Finishing Techniques

The term 'finishing' refers to any post-printing operations through which specialised decorative processes are applied to printed materials. 

Embossing / Debossing

Embossing is the process by which dies are used to stamp a relief image on to paper or printed material. Often ink or another substance is used to color or accent the relief image, unless the emboss is 'Blind,' using no decorative inks and keeping the stamped image plain. A similar process, de-bossing, uses a die to stamp a sunken image on the substrate. In either embossing or de-bossing, the substrate passes beneath an embossing plate which carries the engraved die bearing the image. Directly beneath the substrate is a 'counter' die, or a die which bears a relief image of the image engraved on the embossing die. When the substrate passes between these two dies and pressure is applied, forcing the two dies together, a relief image is produced on the substrate. 

Foil Stamping

A process similar to embossing, and often performed at the same time as embossing, is foil stamping. Here, a heated die presses against a roll of foil before contacting the substrate, transferring the foil on the die to the substrate in a pattern corresponding to the design. In foil embossing, the embossing and foil stamping processes are performed simultaneously. 

Die-cutting

The process of die-cutting uses a different type of die, one which contains knives or creasing rules to cut a pattern into a substrate, or to cut the substrate into a particular pattern. The dies themselves are prepared and engraved for specific jobs out of a variety of materials and in a variety of ways.

Coating & Laminating

A variety of coatings can be applied to printed products, either for extra protection or for decorative purposes - such as creating a high-gloss finish. Combination coatings used for both protective and/or decorative purposes include lacquer coatings and o

verprint varnishing. Overprint varnish may be applied to the entire surface of a printed material, or to only select portions, which in this case is called spot varnishing. Laminating differs from coating in that lamination involves the adhesive bonding of two separate materials or layers of material together. Often, laminating in the finishing sense refers to the sealing of a substrate between two layers of a plastic material.

Irma Boom - Chanel: Livre d'Artistes

Irma Boom, described as the ‘The Queen of Books,’ is a Dutch graphic designer who specialises in book making. Throughout her career, the Amsterdam-based designer has made more than 250 books, with an impressive 20% having found a home in a permanent collection at MoMA. 

Books created by Boom are characterised by the immersive experience she instills within them, such as the completed work commissioned by Chanel, the Parisian fashion house, for its Chanel No. 5 perfume. The 300-page book has no ink—each of the crisp white pages are embossed (even the copyright pages) with a line drawing or quotation that bring to life the story of Gabrielle Chanel, founder and namesake the brand. Clean, understated and ephemeral - the book encapsulates all that Chanel is, and is underpinned by design decisions that are innovative, genius even, in their representation of the high-fashion houses most famous scent.

The concept for the ink-less embossed-content book came directly from Boom's consideration of perfume - being that 'you don't see it, but it's there,' creating a more 'mysterious' resolution that enhances interest and appeal. The effect this has is pages that almost appear as textile. Additionally, Boom designed the book to be 5cm deep, in signifying and reinforcing the scent Chanel No. 5.

The book provides clear insight in to the power of finishing techniques (such as embossing) in the production of luxury material. In terms of sustainability the book also welcomes praise as a result of its no-ink production methodology.

ZARA: Boxes with a Past

In 2016, as part of a greater sustainability initiative (Join Life) introduced by the Spanish clothing and accessories retailer, Zara launched new packaging with environmental concern leading the campaign - of which is titled 'Boxes with a past.'

Made with 100% recycled cardboard, all of which carries the FSC® (Forest Stewardship Council®) certification, the international PEFC standard or an equivalent standard that promotes sustainable practices in forests around the world, the packaging boxes that arrive in Zara's stores are used up to 5 times before being recycled - where the 'Boxes with a past' name derives from. They pass through suppliers, distribution centres and central warehouses before arriving in stores, where they are reused while they are still in good condition for transporting clothes and store materials. When they can no longer be reused, the store recycle them and transform them into new cardboard to produce new boxes that are used to send online orders.

Despite being 100% recyclable and therefore sustainable, the packaging still appears stylish, contemporary and distinct - in keeping with the Zara brand. With limited feature of a bold, post-modernist aesthetic created via a white-printed sans-serif typeface communicating typographic information on the packaging, the boxes are understated, ultra-modern and effective in their simplicity.

According to the retailer’s website, 56 percent of all online orders are currently delivered in these recycled boxes. Zara also teamed up with a number of current designers, photographers, and creatives—such as interior designer Ciszak Dalmas and photographer Pierre-Ange Carlotti—to turn the recycled boxes into 'ultrachic' DIY projects complete with make-it-yourself tutorials on its website.

Chloé: Luxury Packaging Extravagance

Chloé  is a French luxury fashion house founded in 1952 by Gaby Aghion. After moving to Paris from her place of birth (Alexandria, Egypt), Aghion moved to France in 1945 before founding Chloé in 1952 with a vision to offer Ready-To-Wear, a new concept at that time.

