Everyware: From Product Catalogue to Brand Experience

Creating a world for Sant’Andrea

Sant’Andrea occupied the premium end of the hospitality market. For restaurant buyers, choosing tableware wasn’t simply about selecting a plate, glass or piece of cutlery. Those products formed part of the overall dining experience they were creating for their customers.

So the catalogue needed to put Sant’Andrea firmly into that world.

We created an elegant, aspirational visual style built around sophisticated restaurant environments and beautifully presented food and table settings.

Rather than showing products only in isolation, the photography helped buyers imagine them as part of a finished restaurant experience.

We also introduced editorial-style content featuring restaurateurs and chefs using Sant’Andrea products. Their perspective helped connect choices about tableware with the atmosphere, presentation and identity of a restaurant, adding credibility as well as inspiration.

Once buyers reached the individual ranges, the catalogue still had to work hard as a practical sales tool. Detailed product information sat alongside evocative photography, allowing buyers to move from the overall impression of a range to the individual pieces, sizes and specifications they needed.

The result was a catalogue that could communicate the breadth of the range without losing the sense of quality and aspiration at the heart of the Sant’Andrea brand

A more relaxed appetite for Oneida

Oneida needed to occupy a very different dining world.

Where Sant’Andrea was refined and aspirational, Oneida was aimed more towards casual dining, restaurants and gastro pubs. The creative approach needed to feel contemporary and confident, without becoming so polished that it lost the warmth and informality of that market.

We created a bolder visual language, using rich food photography, natural textures, lively restaurant environments and strong typography to give the catalogue a more relaxed personality.

That thinking carried through into the way individual ranges were presented. Cutlery and dinnerware were photographed in context, helping buyers judge not only the shape or finish of a product, but how it might contribute to the character of their own tables.

Alongside that imagery sat the detailed information expected from a trade catalogue: individual pieces, product codes, sizes, materials and the differences between ranges and price points.

It meant the catalogue could do two jobs at once. Buyers could use it as a practical reference tool, while the photography and art direction helped create a feeling for the kind of dining experience those products could become part of.

Most importantly, Oneida didn’t look like Sant’Andrea with a different logo. Its positioning shaped the whole creative approach.

Making the functional desirable

The Back of House catalogue presented a different challenge again.

This was a large, practical range aimed at professional kitchens: cookware, bakeware, food preparation equipment, utensils, storage, service products and more. Buyers needed dimensions, capacities, product codes and technical information, often across dozens of similar products.

It would have been easy for the catalogue to become purely functional.
Instead, we treated the equipment with the same care as the more aspirational tableware brands. Strong art direction and close-up photography turned everyday kitchen tools into striking images, helping create interest before the catalogue moved into the detailed product information.

The line “This is where it all happens…” set the tone. Rather than presenting Back of House as the less glamorous part of the restaurant, we celebrated the kitchen as the place where the real work happens.

That idea carried through the catalogue. Category openers gave the ranges visual impact and personality, while the product pages remained clear, systematic and easy to use.

The balance was important. A professional buyer still needed to find the right colander, baking tray or chopping board quickly. But there was no reason the journey to that information had to feel dull.

The catalogue showed that even highly practical products could be presented with energy, character and a sense of value.

Taking Viners into retail

Viners brought us closer to the consumer.

With more than a century of cutlery manufacturing behind it, the brand had genuine heritage. The challenge was to respect that history without allowing Viners to feel rooted in the past.

The catalogue combined the practical job of presenting a substantial cutlery range with a more expressive, lifestyle-led approach. Art direction and photography placed the products in characterful domestic settings, helping different patterns feel distinctive and giving consumers a clearer sense of how they might fit into their own homes.

That was particularly important across a range spanning traditional designs such as Bead, Rattail and Dubarry, more contemporary collections including Lexa and Glamour, gift sets and children’s products. Each needed enough personality to stand apart while still feeling unmistakably Viners.

Clear visual navigation also helped distinguish different parts of the range, including the 18.10 and 18.0 collections, their specifications and guarantees.

Our work extended into packaging too, carrying the same brand presentation and range structure into the retail environment. Catalogue and packaging had different jobs to do, but together they helped make a large and varied range easier to understand, while keeping the heritage, quality and character of Viners visible throughout.

From page to physical experience

Our work with Everyware extended beyond the catalogues and into Hotelympia, one of the hospitality industry’s major trade exhibitions.

In a hall filled with competing cookware and tableware brands, the first job was simple: get noticed. We created a bold architectural stand with large exterior planes, strong sightlines and overhead branding that could be seen from across the exhibition hall.

But attracting attention was only the start. Once buyers stepped inside, the stand needed to help them explore a very extensive portfolio.

We organised the space around prep, cook and serve, creating a clear journey through the range. Catalogue photography was brought into the environment as large illuminated wall graphics, while the products themselves became part of the experience. Heat lamps were grouped together to create chandeliers, glassware became another hanging installation, and kitchen utensils were turned into sculptural displays.

We also looked for ways to make choosing products more engaging.

Instead of simply laying crockery and cutlery out on tables, we created rotating displays that allowed buyers to mix and match different combinations for themselves. It made comparison easier and helped people imagine how the products might work together in their own restaurant or hospitality environment.

We took that idea further with an interactive digital tabletop. Buyers could select different table finishes and settings, then experiment with combinations of crockery and cutlery on screen. Rather than having to picture the finished result, they could explore different possibilities for themselves.

The technology was designed with life beyond the exhibition in mind too, so the same interactive experience could subsequently be used online.

Hotelympia became a physical expression of the thinking behind the catalogue work: don’t simply show people a range of products. Help them explore it, experience it and imagine what they could do with it.

Across the portfolio

Our relationship with Everyware gave us the opportunity to work across very different brands, products and audiences, from fine dining and casual hospitality to professional kitchens and consumer retail.

The answer was never to impose one creative style across everything. It was to understand the role each brand played, what its customers needed and how creativity could help make an extensive product range clearer, more engaging and more desirable.

That thinking shaped catalogues, photography and packaging, before extending into a physical sales environment at Hotelympia.

The formats changed. The audiences changed. The creative response changed with them. What stayed consistent was the aim: to make the products easier to understand, easier to choose and more compelling to buy.