Graza’s new campaign shows why packaging isn’t important
Graza has launched a new glass bottle edition of its renowned olive oil, and its biggest OOH campaign yet
Graza, one of the the most recognisable olive oil brands in the US, has become a favourite over the years among professional chefs and amateur cooks alike. Known and loved for its squeezable plastic packaging, the brand has recently announced that it is adding a glass bottle version of its Sizzle and Drizzle oils to the line up.
Working with Chicago-based creative agency Quality Meats to launch this latest product, Graza has also unveiled its largest OOH campaign to date. Through nearly 100 placements around its home city of New York, including in high-profile spots such as Penn Station and Union Square, the campaign looks to reassert Graza’s status as the boldest olive oil brand in the country.
Graza’s distinctive wordmark and green packaging has proved a successful brand-builder so far. However, for this campaign, the team at Graza was keen to remind their audience that it’s not the bottle that matters – it’s what’s inside.
Building on this idea, Quality Meats came up with a series of adverts that depict Graza oil being dispensed from a range of weird and wonderful items, coupled with the tagline ‘Good in anything. Now in glass’. Through two short films directed by Common People’s Morgan Harary, and a collection of lifestyle images, we see a rubber duck, a syringe, a Cupid statue and an IV drip (among others) serve as packaging for the brand’s oil.
This silly and surreal imagery reinforces the notion that Graza’s oil doesn’t need a plastic bottle to be the same great, dependable product that its loyal fanbase knows it to be. Like the packaging itself, the adverts utilise a green and black colour palette to nod to the product, but also catch the attention of passers-by.
Alongside the OOH placements, which include wallscapes, video walls, digital shelters, eye-level billboards and guerilla wildposting, Graza has also pushed the campaign through ads in the New York Times, videos on Meta and YouTube, and a consumer experiential in New York, which took the form of a surrealist dinner party and edible art show.
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