberlour and RCS at this year’s Mobius Awards. Aberlour is awarded First Place statuette and Best of Show in the Brand Identity category. Whilst our work for RCS Advertising takes Second place ‘Certificate for Outstanding Creativity’ in the same category.

For Aberlour single malt whisky, WMH created a new brand world. Despite growing to the 6th position in the global market, Aberlour was relatively unknown. Equally, they hadn’t changed their communication much since their inception in 1879.

WMH looked at Aberlour’s long legacy, only to discover the founding family’s motto, ‘Let The Deed Show’, meaning ‘actions speak louder than words’. It’s the people, process and place surrounding Aberlour that create a whisky with such distinct character. WMH unearthed these deeds and, working closely with Scottish artist Liz Myhill, brought them to life. We used traditional lino cutting and printing techniques, to create original illustrations gleaned from books of storytelling in the 1900.

RCS came to WMH earlier in 2017. A 20-year-old Japanese advertising agency had metamorphosed into a brilliant new offering. They needed a new positioning and identity to reflect this. RCS helps clients identify, understand and optimise cultural differences. WMH called this ‘cross-cultural marketing’. The identity was built around a globe because RCS deals in global differences. It’s a cultural maze out there, so the ‘globe’ was fine-tuned to reflect this and a magenta ‘dot’ was created at the very core, to represent RCS – a point of consistency in unfamiliar territory.

“When I first met with WMH, I knew they ‘got’ who we were. They were able to interpret who we are, what we do and what makes us special in a way that went well beyond my imagination.”

Ron C Sternberg, Founder, RCS Advertising
For press enquires please contact:
Telephone: +44 (0)  20 3217 0000
Email: info@wmhagency.com

WMH Creative Origins: Richard Williams at Sainsbury’s

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This week’s #ThrowbackThursday is a nod to the creative foundations of WMH – quite literally. It comes courtesy of our esteemed co-founder, Richard Williams, who created these pet food packaging labels when he began his design career working for Peter Dixon’s famous in-house design team at Sainsbury’s.

“The cats were portraits of the first cats my wife and I had. A nod to dear friend, the late Nick Wurr (co-founder of The Partners) who inspired the silhouettes and yellow eyes and to the great Peter Dixon. A fine man.”

WMH-THROWBACK-THURSDAY-RW-SAINSBURYS-combined-FIRST-JOB-WEBSITE-130717WEBImages: ‘Own Label: Sainsbury’s Design Studio 1962-1977’ © Fuel Publishing, all rights reserved.

It’s not lost on anyone how WMH once again worked with Sainsbury’s (some years later) designing their Basics and SO Organics ranges – the latter is still in store today.

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You can find further examples of Richard’s early work in ‘Own Label: Sainsbury’s Design Studio 1962-1977 (ISBN: 0956356281, Fuel Publishing).

 

For any press enquiries email press@wmhagency.com or call +44 (0) 20 3217 0000.
Unless otherwise cited, © copyright 2017 Williams Murray Hamm, all rights reserved.

 

Facebook Live interview with Richard Williams

FUTURE LONDON ACADEMY FACEBOOK LIVE INTERVIEW WITH RICHARD WILLIAMS – Wednesday, May 31st at 16.00 UK time (GMT+1)

Our esteemed and humble Co-Founder, Richard Williams, had the privilege of taking part in the very first WMH Facebook Live interview with Future London Academy.

Sharing anecdotes and advice from WMH’s 20-year history, Richard talks about creating difference, first bosses, starting your own creative agency and inspirations.

Future London Academy provides immersive courses for like-minded creative professionals to broaden their horizons, expand their personal networks and find inspiration in one of the world’s most exciting cities.

Through practical experiential learning, their mission is simply this to erase borders between creative communities from different countries –­ and to inspire people around the world to achieve more every single day.

Williams Murray Hamm is a brand innovation, design & strategy agency. We have 20-years’ award-winning, creative expertise of inventing and reinventing brands. Clients include Castrol, Jamie Oliver, Barclays, Fortnum & Mason, Carlsberg, Absolut and many others.

For any press enquiries email press@wmhagency.com  or call +44 (0) 20 3217 0000.
Unless otherwise cited, © copyright 2017 Williams Murray Hamm, all rights reserved.

