Vodka, gin and agave
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What they share
A liquid the customer can see through, which puts the glass, the fill level and any sediment on display in a way an aged spirit never is.
Clarity is a quality signal here
Haze from chill filtration, botanicals settling in a gin, or anything in suspension is visible on a shelf. That is a production question the packaging cannot hide.
Fill level is visible too
On a clear bottle the headspace is part of the presentation. Two bottles filled to the same net contents but with different headspace read as different quantities, which matters when they sit side by side.
Infused spirits are the small producer entry
An infusion starts from a purchased neutral spirit, which removes the still from the equation. It is a different regulatory position from distilling and a far lower capital one.
Liqueurs add sugar and colour
Which brings the colour and sweetener disclosures into play: FD&C Yellow No. 5, cochineal extract or carmine, and aspartame all have their own label statements if present.
The label competes with the liquid
On a clear bottle a large label hides the product and a small one leaves the mandatory information nowhere to go. That tension is the central design problem in this half of the category.
Which argues for a back label
Name and address and net contents may go anywhere. Moving them to the back, read through the liquid, is a common and legal way to keep the front clear, and it works better on a clear spirit than on an aged one.
But the field of vision stays together
Only two of the mandatory items may move. Brand name, class and type and alcohol content stay on one face, so the front label has a minimum size however clean you want it.
Gin is where class and type gets interesting
What may be called gin, and what distinguishes one designation from another, follows from production method. For a producer experimenting with botanicals and base spirits, the designation is worth settling before the brand is named after it.