What we talk about when we talk about Marketing box
On the borderline between limited editions and merchandising, marketing boxes offer suggestions and influences through design choices, printing techniques and materials and often physically reproduce an experience that is in itself immaterial to convince creators, influencers and communication professionals to tell the general public what the box contains. We talked about this with Storytel, Carosello, Zetalab and MMStudio.
By Roberta Ragona
In the beginning was the swag bag, a simple assortment of promotional items, often organised around a common theme, contained inside the classic canvas bag. The phenomenon is not new but has grown in visibility in recent years due to several contributing causes. On the one hand, there is the need to overtake the concept of the swag bag and go beyond generic promotional material, evolving towards the construction of genuinely thought-through plans that could provide creative and narrative cues for the involvement of creators and professionals in their own digital campaigns. In short: to stimulate curiosity and encourage creative interaction. On the other hand, there is the importance in our lives of cultural consumption that is linked less and less to physical supports - such as audio and video streaming services, gaming platforms, and ebook services - and that is accompanied by the need to give body, literally, to the communication of their products. And last but not least, there is the need to pursue communication even at a time - such as the pandemic - when live events have come to a standstill. But what are the particularities and challenges of marketing boxes compared to other printed communication projects? The people we spoke about this were: Stefano Lionetti, Art Director and Partner of Zetalab, a design and communication agency in Milan; Guendalina Gramitto Ricci and Irene Caspani, respectively Label Coordinator and Production Manager of Carosello, a historic independent Italian music label; Viola Marconi, Marketing Manager of Storytel, a streaming platform for podcasts and audiobooks; and finally, Martina Caterina Monselli, founder of MMStudio, a PR and communication agency.
As many stories as boxes
First of all, each box is a story in itself, as Stefano Lionetti of Zetalab explains: 'We started working with Einaudi because they were looking for a design-centred approach: it is an organisation with a strong visual identity. The peculiarity of this type of project is that we start from scratch each time because each book is a communication in itself, in terms of author, language and themes. It is always a matter of a few pieces, with print runs that are very different from industrial ones. This means that the costs per single piece are higher; you face the same printing start-up costs, but these are not lowered on the overall number of pieces. On the other hand, the smaller-scale work makes it possible to make processes accessible that would not be economically viable for packaging destined for a generalist product and to make the most of the expressive possibilities of finishing and converting.'
Sometimes the work on marketing boxes evolves naturally from the company's internal production work. This is the case with Carosello, whose production department deals with both gadgets for the consumer market and the creation of extras designed for marketing exercises linked to the release of records. Irene Caspani notes: 'From the point of view of sales to the end consumer, the bundle phenomenon has exploded in recent years. This is a product designed especially for the most passionate fans of an artist, in which the physical CD or vinyl is associated with a series of other limited edition products, from a simple t-shirt or sweatshirt to more structured projects. In the case of Sick Luke's record, for example, we created a manga designed by Andrea Scanarini. In recent years, there has been an increasing trend in the direction of projects of this type, which go beyond simple merchandising and expand the universe of the record, and the marketing boxes also follow this type of thinking.'
Giving body to the immaterial, projecting the physical into the digital
Integrating the physical and digital worlds is one of the main benefits of using the box tool, and it is no coincidence that it is a popular tool for promoting and communicating both audio and video streaming platforms. Especially in the case of podcasts and audiobooks, where the physical object does not exist. Says Viola Marconi: 'When Storytel arrived in Italy in 2018, we needed to intercept an audience - particularly on Instagram - which was the potential audience of audiobooks and podcasts, a relatively new phenomenon at that time. We needed to describe visually a service that lived exclusively on the streaming platform and, therefore, to find a way to show, literally, the new releases. The box allowed us to flesh out the new products, whether with a curation of existing objects related to the podcast's subject matter or through the creation of limited edition prints.'
But how do the box and solutions such as QR codes or augmented reality make physical objects and digital content dialogue? The choice of tool depends on the audience's consumption habits, as Guendalina Gramitto Ricci of Carosello recalls: 'The QR code at the moment is the easiest way of linking physical content to platforms, which can then choose their favourite channel: let's not forget that the first platform for listening to music in Italy is still Youtube. Other interesting tools are available, for example, Spotify's wave codes, where the shape of the sound wave of the song is framed with the phone's camera and automatically plays the chosen song. We have used a very immediate technology for some activities in partnership with the platform.'
