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MPAKT is an international creative network producing cutting edge design solutions & building highly successful domestic & global brands.
Wth offices in New York and Los Angeles, MPAKT optimizes a diverse global team of highly experienced and talented creatives including the world's top photographers, designers, copywriters, producers and strategists— addressing the creative and logistical needs of clients such as L'Oréal, Coty, Calvin Klein Cosmetics, Condé Nast Publications International, Moschino and Shu Uemura.
The team at MPAKT is led by Creative Director Robert Bergmann, former Vice President and Global Creative Director at The L'Oreal Group, responsible for the creative-renovation of the Redken, Pureology and Maybelline brands, launching the Shu Uemura Art of Hair and Cerafill brands, and the design of numerous ranges, sub-brands and line extensions for L'Oréal and L'Oréal Professionnel products. Prior to L'Oréal, Robert held the positions of Creative Director of Vogue Brazil Magazine, Art Director at Interview Magazine and worked as Art Director for Academy Award-winning Composer Ryuichi Sakamoto and Producer David Byrne. Robert began his career as Assistant to Creative Director Fabien Baron. Robert Bergmann has been awarded Le Prix d'Excellence de la Beauté, The International Package Design Award, The Art Directors Club Award, The American Package Design Award, and The Tokyo Art Directors Club Award.
Creative Direction Ideation, concept development, message development, launch strategies and planning. Art direction, copywriting, art buying, production and marketing. Advertising innovation, renovation and modernization. Alternative advertising. Advertising platform development, benchmarking and customer insight research. Location and studio photo shoot production, casting and retouching. Video production and postproduction.
Packaging Design Packaging message development, launch strategies, planning, production and management. Packaging innovation, renovation and modernization. Packaging structural and graphic design. Packaging platform development, audits, benchmarking and customer insight research. Stock component sourcing.
Branding & Brand Architecture Brand platform development, audits, benchmarking and customer insight research. Brand innovation, renovation and modernization. Brand architecture, tagline development, positioning, message development, launch strategies and planning. Brand systems and guidelines, identities, collateral, sustainability reports, copywriting and editing. print and production management. Retail and commercial design. Digital services, copywriting, production and technical implementation.
Packaging Pureology: A Case Study Pureology's iconic hair care packaging gets a fresh, updated look that stands out on shelf. (Originally published in Beauty Packaging Magazine) Since L'Oréal's purchase of the Pureology brand in 2007, there were rumblings that the packaging was going to be updated. It badly needed a redesign and L'Oréal kept the details a big secret in the marketplace. L'Oréal had been repositioning Pureology as a luxury professional brand with a very high price-point, premium ingredients and limited the distribution to high-end salons and spas— and it was the common consensus that the package didn't look luxurious enough to justify its retail price and positioning. Right after designing Pureology's successful 'Colour Stylist' range of products that launched in 2010, it was great to be asked to redesign the visual core product line: Pureology's iconic hair care packaging. The Brief L'Oréal asked for a very distinctive shape that stood-out on shelf— but at the same time the packaging needed to appear soft, feminine and with a natural form to echoes the natural aspect supported by the brand's 100% vegan formulation, sustainable packaging and very strict 'eco-values.' It was also imperative that the neck of the bottle be quite wide (the product is concentrated and has a very luxurious thick viscosity and the previous bottle's thin neck was not optimized for the product. In fact, L'Oréal had received complaints that the product was difficult to get out of the bottle). Additionally, the packaging had to say "luxury, desirability and modernity." The bottle also needed to be stable on a shower shelf, yet easy to grasp when wet and easy to open and use with one hand. And last but not least, the specific challenge was given to us that "the package should look at home on the shelves of the utmost trendy fashion and beauty store in Paris, Colette." The Work Right away we went to work on designing a package that speaks to all the elements of the brief— the wide neck, the eco-values, the shower-grasp, and the luxury. For design inspiration we looked to nature— to the shapes and forms in pebbles, in leaves, in flowing water and in the petals of flowers (Pureology's logo is a flower). We translated these elements through many different ideas and directions ranging from very organic shapes to shapes that retained some sense of the previous packaging. For instance, we designed packages that echoed the past bottle's slim neck, or its flat profile and even some with a textural relief on the neck, as the old neck had. Then the graphics were designed and a color study done. For the graphics, we retooled the logo to look more modern and designed a new modernized pack graphic system and for the packaging colors we chose colors that retained the same color 'cue' for each sub-brand but were more 'pure looking' — lighter, more pearlescent— more sophisticated. For one of the designs, I had the idea to design a bottle that can be used right side-up and upside-down and in the process save on money and resources by making and using only one mold to make two bottles. The choices were narrowed down to three designs and then down to one. In the end, the "multi-function" bottle was the design that was chosen. The Bottle The final new bottle is an asymmetrical curvaceous organic shape that can stand both on its base and on its head with a 40mm neck diameter— wide enough for the thick product to flow freely and is usable with one hand. The packaging is injection molded using FDA approved (food grade) HDPE made of 50 percent post-consumer recycled material and is 100 percent recyclable.
Robert Bergmann Defines Luxury Beauty of L'Oréal Professionnel and Shu Uemura (by Ron Romanik, originally published in Package Design Magazine) Designer Robert Bergmann divides his time between his agency, Mpakt, and an office at L'Oréal's midtown New York headquarters. Last year, he was working on five L'Oréal brands simultaneously while also running his own agency. Prior to redefining the brand new hair styling lines for L'Oréal Professionnel and Shu Uemura, Bergmann revamped L'Oréal's Maybelline brand.

