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CPC Packaging’s 2006 Packager of the Year: P&G Beauty

Studying the Consumer

Credited with re-energizing the company is A. G. Lafley, chairman of the board, president, and CEO of The Procter & Gamble Co. since 2000. Duncan Paul, associate director of design for beauty care at P&G Beauty, described Lafley’s leadership style: “A good leader must be able to articulate a simple and inspiring vision. Our CEO is brilliant at doing this,” says Paul.

In an article that appeared in Fortune magazine’s May 31, 2004, issue, Lafley said, “The consumer is boss.” Peter Hargraves, global packaging and device development section head for the Olay brand, says that this is a statement often seen repeated in articles about P&G. It is also a mantra that is seriously followed at the company.

“A tremendous amount of research is done, which influences every aspect of a new product, including packaging,” says Hargraves. A team at P&G is dedicated to understanding consumer preferences, which are studied using in-novative methods. Instead of relying solely on traditional focus groups, research-ers are sometimes sent to consumers’ homes to study their behavior. Research teams often include members of the design and packaging development departments.

“The global packaging group is a part of our R&D organization, rather than being aligned with our supply or marketing groups. There is also a design group under the R&D division,” Hargraves explains. “Our unique structure differentiates us.”

Paul Crabtree, global packaging development section manager, and Krista Schwartz, global design manager, both for Herbal Essences, worked on the repackaging of the brand. Members of both the package design and package development teams spent a lot of time researching the habits of the consumer before beginning the design and packaging processes.

“We lived with the consumer for months. We shopped with her at the mall. We visited her home. We found out what she loved and hated—and not just [in terms of] shampoo,” says Schwartz. “[We learned] about her life and what she values.”

Panels were convened, and participants were asked to create a collage of what their world looks like. “All of these things helped us to completely understand [the consumer’s] world,” says Schwartz. Individual team members were there to personally witness consumer behavior firsthand, instead of reading about it in a research report. “We all took away different things from the experience,” adds Schwartz.

The Design Connection

Paul explains why it is so important that designers be so involved in consumer research. “Designers have a unique capability to be able to see the emotional connections right away between the package and how it will be used. We’re very moment-focused,” Paul explains. He refers to several moments, including the moment a purchasing decision is made at the store and the moment the consumer uses the product at home. It is these moments that are watched and analyzed, long before any actual designing takes place.

P&G has more than 200 designers in different locations throughout the United States and around the world. Every year, the company holds a World Design Meeting, attended by most members of its design team. “Much of the time is spent connecting with other designers from different cultures,” explains Paul. This helps to build a network and a sense of community among P&G’s employees.

P&G also holds workshops for its design managers in different parts of the world throughout the year. This year, the workshop was held in Boulder, CO, and was led by Paul. “It is very easy for us to describe the consumer using numbers and data. However, as a designer, it is critical to meet the consumer, see the environment in which she lives, and get to know her as a person as well as a shopper,” he says.

The work environment at P&G is one that encourages creativity. It is an example of the company’s commitment to the importance of design. In October, P&G’s Cincinnati-based design team moved into a custom-built studio. The global beauty care and personal care design teams are located in this new space. “We often underestimate how important a designer’s work environment is,” Paul says. “Look at the typical processes designers use, such as ideation, brainstorming, and prototyping. These are activities that aren’t going to happen in a cubicle.” The new studio is an open space designed to facilitate the ideation process. P&G has adopted this “design-inspired” approach as a way to explore new pathways to innovation.

P&G Beauty’s design team is involved throughout the entire packaging process, paying attention to many details. Hargraves agrees with this approach to packaging and says a package must do a lot more than simply protect and deliver the product. “Every element of a package is designed to support the message we are trying to communicate to the consumer. Every shape and color is specifically selected. We also consider the fact that they are sold in a self-select environment,” Hargraves says.