According to Lionetti, the visual and conceptual cohesion between the online and offline aspects is fundamental: 'The material aspect of the object has a charm that in communicative effectiveness fully repays the effort. The projects that work best are those that have an impact on all available media. In 2021 we made a box for Kazuo Ishiguro's latest book, Klara and the Sun, which is about the relationship between androids and human beings and explores the limits of consciousness and identity. From a paperboard point of view, the box was constructed like the box of an iPad, with a thick cardboard and high-grip lid, entirely enhanced with an iridescent gold hot stamping. Inside was an instruction booklet to evoke the experience of buying a high-end technological object. Inside was a QR code linking to a test to recognise androids. The physical object was sent to several selected recipients, while the digital and playful part of the campaign was open to all, and the box contributed to the experience of immersion in the novel's world.'
Customisation for exclusive items
Limited print runs and selected recipients bring with them the possibilities of customisation in printed communication as a corollary. But how important is it, and in what ways can it be creatively put at the service of storytelling?
Viola Marconi says that for Storytel, customisation is an opportunity to highlight different aspects of the same project: 'In this, the box is a somewhat more flexible tool than - for example - a press event. If, with an event, the key points of the communication tend to be the same for everyone present, in the box, you can customise the slant of the content to speak to the specific niche or community you are addressing, managing to communicate in more depth different aspects of the content that would not be possible to address in such a varied way in a communication of a generalist sort. This also allows us to experiment and open up new channels less tied to the classic poles of the cultural industry, breaking down geographical barriers and discovering that we have a loyal and receptive audience in areas we might not have reached with traditional marketing.'
As always, it is the strategy that drives everything, says Stefano Lionetti: 'Given the selected number of recipients, all materials must convey the feeling of an exclusive object: in this sense, the work of customising the print is fundamental. In the case of the launch of Normal People by Sally Rooney, each of the recipients found in the box a badge from Trinity College Dublin - where the novel's events are set - with their name and photo. Whether to work with customisation through printing or craftsmanship depends on the narrative universe of the book being communicated. What always guides the choice of medium is strategic and design thinking.'
A question of materials
The choice of materials also aims to exploit all the possibilities offered by printed communication. Not only paper and stationery, therefore, but also specialised printing on fabric, ceramic, tin and aluminium. Often creating partnerships with brands with solid experience in the sector, as in the case which Irene Caspani of Carosello tells us about:
'For the launch of Ghemon's album E vissero feriti e contenti, we created an aluminium box together with Leone, a historic brand of sweets with tin packaging. The packaging was redesigned as a first-aid box containing essential medicines. The ironic discrepancy between the shape of the container and its contents suited the artist's poetics perfectly. In these cases, the choice of the right technical partner is fundamental. In the case of Diodato, for the launch of his single Un'altra estate, we made a kite with a specialist company in Tuscany. Every campaign involves dealing with technical aspects of printed communication that are not what we deal with in our daily work.'
Sustainability: optimisation and reuse
But how important is sustainability in designing and implementing these operations? Stefano Lionetti emphasises how the timing of communication is a vital issue: 'There is a problem to be addressed upstream for these projects to be considered truly sustainable, and that is the timing of the campaigns. While on the one hand, you can work on the producer's production chain, paper and processes, on the other hand, the timeline is almost always dictated by the timing of communication, so even if you reduce the impact of materials and printing techniques, there is an issue of logistics and fast movement of goods that is unavoidable. Real sustainability is only possible with longer lead times, which are often not marketing times.
Working with bundles and physical media on a daily basis can be an advantage, as in the case of Carousel. Guendalina Gramitto Ricci says: 'We often work on the boxes with the same suppliers we use for the packaging of our records, and this has allowed us to address the sustainability aspect within a broader production discourse, allowing us to optimise the work and use of raw materials. At the moment, we are mainly focused on reducing plastic, and where plastic cannot be substituted, we work on the rest of the packaging, preferring paper and cardboard wrappings from the recycling chain, especially at a time like the present when the scarcity of raw materials and supply chain problems are an unavoidable issue.'
