Ceramica Rebranding

Summary

Client

Ceramica Concept, a Canadian distribution company that was established in 1983.

Reason for rebranding

Following a recent acquisition and change in ownership, the company shifted its focus to the upscale market, introducing premium Italian products and expanding to new locations in Montreal and Quebec City. My role was to lead the rebranding efforts, ensuring the brand reflected these pivotal changes while maintaining the recognition and awareness it had already established.

Problem

The previous identity block featured ‘Ceramica,’ ‘concept,’ and ‘Groupe Holten Impex’ as a token endorsement. Each was typeset in varying cases—small caps, lowercase, and title case—using different weights and series, creating mechanical similitude effect but neglecting optical illusion and white space balance among other. The x-height of the smallest element (tage endorsement or ‘concept’) compromised legibility at small scale.

Solution

This new uppercase logo can be arranged into two lines of optically similar length, allowing for 18 adaptable identity blocks suitable for large, medium, limited, and minimal spaces:

Signages

Here are three of those identity blocks on the client’s new showroom in Montreal:

Here’s how it fares against popular long brandnames and Fortune Global 1000 firms:

The CC monogram features a tile and is unlike any other CC monogram out there: 

Here’s a brand pattern to brand large surfaces. The squares represent how different tile series fit and are interconnected in the client’s overall products programme:

With 22 brand pattern options and unlimited framed variations, this is the most flexible brand pattern I’ve designed so far. Below is a 3D version used as the website’s hero image: 

Video presentations

Watch the two video presentations below or continue scrolling for additional content! Part 1 addresses common misconceptions and proposes general directions for rebranding Ceramica’s identity. Part 2 introduces various monogram and logotype improvements, logo system, brand pattern and other elements for Ceramica’s brand system.

Video presentation part 1

The video below addresses the concerns of those who believe in the following statements:

1. The ‘concept’ part of the name should be dropped to just ‘Ceramica’
2. The colours should be changed completely
3. The current logo is professionally done and would work just fine in all situations
4. Token endorsement would only be shown on the building facade
5. No symbol, no problem!
6. One cannot show our brand positioning and persona via the logo design

Video presentation part 2

Part 2 of the presentation covers the following proposals:

1. Monogram and logotype improvements
2. Additional identity blocks
3. Brand pattern and other elements

Scope

Preserving brand awareness is key. So what do we keep and what do we change? 

The name 

Some concerns were voiced by the employees with regards to dropping the ‘concept’ part of the name. Unfortunately that may not be feasible due to the lack of available marketing communications channels, very expensive vanity urls such as ceramica.com, ceramica.ca, and cerami.ca and unavailable social media handles. Ceramica could hire a broker and proceed with it but they’re looking at well over fifty thousand US dollars. 

It’s always a good idea to purchase short and regional domain addresses such as cconce.pt and ceramicaconcept.ca for short-link generation and for an additional layer of security for their CRM. Ceramica Concept is 15 characters in length or 16 with punctuation. Email addresses on business cards and URL links on posters will be a nightmare to design. 

Despite its length, Ceramica Concept remains a suitable name. While it lacks immediate associations that could enhance its image in terms of color, texture, shape, brand persona and tone, it does contain a valuable keyword: ‘Ceramic tiles.’ Although somewhat vague, the concept part of the name also implies a new idea or model.

And there’re hundreds of big companies that applied alliteration when naming their businesses. A lot of brandnames are comprised of two or more words that start with the same letters or sounds such as in American Airlines, Black Berry, Coca-Cola, Donkin’ Donuts, Fitness First, FireFox, Paramount Pictures and many others such as Krispy-Kream, Slide-Share, M&M, Chupa-Chups and the list just goes on. In music too: Dixie Chicks, Eminem (M in M), Marine Monroe, Ozzy Osbourne and others. 

The colours

Yellow and blue are complementary colors that create a strong but visually appealing contrast, as seen in brands like RBC and IKEA. Yellow mimics gold, sun, warmth, optimism, happiness and joy and is used by brands such ranging from McDonalds and Nickelodeon to Fendi, Ferrari, Versace and many others. It’s an attention grabber. It generates the right emotions, conveys elegance and class, and signals superior quality distinguishing it from the low-end market.

