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Menstrual cup company Mooncup has undergone a packaging redesign, led by London-based brand consultancy Bluemarlin. Consisting of a new colour palette, new graphics and updated logo, it is hoped the new look will help the brand stand out among an increasing number of competitors. The Mooncup launched in 2002 as an alternative to traditional disposable menstrual products. It was first bought to store shelves in the UK through health and beauty retailer Boots in 2005, where the company says it was designed to “sit quietly next to tampons and pads…[and] fit in rather than be obviously alternative.” “A complete reboot” For much of its history, Mooncup operated as one of a very select few offering menstrual cups. But in recent years, a number of similar products have been launched, both by new companies and by well-established names in the industry. This presented a challenge to the veteran brand, as company director Kath Clements comments: “How do you compete when you’re used to opera

Menstrual cup company Mooncup has undergone a packaging redesign, led by London-based brand consultancy Bluemarlin. Consisting of a new colour palette, new graphics and updated logo, it is hoped the new look will help the brand stand out among an increasing number of competitors. The Mooncup launched in 2002 as an alternative to traditional disposable menstrual products. It was first bought to store shelves in the UK through health and beauty retailer Boots in 2005, where the company says it was designed to “sit quietly next to tampons and pads…[and] fit in rather than be obviously alternative.” “A complete reboot” For much of its history, Mooncup operated as one of a very select few offering menstrual cups. But in recent years, a number of similar products have been launched, both by new companies and by well-established names in the industry. This presented a challenge to the veteran brand, as company director Kath Clements comments: “How do you compete when you’re used to opera

“You can’t simply gift-wrap gaffes by using the cachet of one brand to camouflage the conduct of another. But if you’re aiming to do something structurally and strategically different, it makes sense to rationalise your brands. If you are building an emerald city then fancy new curtains are fine, but if you draw them back to reveal the same old tricks then you’re heading for trouble. If the group rebrand is all fur coat, shoppers, shareholders and staff will quickly see through it. It’s pivotal to keep your own house in order. Brands are built on what people say when you’re not in the room.” Sam Farrow, creative and managing director at Farrow Creative “At a PLC level, the success of the re-badging – and ultimately that’s what it will be considered if the underlying brand behaviours fail to evolve with the identity – will be judged by the group’s actions over time. From a re-positioning perspective, existing brands operating under a Frasers Group umbrella have some way to go to s

“You can’t simply gift-wrap gaffes by using the cachet of one brand to camouflage the conduct of another. But if you’re aiming to do something structurally and strategically different, it makes sense to rationalise your brands. If you are building an emerald city then fancy new curtains are fine, but if you draw them back to reveal the same old tricks then you’re heading for trouble. If the group rebrand is all fur coat, shoppers, shareholders and staff will quickly see through it. It’s pivotal to keep your own house in order. Brands are built on what people say when you’re not in the room.” Sam Farrow, creative and managing director at Farrow Creative “At a PLC level, the success of the re-badging – and ultimately that’s what it will be considered if the underlying brand behaviours fail to evolve with the identity – will be judged by the group’s actions over time. From a re-positioning perspective, existing brands operating under a Frasers Group umbrella have some way to go to s

There’s no explanation of why the extraterrestrial has returned, but suddenly there he is, hiding behind a snowman. He’s been gone for nearly 40 years, so it’s no surprise that Elliott now has his own family to introduce to ET, and they don’t waste any time catching up. There’s plenty of new earth technology to be explained and the product placements come thick and fast – VR headsets, tablets, smartphones, the internet, and streaming TV. But it doesn’t take long before ET is dreaming of home again, perhaps because that’s the only place he’ll be able to escape the deluge of screen-based entertainment. To give the ad its due, it picks up on some of the best bits of the original film, with flying bikes, ET’s mournful cry of ‘home’, and John Williams’ instantly recognisable soundtrack. But even so, it’s curiously devoid of emotion. Despite its best efforts, it feels like Sky missed the opportunity to really develop the narrative in a meaningful way, and the ‘Reconnect this Christmas’ t

The history of the hoodie is undoubtedly a colourful one. Its origins date as far back as medieval times, when hooded garments were worn by everyone from monks to outdoor workers. The hoodie as we know it today was popularised in the 30s by the now cult sportswear brand Champion, which produced them as a practical solution for warehouse workers. Today, perceptions of the hoodie are both myriad and complex. Thanks to streetwear’s cooption by haute couture, it’s become a status symbol for any self-respecting hypebeast, but the act of wearing a hoodie is also highly politicised, often stereotyped by the media as a symbol of social inequality and criminality. Adut Akech wears Balenciaga in i-D’s The Earthwise Issue, Fall 2018. Photo: Campbell Addy. Styling: Alastair McKimm A new show at Het Nieuwe Instituut in Rotterdam is taking a deep dive into the story of the hoodie, as seen through photography, film, installation, fashion, social media and other cultural artefacts. Curator Lou St