For Maybelline, L'Oréal's CEO, Jean-Paul Agon, asked Bergmann to redesign, upgrade, and modernize his global brand. Bergmann first redesigned the typography and shape on all Maybelline packages because the brand previously had hundreds of sub-brand logos in different styles, fonts, and typographic personalities.

Then Bergmann standardized the logos across all Maybelline promotional material signage and worked with Maybelline's advertising agency to modernize the brand's photographic style, typography, and ad layouts. "It was a super-exciting challenge to redesign the world's No. 1 cosmetics brand," says Bergmann. "The products touch so many people—bringing design directly to so many lives—it was a creative director's dream project."

Bergmann's objectives for the Maybelline redesign were to achieve maximum quality with simplicity and modernity, to achieve greater brand strength and continuity, and to maintain respect for the brand's heritage. Bergmann's creative vision for the brand's redesign is based on strict unification of all typography using exclusively uppercase letters for headlines and product names. Bergmann explains that the choice of uppercase reflects Maybelline's new initiatives highlighting the great potential that woman have in our society. "Maybelline is developing several international programs supporting empowerment of women, and it makes sense that the world's largest cosmetics brand should stand up for women, in all ways," says Bergmann, crediting Agon's trailblazing spirit. "Jean-Paul is an incredibly passionate marketing genius— and better yet, he's a great advocate of design." Two directions at once For Shu Uemura, Bergmann was asked to invent two distinctive and revolutionary packaging directions— modernizing Shu Uemura's signature minimalist packaging and creating the brand's first hair care product lines. Bergmann also directed the launch advertising campaign, photo shoots, and the design of all collateral and promotional material for the brand.

Bergmann designed the products under personal approval of Uemura in Tokyo. The products' boxes all bear Uemura's signature and the following quote from Uemura: "Creating something that is universally beautiful, that is art." Bergmann also worked with French industrial designer Christophe Pillet to create the unique silhouette of the shampoo and masque packaging. The new lines consist of 35 luxury shampoos, conditioners, masques, treatments, styling products, and accessories.

For Shu Uemura's advertising photo shoots, Bergmann assembled a Japanese crew and created a unique vision of beauty including hairstyles that featured the Geisha-hairdressing tradition— but modernized. "Finding a Japanese classically trained hairstylist who could bring the styles up-to-date was actually a great challenge," Bergmann says. "We had to test and pass on many hairdressers from Japan, Europe, and the U.S. In the end, the photos clearly echo the spirit of the brand-extreme luxury and true modern beauty." Textures with depth Pierre Lampert, U.S. general manager of the L'Oréal Professionnel lines, explains that the Texture Expert line was conceived to expand their reputation in color care to the hair styling products category. According to Lampert, the primary message of the packaging should be "L'Oréal Professionnel is the Hair Texture Expert" in the context of "Haute Couture Styling Effects."

