Between the mid-19th and early 20th centuries, Errenteria earned the moniker “Little Manchester” due to its robust industrial fabric, which included significant textile, tanning, mining, and flour mills. This industrial past profoundly shaped the landscape and the lives of its inhabitants, explaining why the Oarso magazine, published annually before the Madalenas festivities, frequently features articles on this historical period.
The latest issue, number 60, includes two pieces dedicated to the Olibet biscuit and cookie manufacturer, which later became known as La Ibérica. This factory operated from 1886 to 1964, establishing itself as a leading reference in the Spanish sector for several decades.
Journalist Koldo Ordozgoiti, in his article, examines the factory's commercial and marketing strategies, which were heavily influenced by modernist-style catalogs. A key factor in its success was becoming the preferred biscuit supplier to Queen María Cristina. The factory's opening in 1886 coincided with the Queen's initial summer stays in San Sebastián. This proximity to the court presented a strategic opportunity that the company skillfully leveraged, positioning itself as a purveyor to the Royal House, an endorsement it intelligently used for promotion and prestige.
The catalog, recently rediscovered by Ordozgoiti, illustrates this strategy with elements such as the royal purveyor seal, Miramar biscuits, and those named ENA, an acronym for Victoria Eugenia. The modernist brand image reinforced this royal association, while the consistent presence of the name Rentería on packaging and advertising materials solidified its local identity. The company was also notable for its early adoption of graphic advertising, using posters, calendars, and trading cards to expand its market and foster customer loyalty.
This extensive effort led to Errenteria being known as the “biscuit town” and its residents popularly called “galletariak,” a nickname that has persisted even after the factory's closure. In the same issue of Oarso, Maite Ruiz de Azúa analyzes music as an advertising strategy. Since the late 19th century, music has been a significant tool in commercial promotion.
In Olibet's case, various musical scores reveal how sound and image were integrated into commercial promotion, both in industrial contexts and in unusual settings, such as the post-war prison system. One of the earliest references dates back to 1884, with a score illustrated by Ch. Taulet, featuring humorous lyrics extolling the product's virtues. Such compositions were common at the time to support street vending and local fairs. Later, during the post-war period, a unique anthem dedicated to Olibet biscuits emerged, composed in the El Puerto de Santa María prison in Cádiz, though there is no evidence the company responded to this initiative or that the piece gained widespread circulation outside the prison.