Blue on the other hand is the colour of the sky and sea, business attire and casual jeans. It is professional and friendly, reliable and trustworthy. All are praiseworthy traits especially when operating business to business. It is the colour of information and is heavily used by technology brands such as HP, Intel, Lenovo, LinkedIn, Nokia, SAP, SAS, and Sony. Transport, telecommunications, banks and finance firms such as Airbus, Amex, Boeing, Ford, GM,Jeep, KLM, Mazda, AXA, ING, Lloyds, RBS, Subaru,Volvo and WV and others also use blue. It represents ease of use, communication and interaction, confidence, stability, and dependability. 

Ceramica’s yellow and blue are a little too dark and dull for print and web. Below are the newly proposed colours:

Ceramica’s new blue actually has a similar hue to the 2020 Pantone classic blue colour of the year. At 227° and 42° on the colour wheel, Ceramica’s old blue is more purple than the new blue and classic blue and its yellow is a bit bleak, stale greenish. It’s also less saturated and darker but it is somewhat similar:

It’s not recommended to abandon these colours even something more youthful and bold but it can be discussed that at a later stage because the signages will be light metallic anyway. 

Either way, a more extensive colour palette will have to be developed for the website’s user interface including brand light blue for unvisited links using the compound or split complementary colour scheme, brand green and red for success and warning message from the double or cross complimentary colour schemes and many other variations for hover or active colours. It’s also a good practice to include brand duotone, tritone and mesh gradients and maybe even a brand pattern.

The logo

There’re no issues with small caps logos as they are widely used but it should always be professional. Small caps are drawn with thinner stems and in a wider proportion than capitals to make it appear similar. And here we’ve got an equal stem thickness across caps and small caps and even on the lowercase concept of a different type family and on a much smaller point size face:

That is unacceptable and will have to be changed to appear professional. Some of Ceramica’s clients are architects, designers, and design oriented retail partners that know a great deal about typography. And the customers’ opinion is the only opinion we should ever care about. 

Whoever designed this logo ignored the most basic rule of the typeface design, which is optical illusion. The similitude effect which they were going for is done optically and not mechanically. And because of the small negative space, the lowercase ‘concept’ actually looks bolder than Ceramica despite having the same stem thickness.

In the original design, ‘Ceramica’ is typeset in small caps, the token endorsement in title case, and ‘concept’ in lowercase. Let’s throw camelCase into the mix for no reason and BIForm if you’re not particularly fond of ascenders and descenders. See where I’m going with this?

That’ll have to be changed. It’s not a good practice to include too many variations in a corporate identity whether it be type families, faces, series, letter casing or colours. Especially when you don’t know what you’re doing, which, if you excuse the pun, appears to be the case. 

Kerning

Kerning is another basic principle of typeface design that was not addressed properly. When we read we scan the top parts of certain letters whereas the bottom ones aren’t legible so every letter is spaced from the top: 

You can still see that it says Kerning by just looking at the top part of the word. But the weighted diagonal stroke of the cap ‘K’ resembles the short diagonal stroke of an ‘R’, the curved stroke of the ‘e’ is similar to that of ‘c’, and you won’t make out what the rest of the vertical stems are to save your life. This is how kerning is done:

And this is how unprofessional keming is done:

But they just couldn’t kern less.

Token endorsement

Let’s move to the token endorsement. I recommended that kind of endorsement as it allows for more freedom for the endorsed brand to build its own associations separately from the endorsee. Previously neither of the brands seemed to have any connection whatsoever. That was only typical of companies offering upper and lower end products like Toyota and Lexus or Volkswagen and Porche, niche products P&G’s shampoos or detergents, or completely incompatible products such as Unilever foods and cleaning products. 

That was clearly not the case because both Holten Impex and Ceramica Concept operate in the upper-mid market and distribute Italian tile of the same brand. A higher degree of endorsement would raise recognition of all brands involved because endorsees only apply tokens to the few prominent brands in their portfolio such as: Universal Pictures, A Sony Company. That helps increase sales and conserve marketing resources at the same time.

However, one could argue that we won’t always have to display endorsements. But what makes it such an important aspect of the identity design is that it would oftentimes be replaced with a descriptor or slogan because this kind of endorsement allows for it. So it’s not only about ‘Groupe Holten Impex’. It could be something that would reflect its own brand persona or the year it was established like ‘Since 1983’ or something as plain as Tile Distributor. This is why it would be worthwhile to invest some time in designing it properly.

