Five ways to spot a business trend

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Ed Hebblethwaite joins Nick Harrison (co-lead of Oliver Wyman’s Retail Practice), Hayley Ard (head of consumer lifestyle at innovation research and trends company Stylus) and Mark Wright (founder of SEO agency Climb Online) to discuss spotting business trends that will last.

>>>>>See full article in The Guardian here. <<<<<

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

New Blood Judging 2017

This May, WMH’s Design Director Mark Nichols visited D&AD’s new swanky offices as part of the D&AD New Blood jury. He was a judge on the Arjowiggins Creative Papers brief which set out to unite print and pixels, asking how print and digital platforms might form a new, symbiotic, relationship.

The task was to create a campaign, product or service for Sony Music, Facebook or Instagram that reminds digital customers of the power of paper.

Mark was joined on the multidisciplinary jury by Jack Renwick, acting D&AD President, Rob Newlan, Facebook Creative Shop’s EMEA Director and Sean Perkins, Director at North Design, along with a wide range of other creatives from advertising, design and paper artistry.

The work well received, but did it break the mould?
The provisional online round of judging saw 265 entries from across the globe, some underwhelming and well wide of the mark, some entertaining, but off brief, some ‘good’ and a handful that stood out as being truly great.

On the day, the Arjowiggins jury awarded two wood pencils, three graphite pencils and one yellow pencil.

WINNER of the Yellow Pencil: Colorgram is a concept for Arjowiggins Creative Papers that engages Instagram users in real life. It identifies shapes and colours in Instagram posts and transforms them into minimalistic die cut art. Congratulations to Jack Welles and Danae Gosset, from the School of Visual Arts, NYC.

Click here to see all of the 2017 D&AD New Blood Winners.

So what tips does Mark have for creating a winner?

“To start with, it’s imperative to interrogate the brief fully. Not only must your work answer the brief but it must stand out, stretch the brief and turn it upside down and look at it from a new, and relevant, perspective.

It’s unlikely your first answer will be the winning answer (no matter how good you think it is). Chances are, if it comes easily, many other people will have thought of the same solution. Trust me, we saw a lot of the same ideas regurgitated and skinned slightly differently. You have to persist until you’ve created something you’ve never seen before.

Having a proper grasp of the latest technologies, creative platforms, relevant social issues and a thorough and un-biased understanding of the target audience, will also help elevate your entry.

Once all of the above is in place you’re in with a chance. Now, to test if your idea will translate, can you easily and confidently describe it in no more than two short sentences? If it takes an essay and tons of boards to explain your ground breaking creation, the chances are you’ve overcomplicated it and got lost in your own genius.

Of course the one thing all the winners had in common was a great and original idea at the heart of the work.

To get to the higher pencil levels the work had to be well executed and commercially achievable – it’s a lot easier to have a great idea without thinking of its practicalities.

To win you need to have the jury arguing over who’s going to employ you first and be nervous that they’re going to be left behind by the next generation of creative mega minds! Easy right? No. Design is and will remain a challenging discipline, but with the right amount of blood, sweat and ideas your work just may get rewarded with the coveted D&AD pencil”.

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.

 

Small Business Disruptors

WMH-Small-SME-business-disruptors-the-guardain-richard-williams© copyright Alamy Stock Photo, all rights reserved.

Startups change the world. But what happens when big brands bite back?

Richard Williams joins Adam Morgan (Founder of strategic brand consultancy eatbigfish), David Harold (VP Marketing & Communications, Imagination Technologies), Lee Thompson (Founder of travel company Flash Pack) and Dana Tobak (CEO of fibre broadband provider Hyperoptic) to discuss small business disruptors.

>>>>>See full article in The Guardian here. <<<<<

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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.

In Praise of Forgotten Brands

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Come on, you know you love them…

In late April, Selfridges will be hosting a Heinz Beans pop-up bar to celebrate 50 years of the ‘Beanz Meanz Heinz’ ad campaign. Dishes will include beans with crispy bacon, beans with smoked ham hock and beans with scrambled egg, all at £3 each.

Is this the ultimate irony? A humble ad campaign for an everyday staple turned into a celebrity? Or, like the Cereal Killer Café, is this another illustration of just how out of touch London is with the rest of the country?

Baked beans are one of those dirty secrets amongst the chattering classes. Nobody really admits to eating them, but Waitrose does a roaring trade in them. What other grubby brands should we be celebrating?

