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BERTIL HULTÉN
is Professor of Marketing, Linnaeus School of Business and Economics, Linnaeus University, Sweden, and Head of
Sensory Marketing Research Group (SMRG). He is a recognised pioneer in sensory marketing research, and he
contributes to theory and practice in different ways. The research is based on field experiments and observations in
cooperation with global brands. His work has appeared in academic journals and conference proceedings over the
years. His latest book, ‘Sensory Marketing: Theoretical and Empirical Grounds’, received the Swedish honorary award
‘The Marketing Book of the Year’ in 2015.
Abstract
In the global consumption culture, the human senses are often proposed as useful concepts for
Bertil Hultén
rethinking branding in practice and theory.The aim of this paper is to demonstrate the usefulness of a
sensory branding framework grounded on sensory stimuli, sensory perceptions and sensory symbolism.
Moreover, the role of societal culture in developing global branding sensory strategies is considered.
Research findings and conclusions on how brand managers can apply the framework are presented.
Keywords
sensory branding framework, human senses, multi-sensory brand-experiences, sensory strategies, sensory
perceptions
or quality has led to highly impersonal Forces of change, such as the o ngoing
brand-experiences, the value of which has cultural value shift and digital technology,
been questioned. place new demands on brands in creating
In sensory marketing, one of the s tarting multi-sensory brand-experiences in a
points is that brands should offer c ustomers global consumption culture. It is in this
multi-sensory brand-experiences in a context that global sensory branding
more emotional and personal way than strategies should be understood.
branding has so far done successfully.
By involving the five senses, a more
individual and personal experience of a INDIVIDUALISATION AS LIFESTYLE
brand is created on a deeper, emotional Brands play a critical role in satisfying emo-
level, where the individual’s lifestyle, tional, intellectual and experience-based
personal characteristics and social context needs on a personal, individual level
are essential drivers.12 in a global consumption culture. The
Sensory marketing is defined here as consumption of global brands is particu-
larly important for generations X, Y and
Z, whether they are living in Australia,
a firm’s service process that focuses
Brazil, China, India, Japan, Sweden, the
on sensory strategies and stimuli with
the goal of creating a multi-sensory UK or the USA.
brand-experience, in supporting the It is well known that individual brand
individual’s identity creation through consumption leads to the creation of
the mind and the five senses to generate new self-images and identities. For many
consumer value, consumer experiences, people, consumption is linked to the
and the brand as an image.13 question of life’s meaning and the role that
one has as an individual within one’s circle
The model describes the relationships of friends or at work. This points to the
between the brand, the five senses and the important role of consumption as a carrier
individual (Figure 1). of personal values in satisfying one’s ego
and need for self-fulfilment in life, as an creating new identities and self-images on
expression of personal joy and happiness. a personal level.
The individual’s quest for self-fulfilment,
which is expressed through new
consumption patterns of brands, is the
SENSORY BRANDING STRATEGIES
primary personal driving force behind Individuals become emotionally and cog-
individualisation as lifestyle. This need is nitively affected by positive and negative
particularly evident in areas with strong sensory experiences in purchase and con-
ties to the individual’s physical and sumption processes.14,15 In a global con-
mental status, such as food, environmental sumption culture, firms should develop
concern, health, medical care, leisure,
sensory branding strategies, defined as
recreation, sustainability, cultural services
or education. a deliberate marketing strategy of a company’s
If shopping and consumption are service process to create a sensory experience
carriers of personal values, then, for many using sensory stimuli, which addresses and
individuals, this means that various brands attracts a special sense or multiple senses
are a critical part of their identity creation, simultaneously in an individual.16
which otherwise would not have been
possible. Identity creation helps individuals By applying a visual sensory strategy, a
to create their own unique identity and brand’s identity is expressed visually and
image with the aid of brands that are cur- becomes a distinguishing feature. This
rently available on a global level. Through is a common occurrence and is often
symbolic content, brands can change rap- expressed through advertising, design and
idly and can simply disappear when not style or by visual and verbal identities in
in agreement with the identity creation the advertising context, as well as through
towards which many individuals strive. electronic media, websites or people. With
The final personal driving force con- the help of an auditory sensory strategy, a
nected to individualisation as a lifestyle brand’s identity can be expressed in the
consists of the individual’s pursuit of form of sound and become a distinguish-
sensory experiences. This occurs through ing feature. It is common to attract atten-
the five senses and is controlled by both tion and arouse consumers’ feelings for
rational as well as emotional factors in all various products and services via music,
individuals. The drive towards a sensory voices or other sounds. With the help of
experience is affected by the individual’s an olfactory sensory strategy, a brand’s identity
need for self-fulfilment and his/her can be expressed atmospherically, where
quest for identity creation, which means the role of scent is to create awareness and
that the individual is involved, active the fragrance component is considered
and creative through feelings, fantasies part of the identity. By applying a tactile
and dreams. sensory strategy, the role of touch is to cre-
Accordingly, individualisation as a life- ate sensory experiences. Finally, by using a
style can be said to be the ultimate expres- taste sensory strategy, a brand’s identity can
sion of contemporary global consumption be expressed gastronomically/aesthetically,
culture, where shopping and consumption where the role of taste is to create mem-
for many individuals play a crucial role in orable sensory experiences. In daily life,
them into sensory perceptions that form cited goals for the next five to ten years.