Morphology

The aperture of this particular lowercase “e” glyph is too narrow which makes it less legible at small point sizes and its morphology is far too similar to that of a two-story “a” and it also resembles the spine of “s” to the extend that those letters are nearly indistinguishable at small sizes. 

To fix that the finial of the lowercase “e” should be shortened or kept closer to the baseline and the letterforms should be wider and less round in general. The ascender of the lowercase “t” should be extended and its tail should be more like a foot. Sometimes the cross-stroke of the lowercase t could be omitted for just a stroke for better optical spacing. The tittles of letter “i” and “j” should also be higher up and little larger. Letters such as “o” and “c” should overshoot more.

Portmanteaus

Invented or uncommon blended abstract words such as impex are known as portmanteaus, where two words that belong to the same theme are amalgamated into a single word. Those are always tricky to spell and read and an extra care has to be exercised when designing the morphology of the glyphs especially in a case sensitive setting like title case. For example, lowercase “l” (L) has to be higher and thinner in width than the stem of the capital “I” (i) because it’s not Holten Lmpex. Or it should be all caps. Last names that have different spellings Holten/Holton also have to be designed carefully.

ID block

Inflexible identity block leaves very little room for the token endorsement, slogan or descriptor. Unlike some display and titling faces which are bold and tightly spaced and have a more narrow proportion for better impact, small point sizes of type should be more spread out and have less weight so as to avoid making it too dense to read. But that’s not possible with the current logo without making the x-height even smaller and impacting the minimum size for the entire identity lockup: 

Lockup elements clear-space

It also creates irregular ‘leading’ because the descriptor stands next to the much larger concept: 

Scalability 

And it leads to a much bigger problem of scalability. Because the x-height of the descriptor is even smaller that the type size including ascenders and descenders which it sets the limit on the minimum size of the entire logo that would be far too large for business cards, letterheads, websites etc.:

The issue persists even if you remove the descriptor, observe:

There’s a dramatic difference between the minimum sizes. Without the descriptor it should be as small as the version on the right but it’s not because of the type size of concept. A chain is only as strong as its weakest link which is the token endorsement / descriptor and concept in this case:

The problem 

Clearly, it won’t work because of such a great variation of type sizes that is negatively impacting its scalability. And I’m not referring to just the signage but everywhere the logo will be featured. Because the minimum size of the logo always depends on the minimum readable size of its smallest element whether it be a token endorsement, descriptor, slogan or even the lowercase ‘concept’. It also makes it less versatile, meaning rigid and inflexible because there could be no other version of the signature block. So how do we address those constrains? 

Best practices: long brands

Let me show you how it’s done:

These are all long brandnames of Fortune Global 1000 firms and famous brands like Dunkin Donuts or Scientific American, all of which have much more versatile identities. The words that comprise their company names are mostly typeset in all-caps unified typeface and letter case and designed to have similar width allowing for various identity blocks with or without the slogans or descriptor like on Dunkin Donuts. That’s why design is oftentimes more expensive than production. It has to be designed well to work in all situations. Every application has its own needs and constrains and is therefore deemed as a separate discipline by leading designers.

The solution

So the solution to all problems is a logo that could be broken down into two lines of optically similar length with a unified letter casing, one or two faces of the same type family but in different weight and series. There should be no ascenders or descenders, so it’ll either biform or most likely all caps for both logotype and descriptor.

But Ceramica has more letters than Concept and so they’re not optically similar in length. If we add more elements such as a symbol or descriptor it’ll appear off-centre:

Let’s have a closer look at what could be done to fix that. To do that, we’ll need cancel out similar letters which is four Cs and two Es. If we take letter ‘A’ which is roughly a square and compare its width to other letters we’ll understand which letters will need to spaced how many units and extended how many percent. Letters N, O, P, and T will need to be extended and spaced more than the letters R, A, and M.  

Ceramica

Let’s start with the letter ‘R’ in Ceramica. It oftentimes has a slightly wider proportion than letter P. Its leg is usually a weighted diagonal stroke that occupies a lot of white space underneath its bowl which is why its counter is horizontally extended to compensate for that loss. Its mid-arm length could be decreased by moving the leg closer to its stem which would decrease its waist and create some interspace, and if we align its tail with the extrema point at the right edge of its bowl we would kern the RA slightly better.

