OUGD601 - Primary Research Interviews

Collating interviews for the primary research within my case studies was without doubt the most stressful element of the research paper, Initially quick to receive confirmation the two studios would participate, the real challenge was following up on this and actually receiving the data due to both studios being extremely busy on the run up to Christmas. Setting the studios a strict deadline of the last possible date I could receive the information and still have time to write these up into a case study I initially thought this element of the paper would not come off, however on the last day I after numerous prompts I finally received the data, which was contextual and informative. These interviews ascertain a direct link between context and practice informing the conclusion of the research and improving the academic integrity of the paper establishing a conclusion based on primary and secondary research investigations. I am extremely grateful to both Dan and Matthew for taking the time to help me with my dissertation and subsequently credited them both within the papers acknowledgements. 

Dan Vallins of View Creative interview: 

An Interview with Dan Vallins of View Creative conducted via E-mail on 16 Dec 2016.

How do the connotations of the brand work to reinforce or extend the Brand Image? 

         In terms of connotations we didn’t really have any direct feelings towards the brand as it was still fairly unknown to consumers in the UK when we were first approached to work on it. This was a different story in the US as it had run the ‘Dear Ketel One Drinker’ campaign so was reasonably well known for that, however we didn’t really feel this was the correct as there was a lot of kick-back from that in terms of meme’s mocking the campaign etc… I think it may have come across as fairly arrogant.

So bearing this in mind we didn’t have any pre-conceptions about the brand in general apart from the bottle design which is fairly unique in itself, clearly showing is has a heritage with the illustration and also the unusual typography and red square. So this was our starting point, the heritage and history of Ketel One Vodka and how it came to where it is now.

So in answer to your question, the connotations of the Ketel One Vodka brand in terms of a mass consumer audience were not really there, and the few that were there were not the best building blocks to inform decision making. The brand heritage and history was much more rich and powerful source of influence and inspiration to start from (as is usually the case).

What steps were taken in identifying the target audience and how is the brand promoted to target these individuals?

         Diageo had already done a lot of research in terms of the consumers it wanted to reach. Ketel One was already known and respected in the bartender world but in terms of a wider audience this wasn’t the case. Once we had established our starting point for the brand, (a rich history, family run but also incredibly modern in terms of the distillery and techniques used to create the product), we were able to use these elements in a modern way to target a new wave of individuals and influencers emerging in the key age bracket in terms of their interest in design, craft and interest in authenticity.

How are the design principles utilised to create a strong Brand Image that can become instantly recognisable of the brand? 

         The design principles we created for the brand informed everything from key colours and typography to substrates, materials and design style. The design principles are essentially a design philosophy that anyone should be able to pick up and gain inspiration from, so that creativity is not stifled but also the key messages and brand signifiers are always at the heart of any visual decision making.

How is the concept of brand personality used within the design in order to engage with the target audience? 

         The brand personality is a very important feature of any brand. This is essentially how it will be judged and perceived on every level apart from actually tasting the product (which oddly isn’t that important if you have an amazing brand strategy, take Absolut for example and try that in comparison to Ketel One or Grey Goose and you will adopt the ‘Absolut face’ as we were shown when taking a tour of the distillery!).

So with that in mind the personality influenced everything from tone of voice to event locations, the people who were invited to the clothes that were worn. 

Matthew Cooper of Love Studio Interview: 

An Interview with Matthew Price of Love Studio conducted via E-mail on 16 Dec 2016.

How does the aesthetic of this campaign reinforce or extend the Brand Image?

         The look and feel of the Vodka Kitchen is designed to reinforce a message of authenticity and craft, something that is becoming more desirable to our audience. The brand can legitimately play in these areas and it was down to us to make sure this came through clearly enough. The aesthetic was also designed to create a more welcoming look and feel to the brand, as though you were being invited in to the family. The brand image has previously been one of a more conservative and possibly colder brand (the vodka category is traditionally seen as a category of cold aloof brands), and so we wanted to shift this perception of the brand to something more welcoming and dynamic.

What are the benefits of an experiential campaign in audience positioning as compared to a print campaign particularly, for the target audience of Ketel One?

         Experiential campaigns allow for a more emotional connection with an audience, they also allow for personal engagement. Our target audience are looking for brands who can demonstrate substance and authenticity, a brand with a real story to tell. This is much more achievable in an experiential campaign than in print or other traditional comms campaign. An experiential campaign can help to build tangible experiences which our consumer can then share with others. If you build enough positive equity with the consumer in this moment, they can then become an advocate or evangelist for your brand. 

How did the Brand Personality of youth and creativity effect your response to the brief?

         With regards to the brand personality, I wouldn't say that youth and creativity were at the heart of Ketel One when we took on the brief. As I mentioned earlier, the brand had traditionally been seen as more old world and conservative. It was these personality traits that we needed to counter, as our consumers weren't looking for a brand that was too serious about itself. They wanted a brand that had a real story to tell, but in a more contemporary and engaging way. Hopefully that is what you are now seeing in the brand! 

How was the experience extended through social media and other touch points to promote the creative nature of the brand?

         This particular campaign was quite single minded, in that we didn't role this out too much across social media or other touch points. Partners who were involved in the campaign promoted our appearance at events and encouraged participation but this was a campaign designed to get people to interact with the brand in a hands on manner, and as such a social initiative wouldn't have provided much support in this instance.