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As a measure against plastic waste, Coca-Cola and Evian have begun introducing label-free plastic bottles. Food labels have long been recognized as an important marketing tool, but there is a lack of research on label-free products. To address this gap, this study examined the influence of label-free design on product attractiveness in the Japanese green tea market.

If existing products are used in an experiment, respondents would be subject to brand image bias. Hence, by mechanically combining the main design elements (cap shape, bottle style, decoration line, logo and label) with an orthogonal array, the conditions for bottles with and without labels are completely aligned. The authors conducted an online survey and applied the chi-square test to the attractiveness of 18 designs presented in random order.

Label-free designs were more attractive to consumers than labeled designs. The effect was higher among female, middle-aged and older adults; those with higher annual income and low-frequency purchasers.

Practitioners should adopt a label-free design that can satisfy both environmental considerations and customer value. It would be a formidable challenge to change the longstanding emphasis placed on label design, but this study demonstrates the value of doing so.

This is the first study in the package design literature on the advantages of label-free plastic bottles. The authors also applied an orthogonal array used for many years to optimize objective numerical values in marketing research.

The choice facing a wine consumer is one of dizzying options with thousands of wine brands available. Packaging and labeling are among those cues consumers use when choosing wines. The purpose of this paper is to better understand the influence of two labeling variables – design genre and brand naming convention – on perceptions of wine and wine choice by occasion. In particular, three types of label design and naming conventions (traditional, contemporary, and novelty) are examined.

A 3*3 (three versions of visual design and three brand naming conventions) factorial design was used to expose participants to a set of three wine label design variations. Participants viewed wine labels online at www.ratethelabel.com and then completed a web‐based survey designed to measure the influence of label design and brand name on wine perceptions, purchase intent by wine use occasion, and the relative importance of factors affecting wine choice.

Despite the popularity of novelty designs and names, participants preferred traditional labels and names. Label design and name were not as influential as wine type, brand familiarity, and price for wine choices made across four wine use occasions. Label design and brand name likeability mattered only for gift choices.

For wineries developing or revising labels, traditional designs should be considered despite the current trend to use novelty labels.

This study assessed consumer response to a trend in the wine industry – the use of novelty designs and names.

This research aims to examine a number of legal sources for evidence that US marketers were interested in protecting their brand identities in the 1800s.

The research examines historical legal records including registrations for commercial prints and labels, design patents and trademarks as well as other legal records. The work discusses the evolution of the concept of brand identity by examining various legal methods that were used to try to protect brand identity from imitation.

The research suggests that marketer interest in the development and protection of brand identity preceded the US Civil War and confirms that this interest was led by marketers of patent medicines, tobacco and liquor. However, the study also demonstrates strong interest by marketers of many other types of products from disposable products to durable manufactured items.

Many original records were lost in the 1836 Patent Office fire or have been simply lost. Some of the databases examined are too large to be comprehensively examined.

The examination of legal records from this period of uncertainty shows how the practice of brand identification led to the concept of brand identity: the legal data examined offer a wealth of information for marketing historians.

Sustainability labels play a crucial role in providing consumers with quick and easily accessible information to assess the environmental, social and economic impacts of products. This research examines how different sustainability labels influence consumer perceptions and assessments of alternative food networks (AFNs).

The authors conducted three cross-sectional studies to explore consumer perceptions of sustainability labels for AFNs. The authors tested labels representing the three sustainability dimensions, labels of different graphical quality and different awarding bodies.

Consumers did not differentiate between sustainability dimensions but assessed labels in a holistic manner. The overall rating of a label positively influenced perceived sustainability. Self-designed and professionally designed labels had a positive effect on the intention to buy from an AFN. Professionally designed labels also enhanced the perceived authenticity of the networks. Notably, the source of the label, whether self-awarded or awarded by an official body, did not significantly impact consumer perceptions. However, interaction effects revealed professionally designed labels had a stronger positive effect on purchase intention when they were self-awarded.

AFNs can derive benefits from using labels. Self-organized, non-profit AFNs are well advised to have labels professionally designed.