The two A’s could be kerned more to decrease the width of the word. Its bar could be lowered to increase its counter. The weighted diagonals could be tapered to optically match their thickness to the vertical stems of other glyphs. And some white space could be forced in the centre point of their intersection to make it look less spotty and visually increase its counter like so. That would significantly decrease the width of the entire word.

The vertex of the letter ‘M’ could be raised slightly and its diagonal strokes could be made thinner. That would decrease the width of the glyph while maintaining its counters. Again, some white space could be forced at the centre points where diagonals overlap with vertical stems or one another. Sometimes referred to as the crotch.  

The letters ‘C’ and ‘A’ could be replaced with a ligature to decrease kerning even more.

Concept 

The letters ‘O’ and ‘C’ usually have decreased kerning. However, in bolder faces, the width of the letter ‘O’ and its vertical curves are usually drawn thicker to compensate for the lack of shoulders. Squarish or condensed letter ‘O’ have more pronounced shoulders and won’t have to be kerned as much as the A’s in Ceramica. Os could also be drawn wider so as to overshoot the width all other letters. That may increase the width of the entire word. In serif typefaces, the letter O will be sandwiched between the beak of the letter ‘C’ with or without a spur like on the 1955 Onyx by Gerry Powell and the serif of the letter N so it won’t have to be kerned very much either. 

We could also decrease the white space under the bowl of the letter ‘P’ by vertically increasing its counter and the space that is occupied by its curved stroke. That would lead to an increased kerning between letters P and T. The arms of the T could also be extended to match the width of the letter ‘N’.

Finishing touches

And now for the finishing touches, let’s introduce some very subtle modifications to improve its legibility at small scale. Those mostly include kerning and some very fine optical adjustments to specific glyph designs. For instance the waist of the capital ‘R’ appears somewhat spotty at minimum print size. An intrinsic issue with bold typefaces where the color fill creates a mass at the ball joints where the curved stroke overlaps with the tail and the stem resulting in a dense congestion area. This issue is resolved by thinning the horizontal thickness of the curved stroke as it rolls into the short diagonal and vertical strokes. 

The capital A’s bar was also thinned and lifted to introduce more white space into its lower portion to balance the letterform. The cap ‘M’ was also made more condensed and the stems of the letters ‘M’ and ‘N’ became thinner than the stems of some other letters. The CA ligature was also improved. 

This improved logo concept enhances versatility by aligning word widths and providing ample space for endorsements, slogans, or descriptors. 

Standalone symbol

A standalone symbol is essential to make the logo more versatile, especially for minimal spaces on the web. While it may not instantly become as recognizable as Apple’s apple or Target’s bullseye, it has the potential to achieve that level of recognition over time, like McDonald’s golden arches, Nike’s swoosh, or classic monograms from brands such as Chanel, Fendi, General Electric, Givenchy, Gucci, Luis Vuiton, New York, Yves Saint Lauren, Volkwagen, Warner Bros, and many others.

Best practices: symbols

Next, let’s examine best practices for companies with two or more ‘C’s in their name. A lot of them are Canadian, because Canadians love adding ‘Canadian’ to their name, which isn’t wrong per se, it’s a locative keyword: 

So we’ve got Calgary Chamber, Canadian Wire and Cable Company, Canadian Cablesystems, many of these have long been acquired by other firms but that’s beside the point. Canadian Council, Canadian Guild of Crafts. Then some Australian, German and Italian brands, Canadian Cultural Centre, some more Canadian, American, British and European brands, Closed Caption symbol, the famous Coco Chanel’s CC monogram, recently rebranded Colorado College, Columbus Centre with an amazing logo by the late Paul Rand, a famous designer behind abc’s logo, American Institute of Graphic Arts’ logo, IBM’s logo, Enron’s logo before the scandal (obviously), Steve Jobs’ Next Inc and many others. Comedy Central, Congress of City Planning has an interesting one. A whole bunch of other Canadian brands, a lot of American and British brands, some Italian brands, Creative Cloud and Creative Commons that most of us use. 

Comparing Ceramica 

And now, Ceramica Concept. Like many brands, it uses a ‘CC’ monogram. However, one notable difference stands out: white space. Ceramica’s monogram has excessive white space.

Scalability

Excessive white space reduces scalability, eventually rendering the symbol nearly invisible.

