Sensory Marketing

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The sensorial marketing deals with the systematic coordination of all sensuously perceptible marketing activities (primarily the product policy and communication policy). This part of marketing has been gaining in importance, especially since the beginning of the 21st century. The basic assumption is that human perception and thinking are consistently organized according to synaesthetic principles: When we hear a word, we always use (mostly unconsciously) visual, acoustic, olfactory and gustatory associations for interpretation. In times of functionally interchangeable products and overstimulated consumers, researchers and practitioners try to achieve a higher level of perception and a stronger impression on potential customers by addressing all sensory dimensions as congruently as possible (primarily optics and acoustics ).

Sensory marketing refers to the specific design and use of sensory messages for marketing purposes as well as transdisciplinary research activities to develop the necessary approaches and procedures. Research on sensory marketing benefits to a large extent from theories, models and methods from the disciplines of neuroscience , psychology , neuromarketing and semiotics .

Disambiguation

Sensory marketing versus multisensory marketing (according to Nölke, Vincent, Gierke. The 1x1 of multisensory marketing, 2011.)

The term sensory marketing is often used synonymously with the terms multisensory marketing , multisensual marketing or multimodal marketing and partially overlaps with the terms multisensual design and synaesthetic design . Krishna and Schwarz (2014) define sensory marketing as "marketing that engages the consumers' senses and affects their perception, judgment, and behavior".

Multi-sensory marketing

Gohr (2014) recommends differentiating the term sensory marketing according to the number of systematically designed senses. As soon as more than two senses are designed, she speaks of multi-sensory marketing. Your term does not necessarily imply the coordination of the designed sensory dimensions with each other, which is seen as the central challenge of sensory marketing. Other researchers see precisely this coordinated addressing of all senses in the form of a “concerted action” as a criterion for differentiating between sensory and multisensory marketing (see figure “Sensory marketing versus multisensory marketing”).

Sense of man

Sensory marketing requires both the development of sensory messages for each individual sensory modality , but also the overall coordination of the sensory messages with one another (psychology speaks of cross-modal correspondence here ).

optics

The sense of sight has traditionally been the most strongly addressed sense in marketing, as humans take in 83% of their information through their eyes. In sensory marketing, the challenge is to match the visible features of an offer (e.g. shape, color, etc.) to the brand message. For example, the shape of an “Orangina” bottle is based on an orange (Shape Symbolism) in order to appear “more natural”. At the same time, the orange lemonade is given orange colorings in order to appear “fruity”. When choosing colors, it should be noted that, depending on the cultural area, colors are associated with certain emotions and associations and can also trigger physiological reactions. A strong influence of the color red on pulse, heartbeat, blood pressure and appetite is suspected.

Acoustics

From an acoustic perspective, there are starting points with the music, the descriptive words (including the brand name itself) and all other acoustic experiences in connection with the offer. So z. For example, the crackling packaging of chips gives the impression of "crispness". The similarity between the sound of a brand name and a product feature is known as sound symbolism. For example, the brand name “Crunchips” imitates the sound of chips being consumed.

Feel

The haptics include physical and psychological impressions when interacting with customers. The haptic impression can e.g. B. be designed by materials, weight, softness but also comfort. For example, particularly heavy and smoothly polished glass bottles are used as packaging for particularly expensive brandies or whiskeys in order to support the impression of “value”.

Gustatory

The interconnectedness of the different modalities is particularly evident in the sense of taste. The evaluation of a taste experience is inextricably linked with the visual, acoustic, olfactory and haptic impressions experienced during consumption. In one experiment, wine experts failed to notice that red-colored white wine had been presented to them as red wine. For example, toothpaste is enriched with artificial mint aromas to support the impression of "freshness" and "cleanliness".

Olfactory

Humans can distinguish up to 10,000 smells. Smells can trigger particularly intense sensations and be remembered for almost a lifetime. For example, Apple uses a fragrance in its packaging for the MacBook Pro that supports the perception of "novelty". The scent includes smells from printer ink, paper and plastic. Although the Macbook Pro is made of aluminum, this smell of plastic instead of metal is perceived positively. In America, artificial leather odor is added to some leather products, as some customers do not even know the real leather odor and could reject real leather products due to the "abnormal" odor.

