An amuse-bouche. One does not taste it to know the meal — one tastes it to know the cook.

Not the influencer’s oil. Not the purist’s. The one the ordinary buyer reaches for instead.

Sweden has done this before. More than once.

This isn’t a hypothesis — the same Swedish buyer has traded up category after category, in living memory. Craft beer came first, premiumising a commodity into a scene. Specialty coffee: a daily ritual, quietly upgraded. Natural wine: demand forced even the state monopoly to stock it — Systembolaget resisted in 2012, then followed. Same buyer, same move — trade up the moment the better version is within reach. Pantry oil is next.

We read the whole category. Graza is the proof.

Behind these two numbers sits a 60-section intelligence file. We’re not sending it — each card reads its own source record, and the record lives outside the deck (a row, a section) — pointed at, never linked. The proof is total; the dossier stays in the kitchen.

The package is the channel. The label is the message.

The look is the owner’s call. We scoped every direction first.

The aesthetic direction — the fonts, the colours, the final look — needs more of your input; that is the owner’s call, not something a pitch should lock. What we have done is scope the market across every direction, a sampling of it here. So this document stays on the strategy around the packaging and the label, not the typeface or the palette. Choose the lane, and the system renders it.

Graza taught two moves. We add the middle one.

Three oils, not two — and all three are the lesson: cook teaches the base, layer teaches the middle nobody else names, finish teaches the crown. This is one sample of IM’s educational content: a “how to” the brand owns, made to be watched and saved, not skipped.

The engine makes hundreds more — how to layer, how to finish, how to read an oil by its colour — each one another reason to reach for the bottle. The next page teaches the rest: how much you use, and what it costs. →

The education rides inside content people actually want — a field note, a carousel, a “how to.” One sample; the real brief carries a library of them.

The less you pour, the more it costs.

The whole ladder in one line: the less you pour, the more it costs. Cook you pour freely (the base, priced low), Layer by the half-pour (the middle), Finish is a drizzle (the signature, the premium) — three oils, three price points, taught in one pour. Hover a card to read the record.

Every product, one library of colour.

The colour isn’t decoration — it’s a fact about what’s inside, picked label by label to match the actual content. An early harvest presses green: unripe fruit, more chlorophyll, a sharper, grassier taste. Wait longer and the same grove turns gold — riper, milder, buttery. Colour, taste, origin and age are one continuous fact, not four separate choices. Sorted, the library reads as five families — two greens, citrus yellow, vinegar brown, pantry beige; shuffled, the same chips become a field. Either way, the system teaches before it decorates — educational first, art second.

Three oils. A shade each.

One system, three products, a shade each — colour comes later. The label never changes; only the band does, climbing from a light Cook to a mid Layer to a deep Finish. These greys are placeholders — no real design job done yet.

The front is the product. The back is the family.

The front sells this oil — the shaded band standing in for its eventual colour. Turn it, and the back reveals the whole range: the Cook·Layer·Finish cycle and the swatch library that maps it. One object tells you the product and where it sits in the family.

Commissioned art is beautiful. We made it mean something.

ARTIST
collab

The fishcommissioned · beautiful

ARTIST
collab

The riderpainterly · decorative

ARTIST
collab

The colourpretty · no brief

The three above are commissioned art in the José Gourmet register — and they are gorgeous. But that is the whole of it: beautiful, with no strategic or conceptual job beyond looking good. We saw that as the opening — art on the label that earns its place: it signals a seasonal flavour, sets a vibe, or teaches the oil. So we took it further. The next page is what we did.

Art as an educational vehicle. The cooking sayings we believe in.

DAVID SHRIGLEY
the register

DAVID SHRIGLEY
ref · artistic freedom

For example: the real things people say in a kitchen — our cooking sayings, the ones we believe in: “salt the water like the sea,” “finish with the good oil.” A standing series in a deadpan artistic register (à la David Shrigley), but it teaches food culture instead of gags — endlessly repeatable, deeply shareable, the education always on. (Likely made in-house.)

Not singles. Sets.

The 9-can libraryIM idea · a 3×3 paper grid

JOSÉ GOURMET
ref

José Gourmetthe sardine set · cut-out box

FISHWIFE
ref

Fishwifevariety pack · pretty at home

FISHWIFE
ref

Fishwifethe set + the how-to lid

The object isn’t a single — it’s a set: a 3×3 paper library, a mixed three-pack, a sardine flight. It is the sample pack of the brand’s whole taste and a gift that sells itself — and, underneath, the high-volume, highly modular way to put the visual system to work: the same label logic, boxed and multiplied, sharp on the ICA shelf and lived-out at home. This is the version built to scale. There is also a rarer one — a limited edition made for the inner circle and the people who seed us. That comes next.

Off the shelf, into the room.

THE SHAKERSdeadpan ceramic

THE JUICERsculptural tool

THE VASEthe bottle, reborn

THE CUPform, redrawn

THE SERVERSmother-of-pearl

THE PITCHERhandles as rhythm

The collaborations don’t stop at packaging. We’d commission artists to make limited-edition, food-adjacent objects — shakers, servers, vessels, tableware — each a real edition, each merging product and art. It moves the brand off the supermarket shelf and into interior design and lifestyle: a name you don’t just cook with, but furnish a room with. The objects above are the register — the direction, not the catalogue.

A world you can own a piece of.

The brand extends into objects worth keeping — cooking gadgets, a hat, a collectible tin. Curated, editioned, desirable. Never a logo on a cheap tee: the merch is the world, not the swag.

A media house, not an ad budget. Watched, not broadcast.

The flagship is a voyeur food-tour — a worldwide road trip, the great introduction. Around it runs the always-on engine: education, campaign imagery, lifestyle stills, reels. One strong idea over many simple ones — the product rides inside the content, never on top of it.

Not a content format. A show with a host.

KEITH FLOYD ⇄ HUGO
4:5 · B&WKEITH FLOYDHUGO

The host Keith Floyd ⇄ Hugo → a person on camera, no script

HI-OCTANE
4:5 · B&W + GRAIN

Hi-Octane Coppola & Cassavetes · US, 1994 → sets the production tone

SPAIN… ON THE ROAD
4:5 · B&W + GRAIN

Spain… On the Road Again Batali + Gwyneth · US, 2008 → part lesson, part sell · digestible

Three references, one method. A host with real character, on camera and unscripted — Keith Floyd, and our Floyd is Hugo. A high-octane production tone. A format that is part lesson, part commercial, always digestible (Spain… On the Road Again). Together they make an authored way to produce — the way Vice and Fuck That’s Delicious each have their own. Not a content calendar; a show with a point of view.

Hugo at the centre. The market at the edge.

It starts with Hugo and the ten he knows — give them the special treatment, and each ripples out. The mechanism is inception: seed those first ten deeply enough and each carries the belief to roughly ten more, who carry it to ten more again. Plant the first seeds well and the ring propagates itself — geometric, organic, self-funding. No PR agency required; Graza proved it with a 300-bottle seed run off a real list.

Two ways to work with us.

Track 1 · the piecesONE-OFF DELIVERABLES + CONCEPTyou bolt on any producer team to run execution

Track 2 · the houseWE RUN THE ONGOING PRODUCTIONthe media house, built and operated by us

Two paths, your call. One: we hand you the concept and the one-off pieces, and you attach any producer team to execute. Two: we run the whole production, ongoing — the media house, built and operated.