Brands like Garage Project have started adopting minimalist designs to appeal to modern consumers. Photo / Black Sheep Bottle Shop
Have you walked into the supermarket recently and struggled to find your favourite branded snack among a sea of clean packages and sans-serif fonts?
Across industries, a growing number of companies are stripping away decorative logos and nostalgic mascots in favour of minimalist redesigns.
From food to fashion to the apps on our phones, product design seems to be getting a makeover.
It signals a marked shift in consumer preferences, yet minimalism comes with its own set of risks – like whether brands can still stand out when they all start to look the same.
To understand whether it’s a fleeting fad or something deeper, the Herald spoke with a marketing expert about the trend.
Dr Sandra Smith, a senior marketing lecturer at the University of Auckland Business School, attributes the adoption of minimalism to a mix of “digital adaptability” and consumers’ growing preference for “clean, modern” aesthetics.
“Using a minimalist branding strategy seems to reflect an avant-garde aesthetic,” she said.
Smith pointed to local examples like Garage Project, which, despite being known for its artistic can designs, released a starkly minimalist pale lager simply titled “BEER”.
Blunt Umbrellas rebranded in 2023 with a single, pared-back “B” logo, while SO Auckland, part of the SO Hotels group, has leaned into high design to appeal to a modern, more conscious market.
Meanwhile, Griffin’s removed its famed Cookie Bear from packaging altogether in April, opting for a visually neutral look.
When asked about the change, the company said it was “refreshing” the packaging to make it “easier to find your favourite biscuits”.
Minimalist design changes can serve practical goals beyond visual appeal, Smith said.
As visual consistency becomes more important within digital environments, minimalist rebrands scale well “across various platforms, working with both mobile devices and large displays”.
Simple logos and layouts are therefore easier to recognise – and reproduce – across both digital and physical formats.
While it may appear purely aesthetic, Smith said many brands are using minimalism to reposition themselves entirely.
“While minimalism aligns with modern aesthetic preferences, it could also serve broader strategic goals such as enhancing brand recognition ... reducing production costs ... signalling premium quality ... or sustainability.”
A 2023 study published in Psychology and Marketing supported the link between minimalism and sustainability, with the design trend often seen as a response to overconsumption and a sign of a brand’s environmental stance.
Eco-conscious brands like Ecostore and Ethique have used minimalism not only for visual clarity but also to promote their environmental credentials.
In the case of Blunt, Smith said simplified packaging prepares the company “for future growth beyond umbrellas”.
Such changes can help brands reposition themselves, establish a timeless brand identity or simply modernise their look to improve brand clarity and boost relevance.
Ultimately, the goal is to “create a memorable space in the market and gain a competitive advantage”, Smith said.
Trying to capture consumers’ evolving tastes in the nutshell of a brand doesn’t always land with the target market.
“I think reactions can be mixed,” Smith said.
Some consumers may view minimalist redesigns as “sleek, modern and trustworthy”, she said, but “others may feel a loss of connection, especially when the brand is a nostalgic or distinctive brand and favourite elements are removed”.
The 2009 rebrand of Tropicana in the United States was cited as a cautionary tale.
The juice giant traded its familiar straw-in-an-orange image for an impersonal design after spending $58.2 million (US$35m) to rebrand.
Consumers, feeling visually detached from it, failed to recognise the product, and Tropicana reverted to its original design within weeks – but only after losing an estimated $33.2m (US$20m) in sales.
“If brands are using a more minimalistic design to somehow stand out and cut through the noise online, there is a point where using overly generic branding can reduce memorability,” Smith said.
In other words, minimalist design may help brands look current, but it doesn’t necessarily help them stand apart.
To Smith, the shift towards simplicity is reflective of three key trends that are driving interest in minimalist product design.
“Consumers want less clutter in their lives”, she said.
“[They’re learning about] consuming and communicating with and about brands in an increasingly complex digital marketspace.”
Meanwhile, eco-conscious shoppers may find they’re attracted to more minimal or sustainable packaging choices.
Referencing a brand that has embodied this philosophy since its inception, Smith cited Japanese retail brand Muji, which has long embraced a “no-brand” philosophy to focus on selling simple, functional and sustainable products.
The approach has earned Muji a loyal following of consumers who seek “a simplified, clutter-free lifestyle in a world saturated with overly complex choices”.
For now, minimalism is very much in vogue.
However, the effect of it as a marketing tactic often depends on your socio-economic status.
Those on the higher end of the scale tend to favour quality over quantity in products, while the opposite is true for those on the lower end, triggering a “catch-22″ situation for brands navigating opposing expectations while trying to capture the right market.
And like any major trend, minimalism is cyclical.
“While minimalism is dominant now, we may see a return to bold, expressive designs in the future, or we might see more nostalgic branding coming back,” Smith said.
Brands may eventually revisit nostalgic or maximalist aesthetics once consumers begin to crave more emotional connection and storytelling.
But for now, minimalism remains the dominant force in branding – and it doesn’t seem to be dying out any time soon.
Tom Rose is an Auckland-based journalist who covers breaking news, specialising in lifestyle, entertainment and travel. He joined the Herald in 2023.