#Dissertation - How Can Sophisticated uses of Digital Media Influence a Consumer's Brand Experience?

How Can Sophisticated Uses of Digital Media Influence a
Consumer’s Brand Experience?
Rupinder Dosanjh / July 2012 /
Dissertation submitted as part of the requirement for the Degree of Masters of Arts in Design Management,
Birmingham City University / word count: 12, 611

“
ACKNOWLEDGEMENTS
Work is love made visible. And
if you can’t work with love, but
only with distaste, it is better
that you should leave your work
and sit at the gate of the temple
and take alms of the people who
work with joy
Thank You:
MA Design Management Staff / My fellow peers / Past students for their
invaluable advice / Everyone who I’ve interviewed, asked a question to about
research - those conversations have inspired what you’re about to read /
Khalil Gibran
RUPINDER DOSANJH / S11734461 MA DESIGN MANAGEMENT / DISSERTATION / DES7007 / 2012

ABSTRACT
Digital media is part of the minutiae of everyday life for the vast majority of consumers in the country.
We are now living in a post-digital age where individuals often have two types of personalities that exist
in distinct spaces: the physical and online world. People are beginning to suffer from digital fatigue, a
modern day syndrome rapidly affecting the “always connected” society comprising of citizens armed with
the latest smartphones, desktop/laptops and tablets. Consumers are rejecting conventional methods
brands use to promote their products and promises. To mitigate this, brands need a different approach.
They need to offer an experience. By offering multi-sensory brand-experiences with sophisticated uses
of digital media and encompassing the use of experiential and sensory techniques brands can reach out,
delight and make a qualitative difference to consumer’s lives. Qualitative research methods consist of
secondary sources, exploratory interviews and construction of two case studies and are deconstructed
to establish sensory expressions and reveal the layered processes of brand touch-points used to create
digital experiences. The results of the interviews and case studies suggest the pressure is now back on
brands to deliver consistently high quality experiences that are not only on brand, but also delight and
surprise their audience. Digital experience strategies will be more data driven with a goal to improve
efficiency by offering faster, more responsive experiences. By developing the multi-sensory brand-
experience strategy and applying it directly to brands it could validate the use of the strategy and deliver
tangible results for clients and brands.

TABLE OF CONTENTS
List of Figures i
List of Tables ii
1.0 Introduction 11
1.1 Definitions 12
1.2 Research Questions 13
2.0 Literature Review 15
2.1 The Platforms & Channels of Digital
Media 17
2.2 Components of Brand Experience 19
2.21 Experiential Marketing 19
2.22 Experience Economy 23
2.23 Brand Experience 27
2.3 Tapping into Human Senses to
Influence Consumer Behaviour 29
2.31 Sensory Marketing 29
2.32 Consumer psychology of brands 33
3.0 Research Methodology 41
3.1 Research Approach 41
3.2 Grounded theory 41
3.3 Case Study 41
3.4 Data Collection Methods 42
3.5 Components of Case Studies 42
3.6 Sample 44
3.7 Research Limitations 45
4.0 Primary Research Findings & Analysis
47
4.1 Interviews 47
4.2 Charles Frith 47
4.3 Isabelle Quevilly 48
4.4 Case Study One: Hermés 53
4.5 Case Study Two: Mercedes 60
5.0 Conclusion 73
5.1 Recommendations 74
5.2 Further Areas of Research 75
6.0 References 77
7.0 Bibliography 81
8.0 Appendix A 87
8.1 Appendix B 88
8.2 Appendix C 96