Birds Eye Iglo missed a trick last year in reintroducing Findus Crispy Pancakes. How could they be so sotto voce about this tea time masterpiece? Admittedly, the product is now slightly less Chernobyl, but it’s an absolute shoo-in for bogus posh nosh. Who’s for a smoked chorizo variant for serving on a bed of quinoa salad? Lamentably, they didn’t even do in-store tastings as part of their relaunch strategy.

Spam is 80 years old this year. Armies marched on Spam in WW2 and there’s even a Spam Museum, but now, thanks to Monty Python, we just take the mickey out of it. Maybe, Hawaiians have the right idea. According to Wikipedia (so it must be true) they are prone to eat it as sushi. This may well be the next hipster trend.

Walkers need to get their skates on, it’s 40 years since Monster Munch launched and there’s much to celebrate. They’ve restored them to their original, inconvenient size and three of the four original monsters have been retained. There’s no need for a pop-up bar, they just need to do ads that have our favourite dishes where spuds are replaced by Monster Munch. Chicken Kiev, baked beans and pickled onion Monster Munch – could anything be better?

Not only did Alfred Bird created ‘instant custard’ 180 years ago this year, but 50 years ago his eponymous company completely disrupted the dessert shelves with ‘Angel Delight’. This simple kid’s dessert has been in decline for some time, but owners Premier Foods announced this month that they are relaunching it in a pot for ‘on the go snacking’. Sadly, they’ve failed to tell anyone. Surely it’s not beyond the wit of their marketing and PR teams to get a celebrity chef to do something elaborate to get it into the newspapers. Where is Heston’s snail topped Butterscotch Angel Delight when you need it?

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WMH has a track record of getting loved and forgotten brands back into consumers’ heads. Our work on Hovis (those beans again) turned the brand around, as did our self centred Jaffa Cakes cartons. There are tons of these hidden gems just ripe for relaunch. Anyone for Homepride sauce poured over a Fray Bentos pie and Bovril gravy, or should that read ‘jus’?

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.

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)

Graduate opportunity within client services and strategy…

Are you a curious, resourceful and ingenious graduate with plenty of common sense and initiative?

Williams Murray Hamm are offering a six month graduate opportunity within our client services and strategy department.

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Join the Rebel Alliance

We are looking for a graduate to help us in our client services and strategy team for a 6 month contract with the possibility to extend. The right candidate will share our passion for creativity, our wish to give clients a view they can’t get from anywhere else and a solution that does extraordinary things for their brand.

Who are we looking for?

We are looking more for a mindset, for someone who is curious, resourceful and ingenious with plenty of common sense and wants to get on with it.

How do you apply?

If you are interested in applying for this opportunity, send us your CV and tell us in a picture (email friendly) and/or in less than 150 words, why we should consider you for the position to email address recruitment@wmhagency.com.

Deadline for submissions: 31st August 2016

LOVE / HATE: Karaoke’s Not Serious Marketing

How it’s put a spanner in the works for Chris Evans.

Top Gear has been “Bjorn Again” but it’s just not Buddy Holly.  Richard Williams explores relaunched brands who have attempted to rediscover their illustrious past.

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Call me an old fashioned blokey chap. I loved Top Gear with Clarkson, Hammond and May. I hated a lot of the actual driving stuff, but I really loved the banter. Here were three top motoring journalists who felt entirely comfortable with each other. Anyone can do stupid things like catapult cars or set fire to caravans, but it’s the way they played it. It was the in-jokes they let us in on that were so funny. They were our chums and we sat on the edge of our seats waiting for what we knew would be the next excruciating utterance.

There’s a parallel to life in our studio. We all know each other so well. A raised eyebrow, an admonishing cough, a riff about Reggie Perrin and we’re off. Irreplaceable. It’s hard to join WMH simply because it takes years to learn the stories.

Watching the new Top Gear is like watching Bjorn Again, the US version of ‘The Office’ or seeing ‘Buddy’. There’s something seriously wrong. It’s not Abba or Ricky Gervais and it’s certainly not Buddy Holly (he’s been dead for 57 years) it’s Karaoke.

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© copyright 2016 Bjorn Again (cited via http://www.littlestepsasia.com)

The same is often true of businesses and brands when they try and relaunch to rediscover their illustrious past.

Phileas Fogg was a clever, entrepreneur-led snack brand that introduced the UK to posh crisps. So successful was it that United Biscuits bought it and wrecked it in very short order.