Packaging Is a Collaborative Effort

Collaboration is a critical element of P&G’s culture. “It’s about bringing together everyone’s unique skills,” says Paul. He helps define the design strategy for the Olay, Old Spice Secret, Venus, and Gillette brands, making sure that original design concepts match what suppliers deliver.

“It’s a packaging partnership,” says Hargraves. “Representatives from various departments are assembled, forming a multi- disciplinary team for each new project,” he explains. The team includes designers, as well as those in charge of package development, new technology, marketing, sales, and even finance. At a later stage, suppliers are recruited to join the team to ensure that designs can be manufactured.

Schwartz explains how measures are taken in order to help prevent a “disconnect” between the original design and the final package. She says that the reason designs are sometimes unintentionally taken in a different direction during the packaging process is often a lack of understanding about which elements are important to keep and why.

“Here, we all start from the same base point. When members of the finance department participate in consumer research, they have a better understanding of why certain parts of the design are relevant to the consumer. Then they will understand if an additional cost is necessary,” Schwartz explains.

P&G Beauty’s method of collaboration also helps the company launch new products more quickly. “It takes longer to do things sequentially, passing along projects from one department to the next,” Hargraves says. “By working together, any problems that arise are addressed by each department simultaneously.” This is extremely helpful because every time a change is made, another factor is affected. For instance, if the formula is changed even slightly, the amount of product that needs to be dispensed might change. “Having all of the disciplines present helps us to keep moving forward,” Hargraves says.

P&G Beauty often selects suppliers based on whether or not they do business globally. The company also has a Capabilities Group that stays informed of all the latest available packaging technologies, including decorating techniques, new types of paperboard, and injection molding capabilities.

A Challenging Design Concept for Olay Definity

Through design, Paul constantly strives to elevate a package to the next level of innovation. He says design is especially important when it comes to beauty products such as those for Olay. “Beauty is all about creating an experience that the consumer will want rather than needs, which is a challenge,” Paul says. The Olay brand has always succeeded in doing this.

Olay Definity launched worldwide in July after being in development for four years. The line consists of Deep Penetrating Foaming Moisturizer, Correcting Protective Lotion with SPF 15, and Intense Hydrating Cream. Olay Definity’s main design element is a prism shape, used for both the primary and secondary packages. “The prism is meant to be associated with the message of ‘light’ and the product’s benefit of luminous skin,” says Hargraves. Product benefts include evening out skin tone and reducing wrinkles and fine lines. Its advanced formulations and complex packages posed a few challenges.

During the project, P&G Beauty’s design team played an important role, as did the package development team. The designers paid attention to much more than aesthetics. “Part of design is how the package feels when it is being used. It’s about the total experience,” Paul says.

The total experience Paul refers to includes details such as how the dispenser feels when it is pushed down, how much product comes out when dispensed, how the product feels on your skin, and how fast it is absorbed into the skin. “When the daily experience of using the product is enjoyable, we are connecting with the consumer on an emotional level. The product is more likely to be used every day, and its benefits will be seen. This will encourage long-term use, which is how brand loyalty is built,” Paul explains. Judging from Olay’s loyal following, this is a strategy that evidently works.

The Deep Penetrating Foaming Moisturizer is packaged in a metal aerosol can shrouded in a triangular-shaped, injection-molded plastic part. A two-shot molding process was used by Nypro (Clinton, MA) to create the shroud. Color was used in the second shot. This two-step process was a more cost-effective way to produce the part, according to Hargraves. The actuator, collar, and overcap were also injection molded by Nypro. Tubex (Germany) supplies the aluminum can. SeaquistPerfect Dispensing (Cary, IL) supplies the aerosol valve.

The team chose to have a separate actuator button, instead of attaching it to the collar or shroud. “It cost more to do it this way, but the way it is designed allows for better control over how the product is dispensed. Since the button is not attached, the user is able to actuate while the can is either standing upright or held vertically,” says Hargraves.