Take a look at the monogram as a favicon in the browser’s address bar — it’s barely visible, revealing the issue with scalability. This is Safari by the way. You can see other favicons on the tabs in the top left part of the browser window: LinkedIn, Twitter, Instagram, Facebook, YouTube and Ceramica Concept.

How about Google Chrome? Well the same story here. You can barely see our logo as the fave icon. But I guess that’s ok, most people interact with our companies via smartphones anyway. That is true. But mobile devices have even more constrains in terms of the available screen size.

If you save a website on your home screen or have an app for your dealers one day, this is what it would look like. You can see the app icon on the top left very well. But the same icon in the folder: not so much. All of that has to be taken into account when designing the symbol so that you won’t have to change it every time you jump on a new platform.

Let’s head over to Instagram, a haven for home improvement stores. This isn’t a real screenshot by the way, these are merely some of the places where our customers can see our company’s logo. They’ll see our logo just fine when visiting our profile or even scrolling through our posts. But not when we like their posts or in the comment section which is arguably a more frequent form of interaction that you will have with our customers.

If you develop a client app for things like placing purchase orders, or viewing new tile series in virtual or augmented reality. Our logos would be visible on the top of our user interface when switching between apps in the multitasking mode. We would also see it in a much smaller size on the App Store. 

How about Facebook Messenger where most of my clients get their customer messages from. Sometimes when you post stories, your profile picture is replaced by the story’s thumbnail and the logo can only be seen in a very small size on the right side. 

And there’re app widgets, showcasing new collections or projects. That will also have our logo on top left. 

CC Monogram

Returning to the monogram design: a versatile identity requires minimal white space to ensure scalability and legibility at small sizes, whether as a favicon, grouped app icon, or social media and messaging app profile picture. A long company name would never be visible at that scale and a standalone symbol is essential.

Out of the 12 options presented, the team voted almost unanimously in favour of what we refer to as the ‘infinity tile’ monogram. The letters ‘C’ are balanced by introducing a quadrilateral shape that seamlessly fuses the round letterforms with a square representation of a tile. This symbol is fresh and custom tailored for your business. It’s unlike any monogram that you’ve seen earlier:

My initial sketch was too rounded, with the two ‘C’s overshooting the square, and the instroke and outstroke terminals not optically aligning with the sides, resulting in a more pronounced ‘infinity’ sign:

The thickness of the curved strokes equals to a third of the square and is far too thin for that size which creates a large negative space that will indubitably impact scalability. There’s also a wide gap between the elements that makes it appear somewhat broken:

I’ve tried placing the origin points on the vertices of the square to increase its size but that made it larger than the two Cs. So the square is more visible and its clearspace creates some misalignment issues as well:

However, if we move the vertices away from the origins and make the Cs overshoot the square ever so slightly to appear similar, it’ll be perfectly balanced: the square and the circles are now seamlessly fused into a single entity and neither of them compete for attention. There’s a narrow gap between the elements and they’re optically aligned and symmetric. The strokes are a third of a square wide and its origin points are horizontally aligned with and equidistant from the vertex centroid.

This versatility supports the creation of varied design elements and aligns with future debranding campaigns for new product launches. Here you can feature 1, 4, 9 tile faces and 36 and 81 mosaics:

And there it is up there with the global 1000 and other popular long brand names:

These brands often have extensive logo systems with multiple vertical and horizontal configurations. Our logo design achieves similar versatility, with 18 identity blocks, including the three shown here:

Logo system

Let’s explore what isometric identity block elements would give us:

Large spaces

1. A two line id block with the token endorsement which is our standard version for large spaces
2. A left-aligned version that’s also frequently used in large spaces such as posters with left-line content or on the left rear door of the cargo vans
3. An emphasised vertical version that you can use on the pylon sign
4. An alternative horizontal two line ID block with a token endorsement that you can use as the signage for your distribution centre in Quebec

Medium spaces

1. Next we have a standard one line vertical ID block with a larger token endorsement that allows it to be used on medium spaces. Notice how the minimum point size phase is exactly the same for every ID block but the bottom one is half the height of the one above it due to a proportionally large tagline. It’s why it could be used on smaller spaces and still be legible.
2. Here’s an alternative one-line horizontal version for medium spaces 
3. An alternative two-line horizontal version with the larger token endorsement 
4. And a cool centred version for those occasions when the body matter is also centred like on gift cards, or on the the web pages with a centred logo and content 