Viola Marconi points out that the drive to conceive these operations more sustainably comes both internally from the companies that have made them a core value, such as Storytel, and from the target audience: "We have noticed that more and more often it is the creators themselves who are paying attention to the sustainability of the campaigns in which they are involved; they're more consciously analysing the philosophy behind an operation and how these values translate into the choice of materials and packaging. The missing piece is still logistics, but I think that will also change in the next few years because both companies and the public are more aware of the environmental impact of transport, and the pressure to change is coming from both sides.
One solution may be to think of products that can have a second life, having completed their brand communication work, and this is the choice that MMstudio has made. Martina Monselli explains: 'We have chosen a packaging format called Scatola Controversa for boxes of the brands whose communication we handle. It is a delivery box project made by Fustellificio Vicentino, a company specialising in American die-cuts. The box is specifically designed to be reassembled in reverse and become an aesthetically pleasing container. It is made in different formats with different product categories and types of mailing in mind, to optimise space and minimise shipping volume, so we only send what is needed and nothing more, to really communicate the essentials".
The future of marketing boxes
But what is the outlook for the coming years in the use of this marketing channel, now that there is an increasing return to a mix of marketing actions and in-person events? The key, according to Martina Monselli, lies in the evolution of the format: 'It is a means of communication that must evolve to continue to function. You always have to start from a design reasoning that looks at the contemporary moment: it requires a lot of dialogue between client and agency and a willingness to try new ways. In recent years, the use of boxes has not so much increased as become more visible, being one of the few communicable tools at a time when live activities were virtually zero. For example, this is what we did with the launch of Espressoh, a make-up brand inspired by Italian-style coffee, for which we made boxes with an Italian-style breakfast delivered to the home by liveried 'barmen'. Somehow it became necessary to raise the bar of communication more to keep the memorability level high in an increasingly saturated market. Certainly, as we return to live work, this type of tool will begin to be integrated again into a more varied communication ecosystem, in which the box will be one element among several other options to be used when it is really needed and has strategic value.'
By Roberta Ragona
In the beginning was the swag bag, a simple assortment of promotional items, often organised around a common theme, contained inside the classic canvas bag. The phenomenon is not new but has grown in visibility in recent years due to several contributing causes. On the one hand, there is the need to overtake the concept of the swag bag and go beyond generic promotional material, evolving towards the construction of genuinely thought-through plans that could provide creative and narrative cues for the involvement of creators and professionals in their own digital campaigns. In short: to stimulate curiosity and encourage creative interaction. On the other hand, there is the importance in our lives of cultural consumption that is linked less and less to physical supports - such as audio and video streaming services, gaming platforms, and ebook services - and that is accompanied by the need to give body, literally, to the communication of their products. And last but not least, there is the need to pursue communication even at a time - such as the pandemic - when live events have come to a standstill. But what are the particularities and challenges of marketing boxes compared to other printed communication projects? The people we spoke about this were: Stefano Lionetti, Art Director and Partner of Zetalab, a design and communication agency in Milan; Guendalina Gramitto Ricci and Irene Caspani, respectively Label Coordinator and Production Manager of Carosello, a historic independent Italian music label; Viola Marconi, Marketing Manager of Storytel, a streaming platform for podcasts and audiobooks; and finally, Martina Caterina Monselli, founder of MMStudio, a PR and communication agency.
As many stories as boxes
First of all, each box is a story in itself, as Stefano Lionetti of Zetalab explains: 'We started working with Einaudi because they were looking for a design-centred approach: it is an organisation with a strong visual identity. The peculiarity of this type of project is that we start from scratch each time because each book is a communication in itself, in terms of author, language and themes. It is always a matter of a few pieces, with print runs that are very different from industrial ones. This means that the costs per single piece are higher; you face the same printing start-up costs, but these are not lowered on the overall number of pieces. On the other hand, the smaller-scale work makes it possible to make processes accessible that would not be economically viable for packaging destined for a generalist product and to make the most of the expressive possibilities of finishing and converting.'
