Silver Packaging Design · 2025
Utsuroi Sake Packaging
- A' Design Award 2025 Silver Winner in Packaging Design
- Awarded April 15, 2025
- CLIENT: Takeda Shuzo Co., Ltd.
- Estimated Number of Design Views: 25,934
- Verification code 9BB47CDDFB · Verify this award
About Utsuroi Sake Packaging
The design of this set of three Daiginjo aged sake bottles combines innovative slit-animated packaging with artisanal craftsmanship. The dynamic logo transitions illustrate the brewing years of 2004, 2012, and 2019, while the act of opening symbolizes the sake's aging process. Clear varnish and silver foil seals enhance the unique amber hues of each vintage. Balancing elegance and cost efficiency, the minimalist design highlights the intrinsic beauty of sake, offering a profound and timeless experience for recipients.
MAHO SEKIZUKA's Utsuroi Sake Packaging exemplifies the sophisticated intersection of traditional craft sensibility and contemporary graphic design that characterizes the most thoughtful approaches to premium beverage presentation, where the designer has created a system that speaks eloquently to the passage of time and the refinement of process through remarkably restrained formal means, the work demonstrates exceptional compositional intelligence in its serial presentation of three boxes arranged in cascading formation each bearing a vintage year that transforms utilitarian packaging into a contemplative meditation on temporality and the maturation of quality, the distinctive ribbed surface treatment appears to reference traditional textile techniques or perhaps the subtle striations found in natural materials creating visual interest through material manipulation rather than applied decoration, this approach aligns with established principles of Japanese design philosophy that privileges authentic material expression over superficial ornamentation, the chromatic strategy of deep charcoal surfaces paired with pristine white spines achieves a refined tension between weight and luminosity darkness and light that suggests the complexity contained within apparent simplicity, typographic choices demonstrate similar restraint with clean sans-serif numerals positioned with careful attention to optical balance and spatial relationships, the overall effect invites contemplation of time's passage through the language of form texture and carefully considered proportional relationships, viewers might consider how material choices and compositional decisions communicate values of patience craftsmanship and the appreciation of subtle distinctions that define connoisseurship in its most elevated forms.
Press Kit
- Unique Properties
- This set of three Daiginjo aged sake bottles features innovative slit animated packaging with changing logos to indicate the brewing years 2004, 2012, and 2019. Opening the box reflects the flow of time. The bottle seal highlights the progression of years using varnish and silver foil. The design emphasizes the amber color of sake, deepening with each vintage, adding a new layer of enjoyment to the sake experience.
- Dimensions & Packaging
- Width 300 mm x Depth 232 mm x Height 64 mm
- Tags
- GraphicDesign, Utsuroi, PackageDesign, Branding, Sake, VintageSake, Katafune, Joetsu, Niigata, Japan
- Production Technology
- Specifications: Double printed with black ink + OP varnish. Gift box: Double printed with black ink + OP varnish. Material: PP transparent 0.25. Gift box: CB 270g/EF (single-sided white, C5).
- Design Challenge
- Achieving new concepts involved trial and error, applying slit animation to evoke the passage of time. Cost management balanced high-end design and budget limitations through careful material selection. The box design ensures ample white space and durability. Offset printing with double sumi ink achieved deep black sleeve animation. Bottle seal varnish highlights the vintage's amber beauty, fine-tuned for gloss. Packaging focuses on enriching the user’s luxurious sake experience.
- Project Duration
- This product was released on Friday, November 19, 2021, in a limited edition of 100 sets by Takeda Shuzo in Ogata, Joetsu City, Niigata Prefecture.
- Operation Flow
- Using the principle of slit animation, opening the sleeve showcases the brewing years shifting from 2004 to 2012 and then to 2019. This conveys the concept of the passage of time from the moment the box is opened. The seals on the bottles represent the flow of time through the use of varnish and silver foil. The design eliminates decorations to emphasize the amber color of the sake, which becomes richer with each vintage.
- Research
- This research explores innovative packaging that transcends traditional boundaries, enriching the sake experience. Slit animation symbolizes time's passage upon opening, with varnish and silver foil on bottle seals highlighting the amber beauty of vintages. Stripping away decorations, the design emphasizes sake’s intrinsic charm. By balancing costs with luxury, it delivers exclusivity, ideal for gifting and creating memorable moments.