Broader sense

With regard to the broader human senses, proprioception and introspection , there has not yet been any explicit work in the field of sensory marketing.

Criticism of sensory marketing

The criticism of sensory marketing primarily relates to the following points:

  • The terms for theoretical and practical work should be differentiated and clearly delimited.
  • The methods of sensory marketing could be used for the subconscious manipulation of consumers.
  • There is a lack of theoretical and practical results for the sensible selection and design of the individual sensory messages in relation to an advertising message.
  • There is a lack of comprehensive theoretical models for the systematic coordination of the different sensory messages.

swell

  1. ↑ cf. Krishna, Aradhna. "An integrative review of sensory marketing: Engaging the senses to affect perception, judgment and behavior". Journal of Consumer Psychology 22 (July 2012): 332-51.
  2. ↑ cf. Spence, Charles. "Managing sensory expectations concerning products and brands: Capitalizing on the potential of sound and shape symbolism". Journal of Consumer Psychology, Brand Insights from Psychological and Neurophysiological Perspectives, 22, No. 1 (Jan 2012): 37-54. doi: 10.1016 / j.jcps.2011.09.004 .
  3. ↑ cf. Lindstrøm, Martin. Brand Sense: why we can feel, smell, taste, hear and see strong brands. Frankfurt, M .; New York, NY: Campus Ed., 2011.
  4. ↑ cf. Krishna, Aradhna. "A sense of things to come. future Research Directions in Sensory Marketing ". In Sensory marketing: research on the sensuality of products, edited by Aradhna Krishna, 361-76. New York: Routledge, 2010.
  5. ↑ cf. Spence, Charles. "Managing sensory expectations concerning products and brands: Capitalizing on the potential of sound and shape symbolism". Journal of Consumer Psychology, Brand Insights from Psychological and Neurophysiological Perspectives, 22, No. 1 (Jan 2012): 37-54. doi: 10.1016 / j.jcps.2011.09.004 .
  6. ↑ cf. Stückler, Kerstin. Neuromarketing: multi-sensory marketing at the POS. Saarbrücken: AV Akademikerverlag, 2012.
  7. ↑ cf. Mick, David Glen, James E. Burroughs, Patrick Hetzel, and Mary Yoko Brannen. Pursuing the Meaning of Meaning in the Commercial World: An International Review of Marketing and Consumer Research Founded on Semiotics *, 2003
  8. ↑ cf. Nölke, Stephan Vincent, and Christiane Gierke. The basics of multi-sensory marketing: multi-sensory branding; Marketing with all your senses; comprehensive, irresistible, unforgettable. comevis, 2011.
  9. ↑ cf. Esch, F.-R. / Krieger, KH (2009): “Multisensual brand communication. Bringing brands to life with all the senses ”, in: USP - Menschen im Marketing, Issue 3/2009, pp. 10-12.
  10. ↑ cf. Schneider, Martin. Multimodal marketing of sustainable mobility as part of integrated mobility management. 1., edition Mannheim: MetaGIS, 2007.
  11. ↑ cf. Strötgen, Stefan: Michael Haverkamp, ​​Synaesthetic Design. Creative product development for all senses, Munich, Vienna: Hanser 2009. In: Act - magazine for music & performance. Vol. 2012 (2012) issue 3. pp. 2–5. ISSN  2191-253X
  12. ↑ Krishna, Aradhna, and Norbert Schwarz. "Sensory marketing, embodiment, and grounded cognition: A review and introduction". Journal of Consumer Psychology, Sensory perception, embodiment, and grounded cognition: Implications for consumer behavior, 24, No. 2 (April 2014): 159-68. doi: 10.1016 / j.jcps.2013.12.006 ., p. 159
  13. ↑ cf. Gohr, Katharina. Status and development tendencies in multisensory marketing for the staging of brands - a critical analysis. 1st edition Bremen: Europaeischer Hochschulverlag, 2014
