Designer labels
A monthly critique of wine packaging by Jonathan Bain and John Pace.
Über designer John Pace is checking me skew. No, in fact, he’s looking at a bottle of Mulderbosch Chenin Blanc with its distinctive sideways typography. For our first label analysis, we’re seated in a lively Constantia restaurant. Conversation burbles around us, but we marketers are – ahem – “interrogating the product”.
“I’m not sure what the idea behind this label is,” says Pace, squinting at the bottle through his Paul Smith specs. “Usually, we’d find something inspirational about the estate, and then turn that into a conceptual icon. This feels just a bit tricksy.”
“At least it makes sense when you’re pouring,” I suggest. And do just that. The sideways label is now pleasingly legible. It turns out that Pace has met winemaker Mike Dobrovic before. “He’s a poet, you know,” he remembers. I nod. But there isn’t a lot of poetry about the Mulderbosch label. “Here’s what I think,” says Pace, eventually. “They’ve actually gone for quite a traditional prestige look, with banknote graphics as inspiration.” He points to the intricate watermark feature. Then the red “M” seal. “But they’ve let themselves down. They’ve used just two colours in the printing process: black and red. So the seal actually feels less premium.”
Two-colour printing is definitely more cost effective than the full four-colour process (cyan, magenta, yellow and black), which makes for a richer image. Mulderbosch has opted to add a textured varnish, though – so holding the bottle is an engagingly tactile experience. Pace demonstrates, and accidentally fills up his glass.
“You know what else is missing? A signature.” He’s right, of course – Dobrovic should append his name as a kind of Governor of the Reserve. Pace is warmingto his theme. “I’d suggest a deckled paper edge, too – rough like papyrus. Maybe some finer, more prestigious italic typefaces. And they should use real wax for special editions.”
The back label is somewhat disappointing, given the front’s iconic status. “Like one of the forgotten Ugly Sisters,” I remark, trying to sound urbane. “Worse than that,” harrumphs Pace, “they’ve used a generic dye.” Effectively, this means new information has been slapped onto an existing-sized back label. The result is an awkward fit of legal copy requirements, a lot of white space, and no information for the purchaser. Surely they should have maintained the sideways theme here too? Pace sighs.
“At least the label’s different – so kudos to Mulderbosch there. It’s worked for them for years, and makes the wine look worth the sixty bucks. But the thing is, winemakers are artists. They should be allowed to wrap their creations in something, well, beautiful.” It’s time to go, and Pace climbs into his red and black Mini. A two-colour job, I note.
John Pace is the founder and creative director of At Pace Design + Advertising, and has been an integral part of the local industry for more than 20 years. Jonathan Bain is an award-winning copywriter. Happy days.