- Inspiration
- This product, limited to just 100 sets, aims to create a striking package that avoids classical styles and remains free from conventional constraints. It is designed to allow sake enthusiasts to focus on the tasting experience and fully enjoy a luxurious time for themselves. The package subtly communicates that it contains a set of sake from three different vintages. Despite keeping printing and processing costs low, the package maintains a significant presence suitable for gifting. These conditions, including the naming, were all carefully considered in the design.
- Image Credits
- Image #1: Maho Sekizuka, 2021.
Image #2: Maho Sekizuka, 2021.
Image #3: Maho Sekizuka, 2021.
Image #4: Maho Sekizuka, 2021.
Image #5: Maho Sekizuka, 2021.
Video Credits: Maho Sekizuka, 2021.
Colors of Utsuroi Sake Packaging
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G0E3 ShopDesign Interview about Utsuroi Sake Packaging
The design is inspired by the idea of experiencing time itself. Each bottle represents a different era of aged sake, not through literal visuals, but through a quiet atmosphere that unfolds when the box is opened. I wanted the act of opening the set to feel like entering a special moment — something that works both as a gift and as a personal ritual. The principle behind the design is to let people enjoy the rarity of aged sake in a way that feels intimate, calm, and slightly ceremonial.
My main focus was to design a structure and pacing that guides the user into a quiet, special moment. I paid particular attention to how the box opens, how the bottles sit inside, and how the colors shift subtly between eras. Rather than decoration, I focused on creating an experience — something that feels intentional, calm, and worthy of the rarity of aged sake.
I plan to continue developing this concept as a way to communicate the quiet beauty of aged sake. The award gives the project more visibility, so I hope to collaborate with breweries and craft producers who value time and subtlety. I would like to expand the series to include other expressions of aged sake, creating a small collection that allows people to experience different eras in a calm, intentional way.
It took around 30 to 40 hours to design this concept, including the structural planning, color studies, and the detailed work on how the opening experience should feel. The process required careful attention to express the quiet transitions of aged sake in a subtle and intentional way.
This design was commissioned for a limited release of three aged sake vintages, sold at around 10,000 yen as a special set for personal enjoyment. Even though it was a client project, I personally wanted to make it a unique and conceptual experience — something that would stay in the user’s memory. Because the product would exist only for a short period, I focused on creating a quiet, atmospheric moment that begins when the box is opened, allowing the three eras of aged sake to be felt in a subtle, non‑literal way. The result is a design that works both as a personal ritual and as a thoughtful gift.
This design was created as a commissioned project and produced by the client for a limited release of three aged sake vintages. I do not plan to sell or lease the production rights, as the concept was developed specifically for this product and its short‑term availability. The production and distribution were handled entirely by the client, while my role focused on the design and experience.
I designed this type of work because aged sake carries a quiet depth that cannot be expressed through literal visuals alone. The project involved three different vintages, each with its own era and character, and I wanted the experience to feel more like entering a moment than simply opening a product. Creating a conceptual, atmospheric tasting set felt like the right way to honor the rarity of aged sake — something personal, memorable, and slightly ritualistic.
This work was not influenced by specific designers or existing sake packaging. In fact, I intentionally avoided the conventional “Japanese‑sake look” and focused instead on creating an atmosphere that feels quiet, contemporary, and conceptual. The inspiration came from the subtle transitions of aged sake itself and the idea of designing a moment rather than a decoration.
The target customers are people who enjoy aged sake as a personal, quiet experience, as well as those looking for a thoughtful and memorable gift. This design is meant for individuals who appreciate limited releases, subtle atmospheres, and the idea of tasting different eras in a calm, intentional way. It speaks to customers who value rarity, depth, and a sense of ritual in how they enjoy alcohol.
What sets this design apart is the use of a slit‑animation mechanism that allows the era of each aged sake to shift as the viewer moves the overlay. Instead of relying on traditional sake motifs, the concept expresses time itself as a quiet, interactive transition. The three vintages are revealed through subtle changes in color and movement, creating a calm, conceptual experience rather than a typical tasting set. This approach makes the design memorable, atmospheric, and distinct from conventional Japanese sake packaging.
The name “Utsuroi” means “transition” in Japanese. It reflects three layers of change: the quiet passage of time, the subtle shift in the flavor of aged sake, and the emotional transition that occurs when the drinker imagines the era in which each vintage was made. As the slit‑animation mechanism gently changes the displayed year, the viewer experiences a soft overlap of time, taste, and feeling. The name expresses this calm, evolving moment where past and present meet.