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© copyright 2016 Phileas Fogg / KP Snacks

As Kettle, Tyrrell’s and a plethora of smaller brands surrounded it, it tried again and again to relaunch (we even had a go at it) but it had lost its sparkle, its point of difference, its raison d’etre. Now, it’s been relaunched yet again. The products are actually very good, but it’s a pale imitation of its former self with unfunny TV ads and dreadful packaging. It’s a poor pastiche of the past.

For many years, Trustees Saving Bank, latterly the TSB, was a common sight on our high street. It was the bank that “Likes To Say Yes”. It disappeared, having become part of Lloyd’s Banking Group, went into oblivion and was resuscitated in 2013 and subsequently sold to a Spanish business.

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© copyright 2016 TSB / Banco Sabadell

What’s it there for? We’d all survived quite happily without it. Apparently the Spanish think the name has ‘traction’. I think it looks like ‘The Bank Nobody Goes Into’.

Returning to the car theme, I’ll finish with an example of a car that should have been dead and buried years ago. As a kid, I loved the Chevrolet Impala. How could you not be drawn to its spaceship styling? Its rear wings reached into the middle of its vast boot and radiated out in a whoosh of glory. This was not a normal car – it moved when it was standing still. I wore the wheels out of my Dinky version.

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Image source citation pending

Have you seen 2016’s Impala? Don’t bother. It looks like the illegitimate spawn of a Vauxhall and a Mazda – only worse.

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© copyright 2016 Chevrolet

Don’t misunderstand me, there are huge numbers of brands that relaunch very successfully because they understand what makes them different and get how we can continue to be in love with them, but New Top Gear isn’t anywhere near.

Top Gear, at its best, was about unlikely friendships born through a common love of cars. As a car nut or football fan, you can understand that uniting bond, despite the obvious differences between the people. Chris Evans and TFI Friday, at its best, was like that too – Chris and his workmates, feeding off the energy of a Friday night; beer, banter, music, idiotic drunken tomfoolery…. Perhaps he needs to get some of his real mates back and forget the international starring line-up.

 

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.

LOVE / HATE: Amazon Fresh and the ‘First Moment of Truth’

‘Is it curtains for design agency claptrap?’ 

Following the recent UK launch of Amazon Fresh, Richard Williams and Garrick Hamm explore the Love and Hate of the brand packaging ‘First Moment of Truth’ in the digital age on online grocery shopping.

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Hate: Packaging

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Many years ago, Procter and Gamble came up with the idea of ‘The First Moment of Truth’.

This was all about how packaging works in the supermarket and how first impressions really count. I can’t remember what the second and third moments of truth were, something about bar codes probably.

I wonder what P&G thinks about the FMOT of their brands as they appear in online shopping. Does it bring on an FMOH (First Moment of Horror)? Here’s the truth. Brands look dreadful on Ocado and as we’re about to be invaded by Amazon Fresh they need to do something now.

Since it’s only partially available in the UK, I had to pretend to live in the Empire State Building (ZIP code 10118) to be able to access it. What is glaringly obvious is that, if Amazon Fresh really takes off, (the British Retail Consortium predicts that 900,000 jobs will be lost by 2025 as the industry moves online) the claptrap and mumbo jumbo that packaging design agencies have peddled for years, in an effort to cover up their lack of creativity, will have no further use.

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There is no ‘shelf blocking’ since there aren’t any shelves to block and you can’t see any ‘category cues’ or ‘appetite appeal’ because the pack shots are so tiny, the copy is illegible and everything is low res. The game’s up. Brands have to find a new way to work for online shopping and it’s a wonderful, thrilling opportunity.

 

Love: Smiles 

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Hopefully Amazon Fresh really will lead to a completely different way of presenting brands on screen.  They’re going to have to look at simple visual mnemonics. It could even lead to a new golden era where intelligent, meaningful logos represent a brand instead of dull old packaging.

Actually, this is really just a gratuitous excuse to talk about the recently updated ‘A Smile in the Mind’. Along with Alan Fletcher’s ‘The Art of Looking Sideways’ it is one of the must-have books on engaging, intelligent design. I’ve always loved those clever little logos that give a business personality.

The original Spratt’s pet food logo is clunky and artless, but incredibly endearing. Dog happiness is built right into it. I also came across this little beauty for Knapp Shoes (obviously) by Chermayeff & Geismar Inc. in New York. It’s a lovely witty mark. Simple and clever. How could you resist? Similarly, Norbert Dutton’s 1959 logo for electronics business, Plessey, is something we’d be proud to have done today.