Point of Light shortlisted for Design Week Award 2017

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We are excited to be shortlisted for a Design Week Award in the Poster Design category for our B2B work with Point of Light.WMH-DESIGN-WEEK-AWARDS-POINT-OF-LIGHT-POSTER-SERIES-WEBThe series of posters form part of the overall Point of Light brand identity.  The brand mission to “tell extraordinary stories with light” is brought to life using evocative and mysterious monochrome illustrations in the purest 2D presentation of light and shadows.

Click here to see the full case study.

 

For any press enquiries email press@wmhagency.com  or call +44 (0) 20 3217 0000.

Unless otherwise cited, © copyright 2017 Williams Murray Hamm, all rights reserved.

 

Chasing Quick Money is Bad for Us All

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Why shareholders should protect businesses like Unilever from accountants.

Unilever and P&G’s operating margins are seen, by some, as not being world leading. In Unilever’s case, Kraft Heinz thinks it’s time to apply some of Mr Buffett’s patent remedy – taking out jobs, slashing salaries, closing factories, cutting R&D and, of course, taking a knife to marketing spend.

There’s nothing wrong with seeking efficiencies – every company does that, indeed most are permanently engaged in a maelstrom of restructuring and McKinsey executive invasions, but, who will be interested in the consumers of brands that are being Buffetted as the knives are wielded?

Who will be doing the research into making their products better? How will those food and product developers care about the brand they’re working on when the accountants, who run the business, have just made them reapply for their job with the added ingredient of a sizeable pay cut?

Manufacturers have a responsibility to the general public, beyond lowering prices. It’s about what we consume actually being good for us and being made in a sustainable way and it’s about innovation – creating products that we will need in the future, as our lives change.

Does anyone seriously think that will happen under accountants masquerading as food companies?

There are reasons why Unilever is a great company, just as there are with Nestle and P&G (all of whom WMH has worked with in the distant past). They hire the best, most intelligent people and treat them with respect – the sort of behaviour that gets the best out of them.

Above all, these companies pour billions into research to make their products better for their customers. Nestle, in particular, is a world leader in health, wellness and, of course, nutrition, but that costs money. Money that accountants, like Warren Buffett’s partners 3G, would prefer to slash.

In this world of Trumptastic Fake News, the real news is that Kraft Heinz and their ilk should be sent packing by shareholders of businesses that set out to care for the well-being of their customers and who actually improve peoples’ lives.

Sadly Kraft Heinz’s foray into Unilever’s territory has forced Paul Polman to seek further efficiencies if he is to fend off further unwanted attacks. Wouldn’t it be great if Unilever’s shareholders decided, en masse, to allow the company to continue to invest in the things that matter, rather than chase a quick return?

Author: Richard Williams

For any press enquiries email press@wmhagency.com  or call +44 (0) 20 3217 0000.
Unless otherwise cited, © copyright 2017 Williams Murray Hamm, all rights reserved.

Garrick Hamm judges the Creativepool Awards 2017

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This February, Garrick Hamm formed part of the judging panel for the Creativepool Awards 2017 in the Graphic Design category.

Garrick joined a panel of 165 leading industry judges, from 22 countries, across 33 categories, with representatives from Bloomberg, Bupa, Deluxe, Facebook, FCB, Getty, Guinness World Records, IKEA, Ogilvy, Phaidon, Publicis and Saatchi & Saatchi.

About the Creativepool Awards

Creativepool is the largest creative industry network, connecting global creatives to generate business through discovery and inspiration. It endeavours to set higher benchmarks for creativity and to inspire learning, interaction and debate.

Looking back on what has been a particularly strong, though demanding, year for creative work, the theme for this year’s awards was ‘Creativity will save us’.  Winners are selected in a fairer competition that awards companies and individuals separately. It is this diversity and the democratisation of the returning People’s Choice winners, that will once again set the Annual apart from other creative awards.

As one of the most widely distributed creative award publications, Creativepool prints 15,000 perfectly bound copies of the Annual which are received by industry leaders at some of the most significant creative events of the year, including the Cannes Lions Festival, Clerkenwell Design Week and the London Design Festival.