I used Adobe Illustrator for the main layout, color planning, and the slit‑animation structure. Adobe Photoshop was used for texture adjustments and visual testing. I also created physical mockups to verify the smoothness of the slit‑animation movement and to check how the transitions behaved when viewed from different angles. These tools together helped refine both the visual atmosphere and the interactive experience.
The most unique aspect of this design is that the experience begins the moment the package is opened. Instead of presenting the vintages directly, the slit‑animation mechanism quietly shifts the displayed year as the viewer moves the overlay, creating a gentle sense of time unfolding. This approach expresses three layers of transition — the passage of time, the subtle change in flavor, and the emotional shift that occurs when the drinker imagines the era in which each sake was made. It becomes a calm, conceptual ritual rather than a conventional product.
I designed and developed the concept independently, but I collaborated with a printing director for the technical aspects of production. I wanted the slit‑animation and the logo to have a deep, strong black, and although rich black was an option, the printing director proposed cost‑efficient alternatives such as double‑printing black ink. Their technical guidance helped refine the balance between visual intensity and practical production. All conceptual development, graphic design, and mechanism testing were carried out by me, supported by specialized printing advice when needed.
Technology plays a subtle but essential role in this design. The slit‑animation mechanism is a precise analog visual technology that allows the displayed year to shift smoothly as the viewer moves the overlay. In addition, printing technology was crucial: I worked with a printing director to achieve a deep, strong black for the slits and logo, exploring options such as double‑printing black ink instead of rich black to balance cost and quality. These technical elements support the conceptual experience, allowing time, taste, and emotion to unfold quietly through the design.
This design was not driven by numerical data, but it was shaped by analytical research into materials, movement, and visual behavior. I studied the mechanics of slit‑animation to understand how different paper thicknesses, slit widths, and viewing angles affect the smoothness of the transition. I also researched how the flavor of aged sake changes over time to support the conceptual theme of “Utsuroi.” In addition, I worked with a printing director to test methods for achieving a strong black for the slits and logo, comparing options such as double‑printing black ink. These forms of practical and technical research guided the final structure and atmosphere of the design.
This design was shaped by analytical research into materials, visual behavior, and how aged sake is experienced. I studied how the color of koshu changes over time and decided to remove bottle labels entirely so the drinker could appreciate the natural hue without interference. Instead, the era is expressed only through a sealing label printed with varnish and silver foil. I also analyzed the mechanics of slit‑animation, testing paper thickness, slit width, and viewing angles to ensure smooth transitions. Together with printing tests—such as exploring double‑printing black ink for stronger contrast—these research steps guided the final structure and atmosphere of the design.
I decided to submit this design to an international competition because the concept of “Utsuroi” goes beyond the traditional framework of Japanese sake packaging. It focuses on the quiet transitions of time, flavor, and emotion, expressed through a precise analog mechanism rather than cultural motifs. I felt that this approach—removing bottle labels to honor the natural color of aged sake, expressing the era only through a varnish‑printed and silver‑foiled seal, and refining the slit‑animation structure through technical research—could resonate with a global audience. Presenting it internationally was a way to test the universality of this calm, conceptual experience.
During this project, I learned the importance of refining a concept through careful subtraction and precise technical adjustment. Removing bottle labels to let the natural color of aged sake be seen taught me to trust minimal decisions. I also improved my technical sensitivity by repeatedly visiting the printing site to fine‑tune the varnish printing on the sealing label, adjusting gloss, density, and alignment until the expression of the era felt quiet and exact. Working with a printing director further deepened my understanding of how choices such as double‑printing black ink can influence both cost and visual intensity. Overall, this project strengthened my ability to design with intention, precision, and restraint.
One aspect not yet mentioned is the respect for aged sake itself. This design treats koshu not as a product to decorate, but as a material shaped by time. By removing bottle labels and allowing the natural color to remain visible, the design acknowledges the sake as a record of its own history. The slit‑animation mechanism and the restrained sealing label were created to support this idea: that time can be designed, not illustrated. This project allowed me to explore how a package can step back and let the material speak, creating an experience where the viewer encounters the quiet presence of time rather than a conventional graphic narrative.