One of the challenges included making the nozzle and cap the same triangular shape as the shroud. Millions of nozzles and caps needed to be perfectly oriented on high-speed machinery in order to line up correctly with the rest of the packaging. Another challenge was to lock the can inside the shroud.

“Every component in this package needed to be designed to work properly together,” says Hargraves. At first, pushing the actuator button caused the can to drop out of its position. “The bottom plate of the shroud keeps the can in place so that when the actuator button is pushed, it is properly dispensed. Getting this right was a challenge,” says Hargraves.

The Intense Hydrating Cream is packaged in a double-walled jar that required four components. Its champagne-colored inner jar is visible through a clear matte plastic outer jar. It also has a liner.

The Correcting Protective Lotion is packaged in a custom injection-blow-molded bottle with a customized lotion pump. Alcan Packaging (New York City) supplies both the jar and bottle. MeadWestvaco Calmar (Grandview, MO) supplies the pump. Pressure-sensitive labels were applied to all the primary packages by CCL Label (Charlotte, NC).

Olay Definity’s secondary packaging is a three-piece, tamper-resistant plastic sleeve supplied by Technimark (Asheboro, NC). It has a clear window that allows the consumer to see the product inside. Security tags are also placed inside this package.

Technimark decorates the secondary packages using an in-mold labeling process. “[The company] injects plastic into molds where labels have been prepositioned so the decoration appears to be printed on the surface of the secondary package,” explains Hargraves.

The Redesign of Herbal Essences

Another project in which design and collaboration both played an important role was the repackaging of the Herbal Essences brand. The brand’s newly formulated hair care and hair styling products first appeared on store shelves in June.

P&G’s design and package development teams worked together during the design phase. “Every step of the way, we made sure that the packages that were being designed would be able to meet our manufacturing requirements, as well as those of our suppliers. This collaborative effort meant that no one had to go back later to make changes,” explains Crabtree. Technical training sessions were even held for members of the design team so they could incorporate some of the necessary elements into the design early on. “We had very interactive discussions around a computer as we were all scribbling changes on paper,” adds Schwartz.

The brand’s new image was very much influenced by consumer research and based on consumer preferences. The line was intended to look outside the norm of the hair care category and borrowed some cues from cosmetic packaging.

“Through our research, we found out that the consumer loves shopping for cosmetics, but not for shampoo. We wanted to get her excited about shopping for shampoo again,” says Schwartz. For this reason, a shimmering fly-away smoothing gel named Shimmery Nights Gel and a lip gloss tube were designed. The tube is supplied and filled by Universal Packaging Systems Inc. (Chino, CA).

The one element of the original packaging that carried over to the new design was the translucent aspect of the packaging. Almost everything else was completely changed. Consumer research revealed that abstract graphics were preferred over the literal image of a flower.

The original bottle shape was based on a traditional apothecary bottle. The new bottles and tottles containing the shampoo and conditioner are curved at the sides. The bottle’s curve coordinates with the tottle’s curve so that the shapes seem to “fit into” each other when they are placed side-by-side on store shelves. “This helps to convey the idea that the shampoo and conditioner are a system that should be used together,” says Schwartz.

Apla Inc. (Atlanta) supplies the bottles and tottles, which are molded from PET at the supplier’s Iowa City–facility. “We chose our supplier because it has significant expertise with PET. Because of the curvature of the bottle, Apla experienced a steep learning curve on this project,” says Crabtree. “However, we involved the company early in the design process. It knew what it would be receiving and had time to make sure the right equipment was in place. In the end, Apla really came through for us,” he adds.

An unusual process was used to create the vibrant colors of the shampoo packages. Although they appear to be a wide range of colors—pink, blue, green, red, and orange—the bottles and tottles were only molded in pink and blue. The different colors are the result of different combinations of colored product formulas with the translucent colored PET packages.