WMH-GARRICK-HAMM-PROFILE-WEBUpon completion of his judging duties, Garrick said: “This year’s entries demonstrated a renewed optimism and appreciation of craft, with clients opting for the bigger, braver solutions.  People are seeing the benefit of creativity and how it can play an important role in being the key differentiator.  Against the current backdrop of uncertainty, it is good to see clients embracing fresh, bold and brave design.”

 

 

Alexandra-Schott-Managing-Editor-Creativepool-WMHCreativepool’s Managing Editor, Alexandra Schott, said: “Given how uncertain our future now seems to be, both politically and technologically, it is a powerful time to be a part of the creative industry. The bravery and innovation we have seen this year has been eye-opening and empowering for the team, who have assembled an incredible judging panel. We can’t wait to see who our community name as their People’s Choice. We hope the bonds formed through the Annual act as a catalyst for the year ahead. Creativity will save us.”

 

To download your copy of the Creativepool Annual for 2017 click here.

The Annual winners will be announced on 29th March 2017 at Protein Studios in Shoreditch. To get your tickets click here.

 

For any press enquiries email press@wmhagency.com  or call +44 (0) 20 3217 0000.
Unless otherwise cited, © copyright 2017 Williams Murray Hamm, all rights reserved.

Castrol Bio-Synthetic wins at TDC 2017

We are pleased to announce that Castrol Bio- Synthetic, our entry in the TDC Communication Design Competition has won a ‘Certificate of Typographic Excellence’

The work was selected from from over eighteen hundred entries from fifty countries.

A high performing job all round.

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For any press enquiries email press@wmhagency.com  or call +44 (0) 20 3217 0000.
Unless otherwise cited, © copyright 2017 Williams Murray Hamm, all rights reserved.

The March of the Robots

Just how far will they move into marketing?

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Amazon Go’s ‘Just Walk Out’ technology spells the end of supermarket checkout staff.[1] We’ve seen this coming for some time. Now, middle and higher income jobs are endangered, according to this weekend’s Sunday Times (still delivered in paper form by a human delivery person).[2]

At high risk from ‘robots’, amongst others, are insurance underwriters, accountants and auditors and at medium risk are judges and economists. Even dental hygienists are under threat.

When chess computers have to play each other because mere humans can no longer beat them, then, perhaps, there is some truth in robots replacing many jobs. Happily, for occupational therapists, surgeons and psychologists the report suggests they will see out their days unchallenged.

Marketing people do not appear to be threatened, because they have to make decisions that can’t be automated, but they are reliant on some services that could change dramatically over the next few years.

There’s little to suggest that procurement cannot be handled completely by robotics. Many RFIs are already handled online, what’s to stop all legal aspects of appointment being handled in the same way? Indeed, what’s to stop the auctioning of projects to a wide range of businesses that have already passed through online assessment? It will be just another step in the direction of dehumanising client/consultant relationships that were once based around trust and the simple shake of a hand.

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Consumer research could spread its wings into far greater automation. Imagine a research programme that learns, just as chess computers do, more about consumers every time they interact. Being online, it has the ability to speak to a vast number of people, to understand the particular nuances of how they see things courtesy of their social status and where they live. Automation will be able to tell us far more about people than we could ever glean. Computers don’t get tired and they keep on learning.

For designers who ‘maintain’ brands, as many of the bigger agencies do, automation could be a massive threat.  If you seamlessly join research and design robotics, automating ‘brand tweaking,’ you’ve suddenly wiped half the agencies in the world. Refining logos, ‘premiumising’ and adding ‘wine values’ are grunt work for which many businesses charge a fortune.

One of the benefits of this roboticised future will be that we get to see the real value of ideas. They are the bedrock of great advertising and design and have been undervalued for far too long, sacrificed on the altar of pragmatics and brand conservatism.

 

Author: Richard Williams

Reference sources:
[1] Amazon Go
[2] Sunday Times: Robots march on ‘safe’ jobs of middle class

Image sources:
– Brain image via simplified-analytics.blogspot.com
– Robotic image via reso-nance.org

For any press enquiries email press@wmhagency.com  or call +44 (0) 20 3217 0000.
Unless otherwise cited, © copyright 2017 Williams Murray Hamm, all rights reserved.

D&AD New Blood

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This January, WMH senior designer Mark Nichols returned to Norwich University of the Arts as a visiting lecturer. He was teaching on the 2017 D&AD New Blood briefs, one of which he will be judging at this year’s New Blood Awards in April. Mark advised on work across seven different briefs over the two days, as well as finding time to give portfolio reviews on other work created by Norwich’s top students.

