Meaghan Beatley is a journalist based in Barcelona. She has written for The Guardian, Vice, The New Statesman and National Geographic, among others.

Once a signifier of luxury or novelty, custom products and services are now within reach of the everyday consumer, thanks to the rise of artificial intelligence, algorithm-led platforms, and the COVID-era digitisation boom. Today, everyone wants to be the main character of their brand experience. 

Personal Worlds

Just as people want their wardrobes to embody a kind of post lockdown, dopamine-filled joy, so they’re also searching for brands across industries to capture their attention with intentional, colourful, and fun designs in their packaging. “The trend is all about a living, energised chaos,” says Julius Colwyn, associate director of 

. “It comes as a reaction to an increasingly harmonious, consistent graphic style defined by too many brands and businesses. There is a growing space for something jagged, something raw, something real – jarring collage, sharp contrasts, powerful neon, and irregular frames.” 

Creative Boom

Welcome to the age of anti-blanding. Defined by monochromatic palettes, sans-serif typeface and simple visual cues, ‘blanding’ was, at heart, a bid to simplify cluttered advertising and design. It was wildly successful for big name brands like Google, Apple, Airbnb, and Uber. Best represented by millennial pink – a shade aggressively unaggressive, with a hint of irony for a generation that prided itself on exposing the patriarchy – blanding was hailed the ‘hottest brand trend of 2018’. 

Fast Company

 “The ‘blanding’ aesthetic did a couple of things really well,” says Meredith Post, creative director at LPK. “First, from a packaging design perspective, it minimised a lot of variables that visually cluttered aisles. There were new table stakes as direct-to-consumer brands entered the marketplace with simple, coherent e-comm experiences, attracting Gen Y hearts – and their money. Secondly, ‘blanding’ made brands optimised for the digital space. Brands suddenly had to show up – and stand out – in a 110 x 110px circular profile photo on Instagram.” 

Interview with Meredith Post, conducted by author

But blands, as brands that went for the blanding aesthetic are called, brought about the aesthetic’s demise by saturating the market. “Blanding was so ultra-restrained, that brands started losing their souls,” Post says. “There was suddenly a void of character, texture, personality, and creativity in the market. Every brand not only looked the same, but sounded the same, too. What once made a brand powerful for its simplicity and clarity, turned into a bland abyss.” 

Interview with Meredith Post, conducted by the author

 So the pendulum has swung again. It’s 2022, and millennial pink is over. Instead, it’s an era of euphoria-style drama and provocation, neons, and glitter. 

Stuff

Time

And rather than impinging on it, the recession is also driving the trend. In a real-life embodiment of the ‘lipstick effect’ – the idea that in times of economic stress women indulge in discretionary purchases that provide an emotional uplift without breaking the bank – female consumers are actually buying more lipstick and buying them in brighter, more dramatic colours from prestige brands. 

Forbes

Gen Zers, many of whom were forced to go home and live with their parents, can allow themselves these small pleasures since they were able to save up: as a cohort they have $360 billion in purchasing power. 

Bloomberg

They’ve weathered financial tumult, adjusted to historic levels of inflation, and, every day, live with the knowledge and existential threat of climate change: they’re not hoarding money, they’re spending it on things that bring meaning to their lives and, when possible, do so in a sustainable way. 

Business Insider

New York Times

 In a similar vein, Gen Yers – many of whom are looking for their last hurrah before starting a family or buying a house – want to spend their cash on items and experiences that bring them joy. How can brands help them achieve this?

“Over the last few years, blanding has become the common go-to solution for big and small brands alike. It has become so overdone that consumers are not responding in the way that the brands using them have hoped,” says Richard Salmon, director at Fishfinger Media Ltd. While minimalist design helped big, commercial, household names simplify their image, “it worked because they already established brand recognition, awareness, and presence decades prior. It doesn’t have the same effect for smaller and start-up brands.” 

Interview with Richard Salmon conducted by the author

 In a scathing article, Ben Schott highlighted how Colgate’s branding for its smart toothbrush 

looked strikingly similar to several other toothbrushes’, including 

. The toothbrushes not only looked pretty much the same, but the discrete typeface, reliance on millennial pink and other pastel shades for background colours, and cute and quirky one or two-syllable names also made them all look like cousins. 

Salmon says that, thankfully, more brands are endeavouring to set themselves apart now. “If there’s an obvious realisation and trend that’s saturating the market and visual culture, they are more accepting of being the antithesis of that,” he says. Fishfinger is known for producing “big, bold. and out-there work” – the agency believes that a maximalist design philosophy brings excitement and buzz to a brand that cannot be achieved in any other way – and Salmon says that his agency has noticed an uptick in demand recently, which he attributes, in part, to an increase in interest in their style of work. “Especially for ambitious start-ups, you need to set out your stall and let people know what you’re about,” he says. “We’re very much of the belief that rather than hiding among the mire of other blanded companies that invoke indifference among a broad range of consumers, that it’s better that a far smaller audience absolutely love your brand because they instantly know what you stand for and are committed to you.” 