“It’s surprising when the consumer first uses the product and sees that the product inside is a different color,” says Schwartz. “It was a huge task to make sure the tinting levels and colors were consistent so that the line ended up looking the way we planned,” she continues. The team at P&G Beauty worked with Clariant Masterbatches (McHenry, IL) to make sure this was done correctly.

Other details such as labels and closures were not overlooked either. CCL Label produced all the pressure-sensitive labels that were used on all of the packages. The bottles and tottles have custom-colored flip-top caps supplied by Seaquist Closures (Mukwonago, WI). “This premium closure helps give the consumer an experience that more closely resembles that of using a cosmetic product,” says Crabtree.

Every aspect of the design of Herbal Essences is meant to engage all of the senses. “We added a fun side to the brand and created witty names,” Schwartz says. “Through testing, we found out that consumers love to have a reason to stay in the shower, so we added a daily quiz on the packages. There are questions on the shampoo [package] and answers on the conditioner [package],” she says.

While working on this project, the P&G team faced tough deadlines. “This was the fastest new bottle design I’ve ever witnessed,” says Crabtree. “It took about two to three months to finalize the design. Normally, we take much longer—sometimes up to two years—so this was quite a task. It was a true testament to how well our collaborative process works.”

Innovation in Cosmetics

The experts at P&G Beauty have also demonstrated the ability to lead innovation in the area of cosmetics—specifically for mascara. The company was the first to market a revolutionary type of mascara brush. This brush was used for two of its brands: Max Factor Lash Perfection, launched in December 2005; and CoverGirl LashExact, launched in January of this year.

Geka Brush (Edison, NJ) supplies these packages. The brush is made of soft-touch thermoplastic elastomer bristles, rather than traditional wires. The bristles are injection molded. The injection molding process ensures that every brush produced is exactly the same and that each bristle is intentionally placed and spaced evenly with no variation. This precise positioning ensures the best application. According to P&G, the mold was also designed to create offset bristle rows that produce a dual combing action, which detangles and separates lashes as mascara is applied.

Because the brush is a polymer, it can be tailored for different results when combined with different chemistries, according to the experts at P&G. The mascara formula for CoverGirl LashExact was designed to facilitate its transfer from the brush to the lashes, ensuring a clump-free application. “The formula contains lash-building polymers that help increase flexibility and that thicken upon drying, resulting in a strong, flexible, smudgeproof look,” explains Sarah Vickery, senior scientist, P&G Beauty.

Another advantage of making a brush from a polymer is that now, for the first time, the brush can be any color. CoverGirl’s brush is lavender. This is used as a marketing angle. On store shelves, a temporary cap is used on the mascara bottle, and the brush is placed next to the bottle inside the blister package. By showing the unique color of the brush, the mass-market consumer is instantly made aware that there is something innovative about the product. It ensures that the brand is easily recognizable on store displays.

Looking Ahead

P&G Beauty’s 2006 launches demonstrate the importance of innovation through design, a collaborative work environment, and an understanding of consumer preferences. This combination has resulted in packaging that greatly contributes to the building of a specific image for each of its brands.

P&G Beauty plans to continue to rely on innovation and design in order to stay ahead of the competition. “Design is now playing a critical role in how we go about innovation, so we will continue to tap into the unique skills of our designers,” says Paul. It is his mission to continue to incorporate design as a capability within the company.

P&G will also continue to find new ways to connect with the consumer. “As her needs change, your message to her must also change,” Paul says. P&G’s ability to provide a positive experience for the consumer through its packaging will no doubt keep differentiating its brands in the future, leading the company toward continued success.

P&G Prestige

P&G Prestige is a division under P&G Beauty that includes more than 30 brands. This division is divided into fine fragrances and prestige skin care. Its best-selling fragrances include Hugo Boss, Valentino, Lacoste, and Gucci.

In 2003, P&G Prestige increased its number of brands when it merged with Cosmopolitan Cosmetics, which was acquired when P&G purchased Wella of Germany. In 2005, Dolce & Gabbana was added to its portfolio of brands. The skin care brands now under P&G Prestige include SK II and BOSS Skin by Hugo Boss. Read on for details about some of the packages launched by P&G Prestige in 2006.

