Issue #145 brings together ten packaging projects that share a common thread: design decisions rooted in structure, material, and concept rather than surface decoration alone. From embossed textures and light-reactive labels to character-led mascots and cartography-inspired systems, each project selected by the Packaging of the World community shows how form, material, and detail can carry meaning on their own. Together, they highlight packaging that does more than present a product, it shapes how that product is felt, understood, and remembered.
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VELATUS designed by Estudio Argo
This label design channels the myth of the sleepless serpent guarding the Golden Fleece into a study of restraint and material tension. Colour is kept almost entirely to black, letting a single embossed gold serpent carry the entire visual weight, its deeply raised relief reading closer to sculpture than print. The wax seal cap continues the coiled motif from the label, turning the closure into part of the same design language rather than a separate element. Built on a heavyweight cotton stock chosen specifically to hold that depth of texture, the piece shows how material selection, not surface graphics, can define a premium object.
Loose Goose Brewery designed by Affogato Brand Design
Loose Goose Brewing builds its identity around a mischievous mascot rather than brewing heritage, pairing stacked serif type with a cartoon-adjacent goose to soften the usual formality of craft beer branding. That tension between traditional lettering and playful character work gives the can a personality that feels more backyard hangout than brewery origin story. An unconventional red background adds further shelf presence, standing out against the earth tones typical of the category. The result leans into humour and approachability, positioning beer as the reason people gather rather than the centrepiece itself.
Rosél designed by Studio La Regina
Rosél turns its label into a lighting device rather than a fixed printed surface, using debossed floral patterns on translucent paper that only reveal colour once the rosé wine glows through from behind. This leaves the final appearance partly out of the designer’s hands, with the liquid itself completing the palette. The textile-inspired relief adds a tactile quality reminiscent of fine fabric, shifting subtly under different light, a detail suited to a product meant to be handled and admired before it’s opened. The result treats packaging as an extension of the wine’s own character rather than a decorative wrapper.
Coraz designed by Andrea Ricciarini
Coraz builds its identity around restraint in a category known for excess, applying a single foil colour across deep burgundy tones so hierarchy comes from scale and letterform alone rather than a competing palette. A heraldic lion motif borrows visual cues more associated with wine and spirits, quietly positioning the brand outside typical specialty coffee territory before any tasting notes are read. Technical details like origin and process are present but kept to a fine print register, treated as proof rather than persuasion. The result favours composition over claims, letting expertise show through confidence rather than explanation.
BRISK — a portable deodorant designed by yryryzh
BRISK builds its entire identity around a single visual idea, the shimmering reflection of light on water, and carries it through with unusual discipline. The closed cap forms a horizon line that conceals the spray graphic until the product is opened, turning the brand’s core metaphor into something experienced rather than simply seen. An embossed dot logo shifts the same concept into a tactile register, while even the ingredient list is shaped to echo the tapered form of light on water. The packaging also shifts optically depending on shelf arrangement, showing real consideration for how it performs in retail, not just in isolation.
LUE designed by studiokopaz
LUE steps away from the sterile, clinical language that dominates supplement packaging and builds trust through character instead. Rounded die-cut edges stack into a face-like form, giving the product a companion-like presence rather than the usual clipboard credibility cues. A disciplined colour system, shifting shade to shade across the range, lets shoppers sort variants at a glance, functioning much like flavour coding in a beverage line. The design proves that warmth and structural rigour aren’t opposing forces, and that a playful system can still carry real functional clarity.
Hon Viet Rice Wine designed by Mehrdad Pourhassani Noenavaz
Hồn Việt takes Vietnam’s traditional conical hat, the Nón Lá, and reimagines it as a three-dimensional closure rather than a flat graphic motif, forcing the cultural reference to exist structurally rather than decoratively. The cone shape also solves a practical problem, tapering to a point that makes an unconventional cap easy to grip and pour. Its generous proportion against the slim bottle neck gives the design a distinct shelf presence before any label is read. A gold metal finish, rather than a matte or painted one, shifts the whole piece from folk craft toward considered luxury without losing its cultural specificity.
Nativo. Growing the future designed by Eva Chistyakova
Nativo builds its credibility by borrowing directly from the visual language of topographic climate maps, sidestepping the familiar shorthand of kraft paper and leaf icons that usually signals “sustainable” packaging. Contour lines double as a ripeness gauge, shifting from cool edges to a saturated core where the product sits, so intensity reads before the product name does. A vertical typographic strip styled like map annotation gives nutritional data a structural reason to exist there rather than defaulting to a standard back panel. Across the range, shifting colour gradients per product keep each variant distinct while holding the whole system together.
Olo designed by alchimistestudioParis
OLO’s design plays on an almost accidental facial reading, the two O’s sitting like eyes on either side of the L, with the central scoop landing exactly where a nose would fall. That subtle anthropomorphism gives the pack a second, more instinctive layer beneath its literal product information, making it feel like it looks back rather than simply sits on shelf. The generous negative space and absence of secondary graphics aren’t purely about minimalism either, they’re what keeps that illusion legible. Consistent monochromatic palettes across flavours preserve the same architecture throughout the range, reinforcing recognition without ever needing to compete visually with the wordmark.
The Glorious Mess designed by DerekandEric
This range sidesteps a category with no single origin story to claim by inventing several at once, a dog bounding through a picnic, a cricket match dessert disaster, letting them coexist across the range rather than settling on one authoritative myth. Ownership comes instead through voice: recurring illustrated characters that reappear box to box like a comic strip, instantly recognisable even out of sequence. A colour-coded system gives each flavour its own identity while keeping the family cohesive on shelf, and a hidden detail folding the double S into a figure-8 rewards closer inspection. The result proves that consistency of device can substitute for a founding story a product never had.
monther al omari
Ximena Ureta Design Studio.
vitoramockup
Up-Brands
Sophiagdotcom
Peter said
ayeidadezigns
Tancybox
宏洛图品牌设计HONGLT
Modern Theory
Dozen Agency
Atiq Alam
Olio Studio
Ruchi S. Joshi
mmdesign
awaiskhadim
Octasoft
United Creatives Studio
Kingdom & Sparrow
Anastasia Bakhmatskaya
CreativeWise
Great and Golden