Manufacturers and advertising executives have long understood that physiological addiction to tobacco is only a part of cigarette smoking. A smoker also identifies psychologically with the pack itself. It is a part of his vision of himself and an expression of the way in which he wants others to view him. In fact, the image of a cigarette and its relation to consumers have become so critical in the highly competitive markets of the West that brands and even whole companies rise and fall on the strength of their pack designs.
It is, thus, small wonder that untold time and effort are devoted to cigarette pack design. Even more than other forms of commercial design, pack art must be attuned to the psychology of the consumer and the environment in which the particular brand of cigarettes is to be sold.
These considerations alone make cigarette pack design a rich and exciting source of social history. Each of the many thousands of brands that have come and gone since cigarettes first became widely popular in the 19th Century has, to at least some degree, reflected the cultural and artistic taste and the socio-political trends of the country in which it was produced.
In the West, much of this cigarette pack art still survives, since most companies carefully maintain their design files in order to guard against trademark infringement, and private individuals have amassed huge collections of pack art. As a result, it is possible to use cigarette packs to chronicle many of the momentous social and artistic changes that have shaken Europe and America over the last 150 years.
Illustrations 4, 5, 6, 7, 8 and 8A (from left to right)
Regrettably, conditions in most of Asia have not been so favorable for the preservation of cigarette pack art. War, social upheaval, and the generally low status of commercial art have led to the loss of much of the design from the early years. There are apparently few specifically Asian collections, and with the possible exception of Chinese cigarette cards, almost no interest in the art or history associated with tobacco packaging.
Fortunately for both aficionados of commercial design and students of history, the situation is not so bleak in regard to Taiwan. Here, on the island bastion of the Republic of China, the Taiwan Tobacco and Wine Monopoly Bureau has preserved a nearly complete file of its own pack designs, plus those of the ROC Ministry of National Defense and the individual military services (from the period following restoration of the island to Chinese control at the end of World War II).
From this Monopoly Bureau trove of archival pack art, which has been on exhibition this fall in connection with the 40th anniversary of the restoration of Taiwan to China, it is possible to gain a new and enlightening perspective on some of the problems, aspirations, successes, and changes which have characterized life on the island in the years since 1945.
The many brands of cigarettes produced for consumption by the ROC armed forces provide an extremely interesting picture of the Republic of China's military fortunes—mirrors for the dangers facing the island bastion in the early post-war years, for changing concerns and priorities, and for the military's role in society.
These brands were produced and distributed by many different units and organizations, few of which are still involved in the business of providing cigarettes. This fact, together with the generally unsettled conditions that prevailed during the late 1940's and early 1950's, makes it difficult to determine when and under whose auspices many of these cigarettes were actually manufactured. Some were designed and produced by the Monopoly Bureau. Others were designed by the Ministry of National Defense and produced by the Bureau. Still others were designed and produced in cigarette factories belonging to the individual military services. In a few cases, it even appears that various military units manufactured and packaged their own cigarettes.
Despite this confusion, there is a constancy in pack motif and a pattern in the evolution of themes. Almost all of the designs focus either upon the glory of the ROC military tradition and the need for preparedness or upon the role of the armed forces in the reconstruction of the nation. The comparative frequency of these themes was subject to change; economic development gradually altered military pack motifs, just as it changed perceptions of the military's role in society.
(In the comments on the designs that follow, the single star * indicates that the English name does not appear on the pack and that the translation has been supplied by the author. ** Indicates that the English name also appears on the pack):
Illustrations 9, 10, 11, 11A and 11B (from left to right)
Yueh Hua (Kwangtung's Choicest)* in illustrations 1 and 1A (front and back panels) is one of the earliest and most interesting of the post-war military packs. It was apparently produced by a ROC army unit from Kwangtung Province that had been withdrawn from the mainland. This vividly martial pack, with its marching soldiers, is indicative of the heated battles just fought against Communist armies. It is also of special note from a design standpoint owing to a remarkable resemblance to World War I British military packs.
A second example which reflects the immediacy of military conflict is the Chin Men (Kinmen)* pack in illustrations 2 and 2A (front and back panels). This brand, which was designed and manufactured by the Monopoly Bureau, features an illustration that includes an ancient fort (tiao pao) superimposed on a map of Kinmen Island. It was intended to commemorate the victory of the Republic of China's forces over the Communists on the beaches of this strategic island and to lend encouragement to the waiting ROC army on Taiwan.
Other early designs such as that on the 77 army pack in illustration 3 also make use of important dates in recent Chinese military history to heighten patriotic sentiment and enhance morale. This particular pack, first produced in 1953, commemorates the outbreak of the War of Resistance against Japan on July 7, 1937, with the first seven indicating the month, and the second the day.