Sometimes the work on marketing boxes evolves naturally from the company's internal production work. This is the case with Carosello, whose production department deals with both gadgets for the consumer market and the creation of extras designed for marketing exercises linked to the release of records. Irene Caspani notes: 'From the point of view of sales to the end consumer, the bundle phenomenon has exploded in recent years. This is a product designed especially for the most passionate fans of an artist, in which the physical CD or vinyl is associated with a series of other limited edition products, from a simple t-shirt or sweatshirt to more structured projects. In the case of Sick Luke's record, for example, we created a manga designed by Andrea Scanarini. In recent years, there has been an increasing trend in the direction of projects of this type, which go beyond simple merchandising and expand the universe of the record, and the marketing boxes also follow this type of thinking.'
Giving body to the immaterial, projecting the physical into the digital
Integrating the physical and digital worlds is one of the main benefits of using the box tool, and it is no coincidence that it is a popular tool for promoting and communicating both audio and video streaming platforms. Especially in the case of podcasts and audiobooks, where the physical object does not exist. Says Viola Marconi: 'When Storytel arrived in Italy in 2018, we needed to intercept an audience - particularly on Instagram - which was the potential audience of audiobooks and podcasts, a relatively new phenomenon at that time. We needed to describe visually a service that lived exclusively on the streaming platform and, therefore, to find a way to show, literally, the new releases. The box allowed us to flesh out the new products, whether with a curation of existing objects related to the podcast's subject matter or through the creation of limited edition prints.'
But how do the box and solutions such as QR codes or augmented reality make physical objects and digital content dialogue? The choice of tool depends on the audience's consumption habits, as Guendalina Gramitto Ricci of Carosello recalls: 'The QR code at the moment is the easiest way of linking physical content to platforms, which can then choose their favourite channel: let's not forget that the first platform for listening to music in Italy is still Youtube. Other interesting tools are available, for example, Spotify's wave codes, where the shape of the sound wave of the song is framed with the phone's camera and automatically plays the chosen song. We have used a very immediate technology for some activities in partnership with the platform.'
According to Lionetti, the visual and conceptual cohesion between the online and offline aspects is fundamental: 'The material aspect of the object has a charm that in communicative effectiveness fully repays the effort. The projects that work best are those that have an impact on all available media. In 2021 we made a box for Kazuo Ishiguro's latest book, Klara and the Sun, which is about the relationship between androids and human beings and explores the limits of consciousness and identity. From a paperboard point of view, the box was constructed like the box of an iPad, with a thick cardboard and high-grip lid, entirely enhanced with an iridescent gold hot stamping. Inside was an instruction booklet to evoke the experience of buying a high-end technological object. Inside was a QR code linking to a test to recognise androids. The physical object was sent to several selected recipients, while the digital and playful part of the campaign was open to all, and the box contributed to the experience of immersion in the novel's world.'
Customisation for exclusive items
Limited print runs and selected recipients bring with them the possibilities of customisation in printed communication as a corollary. But how important is it, and in what ways can it be creatively put at the service of storytelling?
Viola Marconi says that for Storytel, customisation is an opportunity to highlight different aspects of the same project: 'In this, the box is a somewhat more flexible tool than - for example - a press event. If, with an event, the key points of the communication tend to be the same for everyone present, in the box, you can customise the slant of the content to speak to the specific niche or community you are addressing, managing to communicate in more depth different aspects of the content that would not be possible to address in such a varied way in a communication of a generalist sort. This also allows us to experiment and open up new channels less tied to the classic poles of the cultural industry, breaking down geographical barriers and discovering that we have a loyal and receptive audience in areas we might not have reached with traditional marketing.'
As always, it is the strategy that drives everything, says Stefano Lionetti: 'Given the selected number of recipients, all materials must convey the feeling of an exclusive object: in this sense, the work of customising the print is fundamental. In the case of the launch of Normal People by Sally Rooney, each of the recipients found in the box a badge from Trinity College Dublin - where the novel's events are set - with their name and photo. Whether to work with customisation through printing or craftsmanship depends on the narrative universe of the book being communicated. What always guides the choice of medium is strategic and design thinking.'