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(left) Spratts – Logo designed by Max Field-Bush (UK). Copyright (second extension) 2016, Julien Clairet of DATA ACCESS Paris. / (middle) Knapp Shoes – Logo designed by Charmayeff & Geismar Inc. / (right) The Plessey Company Ltd – Logo designed by Norbert Dutton’s 1959

 

With wit like this, think what you could do for a brand like Bird’s Eye or Flash. We won’t see the end of supermarket packaging by any means and I fear that we won’t lose steamy shots of soup and stringy cheese slices on pizza packs, but perhaps Amazon Fresh, unwittingly, will lead to a design revolution where we go back to intelligent, beautifully thought through brand identities.

I can’t wait.

 

Authors: Richard Williams & Garrick Hamm. 

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.

WMH wins Silver at FAB Awards for Penny Market ‘Orto Mio’ redesign

Williams Murray Hamm’s brave, bold and engaging design for Penny Market’s ‘Orto Mio’ antipasti range was awarded a Silver at last night’s International Food & Beverage Awards.

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Now in their 18th year, the FAB Awards are focused entirely on work done for Food and Beverage brands. They recognise the critical contribution that outstanding creative work makes in building brands, identifying and rewarding leading practitioners from over 60 countries.

Rewe owned, Penny operates 3,550 stores in Europe. Having won a written competitive pitch against two other agencies, WMH was appointed to rejuvenate the 45+ antipasti range to reflect a more unconventional and approachable image for Orto Mio.

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WMH’s new design embodies the relaxed, sociable style of eating antipasti. It suggests that the food can barely be restrained by its packaging and is bursting to get out with colour and flavour

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The illustrations work in unison with lively, colourful hand drawn typefaces. Each product carries a witty copyline, such as ‘oh la la olives’, ‘we are the champignons’ and ‘you make me blush’, continuing the promise of an enjoyable eating experience.

On winning the award Garrick Hamm, Creative Director at WMH said:

“We are overjoyed that our work on ‘Orto Mio’ has been recognised by the FAB Awards.  Hopefully, the witty design raised as much of a smile on the judges’ faces, as the award has on ours!”

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WMH hosts ‘Everything We Touch’ with Paula Zuccotti.

Ethnographer and author describes her work at a private breakfast briefing

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On Wednesday 24th May, Williams Murray Hamm hosted a breakfast briefing with Paula Zuccotti, an industrial designer, trends forecaster and ethnographer.

Her latest book project, “Everything We Touch” has received rapturous applause from around the globe, leading to radio appearances and full-page spreads in, amongst others, The Guardian, The Sun and the Sunday Telegraph.

 What if everything you touched in one day were brought together in one place? What story would they tell? 

Paula travelled around the world asking people to document every object they touched in 24 hours. She then gathered those objects together and photographed them in a single shot.

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From a toddler in Tokyo to a cowboy in Arizona, from a cleaner in London to a cloister nun in Madrid, Every Thing We Touch is their story told through the objects they own, consume, need, choose, treasure and can’t let go.

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To hear the inside story of peoples’ lives through the things they use everyday, check out the trailer below:

For more information you can purchase the book directly from Penguin and you can check her out on tumblr.

 

Please note that the copyright of all imagery within this article belongs to Paula Zuccotti, all rights reserved 2016.

WMH wins coveted D&AD Yellow Pencil!

WILLIAMS MURRAY HAMM WINS D&AD YELLOW PENCIL FOR UK EROTICA BRAND, COCO DE MER

Williams-murray-hamm-coco-der-mer_D_AD_Pencil-yellow-2016Tonight, WMH was awarded a coveted D&AD Yellow Pencil for its packaging design work for Coco de Mer.

D&AD (Design and Art Direction) is a world renowned British educational charity that promotes excellence in design and advertising. The annual awards as regarded as one of the major events in the creative world and a ‘Yellow Pencil’ is the equivalent of a gold award.

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

“I dedicate this pencil to Dick Murray. Once asked, if his house was burning down what would he grab, he said ‘just his yellow pencil. ‘Jelly Man’ would have been out tonight for sure. Also, a huge thank you to Coco De Mer for being such a wonderful client”.

This award continues WMH’s extraordinary year. Having won Gold in the DBA Design Effectiveness Awards in January for its work on soft drink JuiceBurst, WMH’s Coco de Mer design has won a Mobius award, ‘Best in Book’ in Creative Review and a Drum Design award.   