Chiu San (Nine Three)* in illustration 4 is another example of the use of a noted occasion in military history. This pack, produced somewhat later than 77 and intended for distribution to all branches of the armed forces, recalls the date on which the Japanese surrendered in 1945. With their simple and direct messages, these two packs served to emphasize the critical contributions of the military to the preservation of the nation.
Illustrations 12, 13, 14, 15 and 16 (from left to right)
The Ke Nan (Conquering Difficulty)* pack in illustration 5 appeared at about the same time as 77. Its motif is less optimistic, reflecting the privations faced by those in uniform and the necessity for sacrifice and struggle. The three fists (which represent the three branches of the military) simultaneously striking the Chinese character for difficulty (nan) illustrated the government's desire to encourage resolution and unity in the military services.
A number of packs from this period were more upbeat than the somber 77, Chiu San, and Ke Nan, and in many respects, pointed the way to a brighter and more peaceful future. Sheng Li (Victory)* in illustration 6 was one such pack. The well-disciplined troops marching triumphantly through an arch topped by national flags suggest a confident and united Republic of China striding into a new era.
The idea of a better future and the military's role in its construction is developed in detail on the army Chung Hsing (Revival)* pack in illustration 7 and on the Fu Hsing (Revival)** pack in illustrations 8 and 8A (front and back panels). Chung Hsing stressed the relationship between military preparedness and economic development. Although the map in the background still underlines the intention to unify all of China, the skyscrapers, the factory with the smoke of prosperity billowing out of it, and the sturdy farmer with his ox are indicative of a growing commitment to the economic development of Taiwan.
Obviously, in addition to guarding against the possibility of invasion, the military had also come to be considered an essential element in the construction of a modern society. Growing confidence and the desire to get on with the business of building a prosperous nation are also apparent on Fu Hsing, which was sold in all branches of the military. In fact, the economic activity and development on this pack are, if anything, even more animated than that on Chung Hsing.
Kuo Kuang (National Glory)* in illustration 9 was the last of the military packs. Building on the theme found on the Chung Hsing and Fu Hsing packs, it suggests a well-equipped military, confident of its strength and devoted to assisting the civilian population in the task of economic development.
Illustrations 17, 18, 19, 20 and 21 (from left to right)
When Kuo Kuang was phased out in the second half of the 1970s, the military's endeavors in the field of cigarette pack art came to an end. Its last brand was replaced by Chang Shou (Long Life), a popular civilian brand that became standard issue in all the services. In many respects, this development was in keeping with the times. The Republic of China on Taiwan was no longer in immediate peril, and priorities were shifting. The need to develop a modern industrial infrastructure and the imperatives of international economic competition had become paramount.
Economic development and the accompanying demographic and social changes also exerted a profound influence on the evolution of pack design in the civilian sector. The changing motifs provide an amazingly accurate picture of the processes of industrialization and modernization in the post-World War II era. They demonstrate how the economic austerity of the early years gave way to prosperity, and help to trace the effects of increasing urbanization, rising educational levels, and the growing awareness of things Western.
Economic problems plagued the island in the first years after its return to Chinese rule. The predominantly rural populace was troubled by inflation, and the island's economy staggered under the burden of absorbing the many refugees who had fled from the Communists on the mainland.
Under these circumstances, cigarette manufacture and pack art understandably received scant attention. The Monopoly Bureau's task was limited to supplying basic tobacco products to consumers at affordable prices. Packs were generally austere and tended to use agrarian motifs which would appeal to farmers, who constituted the majority of the population.
This simplicity and reliance on agrarian motifs are apparent on the Chia Ho (Good Crop)* pack in illustration 10 and Le Yuan (Paradise)** pack in illustrations 11 and 11A (front and back panels). Chia Ho, one of the earliest post-1945 brands, featured an abstract representation of what some maintain is a pu ku, a variety of cuckoo that frequents rice paddies in Taiwan. The design, which may well have been recycled from a pack produced during the Japanese era, was obviously intended to appeal to farmers. It portrayed a bird which was reputed to bring good fortune, while the name of the cigarette itself gave voice to the primary concern of every farmer.
The original Le Yuan is notable for both its colors and motif. Dating from 1947, this orange and black pack ranks among the most striking of the Monopoly Bureau's creations. There could never be any possibility of overlooking this startling pack in even the most crowded sales display; its visual impact is simply too strong.
Illustration 22
This pack was subsequently replaced by one which used colors more generally associated with cigarettes and a more product-oriented design. The new pack, illustration 11B, featured a single tobacco leaf on a red, white, and blue background. Undoubtedly, the simple graphic representation and bright hues were intended to facilitate easy identification on the part of a still predominantly illiterate rural population.