LIST OF FIGURES
Fig. 1. Visualisation demonstrates potential components required for a successful for a digital brand experience strategy pp. 16
Fig. 2 Characteristics of Traditional marketing. Source: Schmitt, 1999; 55 pp. 20
Fig. 3 Characteristics of Experiential marketing. Source: Schmitt, 1999; 58 pp. 20
Fig. 4 The Four Realms of an Experience. 1998, 102 pp. 24
Fig. 5 Visualisation demonstrates potential components required for a successful for a digital brand experience strategy Hultén, 2011; 264
pp. 31
Fig. 6 Consumer psychology model of brands Schmitt, 2011; 9, pp.34
Fig. 6 Adapted version of Ralf Beuker’s ‘The 5 Design Layers’ Beuker & Abbing, 2010 pp. 43
Left: Fig. 7. Screen grab from Leica digital video, (Vimeo, 2011)
Right: Fig 8. Screen grab from Mercedes interactive road movie, (Mercedes, 2011) pp. 45
Fig 9. Hermés Smell Sensor pp. 54
Fig 10.Hermés Sound Sensor pp. 54
Fig 11. Hermés Sight Sensor pp. 54
Fig 12.Hermés Taste Sensor pp. 54
Fig 13.Hermés Touch Sensor pp. 54
Fig 14. Hermés aesthetics layer pp. 56
Fig 15. Hermés interaction layer pp. 56
Fig 16. Hermés performance layer pp. 56
Fig 17. Hermés construction layer pp. 57
Fig 18. Hermés meaning layer pp. 57
Fig 19. Mercedes Smell Sensor pp. 61
Fig 20. Mercedes Sound Sensor pp. 62
Fig 21. Mercedes Sight Sensor pp.63
Fig 22. Mercedes Sight Sensor pp. 64
RUPINDER DOSANJH / S11734461 MA DESIGN MANAGEMENT / DISSERTATION / DES7007 / 2012i

LIST OF TABLES
Fig 23. Mercedes Sight Sensor pp. 64
Fig 24. Mercedes Touch Sensor pp. 64
Fig 25. Mercedes aesthetics & construction layer pp. 66
Fig 26. Mercedes interaction layer pp. 66
Fig 27, 28 & 29 . Mercedes meaning layer pp. 68
Fig 30. Mercedes performance layer pp. 68
Table 1, Economic Distinctions. Pine & Gilmore, 1998; 98 pp. 23
Table 2, Economic Offerings and Experiences, 1998, 98 pp. 24
Table 3, TM, RM to SM Hultén et al, 2009; 262.pp.29
Table 4 provides a detailed insight into sensors, sensations and sensory expressions, Hultén, 2011; 265 pp.32
Table 5. Hermés Sensory Model Analysis developed from Hultén et al. 2009 pp. 55
Table 6. Hermés Design Layers model analysis developed from Beuker & Abbing 2010 pp. 57
Table 7. Mecedes Sensory Model Analysis developed from Hultén et al. 2009 pp. 65
Table 8. Mercedes Design Layers model analysis developed from Beuker and Abbing, 2010 pp. 69
RUPINDER DOSANJH / S11734461 MA DESIGN MANAGEMENT / DISSERTATION / DES7007 / 2012 ii

RUPINDER DOSANJH / S11734461 11MA DESIGN MANAGEMENT / DISSERTATION / DES7007 / 2012
1.0 INTRODUCTION
This dissertation has been inspired by the innovative usage of digital
media against a backdrop of consumers who are now suffering from
“digital fatigue” (NY Times, 2011). A modern day syndrome rapidly
affecting the “always connected” society comprising of citizens armed
with the latest smartphones, desktop/laptops and tablets.
These products have the power to transport people into a digital
world where information is readily available and content is broader
than anything imagined before Web 2.0. Post-digital citizens are
fast becoming a cashless society, preferring to purchase goods and
services online using their cards or other smart payment methods via
their smartphones. This has sped up the traditional consumer journey
that would have once involved a physical journey and taken a block of
time out of the consumer’s daily routine to complete.
Brands have a problem.Aconsumer’s brand requirement has changed.
The consumer has been empowered by the tools of technology, digital
platforms and an ever-increasing arsenal of social media channels
to upload and share user-generated content on. These consumers
now hold the power to make brands even more famous and loved. Or
damage reputations and start a boycotting campaign.
We are currently living in transformational times. The financial
industries have gambled and squandered a future generations wealth;
media agencies and politicians are being investigated for the sake of
public interest. Some of these events have led to dramatic changes
and consumer revolt. Due to unstable global socio-economic climates
and changes in mass media consumption, consumers have begun to
reject the term “consumer” and want to be addressed by brands in a
more humanistic manner. They have become desensitised to the hard
promotion of product specifications and brand promises.
Brands need to speak to their audience in a more engaging manner
and reach out to their thoughts, feelings and emotions. Brands need
to communicate to people again. A more “human centred” approach is
required that puts people back into the centre of the equation.
Brands need to offer people experiences. By offering holistic brand
experiences with sophisticated uses of digital media and encompassing
the use of sensory and experiential techniques to reach out, delight
and advocate the “human brand purpose” and make a qualitative
difference to their lives (Vimeo 2011).