We’ve seen a flurry of educational establishments rethinking their brands in recent years, including Kingston reclaiming the title ‘School of Art’ in 2017, and Johnson Banks’ snappy identity for TeachFirst earlier this year. One of the UK’s top research universities, University College London, is the latest example, having just unveiled its new brand positioning: ‘The home of brave thinkers’. https://s3-eu-central-1.amazonaws.com/centaur-wp/creativereview/prod/content/uploads/2019/11/UCL_EAST_VIDEO_1.mp4 Jack Renwick Studio was commissioned to work on the new positioning ahead of the opening of UCL’s new campus at the Queen Elizabeth Olympic Park in 2022, where it will join other cultural institutions including the BBC, Smithsonian Institute and the V&A. To help promote the new positioning to a wider audience, the studio has also created an accompanying campaign that focuses on the university’s longstanding reputation for ‘disruptive thinking’. https://s3-eu-central-1.amazon

The 30 th edition of the Southeast Asian Games kicks off in the Philippines this weekend and will see athletes compete in more than 500 events – from chess to muay thai, baseball and lawn bowls. The buzz around this year’s event has been overshadowed by reports of unfinished accommodation and athletes stranded at airports, but the Games has unveiled a vibrant identity featuring some striking illustrations by Australian artist Karan Singh. Singh – who is based in Amsterdam – is known for creating colourful animations and large-scale artworks which combine spots, stripes and swirls with clashing brights to brilliant effect. Alongside animations for Anya Hindmarch and IBM, he has created visuals for OK GO and illustrated packaging for Japanese beauty brand SK-II. Ogilvy Hong Kong commissioned Singh to create a suite of visuals for the Games, which would reflect key sporting events and the tournament’s ethos of ‘togetherness’. Inspired by the competition’s slogan, ‘We Win As One’,

As The Clash's seminal punk rock album nears its 40 th anniversary, we look back at how the iconic cover artwork came to be and its lasting legacy as a symbol of "universal angst" The post An oral history of the London Calling cover appeared first on Creative Review . In ấn Anpic In nhãn mác Anpic In brochure Anpic In card visit Anpic In catalogue Anpic In thiệp cưới Anpic In tờ rơi Anpic In Ấn Anpic – Nổi Tiếng In Đẹp In Nhanh Số 5 Ngõ 75 Nguyễn Xiển, Thanh Xuân, Hạ Đình, Hà Nội 0963223884 baogiainananh@gmail.com https://anpic.vn https://g.page/inananpic In nhãn mác Anpic ✅ In brochure Anpic ✅ In card visit Anpic ✅ In catalogue Anpic ✅ In thiệp cưới Anpic ✅ In tờ rơi Anpic https://anpic.vn/in-nhan-mac-dep https://anpic.vn/in-brochure https://anpic.vn/in-an https://anpic.vn/in-voucher-in-phieu-giam-gia-khuyen-mai #inananpic

As historians and anthropologists the world over will attest to, humans using cannabis is no knew phenomenon. The history of the plant can be traced as far back as 2000 BC , and in the millennia that have followed, it has been cultivated extensively for its medicinal and nutritional qualities, its material potential, and perhaps most infamously, for its psychoactive properties. It is for this reason the cannabis plant has been marred in political controversy for centuries. Vast sections of the planet continue to uphold bans on its usage that were established as early as the 1800s. This in turn led to a widespread mistrust of the drug – and often its users. But efforts to rehabilitate the reputation of cannabis have proved fruitful in recent years. There are a growing number of countries which have or are looking to legalise the plant for recreation, and an even more substantial number for its medicinal properties. And arguably the biggest success story throughout the conversation has

As historians and anthropologists the world over will attest to, humans using cannabis is no knew phenomenon. The history of the plant can be traced as far back as 2000 BC , and in the millennia that have followed, it has been cultivated extensively for its medicinal and nutritional qualities, its material potential, and perhaps most infamously, for its psychoactive properties. It is for this reason the cannabis plant has been marred in political controversy for centuries. Vast sections of the planet continue to uphold bans on its usage that were established as early as the 1800s. This in turn led to a widespread mistrust of the drug – and often its users. But efforts to rehabilitate the reputation of cannabis have proved fruitful in recent years. There are a growing number of countries which have or are looking to legalise the plant for recreation, and an even more substantial number for its medicinal properties. And arguably the biggest success story throughout the conversation has

The Royal Society for Arts (RSA) has unveiled the recipients for 2019’s Royal Designers for Industry (RDI) award. This year’s Royal Designers span multiple disciplines, with honorees working across lighting, textiles, landscaping, product and illustration. The title of Royal Designer is considered one of the highest accolades for the UK design industry. It was established by the RSA in 1936 in order to “promote the important contribution of design and manufacturing and industry”. At any one time, only 200 designers can hold the position, and in its 83-year history, the award has recognised a diverse and extensive selection of UK designers. These include set designers for the Harry Potter films, designer of the Routemaster bus Thomas Heatherwick and fashion designer Vivienne Westwood. Paule Constable Working across numerous plays, operas and dance productions, Constable has won four – and been nominated for a further four – Olivier Awards for best lighting design. She has also wo