History supports Salmon’s claim: maximalist design first arose in the 1970s as a reaction to the minimalist movement of the 1960s. Since then, the two styles have taken turns rising and receding, in response to consumers’ fluctuating desires for order or excess. After several years of the mundanity imposed by lockdown and isolation, consumers’ desires are once again swinging towards maximalism, as ‘the extremity of the maximalist style aims to bring light in dark places and reclaim one’s power to take up space’. 

Eventys Partners

Maximalism also feeds curiosity – another emotion consumers are actively seeking out now that they can once again engage with the world around them. ‘The busy design can make the consumer curious, wanting to understand more about the product’. 

Idea Spice

Effectively, many brands over the last few years have aligned with Salmon’s maximalist philosophy. This is most noticeable in packaging trends. 

, providers of at-home COVID-19 tests, opted for colourful packaging with geometric designs, while 

, Seth Rogen’s cannabis line, rebranded its packaging into collectible, stackable multi-colour cubes. Studies have proven that certain maximalist designs outperform sleeker ones: for example, Ben & Jerry’s louder ice-cream packaging design outperforms Talenti’s more sober appearance ‘on measures of stand-out, findability, and communication, according to data from 

, a company that evaluates designs across hundreds of CPG categories. Notably, Ben & Jerry’s ranks number one in the ice-cream pints category for communication of ‘authentic– an increasingly important attribute to younger consumers’. 

Design Analytics

Toothbrush brand, Boka, is an example of blanding’s discreet typeface and design

Selling mess and joy, not reclusive restraint

During their heyday, blands successfully telegraphed authenticity: they were generally D2C businesses that cut out the middleman, and many pioneered social change. 

, which allowed millions of deaf and hard-of-hearing people to have accessible in-person conversations, or 

, which helped thousands of families adopt and foster children. Blands posed as underdogs that eschewed any kind of corporate feel or veneer. But that image conveniently concealed the fact that most blands were funded by angel investment, venture capital, and private equity. And for an authenticity-obsessed generation, feigning transparency is the biggest crime a brand can commit. For Gen Zers, an authentic brand is one that stands for more than just making a profit, helps improve the world in some way, and is transparent. Above all, it can’t fake it. 

This distaste for sneaky capitalism is perhaps most obviously manifested in Gen Zers’ rejection of Instagram in favour of TikTok. 

Nylon

In 2021, TikTok had approximately 78.7 million users in the US, and this figure is projected to increase to 89.7 million users by 2023. 

Statista

More Gen Zers use TikTok than Instagram in the US today, and the platform is expected to surpass Snapchat in terms of total users by 2023. 

Insider Intelligence

But D2C brands have long aligned themselves with Instagram with their clean lines and minimal text. Their aspirational nature too is right in step with Instagram’s filtered, idealised imagery. 

ers, this presentation rings hollow and far too corporate. They want to be entertained and delighted by the bursts of raw footage TikTok videos offer. Brands gravitating towards videos are experimenting with primary palettes, holographics, bright, bold shimmers, and glitters. 

ThingTesting

 is one brand pioneering experimental videos.“You could say the aesthetic shifts we’re seeing are counter to the ‘blanding’ aesthetic, and I believe it’s catalysed by a magnetic attraction to what will make you feel good. Brands are coming alive with experimental type, expressive patterning, loud colour palettes, and cheeky brand names. Businesses are selling joy, and right now, we’re all buying it,” says Post. 

Seth Rogen’s Houseplant has collectible, stackable multi-colour packaging

Finding a balance between fun and comfort

“On top of the electric maximalism that I’ve seen, there are a lot of plays to nostalgia,” Post says. “I can’t scroll for 10 seconds on Instagram without seeing ‘newstalgia,’ so it’s absolutely thriving right now.” Newstalgia, defined as ‘melting nostalgic elements like familiar faces and childhood games with futuristic features like augmented reality and QR codes’, is taking the design world by storm. 

Gartner

Like most things, it started as a meme – the viral ‘I want to live in this era’ tagline – and quickly made its way to marketing. 

Refinery 29

 “People want to feel comfort in uncertain times, which makes nostalgia common and favourable,” says Post. 

If consumers, and especially younger generations who feel like their lives were put on hold during the pandemic, are eager to boldly live their lives now, they still have to contend with a number of forces affecting their livelihoods and purchasing power, all of which are completely out of their control: rising inflation, a looming recession, climate change. It’s no wonder that, in addition to seeking out fun, they would also aspire to the comfort and serenity of an earlier time when such existential threats did not seemingly weigh so heavily.

“Gen Zers and Yers look for a brand to have purpose, and to truly walk the talk,” says Post. “Both generations yearn for comfort, but in different ways. Gen Yers remain stressed ‘AF’ and look to brands to help lighten the load. I think this had a major impact in how ‘blanding’ had such a calm, restrained sandbox. Gen Zers’ attraction to digitally naive aesthetics is also a play to comfort. They’re curious about the time before social media and depressing 24-7 media diets. There really was an innocence to Kodak disposable cameras and Microsoft Word Art. You can already see this show up in how brands express themselves on TikTok and Instagram, allowing the blurred photo styling of the early-aughts to be ‘it’s so out, it’s in’.” 