the basis for an individual decision on This highlights the balance between being
how to act in a certain situation. An indi- a global brand and being part of the soci-
vidual interprets and experiences sensory etal local culture at the same time.
stimuli consciously or unconsciously, in a
completely subjective manner, in the con-
text of individualisation as a lifestyle. Visual perceptions
Anthropologists claim that sensory per- As vision is the dominant sense, visual
ception is culturally specific and can be stimuli such as colour, design, graphics,
expressed as ‘cultural as well as physical lighting and interior design impact on
acts’.18 Nonliterate societies have mostly visual perception of brands in relation to
been governed by words and sound, in product choice, purchase and consump-
contrast to literate societies governed by tion. When it comes to visual perception,
experiencing words visually, dominated each individual has his/her unique visual
by vision. But these perceptions can often preferences related to the specific culture.
take place in more than one way, as several There are cultural differences between
senses often interact together in providing population groups concerning visual per-
a multi-sensory brand-experience.19 ception of objects/places.Westerners seem
Evidence from research states that indi- to pay more attention to whole objects,
vidual emotions and feelings for a brand, while people from South-east Asia tend
based on positive or negative valence, to pay more attention to focal objects and
are classified in essentially the same way the background elements. It seems that
in different cultures. This means that, for visual objects are perceived differently
instance, enthusiasm and relaxation have between Americans and Chinese, which
the same meaning across cultural bound- depends in part on how the eyes are fixed
aries. It is also claimed that these emo- on the object:20
tions and feelings impact on attitudes and
evaluations of a brand, regardless of cul- Chinese car buyers focus more on
prestigious details such as the logotype on
ture. There also seems to be a connection
the front or on the sides — of premium
between emotions and learning, in the
brand cars like Audi, BMW or Mercedes
sense that the stronger the emotion for Benz. This contrasts with American or
a brand, the greater the likelihood that European buyers who focus on the whole
learning will take place about the brand. design of a car, so that the details on the
In a global consumption culture, this sides and the front are of minor interest at
means that evoking emotions and feelings first glance.
for a brand is of the utmost importance.
For brand managers, sensory percep- Also, people from South-east Asia
tions and emotions are critical in under- are better than the Americans at detect-
standing the content and deeper meaning ing colour changes in coloured blocks,
of societal cultures in developing global including a wider area. On the other
sensory branding strategies. Already hand, Americans more easily detect col-
in 2011, executives of Chinese and our changes in the middle of a screen or
non-Chinese companies in a Forbes survey an image.
expressed their belief that brand percep- Concerning colour preferences, there
tion was one of the three most frequently is a general preference for blue in all
each societal culture, music and voices are Accordingly, language, words and sound
important for group emotions and expe- evidently interact in a natural way in dif-
riences. There are strong arguments that ferent societal cultures in shaping a unique
some links between music and emotions sound experience for global brands.
exist regardless of cultural belonging, but,
on the other hand, the choice of music
genres and songs is culturally dependent. Smell perceptions
In the Swedish culture, the celebration Olfactory stimuli like scents are often
of midsummer in June with its familiar associated with intensity, product con-
songs, music tempo, specific instruments gruence and sex, which impact on design,
and joyful tunes expresses the feelings of price and quality perceptions, purchase
the bright summer. Often, fast music is and time of stay for people. Individuals
seen as happier than slow music, with a have their own unique scent identity and
slow tempo naturally conveying melan- an affective judgment in relation to differ-
choly or sadness. ent fragrances, affecting a person’s mood
It is suggested that different melodies in either a positive or a negative way,
have a specific emotional quality, and that indicating an ability to provide a sensory
they are created to become more of an experience.
