Title

‘But Who is Betty Crocker?’ A critical interrogation of the use and presentation of people and personalities/celebrities in international packaging. The questioning of the commercial and cultural significance and value of people/celebrity endorsement and celebrity brands, considered within social, historical, design and marketing contexts

Supervisors

Dr PJ Maguire

Prof JM Woodham

Aims of Investigation

• To investigate and interrogate how and why packaging incorporates portraits and names of people/celebrities in international packaging

• To identify, critically analyse, interrogate and assess the international historical and contemporary commercial and cultural significance of the use of people-types on packaging design, and relate such to the wider marketing and social contexts of consumerism and popular culture

• To interrogate how packaging communicates with and relates to the consumer – its roles, design, messages and overall effectiveness

• To assess the commercial and cultural viability and value of the use of people on packaging

• To consider the ephemeral nature of packaging and people – the concept of commercial and cultural best before/use by dates

• To consider what Naomi Klein identifies in her book ‘No Logo’ (2001: 50) ‘Band as Brand’- the increasing presence of popular band/personality products

• To investigate the relationships of people on products to the product/brand – including brand stakeholders, product endorsement, competition etc.

Abstract/Research Questions

This study aims to investigate and interrogate how and why packaging design incorporates portraits of people/celebrities (illustrative and photographic) in the identity and promotion of the product or brand. The research aims to interrogate how the face and name of an individual can be used for a limited fashionable period or how it can become an established and enduring symbol of a product or company and an icon within, and as a construct and reflection of, consumerism and popular culture.

Whilst it is established that much theoretical consideration has been given to the role of celebrity in advertising and film (Klein, Dyer, Williamson) research into, and the interrogation of, the role of the celebrity and non-celebrity in packaging remains a relatively untouched sphere of contemporary visual culture study although the symbiotic relationship of the disciplines is acknowledged. Our culture enjoys a plethora of familiar, popular real and unreal people on packaging yet little is documented or discussed in relation to their existence in terms of their histories, rationale for incorporation and the extent of their cultural and commercial viability.

The study aims to draw upon studies and activities in relation to the latter whilst embracing and exploring key theoretical texts relating to cultural studies, media studies, marketing, semiotics and design history (e.g. Ewen, Katz, Wernick) and the investigation of the creative practice of designers and companies.

It is recognised that the study of the existence, histories and types of fictitious commercial cartoon characters in advertising and packaging design is established; however, it is the interrogation of people in packaging that this study focuses upon. Research to date has identified key people types that include: the product originator (e.g. Jack Daniels), the transient personality (e.g. Gareth Gates and Pepsi), the unreal or fictive celebrity (e.g. Captain Birdseye), the illusive personality (e.g. BettyCrocker), the family member (e.g. Aunt Bessie), the anonymous (people who we cannot identify) and celebrity own brand (e.g. Paul Newman). The study aims to question how and why such images are used, how they can become historically entrenched as an enduring face of a product or indeed a fleeting face of packaging that reflects popular trends and limited fame timescales – thus linking the ephemeral nature of packaging to the ephemeral nature of celebrities.

The research project also considers and questions the extent to which examples of packaging are culture and time specific – do they appeal and have relevance within specific countries or regions? Are they able to transcend and cross cultural boundaries of language and identity, and if so, how?

Key questions also include: (indicative)

• What is the role of packaging within the marketing mix?

• What is the relationship of the person and their identity to the product/brand?

• To what extent are people used on packaging?

• How does the use of the person relate to the physical structure and overall design of the packaging – how is it incorporated and placed?

• How does the packaging operate in its varying contexts and locations – e.g. supermarket shelf to kitchen cupboard or table?

• How effective is the personality and their design within the overall package design – in terms of recognition, appeal and commercial success?

• How do we relate to the presentation of such people on packaging?

• What are the key determinants for the use of fictive real and fictive faces/characters?

• What does the persuasiveness of the person tell us about the susceptibilities of the consumer?

• How does the packaging speak to us? Whilst packaging is often called the silent salesman (James Pilditch, 1961) it is proposed that the people on packaging do speak to us – what language is used and what messages are communicated? How do we translate and understand the visual and what meaning do we take and apply?

• To what extent do examples reflect social, cultural , economic and technological changes, events, preferences and attitudes?