This research contributes to the understanding of the effects of sustainability labels for community-based AFNs, diverging from the traditional focus on individual products.

Capturing consumers’ notice by differentiating a product from competing brands in attaching an affixed label featuring product claims, as an alternative front-of-package (FOP) cue, has been widely used in fast-moving consumer goods retailing. This paper aims to apply perceived product newness as the basis for examining how affixed labeling, manipulated in terms of design features and message claims, can impact consumer evaluation.

Four between-subjects experiments examined the persuasive impact of the use of affixed labels. In particular, how product evaluation, in response to affixed labeling, varied as a function of its shape (Study 1a), location (Study 1b), the combination of shape and location cues (Study 1c) and the strength of message claims conveyed by such labels (Study 2). Perceived product newness is assessed as a mediator for all studies.

The results show the power of affixed labels in persuasion. Specifically, consumers tend to perceive the item as newer, achieving persuasion, when the affixed label has a distinctive shape or location. Yet, incorporating several unusual design components fails to trigger an elevated result if a singular visual stimulus serves as a cue for an item’s newness. Further, the strength of claims highlighted in an affixed label correlates to positive impact on evaluations.

This study offers an empirically based examination of consumers’ responses to affixed labeling and identifies perceived product newness as a mediator of the observed effect.

A salient, affixed label enables a credible cue for product newness, therefore, driving evaluation.

This paper contributes to understanding the influence on the persuasion of FOP labeling, with salience to retail promotional and sales messaging tactics.

To better understand the unique preferences of the newest segment of wine consumers, the purpose of this paper is to explore the design and brand personality of wine labels, and their appeal to the millennial market.

The study methodology comprised two components: an experimental design of wine label creations by millennial students of a university beverage management course; and a survey of over 400 millennial consumers to assess wine label design and brand personality preferences.

Wine labels created by millennials tend to be very non‐traditional in terms of the image selected, name of wine, color choice and overall label design. New wine consumers in the 19 to 22 year‐old category are much more likely to select wine based on package features, such as name and image, than based on product features, such as producer and country‐of‐origin. Spirited, up‐to‐date brand personalities appeal to this generation.

The millennial market is a large, important segment new to wine consumption. The experimental creation of wine label designs by millennials themselves provides a unique insight in terms of the new, and somewhat hedonistic, images that appeal specifically to this growing market.

Communicating a clear, precise, interpretable and unambiguous visual message usually relies on a cross-disciplinary team of professionals. Their complementary visions can uncover which information matter and how it could be visually displayed to inform, sensitize and encourage people to act toward sustainability. While design studies generally claim that this team has to come to a shared vision, the authors question this assumption, which seems to contradict the benefits of cross-disciplinarity. The purpose of this study is to reveal how simple visual representations displayed in a PowerPoint actively participate in the expression of various and sometimes divergent visions. Recognizing the agency of visuals also leads this study to propose the notion of (un)shared professional vision, which shows that the richness of visual representations can only reveal itself through the capacity of professional visions to maintain their differences while confronting each other.

Over a 20-month ethnography, this study documented its own cross-disciplinary reflective design process, which aimed to design collectively an experimental environmental label, focusing on interactions occurring between professionals and visuals displayed on five key PowerPoint slides.

This study first demonstrates how, in practice, a cross-disciplinary reflective design conversation with visuals concretely unfolds through boundary-objects. This study shows how these visuals manage to ex-press themselves through the multiple visions represented in the discussions, revealing their complexity. Second, this study introduces the notion of (un)shared professional vision which underlines that unsharing a vision nurtures the team’s collective capacity to express the complexity of a design situation, while sharing a vision is also necessary to confront these respective expressions to allow the professional uncovering of what should be visually communicated.

The Communication as Constitutive of Organization lens the authors chose to understand the reflective design conversation illustrates that, even though each collaborator’s vision was “(un)shared,” their many voices expand the understanding of the situation and lead them to develop an unexpected and creative environmental information ecosystem that can positively transform society through visuals.

