Excerpt from the Marketing Mix Interview with Bill Wallsgrove
Are there any branding campaigns you’ve been particularly impressed by?
A few stand out for different reasons.
From an advertising perspective, I always thought The Economist’s red poster campaign was brilliant. It was minimalist, witty, and clever – just red backgrounds with bold white text, relying entirely on smart copywriting.
But if we’re talking about brand design, one that broke the mould was Innocent.
Before Innocent, juice brands were functional and corporate, just nutritional claims, product benefits; it was all very clinical. Innocent flipped that by introducing a playful, human, and informal brand voice. They made their cartons talk to you with funny little messages, doodles, and that light-hearted, conversational style.
That’s what branding does at its best – it doesn’t just sell a product; it creates an emotional connection.
Of course, I’d love to have worked for Apple too. Their Think Different campaign wasn’t just advertising; it was a brand philosophy. They weren’t selling computers to programmers; they were selling a tool for creative people like me.
Even today, when you walk into an Apple store, it feels more like an art gallery than an electronics shop. That’s how deeply they’ve embedded their brand values into everything they do.
Which of your campaigns have you been most proud of?
I am proud of the way we helped build the brand identity for B&Q, which is still used to this day.
In one meeting they said that they wanted to sell more paint, rather than just DIY products, which they were known for. The paint market was dominated by Dulux. Customers saw Dulux as the authority on colour, while B&Q was just a DIY retailer.
We knew B&Q needed credibility in colour. The obvious solution would have been to create their own range, but why would people trust it? Instead, we proposed something radical: What if we partnered with a brand that already had authority in colour?
We approached Tate, one of the most respected names in British art. At first, B&Q’s leadership was sceptical: why would an art institution want to be associated with a DIY retailer? Surely Tate wouldn’t even consider it?
To our surprise, Tate loved the idea. They had just launched the Tate Modern and were actively looking for ways to democratise colour. Their curators spent months choosing the perfect wall colours for exhibitions, so why not bring that expertise into people’s homes?
We developed four ranges:
- Tate Britain – Traditional heritage colours
- Tate Modern – Bold, contemporary shades
- Tate St Ives – Coastal hues
- Tate Liverpool – Industrial, Victorian tones
Each range was inspired by the gallery’s unique aesthetic. We even worked with Tate curators to ensure the palettes reflected their artistic vision.
It was a game-changer. It repositioned B&Q as a brand that understood colour and brought high art into people’s living rooms.
The partnership was a win-win:
- B&Q gained credibility in colour
- Tate made money from licensing
- Consumers got expertly curated, unique colours
The range lasted six years, won awards, and generated a huge amount of PR. It wasn’t just selling paint; it was selling artistic credibility. That’s the kind of branding I love – solving a commercial challenge with a creative, unexpected solution.
Are there any Sussex-based campaigns you’re particularly proud of?
One that stands out is Ravenswyld, a beautiful rewilding project in Sussex.
A couple had inherited land, but instead of farming it, they wanted to rewild it, returning it to nature, restoring biodiversity, and creating a haven for wildlife.
They also planned to install shepherd huts to be off-grid, eco-friendly retreats where guests could disconnect from technology and reconnect with nature.
They needed branding that captured their vision; something that felt natural, rooted in the Sussex landscape, but also premium.
We came up with Ravenswyld, named after the ravens that roamed the land, and the fact that it sat on the Weald (hence, “wild”).
The branding had to reflect their ethos, so no tech, no distractions, just nature. The website, tone of voice, and visual identity all emphasised a feeling of calm and connection.
Fast forward a year, and they’ve downsized their house in Kemptown, moved to the land full-time, and are now expanding. Seeing a brand go from an idea to a thriving business is incredibly rewarding.
Also read…
What is branding?
Bill Wallsgrove on AI
You can contact Bill Wallsgrove via LinkedIn
For more about Bill’s branding services go to Brandad