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“It’s always a pleasure to return to such a great creative institution and not just for the student nostalgia…this year’s New Blood briefs are as exciting and challenging as ever. The brief I will be judging brings into question how print and paper can be used effectively to promote digital platforms. Such involved, topical, subject matter should be the catalyst for some truly pioneering work. It will highlight how design can help the analogue and digital worlds coexist or, better still, form a new symbiotic relationship”

You can view this year’s D&AD New Blood briefs here https://www.dandad.org/en/d-ad-new-blood-awards/

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Mark turned student once again, when he was lucky enough to catch David Pearson’s lunchtime lecture highlighting the joys of book jacket design. It further evidenced the recurring theme that print is not dead and, used innovatively, won’t die anytime soon.

 

Author: Mark Nichols – Designer at Williams Murray Hamm

For any press enquiries email press@wmhagency.com  or call +44 (0) 20 3217 0000.
Unless otherwise cited, © copyright 2017 Williams Murray Hamm, all rights reserved.

Baked Beans = Trump

WMH foresaw the “Trump Factor” in 2002, but we didn’t recognise it for what it was.

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Our radical, baked bean smothered, Hovis rebrand, failed dismally in research. No consumers polled would admit to feeding their family baked beans, in spite of it being one of the country’s favourite grocery products.

The research firm suggested that the design be dropped for something with more wheat on it, or perhaps a picture of a loaf. Brave management ignored this wisdom and ‘Big Food Hovis’ went on to become the fastest growing grocery brand in the country. Saving the brand and saving scores of jobs.

Unwittingly we had encountered an early case of ‘Shy respondents’.

When the Conservatives won the last election, against all odds, pollsters put it down to ‘Shy Tories’, people who wouldn’t admit to voting for Mr Cameron. The Donald’s extraordinary win is put down to the same phenomenon – a fear of admitting who you’re voting for because you’re rather, or very, ashamed.

We are in the ‘post truth’ era, where nobody trusts experts and everyone follows their emotions – think Brexit.

So what’s new? Advertising and branding has always done this. When two products are similar, we in marketing use emotion to carve out our space. Facts, in the world of pasta sauce, luxury perfumes, tinned custard and frozen ready meals don’t count for much, but the emotional pull of a great brand can be irresistible.

The conundrum lies in that no manufacturer worth their salt would ever go to market without asking consumers what they think.

‘Consumers lie’ the late Richard Murray used to cry ‘If research is infallible, why do so many products fail?”

Of the experts we no longer trust, pollsters have tumbled to the same depth as politicians, financial forecasters, priests and latterly, football coaches. For years, research has kicked the hell out of great ideas in advertising and design. We all know it, as do our clients.

Dan Izbicki, Unilever’s creative excellence director recently said that the company’s products are not high interest categories for consumers.

We need great creativity and great work to cut through that. Far too often we get scared and go back to the easier thing to do because it’s not going to be terribly damaging – but we can do something bigger and better and braver.

He is absolutely right. The problem is that research will most likely kill the brave ideas that he wants. ‘Shy’ consumers and conservative marketers looking for the next career move, will conspire to normalise everything.

It’s time for those who seek the public’s opinion to get better at what they do. They need to create measures that really work, that allow us a true picture of what’s going on. Hopefully, it’ll also allow companies the ability to break through into better, braver, more effective marketing too. It’s long overdue.

 

Author: Richard Williams

For any press enquiries email press@wmhagency.com  or call +44 (0) 20 3217 0000.
Unless otherwise cited, © copyright 2016 Williams Murray Hamm, all rights reserved.

Castrol Bio-Synthetic

WMH has launched a new ‘bio’ variant of the Castrol EDGE and Castrol MAGNATEC brands that includes 25% of oil derived from plant sources.


Whilst this is not the first launch of a bio-derived oil, it is the first by a global major company. Castrol’s clever engineering and cutting edge technology have made it possible to take plant oil (and its natural lubricating qualities) in combination with traditional fossil-based oils to create a bio-lubricant that protects as well as standard Castrol EDGE or MAGNATEC.