The main purpose of this study is to analyze how consumers’ visual attention to wine label design correlates with their preferences. Accordingly, this study uses quantitative eye-tracking metrics to understand which design proposal has greater visual salience. A more specific objective was to assess which design proposal was preferred to be marketed.

The experiment involved evaluating of three different labeling proposals of an Italian winery. Infrared eye-tracking was used to measure implicit eye movements on the three bottles displayed, simultaneously, on a computer screen. A generalized linear model was used to test how consumers' visual attention to wine label design correlated with their preferences.

The design proposals were evaluated significantly differently, with one set being preferred. In general, a strong positive relationship was found between pausing to peruse a specific design proposal and making an explicit choice of the same bottle.

The main limitation of the experiment concerns the sample interviewed. As the sample is homogeneous, the results may not be generalizable to other segments. Furthermore, the addition of electroencephalographic devices that monitor brain activity could provide crucial information for understanding consumer behavior during the purchase decision-making process.

Eye-tracking methods could be useful for designers and wine producers during the evaluation process of design projects.

The use of eye-tracking for evaluating design proposals before placing a product on the market is relatively novel. This method provides objective, quantitative and predictive information on consumer preferences contributing guidelines to designers and marketers during the product conception phase.

Because consumers nowadays face a wide diversity of wine labels – from very traditional to a range of modern styles that include color and various images – the purpose of this paper is to better understand the effects of the presence of fun elements on wine labels. Specifically, it aims to identify the underlying mechanisms that explain why fun elements on labels can lead to a decrease in consumers’ willingness to pay (WTP) and purchase intentions. The authors also test whether consumers’ risk propensity acts as a boundary condition for this effect.

This research uses an online experiment conducted among a sample of 271 US residents. Multivariate analyses – including analyses of mediation, moderation and moderated mediation – are performed to test the theoretical model of the effects of fun elements on WTP and purchase intentions through reassurance impressions and quality perceptions, and the moderating role of risk propensity.

This research demonstrates that when consumers face a wine label that incorporates a high degree of fun elements, they perceive the label as less reassuring, leading to a decrease in perceived quality, and ultimately exhibit lower WTP and purchase intentions. Importantly, this research also shows that the effects of such wine labels are moderated by the individual variable of risk propensity; consumers react more positively to funny wine labels when they have a higher level of risk propensity.

A limitation of this research lies in that it has been conducted online, while an experiment in a real purchase setting may have yielded results that are more likely to mimic response in the marketplace.

By showing that fun elements in a wine label can negatively affect consumers’ WTP and purchase intentions, this research suggests that wine marketers should be cautious when designing labels. Nevertheless, because consumers who are risk-loving exhibit less negative responses to funny wine labels, wine producers should consider segmenting their consumers on the basis of risk propensity and design front labels with fun elements only for customers who can be classified as risk-loving (vs risk averse).

While prior research recognizes the wide diversity of wine labels and the increasing use of fun elements in labels, no research to date has proposed and validated a model of their effects. This research fills this gap by empirically demonstrating that fun elements in labels have an overall effect of making consumers feel less reassured, leading to a decrease in perceived quality, and ultimately lower WTP and purchase intentions.

The aim of this study is to analyse the importance of bottle design in relation to other purchasing criteria, and also to understand which design elements are most attractive to consumers.

A survey of a sample of 437 wine drinkers was carried out in Portugal using non-probabilistic sampling. The technique used was conjoint analysis based on the SPSS conjoint module.

One of the key findings was the low importance of bottle design in shaping consumer preferences compared to other attributes (origin, price and category of wine). In terms of design elements, the label had the biggest influence on consumer choice, followed by the type of bottle, bottle seal and brand name, in that order. Differences in consumer choice were evident according to the level of knowledge of wine and frequency of consumption.

The findings of this study provide guidance for Portuguese wineries as regards the marketing and design decisions of their products and packaging.

This study sheds new light on the importance of wine bottle design on consumer preferences. Previous studies in the area have proved to be minimal and heterogeneous.