Prior to Chloé's launch, luxury fashion houses had only ever produced Haute Couture clothing (custom-fitting). Aghion identified a gap in the market and decided to create a line of off the rack, high quality, soft, body conscious clothes from fine fabrics, which she called 'luxury prêt-à-porter,' giving birth to the Prêt-à-Porter (Ready-To-Wear) market we know today.

A recent purchase by a friend shows the true extent of Chloé's retail packaging, which seemingly lacks restraint in use of materials and resources. Like many luxury brands, Chloé's retail packaging features and abundant of materials including the following:

• Large (oversized) box featuring print and embossing.
• Cotton ribbon, for finishing and enhancement of consumer receival.
• Multiple card inclusions featuring print and embossing.
• Printed sticker.
• Tissue paper.
• Printed protective bag.
• Product, bearing tags featuring embossing.

The extravagance of materials used by Chloé, and many other fashion houses, for their luxury retail packaging is a strategic device used to successfully create appeal to the typical upper-class consumer, exploiting an abundance of available materials and finishing techniques and their ability to be used in forming both tangible and emotional relationships with consumers through theatrics and manipulation of luxury sector cues. It is the fine details, accents, personal touches and sheer volume of materials that truly encapsulate the niches of luxury brands and the packaging through which they deliver products. This type of packaging from an environmentalist point of view is unnecessary, boastfully extravagant and grotesquely grandiose — however, to restrict these devices and materials would be to disembody the soul of luxury packaging altogether.

Study Task 08: Pitching Your Ideas - Feedback

Idea 01

Luxury packaging by its very nature is twinned with the idea of excess materials. The impact of such an overabundance of packaging on the environment is clear, however it is this excess that differentiates luxury from the ordinary. Idea 01 proposes the re-creation of retail packaging (bags, boxes, wrap etc.) used by luxury fashion houses such as Louis Vuitton, Gucci, Chanel, Dior etc. using sustainable, recyclable materials to analyse the impact these have on brand perception from high-end consumers while exploring the debate between sustainability and luxury. Exploration of only  environmentally friendly and sustainable materials, such as recycled papers/cardstock, textiles and eco-friendly finishes instead of un-recyclable substrates, satin/cotton mix handles, and lamination /gloss finishing. Can the sector cues of environmentalism be appropriated by the luxury sector?

Feedback

Feedback received regarding idea 01 suggested that while the re-creation of retail packaging used by luxury fashion houses using sustainable, recyclable materials would allow for exploration of the debate between sustainability and luxury, it would be difficult to analyse the impact this would have on brand perception from high-end consumers as this would require attaining feedback from

individuals not within reach. 

Idea 02

Upon receival of luxury goods, consumers of high-end products can expect to be faced with multiple layers of packaging - most typically boxes within boxes within bags. This overabundance of packaging can be represented by Russian Matryoshka Dolls, repeatedly placed inside one another just as a luxury product is within any of its numerous packaging solutions. Idea 02 proposes a Russian doll style showcase of luxury packaging materials and finishes through this metaphorical strategy. Featuring embossed stocks, foiling, embossing, lamination and glossing in this format would capture all that luxury packaging seeks to provide to high-end consumers, whilst also signifying the enhanced sales appeal and greater consumer appraisal evoked as a result of heightened suspense of receival and/or ownership provided by such packaging.

Feedback

While the identified metaphor of Russian Matryoshka Dolls for the overabundance of packaging repeatedly placed inside one another was receieved well, it was thought that the ambiguity of the final resolution would make it difficult to understand the idea without prior explanation. Additionally, the form/shaping of the dolls would be hard to create and apply finishes to, making the idea redundant.

Idea 03

The luxury sector by all accounts does not hold sustainabilty of packaging high within its list of priorities, most probably because the materials and aesthetics associated with the enironmental sector of design do not create appeal to the high-end consumer who revels in the lustre and grandeur of luxury packaging. That being said, it is the fine details, accents, personal touches and finishes that truly encapsulate the niches of luxury brands and the packaging through which they deliver products. Idea 03 proposes application of these accents, personal touches and finishes to packaging made with sustainable, eco-friendly materials to explore the power these hold in creating appeal to the high-end consumer at point of purchase. Use of only environmentally friendly and sustainable materials, such as recycled papers/cardstock, textiles and eco-friendly finishes are to be used in production of this packaging.

Feedback

Idea 03 was identified as that with the most synthesis with my critical analysis content. This idea provides ample opportunity to explore different environmentally friendly, sustainable and recyclable materials, stocks, finishes etc. whilst analysing the possibilities of appeal to high-end consumers through upwards comparison potentials supplied through details / accents / personal touches / finishing. It allows for commentary on both the sector cues of the luxury packaging industry as well as environmental considerations.


Following this, further research into sustainable materials will be undertaken and their suitability for packaging.