Grand Interview about Utsuroi Sake Packaging
The slit animation embedded in the Utsuroi package was designed to convey the passage of time—not through technology or illustration, but through a simple, tactile motion triggered during the act of opening. As the user gently slides the outer sleeve, the year indicator changes, evoking the subtle yet constant movement of time itself. This visible transformation becomes an abstract metaphor for aging—a core element of sake itself.Rather than merely preserving sake in a box, I wanted the package to serve as a witness to time. The motion invites reflection, encouraging the recipient to feel the gap between when the gift was given and when it is finally opened. The device is simple, but intentional. By asking the user to interact physically—to draw time into motion with their own hands—it breathes life into what would otherwise be a static object.This design is meant not just to house a bottle, but to shape an experience: a poetic device that quietly connects sender and recipient across the years. It invites them into a small ceremony of memory and anticipation, making the moment of opening not the end of a gift, but the culmination of shared time.
For the vintages of 2004, 2012, and 2019, Utsuroi expresses the temporal depth of aged sake not through ornate decoration, but through restraint. To emphasize the subtle transformation across time, the year labels were printed solely with silver foil and clear varnish—deliberately omitting any excessive ornamentation. This visual economy reflects the quiet dignity of aged sake itself.The clear varnish was designed to reveal itself only under shifting light, making the year appear almost ethereal. Because of this delicacy, we were especially careful about the balance of transparency and contrast—ensuring the print would be perceptible without being overpowering. I personally attended the printing sessions, collaborating closely with the press technicians to make countless subtle adjustments to ink density, foil pressure, and finish quality until every layer aligned as intended.Printing, often considered a technical step, became a deeply sensory and intuitive part of the design process. We weren't just transferring ink onto paper—we were attempting to give visible form to something typically intangible: the gentle accumulation of time. The year—barely visible, yet undeniably present—emerges quietly through silver and light, offering a poetic representation of maturation, memory, and the beauty of restraint.
During my time in Kamo, observing the traditional process of washi paper-making left a quiet but lasting impression on how I approach design. It wasn’t about technique—it was about attitude. I was struck by the rhythm of repetition, the stillness of labor, and the profound attention to every invisible detail that makes the final piece speak without raising its voice.This sensibility lives on in the way I developed Utsuroi. Although there was no direct stylistic borrowing, the process of creating it—especially the iterative refinement of printing foil and varnish for the year markings—reflected the same kind of devotion. I personally attended multiple printing sessions, carefully fine-tuning light reflection and visibility in close dialogue with craftsmen on site. That experience felt very close in spirit to the silent dedication I witnessed in Kamo's washi studios.In Utsuroi, the beauty doesn't come from how much is added, but from how much is allowed to remain still. My time with regional craft reminded me that design is not just about making form—but about how we choose to relate to time, to materials, and to the people who bring things into being.
Utsuroi was priced at around 10,000 yen—a high-end item intentionally limited to just 100 sets. This specification was predetermined by the client, and within that framework, my role was to explore how to deliver a sense of refined exclusivity through design. Rather than aiming for standardization or everyday usability, the concept focused on creating a singular, memorable experience tailored for discerning individuals—a so-called “connoisseur” who savors not only the drink, but the time around it.Because the item was not mass-distributed, it didn’t need to conform to commercial norms or establish long-term brand recognition. Instead, its brevity allowed room for poetic experimentation. We embraced that rare opportunity to design something sensorial and bold—unconventional in form, yet elegant in tone.The limited quantity became a strength. It gave us permission to propose a structure that would not follow familiar packaging tropes, but instead resonate emotionally. From the first tactile interaction to the act of opening, the package invites quiet surprise and personal reflection—especially when given as a gift. That moment of unveiling becomes a shared memory between the sender and recipient, rooted in rarity and intention.It is, in every sense, a luxurious and unapologetically niche product—born precisely because it was never meant to be ordinary.
My design approach is shaped by two distinct but complementary perspectives—one rooted in metropolitan branding and graphic design, and another shaped by firsthand exposure to traditional regional crafts. Both have quietly informed the way Utsuroi balances a restrained structure with an emotive undercurrent.For instance, the use of slit animation and the decision to express the passage of time using minimal visual cues reflect a metropolitan mindset: one that values communicating more through less. At the same time, my involvement in the printing process—standing alongside craftspeople to fine-tune the balance of foil and varnish by hand—draws from the sensibility I gained by observing local artisans’ dedication to subtle, tactile details.What may appear at first as an innovative structure is in fact deeply rooted in sensitivity to material, time, and silence. I believe this dual perspective—between efficiency and attentiveness, between concept and craft—is what gives Utsuroi its quiet strength and sense of cultural resonance.
