We are certainly going to look at the color of a wine when its conservation is important in its aging process or listen to the sparkling of the fine bubbles of an exceptional champagne. We are certainly going to smell the vapors of an alcoholic drink to appreciate its complexities or finally taste a whiskey and seek to identify its origin or its notes of peat. But then what engagement is there with the sense of touch?

Can we be informed on a drink and its characteristics simply and effectively with only the sense of touch?

It is this work of constraint, this change of paradigm that we wanted to confront, and which is the result of this new design.

The first access to an understanding by touch of our subject is through the handling of the bottle, a design evoking a liturgical work by adopting the form of a triptych where each facet of our bottle tells part of the history of the brand, the estate and this atypical liquid in the universal language of Braille. Here we are reversing the received process for the access to culture and knowledge by no longer placing at the primary level of importance typographic and readable text but accessing it through a mysterious and physical expression of lettering via its graphic and textured representation.

On a few occasions, to retain a certain universal accessibility to the product, we supplement the braille with an embossing on the glass using classic typographic lettering.

Nevertheless, we are forcing the “Lambda” consumer to make an extra effort by learning how to decipher the subtleties of this spirit and its history, while offering them a pleasant even addictive extra experience through the touching of an object encoded with a second subtle layer of meaning.

The second element of the project concerns the label which also mobilizes this notion of double expression through the art of writing in two distinct forms. A classic visual representation of the word “GIN” ensures the distinctive visibility of the product on the retail shelves, but which is also deliberately reduced to its simplest expression without color highlighting. As if to give pride of place once again to the three-dimensional representation of the typographer, the printed text merges into a multitude of elements embossed in the paper, like a graphic that is part of this second language of touch.

The Boam studio pushes for the intertwining of several means of typographic representation as well as the relationship between information and aesthetics. A simple, impactful and sensory graphic framework, the bottle design is itself a narrative and a source of information from simply holding in one’s hand the codes and culture of the means of representation.