BOSS Skin

Last spring, BOSS Skin was launched as a new prestige skin care brand for men. The line consists of Perfecting Skin Serum, Instant Moisture Gel, and Revitalising Moisture Cream, all packaged in the same bottle; Relaxing After Shave Balm and Smoothing Face Scrub, both packaged in the same short tottle; Refreshing Face Wash, packaged in a tall tottle; Performance Shave Gel, in an aerosol can; and Reviving Eye Gel, in a bottle with a pump dispenser.

The colors, decoration, and shapes of the components are all designed specifically to appeal to men. All of the packages are slightly wider in diameter than usual to better accommodate a man’s hands. The line was designed by the firm Webb Scarlett deVlam, in collaboration with the team at P&G Prestige.

The line’s overall “engineered” look was inspired by the German automotive industry. The sides of the metallic gray-blue plastic tottles are indented for easy grasping.

“The lines of the curvy bottles and tottles have been inspired by the piston of a car, which gives the line a high-tech look. The aluminum detailing conveys a performance aspect,” says Marco Parsiegla, Hugo Boss global associate marketing director.

The tottles are supplied by Crown Polyflex (France), and the closure is supplied by Seaquist Closures (Mukwonago, WI). The aluminum aerosol can that contains the Shave Gel is supplied by CCL Container (Hermitage, PA).

The 50-ml bottle, which contains Perfecting Skin Serum, Instant Moisture Gel, and Revitalising Moisture Cream, is unusually short and wide to fit in a man’s hand just so. This bottle is distinctively shaped and made of two parts—a silver polypropylene inner part and a translucent blue outer shell. The outer shell is attached to an aluminum band embossed with the Hugo Boss logo. The bottle has a pump dispenser with a frosted blue polypropylene pump head and an actuator located in the cap.

RPC Bramlage-Wiko (Germany; and Morgantown, PA) supplies the 50-ml bottle and also incorporates all of the aluminum parts into it during assembly. RPC says it created a new assembly line for the production of this packaging, which includes a total of 14 individual components. It also required proper orientation of all parts during the manufacturing and filling processes.

Metal collars and decorative trimming are used to accent all of the packages. The metal has a brushed-aluminum look. “The brushed surface of the metal gives the line a more masculine, upscale appearance. After pressing, the metal is anodized to achieve this look,” says Peter Seifart, director of customer relations at Seidel’s headquarters in Germany. Seidel (Montclair, NJ) produces all of the aluminum parts on all of the packages. The company also handled the assembly of the 50-ml bottle’s complex pump and actuator assembly.

Seidel used a specially designed camera system in order to properly orient all of the components on the assembly line. “The camera detects the position of the different components and tells the machine which parts need to be rotated so that they will fit together,” explains Seifart.

The packages were also designed to be extremely functional. Close attention was paid to all of the dispensers, which were designed with no-drip valves and high-performance pumps. “The caps also have an integrated twist-and-lock system so men can use them in the shower and at the gym,” adds Parsiegla.

Hugo Boss Selection

This fall, the new fragrance Boss Selection by Hugo Boss was introduced. “This bottle was inspired by the new Boss Selection fashion collection. Like the clothing line, its design is classic with a high level of attention to detail,” says Parsiegla. “The bottle’s clean lines are elegant and modern.” A key design feature is a black “frame” around the bottle. The bottle is produced by Pochet (France; and Wayne, NJ). The cap is supplied by Qualipac (France; and Wayne, NJ).

Lacoste Fragrances

Lacoste launched two new fragrances in 2006: Lacoste Essential for men and Lacoste Inspiration for women. The firm QSLD New World designed both fragrance packages. According to the design agency, its goal for both packages was to capture the essence of the Lacoste brand in a bottle. To accomplish this, the signature Lacoste crocodile was engraved on both bottles. Pochet supplies these bottles.