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Luxurious, enticing and empowering, Coco de Mer is where you “explore the exhilarating limits of your erotic imagination”. Online and in their London boutique, they collect and curate only the finest erotica to “inspire exploration, excitement and enjoyment”.

WMH’s new identity for Coco de Mer involved a gently recrafted logo and a changed, more exotic colour scheme of gold and deep red derived from the successful and eclectic store interior.

The most talked about aspect of the redesign was the creation of packaging for a new ‘signature’ range of luxury toys and lubricants inspired by history’s Grandes Dames of seduction.

WMH-COCO-DE-MER-RANGE-INNER-WEBThese feature erotic images of nude women, botanical prints and portraits of three historical figures whose sex lives were notorious: Catherine Howard, former Queen of England and wife of Henry VIII, who was beheaded for adultery; Georgiana Cavendish, the Duchess of Devonshire, whose affairs were portrayed in 2008’s film ‘The Duchess’; and Nell Gwynne, the long-term mistress of King Charles II.

Inspired by the legendary peephole in the original Covent Garden store’s changing room, a small hole in an outer sleeve offers a teasing glimpse of the seductress behind, who looks back knowingly at the viewer.

Lucy Litwack, Managing Director at Coco de Mer said:

“It was an enjoyable and captivating journey to develop our new Pleasure Collection packaging with Williams Murray Hamm and we are delighted that the work has been recognised with so many awards. It was a great opportunity to collaborate with an agency which truly understood our values and developed designs that embraced our vision. Well deserved congratulations to the remarkable team who worked with us on this project.”    

The product range is available online and in Coco de Mer’s Covent Garden flagship store.

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

LOVE / HATE: Of Lunatics and Asylums…

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In 2010 Coca Cola relaunched as a response to declining sales of carbonated drinks. There was no change to the product, but there was substantial change to the way the brand was presented.

Out: went years of complicated, ugly packs, replete with multi textured swooshes, condensation and all the other fripperies of soft drinks branding.

 

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In: came a new, stripped down design that used simple flat colours and a bold, plain white Coke marque.

 

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In: came campaign work that was a reminder of more innocent times when we all loved fizzy drinks.

 

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How clever of Turner Duckworth to get a piece of work this good and this simple, through a behemoth like Coca Cola.

Of course, in global businesses, there’s always someone who wants to make their mark. In March this year we saw major tweaks to the design starting to appear. Suddenly the logo on cans was horizontal and then Spain launched with each variant being red with a small part of the can given over to the variant type (black for zero, green for the execrable ‘Coke Life’ etc). It was horrid, but at least it looked as though it might be confined to Spain.

This week, Coke announced a complete redesign along Spanish lines. An ‘iconistic’ red disc now appears everywhere. Apparently it’s a ‘signature asset’. When fat words like these appear in press releases you know the head of design is about to go into hiding.

 

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This redesign is a ghastly mistake brought about by cost cutting; e.g. the ‘One Brand’ story and the fear of sugar taxes. The trouble is, the design doesn’t help. It damages the brand by reducing it to what it was in the past, complicated, ugly and spurious, losing Coke’s unique status along the way.

Launching in Mexico immediately and rolling out across the world in 2017 soon everyone associated with this rebranding will have moved on. They never get to reap what they sow nowadays. As usual, someone new will be left to pick up the pieces.

 

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It proves that in today’s company structure, no matter how high flying your design management is, it doesn’t get listened to. This is a triumph of cost cutting management and poor use of ‘consumer insights’ over what’s good for the brand long term.

Many years ago, my late business partner, Richard Murray wrote to Coca Cola betting them his house that Minute Maid would fail in the market. It did. He’d be safe in betting on this new Coke design too.

Author: Richard Williams

WMH awarded Creative Review’s ‘Best in Book’ for Coco de Mer

WMH 2016 COCO DE MER NELL GWYNNE

WMH has been awarded the esteemed ‘Best in Book’ by design publication Creative Review for its packaging design work for Coco de Mer.

The Annual is Creative Review’s showcase of the best visual communications work of the year. Trusted by the industry, it celebrates great work and supports those who produce it by offering a platform for it to be seen, both by peers and potential clients from the wider creative community.

Luxurious, enticing and empowering, Coco de Mer is where you “explore the exhilarating limits of your erotic imagination”. Online and in their London boutique, they collect and curate only the finest erotica to “inspire exploration, excitement and enjoyment”.

