MA Masters Thesis: An investigation into why fashion brands enter the beauty market

THREE LEVELS OF INDIVIDUALS EMOTIONAL
EXPERIENCE
With the development of the economy and consumer
demand, we have entered into the “experience
economy”, currently one of the most recognised macro
trends in society today. Consumers are no longer
satisfied with basic demand and instead demand a
whole experience (Yang 2016). “Experience is a coverall
term for the various modes through which a person
knows and constructs a reality. These modes range from
the more direct and passive senses of smell, taste, and
touch, to current visual perception and the indirect
mode of symbolisation” (Tuan et al., 1977). While
outlining experience design and emotional design,
product aesthetics and packaging design can be
firmly aimed at touching individuals emotions, thus
satisfying psychological needs. Yang (2016) identifies
that interactive packaging design can stimulate the
emotional experience generated when individuals
interact with the product. This resonates with consumers
as they gain aesthetic experience and pleasure.
Grundey (2010) argues that habitually, consumers
purchase a product by the characteristics of the
packaging, rather than the characteristics that
the product itself offers. According to (Underhill,
2009), women, in particular, establish a relationship
between the design and packaging of a product.
His study analysed women’s purchasing behaviour
with drugstore health and beauty departments.
He concluded that there is a clear connection
between consumers studying the packaging and
making a purchase. While he discovered 91% of all
drugstore buyers read the front of the packaging,
while 42% read the back, he complied database
results that showed the timescale that women spent
analysing the packaging before making a purchase;
with a mean of 11 seconds (Underhill, 2009).
This concludes that brands need to be strategic with
the marketing and aesthetics of their packaging
since they make purchasing decisions in just a few
seconds. The relationship between marketing and
design is key to success, and packaging contributes
to identity and differentiation amongst competitors.
There are certain characteristics, such as a product’s
weight, or sensorial elements that contribute to this
indirect form of communication; colour, design,
type, and message (Gomez et al., 2015). For example,
Tiffany & co. is instantly recognised for its trademark
pantone shade (1837) and duck egg blue gift box. The
brands colour and packaging speaks signals itself,
and is instantly the brands most recognisable quality.
REFLECTIVE LEVELL
high level
feeling and idea
producted after using
product, individual
satisfaction, recall and
self-examination
BEHAVIORAL LEVEL
middle level
using experience, availability,
usability and popularity of the
product
INSTINCT LEVEL
low level
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the sensual experience of the product,
mainly focusing on the emotion judgment
brough to people by colour, shape and
quality