A question of materials
The choice of materials also aims to exploit all the possibilities offered by printed communication. Not only paper and stationery, therefore, but also specialised printing on fabric, ceramic, tin and aluminium. Often creating partnerships with brands with solid experience in the sector, as in the case which Irene Caspani of Carosello tells us about:
'For the launch of Ghemon's album E vissero feriti e contenti, we created an aluminium box together with Leone, a historic brand of sweets with tin packaging. The packaging was redesigned as a first-aid box containing essential medicines. The ironic discrepancy between the shape of the container and its contents suited the artist's poetics perfectly. In these cases, the choice of the right technical partner is fundamental. In the case of Diodato, for the launch of his single Un'altra estate, we made a kite with a specialist company in Tuscany. Every campaign involves dealing with technical aspects of printed communication that are not what we deal with in our daily work.'
Sustainability: optimisation and reuse
But how important is sustainability in designing and implementing these operations? Stefano Lionetti emphasises how the timing of communication is a vital issue: 'There is a problem to be addressed upstream for these projects to be considered truly sustainable, and that is the timing of the campaigns. While on the one hand, you can work on the producer's production chain, paper and processes, on the other hand, the timeline is almost always dictated by the timing of communication, so even if you reduce the impact of materials and printing techniques, there is an issue of logistics and fast movement of goods that is unavoidable. Real sustainability is only possible with longer lead times, which are often not marketing times.
Working with bundles and physical media on a daily basis can be an advantage, as in the case of Carousel. Guendalina Gramitto Ricci says: 'We often work on the boxes with the same suppliers we use for the packaging of our records, and this has allowed us to address the sustainability aspect within a broader production discourse, allowing us to optimise the work and use of raw materials. At the moment, we are mainly focused on reducing plastic, and where plastic cannot be substituted, we work on the rest of the packaging, preferring paper and cardboard wrappings from the recycling chain, especially at a time like the present when the scarcity of raw materials and supply chain problems are an unavoidable issue.'
Viola Marconi points out that the drive to conceive these operations more sustainably comes both internally from the companies that have made them a core value, such as Storytel, and from the target audience: "We have noticed that more and more often it is the creators themselves who are paying attention to the sustainability of the campaigns in which they are involved; they're more consciously analysing the philosophy behind an operation and how these values translate into the choice of materials and packaging. The missing piece is still logistics, but I think that will also change in the next few years because both companies and the public are more aware of the environmental impact of transport, and the pressure to change is coming from both sides.
One solution may be to think of products that can have a second life, having completed their brand communication work, and this is the choice that MMstudio has made. Martina Monselli explains: 'We have chosen a packaging format called Scatola Controversa for boxes of the brands whose communication we handle. It is a delivery box project made by Fustellificio Vicentino, a company specialising in American die-cuts. The box is specifically designed to be reassembled in reverse and become an aesthetically pleasing container. It is made in different formats with different product categories and types of mailing in mind, to optimise space and minimise shipping volume, so we only send what is needed and nothing more, to really communicate the essentials".
The future of marketing boxes
But what is the outlook for the coming years in the use of this marketing channel, now that there is an increasing return to a mix of marketing actions and in-person events? The key, according to Martina Monselli, lies in the evolution of the format: 'It is a means of communication that must evolve to continue to function. You always have to start from a design reasoning that looks at the contemporary moment: it requires a lot of dialogue between client and agency and a willingness to try new ways. In recent years, the use of boxes has not so much increased as become more visible, being one of the few communicable tools at a time when live activities were virtually zero. For example, this is what we did with the launch of Espressoh, a make-up brand inspired by Italian-style coffee, for which we made boxes with an Italian-style breakfast delivered to the home by liveried 'barmen'. Somehow it became necessary to raise the bar of communication more to keep the memorability level high in an increasingly saturated market. Certainly, as we return to live work, this type of tool will begin to be integrated again into a more varied communication ecosystem, in which the box will be one element among several other options to be used when it is really needed and has strategic value.'
02/09/2022