The outer carton designed for Lacoste Essential is green with brushed-silver accents. Lacoste Inspiration is packaged in a textured, pale-blue carton.

P&G Timeline

1837

William Procter emigrates from England, while James Gamble comes to the United States from Ireland. Both had intended to settle further west but ended their travels when they arrived in Cincinnati. Procter quickly establishes himself as a candle maker. Gamble apprentices himself to a soap maker. The two might never have met had they not married sisters Olivia and Elizabeth Norris.

On April 12, 1837, Procter & Gamble starts making soap and candles. On August 22, the two men formalize their business relationship by each pledging $3596.47. Their formal partnership agreement is signed on October 31, 1837.

1859

P&G sales reach $1 million. The company now employs 80 people.

1879

James Norris Gamble, son of founder James Gamble, is a trained chemist who develops an inexpensive white soap equal to high-quality, imported castiles. It was going to be called P&G White Soap. Harley Procter, William’s son, insists the soap deserves a more distinctive name. While attending Sunday church service, he is inspired when the minister reads the phrase, “out of ivory palaces.” Soon, the first bar of Ivory is sold.

Ivory’s ability to float was the result of an accident. An employee failed to shut off the soap-making machine, so the mixture puffed up and became frothy. He decided to finish and ship the soap, since the ingredients had not been changed by the longer mixing time. About a month later, P&G received orders for more of “the floating soap.” Today, Ivory floats because a small amount of air is intentionally whipped into the formulation as it is being made.

1924

A market research department is created to study consumer preferences and buying habits—one of the first such organizations in history.

1926

In response to the growing popularity of perfumed beauty soaps, P&G introduces Camay.

1931

P&G’s brand management system began to take shape in the late 1920s. In 1931, Neil McElroy, the company’s promotion department manager, creates a marketing organization. The system provides more-specialized marketing strategies for each brand, and Procter & Gamble’s brand management system is born.

1934

William Cooper Procter dies. He was the last member of the two founding families to run the company.

P&G enters the hair care business with Drene, the first detergent-based shampoo.

1937

P&G celebrates its 100th anniversary. Sales reach $230 million.

1943

P&G creates its first division—the Drug Products Division—to sell its growing line of toiletry goods.

1955

Crest, the first toothpaste with fluoride clinically proven to fight cavities, is introduced.

P&G announces plans to form individual operating divisions to better manage its growing lines of products. This innovation creates separate line and staff organizations.

1980

Sales reach $10 billion.

1985

The company significantly expands its over-the-counter and personal healthcare business worldwide with the acquisition of Richardson-Vicks, owners of Vicks respiratory care, and the Oil of Olay product lines.

P&G opens the General Offices Tower building in Cincinnati, expanding Procter & Gamble’s world headquarters.

1986

The company develops a new technology that enables consumers to wash and condition their hair using only one product. Pert Plus/Rejoice shampoo quickly becomes one of the leading worldwide shampoo brands.

Ultra Pampers and Luvs Super Baby Pants are introduced with new technology that makes diapers thinner.

1987

P&G celebrates its 150th anniversary. The company ranks as the second-oldest company among the 50-largest Fortune 500 companies.

1989

P&G enters the cosmetics and fragrances categories with the acquisition of Noxell and its CoverGirl, Noxzema, and Clarion products.

1990

P&G expands its presence in the male personal care market when it purchases the Old Spice product line from the Shulton Co. The product line consists of fragrances, skin care products, and deodorant.

Colonial sailing ships had been used as a trademark on Old Spice packaging since 1938. In February 1992, this is changed to a sailboat/yacht logo, which is now used on all Old Spice packaging, including the fragrance bottles.

1991

P&G acquires Max Factor and Betrix, increasing its worldwide presence in the cosmetics and fragrances categories.