Long-aged sake and gift-giving both carry a quiet weight—the weight of time. That sense of anticipation naturally made me wonder: could the act of opening a package become a small ceremony in itself?For Utsuroi, I wanted to craft an experience in which the opening gesture would gently heighten awareness of time. Rather than treating the box as a neutral container, I focused on designing an unfolding process that carries a rhythm—a deliberate moment of pause. The slit animation that shifts the year as the package is slid open is not merely a gimmick, but a subtle way to make the invisible motion of time feel tangible.The idea began with a simple question: how might we turn a "first encounter" into a memory? That led to a structure and sequence in which the recipient does more than just access the contents—they mark a moment, almost like opening a quiet threshold between past and present.By encouraging a slower, intentional interaction, I hoped the packaging would support the ceremonial nature of enjoying sake itself. It’s not just about design function—it’s about honoring the time both within and around the object.
In designing Utsuroi, I chose not to directly reference the geographical landscape or physical features of the brewery’s coastal location. Instead, my focus was on capturing a more internal landscape—the emotional sense of time that slowly accumulates.While Takeda Shuzo's deep roots in Niigata Prefecture certainly evoke a connection to place, what resonated with me most was how their long-standing tradition reflects a quiet continuity through change. The design does not overtly depict dunes or coastlines. Rather, it invites the user to experience the passage of time through minimal means—by touch, by motion, by silence.This was an intentional approach: to express the regional story not by illustrating it, but by allowing it to quietly permeate the experience. In this way, I hoped to evoke the essence of “utsuroi”—that which shifts, fades, and endures all at once.
Utsuroi challenged conventional notions of what "premium" means in the beverage industry. Because of its high price point, the initial expectation from some parties was to use a traditional wooden box to signal luxury. But through close dialogue with the client, we recognized that not all premium experiences rely on conventional symbols of wealth or tradition.Instead, we considered the behavior of the intended audience—connoisseurs who may wish to savor their sake in solitude, as a personal ritual. For such individuals, the notion of luxury might not lie in external materials, but in the internal resonance of the moment itself. This insight led us to explore a different idea: that packaging could evoke value through emotional memory, not just physical appearance.Thus, rather than choosing a conventional luxury material like paulownia wood, we focused on creating a structure that feels like a quiet ceremony. A design that allows time, silence, and motion to create atmosphere. This approach suggests that future premium beverage packaging might move beyond protection and opulence, becoming instead a stage for emotional engagement.Winning the Silver A' Design Award affirms this alternative path—acknowledging that luxury today may be less about grandeur, and more about the subtlety of experience.
With Utsuroi, I wanted the packaging to highlight—not overshadow—the subtle beauty of aged sake’s amber hue. Over time, the color evolves delicately, and I felt that the design should make space for that natural change to be appreciated. Rather than masking or competing with it, the packaging needed to step back and let the sake speak for itself.While decorative elements like gold or elaborate motifs are common in Japanese sake packaging, I believe that sometimes the act of not over-explaining can speak louder. Leaving space for the viewer to wonder—“What is this?”—isn’t a lack of storytelling, but another way of inviting engagement.By limiting visual information to the barest elements—silver foil, clear varnish, soft reflection—I aimed to create a sensory experience rooted in restraint. The shifting visibility depending on light and angle becomes a quiet metaphor for transience and subtlety. In a way, the package is designed not to communicate everything, but to whisper.Looking back, this choice may be informed by a sensibility akin to Japanese Zen—where silence, impermanence, and simplicity converge into their own kind of elegance.
Creating the slit animation mechanism for Utsuroi required an unusually high level of technical precision. We adjusted the spacing and alignment of the stripes on the sleeve multiple times until the animation flowed seamlessly when viewed in motion.One of the most crucial visual elements was the black ink used in the central logo and the sleeve stripes, where the changing year needed to feel clear and impactful. I wanted the black to have both depth and sharpness—something that isn’t always easy to achieve in offset printing. Thanks to the suggestion from press operator Mr. Hasegawa, we used a double hit of 100% K ink (pure black), followed by a clear varnish coating. This approach helped us achieve the strong, condensed black I hoped for while still keeping production costs reasonable.None of this would have been possible without the extraordinary support of the team at Prograf. Their technical expertise, attention to detail, and creative problem-solving played a vital role in realizing the design. I’m deeply grateful—this award is not mine alone, but a shared achievement built on trust and collaboration.