“Pioneering with plants” – we brought together this natural tension creating a world and visual language unique to Castrol Bio-Synthetic oils. The new design stretches across film, packaging and web banners.

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For any press enquiries email press@wmhagency.com or call +44 (0) 20 3217 0000.
Unless otherwise cited, © copyright 2016 Williams Murray Hamm, all rights reserved.

In Fondest Memory of Geoff Appleton: 1950 – 2016

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A celebration of an infectious spirit and an incredible talent.

Today, it is with great sadness and a heavy heart that we bid a final farewell to our beloved friend and illustrator extraordinaire, Geoff Appleton, following a battle with pancreatic cancer. During a year that has seen the loss of many great talents, we will remember and celebrate Geoff’s memory as one of the greatest.

Williams Murray Hamm co-founder, Richard Williams, remembers Geoff’s infectious spirit:

“I’ve been at Williams Murray Hamm for 20 years and I can honestly say that I’ve not seen a freelancer more loved by our people and our clients than Geoff.

 They broke the mould when they made him. He was the last of a breed of artists who could earn a good living by drawing on paper and never doing stuff he didn’t want to do.

 We’ll miss his jolly banter and his great work and, in particular, I’ll miss talking to him about the finer points of Bob Dylan…” 

Our thoughts are with Geoff’s family and to commemorate his legacy WMH has made a donation to his nominated charity, Children and the Arts.

Children & the Arts is an independent educational charity that engages with disadvantaged children nationwide who do not have access to high-quality arts activity because of either social or economic barriers… [read more]

If you wish to make a donation in memory of Geoff, please visit www.childrenandarts.org.uk.

 

For any press enquiries email press@wmhagency.com  or call +44 (0) 20 3217 0000.
Unless otherwise cited, © copyright 2016 Williams Murray Hamm, all rights reserved.

Lamb Weston Innovation Centre

WILLIAMS MURRAY HAMM DESIGNS STATE OF THE ART INNOVATION CENTRE FOR LAMB WESTON.

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Following the creation of a new brand purpose and visual identity for Lamb Weston’s global business, WMH was asked to design the interior of an innovation centre where possibilities become reality. 

Lamb Weston, a ConAgra Foods brand, has more than 60 years’ experience as one of the world’s leading suppliers of frozen potato products to restaurants and consumers. An industry pioneer, the company planned a new, state of the art, innovation centre with co-creation spaces, fully functioning kitchens, pilot line, interactive areas and a resource for employees; in short a place where possibilities could become reality.

Having already started the building phase for the project, Lamb Weston approached long time collaborating agency WMH in March 2016 to create the overall theme and interiors. The Centre opened to employees on 24 June and to Lamb Weston customers soon after.

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WMH had previously helped Lamb Weston relaunch its new global positioning and identity: to be the most inventive potato company in the world. The Innovation Centre would express this purpose and help find new, more inventive ways of collaboration between customers and Lamb Weston staff.

Intended as a flagship Lamb Weston US building, the Innovation Centre needed to be a place that captured the imagination and be worthy of the claim ‘if you dream it, you can make it here’.

Deborah L. Dihel, Ph.D. Senior Director Research and Innovation at Lamb Weston said:

“Our new Innovation Centre is absolutely incredible. WMH was the perfect partner to help us communicate Lamb Weston’s brand promise throughout the building in a distinctive and memorable way. The design elements set the stage as soon as our visitors see us from the street, and their experiences are enhanced further as they enter and work in the space. WMH’s design communicates our history of successful innovation, yet at the same time, inspires all who enter to be futuristic, be inventive and make their potato dreams a reality.”

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Using the playful design it had created for the brand identity, WMH produced a fully sensory experience for the many spaces in the Centre.  Bright and light, visitors encounter witty and striking wall graphics at every turn. Interactive areas have been created to bring to life the history of the business, its vision and values and to relate employee stories.  Breakout rooms inspire new and innovative ways of working together.

On the experience, Garrick Hamm, Creative Director of Williams Murray Hamm said:

“We love working with Lamb Weston.  Once again, WMH has been there to help them bring their Innovation Centre to life.  Their strength of purpose, reflected in the Innovation Centre design, really encourages their employees and customers to be as inventive and imaginative as they like – the possibilities are endless”.

The Innovation Centre launched on 24 June.