emotional language. In Western cultures, Scents create a personalised meaning
material happiness has come to establish for individuals and have a tendency to
certain music styles such as jazz and pop- be associated with events, environments,
ular music, while more mournful music experiences, objects, items and other peo-
belongs to other societal cultures. ple. Positive emotions, such as being happy
When it comes to words formed by or in love, are associated with pleasant
sound, no relationship has been estab- scents, whereas negative emotions, such as
lished between how a word sounds and feeling lonely or being sad, are associated
its meaning for us in terms of sound with unpleasant scents. In addition, scent
symbolism. The sound embedded in a characteristics impact highly on individ-
word, however, might contribute to an ual associations, learning and memories
individual’s understanding of the word. because of emotions.23 But scents also
Through sound symbolism, many people impact on individual cognitive behaviour
can infer which product benefits global when scents are present in service envi-
brands may have. For example, in China, ronments, resulting in more creativity and
the English word ‘daqi’ has been created problem solving. Moreover, scents should
as a way to express what a car brand be considered as a strong stimulus, because
should be and look like. One thing that memory of scents lasts longer than, for
the word has in common in both cultures example, visual memories.
seems to be the harmony of the car and Smell perceptions are strongly linked
space, including indicators of design and to gastronomic taste perceptions, which
shape. The same meaning seems to pre- generate up to 80 per cent of an indi-
vail among luxury brands like Mercedes vidual’s taste perception. For brands like
Benz S or Jaguar XJL, as well as mass Coca-Cola and Sprite, scents play a crucial
market brands like the Ford Focus and role in taste perceptions for creating a pos-
Qoros 3. In contrast, Americans like to itive brand experience.
use the word ‘harsh’ in expressing their When it comes to how universal smell
views of luxury models. perceptions are, it is evident that scent
most people will probably not buy a prod- has developed a new service for customers
uct if it does not match their expectations in Asia to adapt to their taste perceptions.
of how it will feel in the hand or the upper The service allows customers to personal-
body. One out of three buyers of mobile ise gourmet burgers with such ingredients
phones believes that it is more important as Angus beef patties and grilled pineapple
to evaluate how the brand feels in one’s rings. The idea is to let the customer con-
hand than to evaluate how it looks. It is trol the taste experience by mixing and
also thought that the need to get to know matching ingredients.
the products is irresistible and is present in Physical taste, however, interacts with the
both children and adults. olfactory and tactile senses, offering differ-
It is common for touch to symbolise ent taste perceptions for individuals. In this
different emotional and human values in regard, colours seem to have a significant
various different cultures. influence on the taste experience. Even
though a fruit drink can be identified
by its aroma, people may not recognise
Taste perceptions it, but when the colour of the drink is
Gastronomic and aesthetic taste are indi- added, everybody can recognise the brand.
vidual and personal, which means that Accordingly, colour might distinguish the
there is no universal taste. Many people flavours of a drink, demonstrating how
also develop aesthetic tastes, often called aesthetic stimuli impact on taste percep-
‘personal style’.There is no one single idea tions. In this way, vision interacts with
of taste that is shared by everyone. taste.
For taste perceptions, the societal cul- Moreover, when it comes to the
ture to which people belong has a strong sense of sound, there is interplay with
impact on individual taste preferences. taste perceptions. Zampini and Spence28
Starbucks is a good example of how to demonstrated that the frequency and
adapt to local tastes. When it launches in sound level when chewing potato chips
a new country, the company sets about influenced the taste perceptions of the
researching culture, history and local potato chips’ quality. It is evident that
tastes before partnering with local cof- a positive taste experience of eating
fee companies and building stores. These and drinking is about symbiosis and
then serve the needs of locals without interactions with other senses.
compromising the signature brand of the
Seattle-founded coffee store.
Aesthetic and gastronomic stimuli such Multi-sensory perceptions
as interplay, presentation and environ- In a global consumption culture with
ment impact on design, price and qual- generations X, Y and Z as target groups,
ity perceptions, purchase quantity and it is evident that individuals use more
time of stay. In this sense, the design of than one sense in their multi-sensory
Starbucks coffee stores focuses on all the brand-experiences. The feeling of hold-
three elements of interplay, presentation ing an iPhone in one’s hand together with
and environment. looking at it offers multi-sensory inter-
Moreover, there seem to be no general play with its impact on cognitions, emo-
taste preferences for food or dishes in dif- tions and purchase behaviour. Thus, it is
ferent cultures. As an example of the global not enough to analyse the senses in isola-
challenge to local cultures, McDonald’s tion; instead, the focus should be on what
senses work best together in providing status and wealth, where design and col-
multi-sensory perceptions of a particular our play prominent roles.
brand. Finally, service environments such as cit-
Culturally, differences exist regard- ies, destinations, hotels, casinos, restaurants,
ing multi-sensory perceptions related to retail stores and tourist sites cover several
the individual senses, so it is necessary to senses.30 Sensory strategies and stimuli
know how each sense works in different related to each of the senses play promi-
cultures in terms of perceptions. The lat- nent roles in providing exciting and mem-
est Coca-Cola global campaign, ‘Taste the orable multi-sensory brand-experiences.