  14. ↑ cf. Multi-sensory marketing needs a concept , accessed on June 24, 2015
  15. ↑ cf. Krishna, Aradhna, and Norbert Schwarz. "Sensory marketing, embodiment, and grounded cognition: A review and introduction". Journal of Consumer Psychology, Sensory perception, embodiment, and grounded cognition: Implications for consumer behavior, 24, No. 2 (April 2014): 159-68. doi: 10.1016 / j.jcps.2013.12.006 ., p. 165
  16. ↑ Nölke, Stephan Vincent, and Christiane Gierke. The basics of multi-sensory marketing: multi-sensory branding; Marketing with all your senses; comprehensive, irresistible, unforgettable. comevis, 2011., p. 20
  17. ↑ cf. Lindstrøm, Martin. Brand Sense: why we can feel, smell, taste, hear and see strong brands. Frankfurt, M .; New York, NY: Campus Ed., 2011.
  18. ↑ cf. Clydesdale, Fergus M. "Color as a factor in food choice". Critical Reviews in Food Science and Nutrition 33, No. 1 (January 1, 1993): 83-101. doi: 10.1080 / 10408399309527614 .
  19. ↑ cf. Spence, Charles. "Managing sensory expectations concerning products and brands: Capitalizing on the potential of sound and shape symbolism". Journal of Consumer Psychology, Brand Insights from Psychological and Neurophysiological Perspectives, 22, No. 1 (Jan 2012): 37-54. doi: 10.1016 / j.jcps.2011.09.004 .
  20. ↑ cf. Krishna, Aradhna. Sensory Marketing: Research on the Sensuality of Products. Routledge, 2011.
  21. ↑ cf. Krishna, Aradhna. "An integrative review of sensory marketing: Engaging the senses to affect perception, judgment and behavior". Journal of Consumer Psychology 22, No. 3 (July 2012): 332-51. doi: 10.1016 / j.jcps.2011.08.003 .
  22. ↑ cf. Spence, Charles, and Ophelia Deroy. "On the shapes of flavors: A review of four hypotheses". Theoria et Historia Scientiarum 10, No. 0 (May 20, 2014): 207-38.
  23. ↑ cf. Hultén, Bertil (2011), "Sensory marketing: the multi-sensory brand-experience concept", European Business Review 23 (3): 256-273, doi: 10.1108 / 09555341111130245
  24. ↑ cf. http://www.air-aroma.com/blog/the-scent-of-a-apple-product-sourcing-the-macbook-pro-fragrance
  25. ↑ cf. Martin Lindstrom. "Broad sensory branding". Journal of Product & Brand Management 14, No. 2 (March 1, 2005): 84-87. doi: 10.1108 / 10610420510592554 .
  26. ↑ cf. Gohr, Katharina. Status and development tendencies in multisensory marketing for the staging of brands - a critical analysis. 1st edition Bremen: Europaeischer Hochschulverlag, 2014
  27. ↑ cf. Sawetz, Josef. Manual of Marketing and Communication Psychology: Media, Consumption, Individual, Collectivity; interdisciplinary basics of communicative processes from psychology, neurosciences, evolutionary biology, systems theory and semiotics. 1st edition Vienna: Personalexpertnet, 2009.
  28. ↑ cf. Spence, Charles. "Cross-modal perceptual organization". In The Oxford Handbook of Perceptual Organization , edited by Johan Wagemans, 1-16, 2014.
  29. ↑ cf. Krishna, Aradhna. "An integrative review of sensory marketing: Engaging the senses to affect perception, judgment and behavior". Journal of Consumer Psychology 22, No. 3 (July 2012): 332-51. doi: 10.1016 / j.jcps.2011.08.003 .
  30. ↑ cf. Krishna, Aradhna, and Norbert Schwarz. "Sensory marketing, embodiment, and grounded cognition: A review and introduction". Journal of Consumer Psychology, Sensory perception, embodiment, and grounded cognition: Implications for consumer behavior, 24, No. 2 (April 2014): 159-68. doi: 10.1016 / j.jcps.2013.12.006 ., p. 165