The "te" abbreviation of Texture Expert on the new packaging is a brand evolution from the TecNiArt line of a previous generation. Bergmann believes the modernity of the new packaging is a fashion-forward message, because in fashion image is everything. "If you neglect the image in a beauty brand, you're really not taking advantage of the marketing potential," says Bergmann.

Being a brand new line of 18 SKUs for "A salons" only, the packaging had to make an "announcement" of sorts. "It had to be bold enough, strong enough, and powerful enough," says Bergmann. Finding the right color combinations was time-consuming, as the goal was to both separate and unify the lines for three hair types— fine, medium, and thick.

Lampert believes the colors are luxurious and Champagne-like, looking expensive but also possessing equilibrium. Chuck Pollard, V.P. of L'Oréal Professionnel's creative team, was also involved in developing the image of the brand and its merchandising. Pollard made sure the glow of the designs and colors would have maximum impact in different environments, such as on mirrored in-store displays.

Consumer testing showed that the designs and colors hit the mark on haute couture and stylishness, and over 90% of subjects said that they would try the product just on the basis of the impressive high-end packaging. Lampert says that packaging for the hair styling category has to be more edgy, fun, or artistic because hair styling is more about inspiration and creativity. "We wanted the packaging to communicate haute couture styling with an edge," Lampert says.
Clients
Alba Botanica
Alberta Ferretti
Avalon Organics
Calvin Klein Fragrances
Council Of Fashion Designers of America (CFDA)
Condé Nast Publications International
Coty
David Byrne
Estée Lauder
Fashion Targets Breast Cancer
Forum (Brazil)
Gore-tex Fabrics
Hain-Celestial Group
J. Lindeberg
Jasön
Kao
Kirna Zabete
L'Oréal
L'Oréal Professionnel
Mitsubishi
Moschino
New York Fashion Week
Philosophy di Alberta Ferretti
Pureology
Redken
Responsibility in Fashion
Ryuichi Sakamoto
Shu Uemura
Ulta
Unilever
Press
Positive Luxury, May 27, 2015
Beauty Packaging Magazine, June, 2014
Beauty Packaging Magazine, March, 2014
Cosmetics Design Magazine, January, 2014
Package Design Magazine, January, 2014
Packaging of the World, January, 2014
Packaging Digest Magazine, November, 2012
Communication Arts Magazine, March 2012
Branding Magazine, February 2012
How Magazine, January/February 2012
Cosmetics Design Magazine, January, 2012
Dexigner, January, 2012
Everything Packaged, January 2012
Luxury Society, January, 2012
Packaging World Magazine, January, 2012
Premium Beauty News, January 2012
The Dieline, January, 2012
Branding Magazine, November 2011
Forbes, November, 2011
International Herald Tribune, November 2011
The New York Times, November 2011
Luxury Institute, November, 2011
Package Design Magazine, August, 2011
2 Luxury 2, November, 2011
Package Design Magazine, September, 2009
Happi Magazine, May, 2010
The Dieline, May 26, 2009
The Dieline, March 1, 2009
Plus 81 Magazine (Japan), Typography Issue, Volume 43
The Dieline, September 4, 2009
Vogue Paris, March 2008
Axis Magazine (Japan), February, 2008
Communication Arts Magazine, January/February, 2008
Graphic Design Magazine, September, 2007
Package Design Magazine, September, 2007
Creative Review (UK), August, 2007
Packaging Europe, July, 2007
Vanity Fair Magazine, September 2007
WWD, March 23, 2007
WWD, August 17, 2007
Wired Magazine (Japan), September 2006
IDEA Magazine (Japan) Volume 275
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