Williams Murray Hamm created a revised identity and new packaging to reinforce Coco de Mer’s luxury positioning across their range of toys, oils, lubricants and candles as well as shopping bags, brochures and more.Coco de Mer lubricant bottles designed by WMH Pleasures Collection

The highlight of the work, the packaging for a range of luxury toys, features portraits of some of history’s grand-dames of seduction: Nell Gwynne, Georgiana the Duchess of Devonshire and Catherine Howard. In a nod to the idea of excitement and discovery their portraits are glimpsed through a teasing peephole on outer boxes.

A complimentary and sophisticated colour palette of teal, black, ceramic, clementine, ‘Coco gold’ and red has been introduced with the typography and Coco de Mer marque redrawn in glorious gold.WMH coco de mer erotic sex toys packaging Nell Gywnne Georgaina Cavendish Catherine HowardOn winning the award, Garrick Hamm, Creative Director of Williams Murray Hamm said:

I’d like to thank all the good people who worked on this work, from WMH and Coco De Mer. If you can dream it, you can make it, but only if you have a like minded client. The dreaming is the easy bit, Thank You Coco de Mer’.

The product range is available online and in Coco de Mer’s Covent Garden flagship store.

WMH’s design for the brand recently won Gold and the Grand Prix at The Drum’s Dream Awards, Gold at The Fresh Awards and a Mobius Award.

If WMH designed Valentine’s Day…

WMH designed Valentine's Day

For press enquiries contact press@wmhagency.com 

Behind Every Great Idea… #IDEP2WMH

students from Idep Barcelona at WMH London

This week, WMH took great pleasure in greeting 30 students from the Idep Barcelona for a talk with our intrepid design, Chris Ribet.

Chris Ribert, designer at WMH giving talk to Idep Barcelona students
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After a spot of breakfast, Chris engaged his audience with an insight into the world that is Williams Murray Hamm and a few helpful pointers for prospective graduates wanting to enter the London design job market.

 
Designer, Chris Ribet, giving talk to Idep Barcelona students and presenting JuiceBurst

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Idep Barcelona presenting WMH Chris Ribet with print gifts

We really enjoyed meeting the next generation and we cannot wait to host more talks like this in the future!

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So, If you fancy following in the shoes of Idep Barcelona with a visit to the WMH studios, drop us an email at info@wmhagency.com

We look forward to meeting you!

Want to follow in Idep Barcleona's shoes by visiting the WMH studio?

All images copyright of Williams Murray Hamm 2016, all rights reserved. 

Living in the Past

three men wearing pastel coloured flairs with musical instruments

A couple of weeks ago we were lamenting the death of David Bowie and last week it was the end of 500 years of eel catching in Britain. This weekend it’s been the end of traffic wardens (they are all ‘civil enforcement officers’).

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We hate losing things, people and traditions. Until last week, we couldn’t have cared less about eel catching. Now it’s a symbol of the pace of change, our loss of a simpler way of life. Along with the demise of gas street lamps, steam trains and holidays in Clacton-on-Sea, we seem to believe that life was better in the past. Perhaps that’s why there’s so much fuss about the new Dad’s Army movie.

Heaven forfend, there’s even nostalgia for the 1970s and ’80s – when the High Street was really humming. There was Woolies, Our Price Records, Comet, MFI, House of Holland and the rest. We conveniently forget that it was a period of mostly terrible music, catastrophic industrial unrest, the 3 day week, horrific inflation, stratospheric oil prices, ugly furniture (unless you lived near a Habitat), naff TV, loon pants…and the Austin Allegro.

1977 Austin Allegro Vanden Plas 1500 England

How could they?

Politicians and the likes of Mary Portas still mourn the death of the High Street, but the truth is, it offered a dreadful customer experience and buying online is a whole lot easier. If Amazon would just pay its taxes and level the playing field, we could all rest easy.

No, the past wasn’t a better time. Product reliability was appalling, customer service non-existent, the trains worked even less well, the GPO took weeks to install your phone, the Gas Board had to connect your gas cooker and never showed up and British Airways was owned by the government and as bad as Aeroflot.

I’m on the side of the eels.

See alsoThe Car’s the Star Austin Allegro
https://www.youtube.com/watch?v=Wu48FVwUnO8
Monty Python’s New Cooker Sketch
https://www.youtube.com/watch?v=8dVkdCQCAS0

 

Author: Richard Williams