Chen Chu (Pearl),** pictured in illustration 12, was also apparently designed for quick recognition. The single pearl necklace is crudely drawn, and there are few artistic embellishments on the pack. As in the case of Le Yuan, the idea seems to have been merely to enable the buyer to identify the product with as little delay as possible.
The slightly higher priced Hsin Le Yuan (New Paradise)** cigarette in illustration 13 appeared on the market shortly after Le Yuan. It featured a somewhat more sophisticated, though decidedly rural design. With its tranquil river, shade-giving coconut palm and willow, and solitary boatman, Hsin Le Yuan enticed the weary farmer to relax with a cigarette at the end of a hard day. Although, to the Western eye, the red and yellow of this pack may seem singularly inappropriate for a scene intended to encourage relaxation, they are auspicious colors for tradition-minded Chinese, and conspicuous on the sales rack.
Another low-priced cigarette that enjoyed great popularity during the early years was Hsiang Chiao (Banana)* brand. Despite the fact that it was intended for sale to the aboriginal mountain people, Hsiang Chiao is remembered fondly whenever island residents in their fifties and sixties reminisce about the cigarettes of the past. Such familiarity suggests that smokers of this brand were not limited to the aboriginal population.
The earliest Hsiang Chiao pack appears in illustration 14. Its bright yellow bananas, pale leaves, and red background make for a lively and eye-catching contribution to pack art. It was, however, replaced after a few years by the more refined and subtle design in illustration 15. This latter rendering of the banana motif was undoubtedly one of the best of the period. The cool green banana trees and the rich red of the lettering create an image that is both extremely attractive and in harmony with the life and culture of Taiwan's sparsely populated mountain areas.
Pin Lang (Betelnut)* brand in illustration 16 appeared during the same era as Hsiang Chiao and was also sold primarily among the native mountain tribes. Its restful palms and pleasing combination of yellow and green present a soothing image and give one the feeling of being close to nature. At the same time, the name and motif take full advantage of the fact that it is common in some strata of Taiwan society to smoke while chewing betelnut.
The Pao Lin (Protect the Forest)* and Fu Jung (Hibiscus)* wrappers in illustrations 17 and 18 were also for use among the aborigine population. Dating from the early 1950s, they held inexpensive, loose tobacco which was either rolled into cigarettes or smoked in the distinctive pipes of the island's native mountain people. Though both feature simple, single color printing, the designs on these wrappers are among the more appealing and interesting of the Monopoly Bureau's creations. The surprisingly up-to-date Pao Lin wrapper is notable as an early effort to encourage conservation, while Fu Jung exhibits a classical Chinese elegance of design.
Under prevailing economic conditions, there was only limited demand for cigarettes in the middle and upper price ranges. Most people had little discretionary income, and high quality cigarettes were far from their first priority. For the vast majority, Chia Ho, Le Yuan, or Hsin Le Yuan had to suffice.
The relatively small market for middle-priced cigarettes that did exist was dominated by Shuang Hsi (Double Happiness).* The earliest pale green pack of this long-time favorite is pictured in illustration 19. It made use of a design that had appeared years before on a brand produced by a private company in Shanghai. Its two doves and the concept Shuang Hsi, which is generally applied in the context of marital faithfulness and happiness, these days seem an old and somewhat puzzling choice for a cigarette pack motif.
This first offering was replaced by the pack in illustration 20. Although it retained the same basic motif, this second Shuang Hsi pack was even more unusual than the original since it featured a dark green background, an extremely rare color in Chinese commercial packaging.
Shuang Hsi controlled the middle of the cigarette market in the early 1950s and continued in production until the late 1970s. Whatever its peculiarities, this brand had a motif which was firmly rooted in tradition, without being specifically rural in content. Its appeal thus extended both to middle class urban consumers and to the more affluent in the countryside, who were seeking something sophisticated and up-market.
The Shuang Hsi* filter pack in illustration 21 took this sophistication one step further by abandoning tradition in favor of a design which bears more than a slight similarity to the American Lucky Strike pack. In fact, the highly stylized "double lucky" Chinese ideographic symbol in the bull's-eye is virtually the pack's only link with Chinese culture.
Pao Tao (Prosperity Island)** in illustration 22 was the only entrant in the upper end of the market during the early post-war years. As was the case with the Shuang Hsi filter pack, the design was apparently intended to appeal to urban consumers who were seeking a Western product image. Aside from the Chinese characters, this label features almost nothing that would identify it as Chinese, since both the castle in the background and the coat of arms are obviously Western in origin.— (Editor's Note—This is the first in a three-part survey by Mr. Meyer.)