Boak & Bailey's Beer BlogWhile the contents is on the whole fairly dull (egg and spoon races, meet the toilet attendants, and so on) the covers are works of art, redolent of the periods in which they were produced.
Those presented below are all from the 1950s and so there are a couple of references to TV, the hot trend of the day.
The Portman Group is the beer industry’s organ for self-regulation, the purpose of which is, broadly speaking, to head off this kind of issue before things get really heavy. The complaint against Cwtch was that “a member of the public, believed that the product wasn’t obviously alcoholic, due to the design, and also had a particular appeal to children”.
We have a few thoughts on this.
First, we’ve been waiting for something like this to happen. As we wrote back in March 2016 craft beer cans often feature designs that mean they resemble soft drinks, and the borderline between fun and downright infantile is pretty fine. How do you design something that will appeal to a 19-year-old but not to a 17-year-old? This is an especially important question given that the former has been a large part of the success of the crop of craft breweries that have emerged in the last decade or so.
What perhaps doesn’t help is how often we see people chortling on social media that, tee hee, craft beer cans are great because The Man assumes you’re drinking pop! Heck, we’ve even played this game ourselves. And, vice versa, when people are constantly posting pictures of fizzy pop cans with variations on the joke, “This new IPA looks interesting.”
Then there’s a second point: the nagging suspicion we’ve had that Tiny Rebel have been following the BrewDog playbook (Brew Britannia, chapter 14) and angling for some kind of dispute in which they are the oppressed underdog for PR purposes. We’re sure they must have known that the packaging was provocative — teddy bears! Candy! Cartoon characters! — just as BrewDog knew Speedball was back in 2008. In addition Tiny Rebel seem to have been actively engaged in what we’d call ‘trademark baiting’, referencing characters owned by huge corporations such as Nintendo (Princess Peach), Disney (Darth Vader) and Sony (the Stay Puft Marshmallow Man). So far they’ve got away with it, as have Robinson’s, which we suppose makes it a win-win.
Then again, maybe we’re wrong. After all, the Portman Group’s judgement suggests that Tiny Rebel played ball throughout the process and have agreed to change the packaging.
Anyway, on balance, the judgement seems fair enough to us, and hardly draconian. It would certainly seem less controversial if it as AB-InBev or Carslberg in the firing line, wouldn’t it? This kind of back-and-forth over marginal cases is far better than hard-and-fast rules which tend to push the boundary back well into the safety zone. We would certainly start to worry, though, if these rulings begin to pile up and lead to, say, a de facto ban on the use of bright colours.
We came to this story via Charlie AKA @craftybeeress who blogs at craftybeeress.com — give her a follow!
It’s often hard to pinpoint the exact moment a trend began but we do know, first, that the popularity of glass as a building material and for decoration in particular increased after the Great Exhibition of 1851, the centrepiece of which, the Crystal Palace, used glass with great extravagance.
We also know that techniques for cutting designs into large sheets of glass took off at around the same time leading to early examples of brewery-branded glass panels and mirrors, with only relatively simple designs, in the 1850s and 60s. A technique known as ‘back-painting’ became popular in the 1870s and brought colour into play. (All of that according to Inside the Pub, McDunnet & Gorham, Architectural Press, 1950.) By the end of the 19th century a look and feel that had been the preserve of private homes and exclusive clubs was the preferred style for grander city pubs. But decorative glass was still relatively expensive, which brings us to the kind of branded mirrors Nathan has in mind.
Here, after a bit of experimentation, is what we came up with:
It’s not perfect. It’s small, for one thing, and doesn’t bear close scrutiny for reasons that will become clear. But it does add a bit of corner-of-the-eye pub glamour for less than £20.
As a couple people seemed interested when we Tweeted about this you’ll find our best attempt at some instructions below.
We’ve found the way this applies to pubs particularly fascinating since arriving here permanently in the summer. We don’t know yet if we like it, as such but we do like that it seems to be a Bristol ‘thing’ — a real expression of local identity. It also seems to signal a certain laid-back informality that you might call Bohemian if that didn’t sound ludicrously 19th century.
We’re not sure of the etiquette of photographing and sharing other people’s creations but have tried to find credits where we can and link to the artist’s websites. At any rate, consider this an encouragement to go out and look at these pubs yourself, which are far more startling and unusual in the flesh.