 

For any press enquiries email press@wmhagency.com  or call +44 (0) 20 3217 0000.
Unless otherwise cited, © copyright 2016 Williams Murray Hamm, all rights reserved.

LOVE / HATE: Backing Britain?

A guest blog by innovation and marketing expert, Giles Atwell

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Brexit means Brexit, but what does it mean for British food?

Buy British! 

“[Eating is not just an agricultural act] It is also an ecological act, and a political act, too… To eat with a fuller consciousness of all that is at stake might sound like a burden, but in practice few things in life can afford quite as much satisfaction.”
Michael PollanThe Omnivore’s Dilemma: A Natural History of Four Meals

Since the Brexit vote of 23 June, the press has served us a diet of cascading bond yields, frozen property funds and sliding sterling: a daunting menu, beyond the comprehension of most consumers. But in these times of change, I wanted to reflect on a more palatable subject. One that is a little closer to home for us all – food.

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Opportunities in adversity!

Seventy-five years ago Britain faced another crisis, finding itself isolated as an island nation while battle raged across Europe. Prior to the Second World War, the country imported two thirds of its food by sea, approximately 55 million tons a year. But by 1940 the threat posed by German U-Boats, which succeeded in sinking 728,000 tons of produce that year, had reduced imports of food to just 12 million tons. Britain was forced to retool its whole food supply and re-educate its population.

Though Brexit doesn’t pose such a dire and direct threat, Britain still imports over half its food and so remains vulnerable to the vagaries of international trade. Given the Brexit news, this situation is unlikely to improve. A recent study by the National Farmers Union predicted that by the mid-2040s, the country would only be able to produce enough food to feed 53% of its population.[1]

 

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© copyright Crown, all rights reserved.

The famous patriotic posters of WW2 told Britain to ‘Dig for Victory!’, ‘Don’t Waste Food’ and ‘Doctor Carrot’ will guard your health.[2] As we consider our next steps in the Brexit flux, maybe there are lessons for action here on how we source and consume our food. Lessons that could help not only improve our own health but also that of the British food industry as a whole.

I’m not advocating the kind of control Lord Woolton, Minister of Food during WW2, had. He had free reign to create and issue ration books whilst managing the UK’s food supply; “making him the envy of nutritionists, dieticians, and indeed anyone interested in the health of the nation, before or since.”[3]  But, we could use these economically challenged times of change to improve in three areas:

1) Reducing food waste

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© copyright The Grocer, all rights reserved

The economy is already softening and there is a very real chance we will go into recession. There is a horrible disconnect between the estimated 3 million people in the UK thought to be living with malnutrition or at risk because they do not eat enough, and the 1.9 million tons of food waste the UK is estimated to have created in 2014-15 alone.[4]

In this respect, the Grocer’s “Waste not want not” campaign to reduce food waste is laudable, as are Asda’s £3.50 wonky veg boxes, Waitrose’s policy to ensure none of its food goes to landfill, and the cooperation of many supermarkets with food banks.[5] 

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© copyright Asda, all rights reserved

Manufacturers too have a responsibility to sensibly apply ‘best before’ dates and consumers need to make better judgements on both the quantity purchased vs eaten, as well as when a food in the fridge is genuinely ‘past it’.

A concerted effort by all parties could drastically reduce the nation’s food and financial waste, but it will take both coordination and education.

2) Buying British

The weakened pound and a general desire for all of us to support the country in our new ‘solo’ quest represents a golden opportunity to celebrate British-grown food and boost our nation’s self-sufficiency whilst reducing our food-miles.

This need not be akin to the somewhat masochistic support my father gave in the 1970s to our failing motor industry by buying a succession of Triumphs & Rovers that simply fell-apart. We have our own delicious cheeses, seasonal fruit, meat, and vegetables together with an explosion of alternative British food & drink brands (think Dorset Cereals, Charlie Bigham’s pies and Fever Tree drinks) that deserve to be more locally and widely consumed as well as exported to our neighbours, near and far.

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© Photograph copyright Kippa Matthews / York Maze, all rights reserved

Food that is produced in Britain should shout it loud(er) and producers should strive to collaborate to create more of the ‘Protected Designation of Origin’ – PDO or ‘Protected Geographical Indication’ – PGI that the EU had previously helped us to sustain. 