Minimalism is still, in many ways, synonymous with good user experience. As designer Danae Botha writes, many in the industry believe that the basic tenets of minimalism, nominally ‘negative space and simplicity, allows users (in the west at least) to more easily achieve their goals almost as a byproduct. Even a small, dull-grey button is hard to miss floating in an ocean of white.’ But, she continues, ‘Maximalism should not negatively affect UX. UX is an overarching discipline, of which design (either 

 design examples consistently show adherence to current UX best practices. They have recognisable navigation and signposting, important goals are easy to achieve, users can find what they are looking for in the usual places, and content is presented in a coherent fashion.’

Providers of at-home COVID-19 tests, On/Go, opted for bold, geometric packaging 

Use anti-blanding to deepen emotional connection

With inflation and a cost-of-living crisis shaping people’s personal finances, people are looking for moments of joy and release within their budgets. Even though printing and packaging costs may be higher with maximalist aesthetics, the opportunity to use anti-blanding expression to deepen emotional connection between your audience and product is significant. Smaller brands and start-ups especially, who ended up drowning in a “sea of sameness” as Salmon calls the blanding landscape, have ample opportunity to make a name for themselves by rebranding in fun and original ways. 

 “It’s abundantly clear that people in this world are seeking joy, play, and comfort. Brands hold a responsibility to be that moment of good in someone’s day. If you don’t believe that, you’re in the wrong business,” Post says. 

As the rise of BeReal has shown, Gen Zers wants honest forms of self-expression. The silly, funny, and odd vibe of TikTok inspires Gen Zers’ trust and confidence, and its performance-based platform is perfect for chaotic branding looking to capitalise on play. With 42% of TikTok users aged between 30 and 50, it’s also clear that this appetite for more authentic and low key forms of brand interaction isn’t limited to younger cohorts. 

 So the opportunity here is to target outside of the youth culture market. Anti-blanding is a strategy that has proved highly successful for independent craft beer labels – a product that typically enjoys an older following – who have used vivid imagery and storytelling on their cans to build cult followings around the product. With research finding that 

 is rooted in social, novelty, spontaneity, and boundedness, combining playful packaging with playful online spaces is a sure way to boost engagement and offer all people a moment of release at ever more stressful times.

With 81% of audiences saying they’ve tried something new because the product packaging caught their eye, it’s clear there’s an opportunity to win new audiences through rebranding. 

Packaging Strategies

 “Y2K aesthetics, kinetic typography, gradient combinations and an unapologetic/bold brand tone of voice are what we have noticed more recently,” says Salmon, commenting on the shift away from ‘bland’ aesthetics towards more effervescent approaches. But anti-blanding need not be hectic. 

Interview with Richard Salmon, conducted by the author

 Take GSK’s rebrand, which has prioritised fluid, organic forms inspired by the biosciences. This marked a departure from the two-dimensional logo before, animating the brand identity while remaining true to the brand’s focus and mission. 

CreativeBoom

 The redesign speaks to the need for brands to continue to align their mission and expression in order to maintain authenticity and connection with audiences. “It’s important for the branding landscape to be diverse, just because we specialise in bold aesthetics it doesn’t mean it’s right for everyone, agencies should always strive to veer away from fad bandwagons and help educate clients into doing what’s best for them,” says Salmon. 

users in the US, projected to increase to 

 of TikTok users are aged between 30 and 50, the appetite for authentic and low key content isn’t limited to younger cohorts

Blands have saturated the market and no longer present as delightfully simple

After a period of lockdown restraint, consumers are drawn to bold, colourful, and fun designs

Gen Z consumers prefer TikTok’s whimsy to Instagram’s more corporate rigidity

As a creative director at LPK with over a decade of experience in branding, Meredith Post works every day to provide true meaning and magic to people. She is inspired by creative courage, oddity, and truth. She uses her experiences as a former college athlete and a coach to solve big challenges with teams. She has worked across a multitude of categories, but her sweet spots are performance, food and beverage, health and wellness, and beauty. She has been featured on NPR, Design Observer, The Dieline, and Branding Magazine, and was noted as one of the '35 Leading Thinkers on Brand' by The Branding Roundtable in 2018.

Richard Salmon is the director at Fishfinger Media Ltd. Fishfinger specialises in branding, web design, illustration, and animation. The company's work has been featured around the globe and has helped young and old brands alike thrive in an ultra-competitive landscape.

United States

Communications

Shopping

Interview with Meredith Post, conducted by author 

Blanding – the use of monochromatic or minimal design that defined the 2010s – is fading in relevance. Fresh out of lockdown, consumers want the brands they choose to be bold and unique, as well as authentic and transparent. So, how can brands pivot to reflect these changing trends?

Personal Worlds

Can less be more? The science of minimalism

Beauty maximalism indulges Gen Z exploration

Gen Zers' values are transforming product design

Bloom & Wild: a mindful approach to brand communications