Feeling’, illustrates this: So far, little is known about cultural dif-
ferences regarding multi-sensory percep-
‘Taste the Feeling’ is anchored in compelling tions, and more research is clearly needed.
visual storytelling through more than But, as discussed earlier, both differences
hundreds of images . . . Each shot combines and similarities apply to individual senses,
familiar Coca-Cola icons, like the contour which should be considered in developing
glass bottle and red disk, with elements sensory strategies.
of both intimacy and mystery . . . Music
plays a key role in all ‘Taste the Feeling’
communications. A song produced by artist CONCLUSIONS AND IMPLICATIONS
and producer Avicii and featuring soulful
Emotions are universal
singer Conrad Sewell serves as the ‘Taste of
Feeling’ campaign anthem . . . It includes a Sensory branding strategies in a global
new audio signature inspired by the sounds consumption culture should address emo-
of enjoying a Coca-Cola — the pop of the tions, which are universal in nature across
cap, the fizz and, ultimately, refreshment . . . different societal cultures. On the other
Coca-Cola is central to each part; without hand, sensory perceptions are culturally
it, there is no story.29 specific and should be considered as such
in developing branding strategies. The
In this case, the interplay between vision fact that emotions are universal opens up
and hearing is quite clear, while tasting opportunities for brand managers in terms
becomes the connotation of the symbolic of attracting individuals through creating
content of Coca-Cola. One might assume multi-sensory brand-experiences.
that few people have never tested Coke.
In the global car industry, multi-sensory
perception is the focus in developing pre- Societal cultures are different
mium brands, where vision, sound, smell, Sensory perceptions are culturally differ-
touch and aesthetic taste are combined in ent in relation to visual, sound, smell and
creating multi-sensory brand-experiences. taste perceptions. In this regard, touch
Among Chinese car buyers, some of the perceptions are universal and do not dif-
most important sensory attributes relate fer across cultural boundaries. Therefore,
to design and colour, as well as sound, in brand managers developing sensory
addition to spare parts, brand image, price branding strategies should focus on the
and durability, in terms of building global content and meaning of the local culture.
brand strategies. For instance, visual per- Even though the brand is global in
ception is built upon the needs for social terms of such product characteristics
as function, price and quality, the brand (7) Krishna, A. (ed.) (2010) ‘Sensory Marketing:
Research on the Sensuality of Products’, Taylor
identity should contain local culturally and Francis Group, New York.
based sensory characteristics. For brand (8) Krishna, A. (2012) ‘An integrative review of
managers, this means creating a person- sensory marketing: Engaging the senses to affect
alised offer of a brand that goes beyond perception, judgment and behaviour’, Journal of
Consumer Psychology,Vol. 22, No. 3, pp. 332–351.
existing global branding. As such, Europe (9) Lindstrom, M. (2005), ‘Brand Sense’, Free Press,
and the USA have a lot in common, in New York.
contrast to Asia and Latin America. (10) Holbrook, M. B. and Hirschman, E. C. (1982)
‘The experiential aspects of consumption:
Consumer fantasies, feelings, and fun’, Journal of
Consumer Research,Vol. 9, pp. 132–140.
Global sensory branding is a reality (11) Spence, C., Puccinelli, N. M., Grewal, D. and
Roggeveen, A. L. (2014) ‘Store atmospherics:
It is evident that global sensory brand- A multisensory perspective’, Psychology and
ing meets the needs for identity creation Marketing,Vol. 31, No. 7, pp. 472–488.
and self-fulfilment among individuals in (12) Ibid, ref. 6 above.
a global consumption culture. There are (13) Ibid, ref. 6 above, p. 106.
(14) Ibid, ref. 7 above.
infinite combinations of sensory stim- (15) Ibid, ref. 11 above.
uli, perceptions and symbolism that can (16) Ibid, ref. 6 above.
be used to overcome the difficulties of (17) Ibid, ref. 6 above.
(18) Classen, C. (2012) ‘The Deepest Sense: A
making a global brand sufficiently local. Cultural History of Touch’, University of Illinois
The challenge for brand managers is to Press, Urban, Chicago and Springfield.
research local cultures to find the right (19) Ibid, ref. 1 above.
(20) Chua, H. F., Boland, J. E. and Nisbett, R. E.
combination. The question for brand (2005) ‘Cultural variation in eye movements
managers is not when to do research, but during scene perception’, Proceedings of the
how to do it and what kinds of challenges National Academy of Sciences of the United States of
and obstacles sensory branding can over- America,Vol. 102, No. 35, pp. 12629–12633.
(21) Perlmutter, K. and Bradshaw, N. (2016)
come in reality. ‘Addressing today’s top brand challenges with
sonic identity’, Journal of Brand Strategy,Vol. 5,
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