Clearly buying British will not only keep the money in Britain but may even help insulate British consumers from potential future trade tariffs and a continued weak pound.

3) Improving Food Education

A 2015 study by the ONS (Office for National Statistics), showed that of the £530 the average UK household spends each week, 20% goes on food & drink (including eating out, alcohol and tobacco). While much of the other 80% of the spend (from gas bills to holidays) has a physical impact on us (breathed in as fumes from transport or felt as fibres on the skin), the food budget physically enters our bodies.

In the age of convenience and fast-food, I think we have a lot to learn from our continental neighbours. The perennially slender French take meals very seriously, spending more time eating than their fellow Europeans; two hours, 22 minutes per day in 2010, 13 minutes longer than in 1986. French meals are also treated as a shared experience, with 80% eaten with others.[6]

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© copyright Jamie Oliver Enterprise Ltd, all rights reserved.

In contrast, the NHS spends £6 billion a year on diet-related diseases. Britain is “…sleepwalking into a major health crisis because of poor diets among young children” according to a coalition of restaurateurs, food manufacturers and medical experts.[7] The change needs to start with children, as food habits are formed in childhood and a child’s weight and diet has a big impact on their adult health outcomes. This is a cause already gaining momentum thanks to celebrities like Jamie Oliver and his ‘Food Revolution’, but it needs concerted backing and funding to roll it out across the country and to save future generations from a lifetime of poor eating habits and diet-related disease.

Conclusion

Times are very different to the crisis felt during WW2 when only about 2% of households owned a fridge and the country was under a real siege. However, the next few weeks, months and years could see us under a ‘virtual’ siege of pressure to sign the infamous Article 50 and formally sever links with the EU. I personally struggle to see a lot of positive from these turbulent and uncertain times ahead, but if we become prouder to buy and responsibly consume quality British food, well, maybe there’s a little silver lining after all.

Editors Notes

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Guest Blogger: Giles Atwell

Giles Atwell started his career as a graduate trainee with Unilever in 1996 and moved to Cadbury in 2002. He has led commercial, innovation and marketing teams in Australia, Brazil, Singapore and the UK.  His most recent successes include Cadbury/Milka Bitesize rollout, two years of double-digit growth in Brazil and Halls Candy global turnaround.

Having lived on 4 continents over the past decade, Giles’ children were becoming a little too well travelled. And so at the end of 2015, he and his family decided to return to the UK and their home in Oxford. He left Mondelez in June and is looking forward to the next UK-based challenge.

When not working, Giles is a keen tennis player, amateur photographer, whisky and wine enthusiast.

WMH-RICHARD-WILLIAMS-PROFILE-WEBEditor: Richard Williams

With today’s business pressures, we’re so busy dealing with what’s in front of us, that we rarely get a chance to talk about wider matters. This is particularly true of our clients and friends of WMH. They’re a fascinating lot, but we only dig deeper with them when we are socialising or having one of our sporadic events. A lunch with Giles Atwell, during which he spoke about food with such conviction, led to a request for him to write our first guest blog. We’re hoping it will become a regular event on our site. Giles was the kind of client we warm to. During his time on Cadbury’s at Mondelez, he was brave to appoint us to a significant innovation project and we loved working with him and have always stayed in touch. He knows the food industry inside out and we’re flattered he’s written for us.

 

For any press enquiries email press@wmhagency.com  or call +44 (0) 20 3217 0000.
Unless otherwise cited, © copyright 2016 Williams Murray Hamm, all rights reserved.

References

1. “UK will need to import over half of its food within a generation, farmers warn” – the Guardian (24th Feb 2015)
2. “Dig! Dig! Dig! for Victory” – http://www.homesweethomefront.co.uk (23rd July 2011)
3. Source: “Eggs or Anarchy: The remarkable story of the man tasked with the impossible: to feed a nation at war” by William Sitwell – http://www.simonandschuster.co.uk/
4. “Malnutrition: it’s time the UK public recognised it as a problem we face” – the Guardian (17th March 2014)
5. “Waste Not Want Not: major new Grocer campaign to fight food waste” –  The Grocer (20th May 2016)
6. “France remains faithful to food as meals continue to be a collective affair” – the Guardian (4th April 2014)
7. “Failure to teach children about food ‘threatens major health crisis'” – The Telegraph (6th February 2013)

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