LIN FIBER

Avery Dennison entrusted our agency with creating the launch visual for its new Fasson® Lin Fiber paper, made from 50% flax fibers and 50% wood-free virgin pulp.

Flax is a natural plant fiber grown primarily in France. It requires no irrigation and very few agricultural inputs, making Lin Fiber an exceptionally sustainable paper that combines premium quality, durability, and responsible use of natural resources.

It is one of our agency’s favorite paper stocks—elegant, naturally refined, and capable of showcasing printing techniques with remarkable beauty.

For the launch, we designed the artwork in the style of a botanical herbarium, an aesthetic perfectly suited to exploring the anatomy of the flax plant. The various botanical elements were enhanced with embossing, while the flax fibers were subtly smoothed to further highlight the paper’s rich natural texture.

We warmly thank Avery Dennison for their trust and are proud to have helped express the qualities of this outstanding new material, created for premium wine, spirits, and luxury product packaging.

Special thanks also to LABELYS GROUP for the impeccable printing and to Hinderer + Mühlich KURZ France for their exceptional embossing craftsmanship.

@averydennison @m_uselive
@hinderer.muehlich
@leonhardkurzcreative
LABELYS GROUP
@vetroelite

#design #winepackaging #design #packagingdesign#drinkspackaging

Curator’s Insight

This is a paper stock being asked to sell itself, which is a much harder brief than it sounds. You can’t hero a substrate the way you’d hero a bottle shape or a color story. The material has to be felt before it’s read.

The herbarium format solves that by borrowing a system that has always existed to document plant structure in physical, tactile detail. Numbering each botanical element like a scientific plate gives the label a built-in reason to slow down and inspect it closely, which is exactly the behavior needed to notice paper texture at all.

Embossing without ink is the key decision here. Color would flatten the argument. By keeping the illustrations raised rather than printed, the piece proves the paper’s depth using nothing but light and shadow, which is the only honest way to demonstrate what a stock feels like rather than just what it looks like.

The restraint extends to the palette. A single warm accent for the wordmark against an otherwise uninked field keeps the eye on texture instead of color, reinforcing that the paper itself, not the design layered onto it, is the actual product being launched.

The transferable principle: when the material is the product, the design’s job is to get out of its way and let touch do the persuading that sight alone can’t.