Limited Spaces 

1. Moving onto the limited spaces, here’s a standard vertical one-line id block. Since it doesn’t have an endorsement, it’s considerably smaller than all other ID blocks
2. A standard two line version a couple of alternative horizontal one and two line versions that could be used on the web, stationery such as business cards and letterheads and larger merch such as coffee mugs  
3. An emphasised vertical two line option left aligned version for email signatures and some letterhead designs and 
4. A centred version 

Minimum Spaces

1. And finally three id blocks for minimum spaces including the standalone symbol that can be used on the web, social media, pens, pen drives, and other merch
2. A horizontal ID block for minus spaces like pens and other merch
3. A centred version

Raster colours

I’ve also created black only versions for situations where there is low contrast between Ceramica’s gold and the background color:

White only versions for dark or complex backgrounds such as videos: 

And an inverse version to be used with our brand blue background: 

It’s a complete logo system with a total of 18 identity blocks and four color palettes that will make sure that your logo works consistently in all situations

Brand Pattern 

However when it comes to branding large surfaces, putting a massive logo over it or even a regular size logo is not always the right approach. It might come off as bland and dull or worse as desperate and pushy as opposed to classy and inviting. There’s got to be a more covert way of reminding people of the brand whilst also avoiding logo overuse when branding envelopes, folders, bags, sample packaging, and other stationary, collateral, and merchandise. 

In that regard, Ceramica is similar to fashion brands recognised for its branded accessories, handbags, scarves, packaging, and sometimes suitcases, major appliances, vehicles, and even building facades:

Patterns are not some weird one-off niche fashion thing. It’s not strictly for the clothing industry. Lots of brands have partners such as the Canadian olympics team, Melbourne city, numerous educational institutions, financial institutions, restaurants and cafes like Starbucks, software companies like dropbox. The list is endless.

Fashion is simply the easiest example that everyone can relate to. We all know these brands and have seen these patterns. Besides, tile is fashion for the home and we are moving upscale with our Italian designer surfaces. So a high-end fashion brand is a very appropriate example for us. And honestly, every brand is a fashion brand. Look at Walmart uniforms, shopping bags, vehicles, and accessories. All that is included in a brand system. 

We have to do this the right way. We cannot simply print our monogram lock up on there like some brands did. Because our monogram has more round shapes to it, which are more noticeable than any other shape and so it will not be balanced. You’ll only see one shape, you’ll only see circles but we can overlap those round shapes to increase the number and variations of the squares to design something appropriate for the brand that would match and extend the logo and be immediately recognisable and consistent: 

It’s a harmonious blend of simple geometric shapes which don’t counteract one another, that together consolidate the overall comprehensive and sophisticated pattern design, boosting the look and feel of the brand. It completes and enhances our branding. It can embed and carry our monogram or an entire monogram lock-up without being pretentious. And it can also elevate our brand independently. 

Pattern colour options

It adapts to various sizes and color schemes, from festive royal blue and gold to subtle monochromatic blues and off-whites, while remaining distinctive and recognizable:

1. Standard gold pattern outlines on blue background 
2. Alternative inverse blue pattern on gold background
3. Blue pattern on gold background for special occasions such as gift wraps 
4. Gold monogram on gold parts and outlines on blue background 
5. Gold monogram lockup on gold pattern outlines on blue background
6. Subtle monochromatic blue outlines on blue background 
7. Blue monogram on monochromatic parts and outlines and background 
8. Blue monogram lockup on monochromatic pattern outlines and background 
9. Monochromatic blue pattern and background 
10. Gold pattern outlines 
11. Gold monogram and pattern outlines 
12. Gold monogram lockup and pattern outlines 
13. Gold pattern 
14. White pattern outlines an off-white background 
15. White monogram and pattern outlines on off-white background 
16. White monogram lockup and pattern outlines on monochromatic background 
17. Off-white pattern 
18. Many paired pattern options and
19. Even more frame pattern options 

These patterns work well on letterheads, brochures, presentations, posters, stickers, and across web and social media platforms. Below are a few frame pattern options:

They can be used with complex black and white or color backgrounds. 

That’s how you show that you sell unique designer products. That’s how you make your product feel special: you package and present it that way to the customers and they’ll value it at your own appraisal. That’s how you set yourself apart from your competitors.