Both whimsical and arresting, the scenes successfully invoke a sense of the ‘emotional magic’ felt during a perfect whisky-drinking moment. But rather than taking the well-trodden route of utilising overt whisky imagery (casks, glens, stills, etc.) and literal visual representations of whisky flavours (fruits, spices, etc.) in the scenes, Aldridge has instead created images of astonishing complexity that don’t ponderously tell the viewer what to think and feel but elicit an involuntary, genuine personal response – just like when one tastes a whisky.
This effect is heightened by the unusual decision not to show any of the models’ faces, which not only adds to the uncanny nature of the scenes but leaves it entirely up to the viewer to decide how to respond to the work. The diverse but anonymous cast could be anyone the viewer can imagine, and, with their out-of-time, realistic but not-quite-real aesthetic, the locations could be anywhere – or nowhere at all. At the centre of it all, the eye is inevitably drawn to the enticing range of beautifully presented whisky serves, many of which are elaborately garnished. The message is clear: these whisky moments could belong to anyone, wherever and whoever you are, and regardless of how you like to drink your whisky.
There’s much talk these days of ‘democratising’ Scotch, but this is the first campaign from any brand that I feel has truly succeeded in communicating the message that whisky is for everyone intrinsically and in a way that feels consistent with the brand’s pre-existing tone of voice (after all, bright colours and quirkiness, like the giraffe mascot, were already Glenmorangie’s bread and butter).
It’s Kind of Delicious and Wonderful also avoids the slip-ups that have hampered other (albeit seemingly well-intentioned) attempts to communicate whisky inclusivity. In this campaign, there is no ‘othering’ of traditional whisky drinkers; no ‘whisky rules’ that have to be reiterated and then broken; no painful, out-loud listing of brand values and target-demographics in the creative; and no swapping out of the old kind of gatekeeping for a new flavour. Aldridge’s work is simply a celebration of the human joy of drinking whisky.
The images are deeply complex yet wonderfully simple, genuinely intellectual without being pretentious or exclusive, and convey a clear message of progressive whisky values without being propagandist. The work overtly and subliminally subverts out-of-date whisky norms, expectations and rules, while keeping the narrative focus squarely on the ‘whisky moments’.
Calling these images ‘ad creative’ would be an injustice. Glenmorangie has in fact used its marketing budget to fund the creation of bona fide art that wouldn’t look out of place on the wall of a gallery, bar or home.
Pivotally, the campaign doesn’t just look good and send a positive message – it’s making people want to drink Glenmorangie, too. Since the launch of It’s Kind of Delicious and Wonderful in 2020, the brand’s sales have grown 20 per cent by volume and 40 per cent by value – a feat the team behind the scenes attributes predominantly to the campaign, though some route-to-market tweaks have also helped.
The success of this campaign is a resounding endorsement of the idea that colour, fun, inclusivity, a ‘drink-it-your-way’ approach, and a bold commitment to building a characterful brand with its own distinctive voice are the keys to whisky’s continued growth and relevance going forward – and I think that really is wonderful.