1992

Pantene, originally a small part of the Richardson-Vicks acquisition in 1985, sees the fastest-growing shampoo sales in the world following the introduction of Pantene Pro-V.

1993

Sales exceed $30 billion, with more than half of that coming from outside the United States.

2000

A. G. Lafley becomes president and CEO.

Olay Total Effects launches, pioneering the “masstige” trend. The line’s facial moisturizer package uses a new valve dispensing system that can pump air while priming quickly, producing consistent output. It is supplied by RPC Bramlage-Wiko USA (Morgantown, PA).

2001

Max Factor’s Lipfinity is launched. It is packaged using an innovative airtight seal system that prevents the long-wearing formula from drying out. The packaging, supplied by Crown Risdon, consists of a gold A-shell, a gold-colored cap, and gold hot-stamped foil bands.

Crest Advanced Cleaning toothpaste is launched. A tube-in-tube package keeps its hydrogen peroxide and baking soda ingredients separate until dispensed. A plastic inner tube holds one product, while a laminate outer tube with high-barrier properties contains the second product. The tube is supplied by Cebal Americas, now Alcan Packaging Cebal (Norwalk, CT).

P&G acquires the Clairol business from Bristol-Myers Squibb Co. Clairol is a world leader in hair color and hair care products.

2002

P&G celebrates its 165th anniversary.

A. G. Lafley is elected chairman of the board. Bruce Byrnes and R. Kerry Clark are elected vice chairmen of the board. P&G has 12 distinct billion-dollar brands in its portfolio.

2003

P&G acquires a controlling interest in Wella AG, a leading hair care company, giving P&G a major presence in the fast-growing professional hair care segment.

The Olay Regenerist line launches. Rexam Dispensing Systems supplies its pumps, and its secondary plastic sleeves are from AGI Klearfold.

2005

P&G and Gillette merge into one company, adding more billion-dollar brands to the company’s portfolio. These include Gillette and Braun’s shaving/grooming products and the Oral-B dental care line.

As of July 1, 2005, Cosmopolitan Cosmetics Prestige, Muelhens, and P&G Prestige Beauté are under one roof as P&G Prestige products.

P&G combines the businesses of Wella, P&G Clairol, Prestige Beauté Fine Fragrances, and Cosmopolitan Cosmetics. Heiner Gurtler, group president of global prestige and professional care, leads the new unit.

The package designed for the launch of the fragrance Hugo Boss Energise features an innovative shape and unusual use of color. The bottle is supplied by Saint-Gobain Desjonquères. The spray-through cap was a challenge for Seidel to produce. Rexam Dispensing Systems supplies the actuator assembly.

2006

In May, Marc S. Pritchard, president of global cosmetics and hair colorants for P&G Beauty, accepts the Art of Packaging Award presented by The Pratt Institute/Luxe Pack.

As of July 1, P&G takes over distribution of Dolce & Gabbana products under its P&G Prestige division. Three new Dolce & Gabbana fragrances are planned to launch within the next two years.

Dolce & Gabbana’s new fragrance, The One, launched in October in Europe and is set to launch in the United States in January 2007. It is packaged in a heavy, clear-glass, rectangular-shaped bottle with a gold cap. The juice is pale amber.

P&G Beauty Brands

Hair Care: Wella, Herbal Essences, Clairol, Pantene, Head & Shoulders, Vidal Sassoon

Cosmetics: CoverGirl, Max Factor

Skin Care: Olay Total Effects, Olay Regenerist, Olay Definity

Deodorants: Old Spice, Secret

Personal Cleansing: Safeguard, Zest

Feminine Care: Always, Tampax

P&G Prestige Fine Fragrances: Hugo Boss, Lacoste, Valentino, Anna Sui, Jean Patou, Dolce & Gabbana, Dunhill, Giorgio Beverly Hills, Jaguar, Montblanc, Escada, Gucci, Rochas

P&G Prestige Skin Care: Hugo Boss, SK II

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