MA DESIGN MANAGEMENT / DISSERTATION / DES7007 / 2012 RUPINDER DOSANJH / S1173446112
1.1 Definitions
Digital Media
In its simplest form, digital media takes a set of messages, such as
images, texts, audio, video and graphics and translates this material
into digital data. This then can be transmitted over computer networks
or the Internet. A detailed analysis on digital media will be undertaken
in the literature review.
Brand Experience
According to Brakus et al (2009), who defines a brand experiences as:
‘subjective, internal consumer responses (sensations,
feelings, and cognitions) as well as behavioural responses
evoked by brand related stimuli that are part of a brand’s
design and identity, packaging, communications and
environment’
Consumer Behaviour
Consumer behaviour is an expansive subject area and can be defined
as “the study of the processes involved when consumers acquire,
consume and dispose of goods, services activities, ideas in other to
satisfy their needs and desires” (Hoyer & Macinnis as cited in Noel,
2009; 12). This dissertation will take a “micro approach that examines
the consumer as an individual” (Noel, 2009; 6) and in particular the
processes surrounding the individual’s behaviour.
In the context of this dissertation, this study will focus on the
experiences a consumer or user goes through when coming into
contact and engaging with a brand. The types of behavioural traits to
be explored will be:
• Brand Participation
• Brand Affects
• Multi-sensory perceptions
Schmitt, 2011

RUPINDER DOSANJH / S11734461 MA DESIGN MANAGEMENT / DISSERTATION / DES7007 / 2012 13
This is a qualitative and exploratory dissertation that seeks to
investigate academic theories proposed by respected writers and
professors and to apply those to examples of digital brand experiences
that have already gained recognition for their successful usage of the
medium. By conducting a series of in-depth analysis of the various
uses of digital media and how it can enhance the brand’s affects and
multi-sensory perceptions to bring the consumer into an environment
that is thought provoking and evokes a range of emotional responses
and moods. The research intends to answer the following questions
as outlined:
1.2 Research Questions
What types of design are involved in creating a digital experience?
What methods are involved in creating a digital brand experience?
How can the potential of digital media contribute to a consumer’s
digital experience?
What impact can a digital experience have on a consumer’s relationship
with the brand?

2.0 LITERATURE REVIEW
The purpose of a literature review is to develop a framework to explore the various aspects of areas of research highlighted in existing
secondary sources and to use the research to narrow down into a deeply focused area of investigation (Collins, 2010 and Denscombe, 2007).
For the purpose of clarity, this literature review has been divided up into three high level topics with sub-sections within those to guide the reader
through the various theories explored and to answer the research questions:
• The Platforms and Channels of Digital Media
• Components of Brand Experience
• Tapping into Human Senses to Influence Consumer Behaviour
The first level, the Platforms and Channels of Digital Media looked at the various design disciplines, digital platforms and channels used to
create and showcase digital experiences for consumers to connect and engage with. A detailed look at channels documented their methods of
creation and impacts on real life situations consumers that may face on a daily basis.
The second level, the Components of Brand Experience was based on research that has included in-depth looks at experiential marketing, the
experience economy and brand experience theories. These sub-topics were investigated to explain what comprises of a brand experience.
This review of experiences took a linear approach and mapped the evolution of marketing theories. The purpose of this section was to establish
and highlight key elements that can be identified during the primary research analysis stage.
The third and final level, Tapping into Human Senses to Influence Consumer Behaviour, explored how the theories presented by sensory
marketing could influence the five human senses and affect a consumer’s perceptions and relationships with brands. Also a detailed insight
was undertaken into how a consumer experiences a brand through multi-sensory perceptions, affects and participation as briefly outlined in
the introduction earlier.
To conclude, according to Young, the best way to understand “processes” was to think of them as “strategy” (2010; 170). Young’s approach
paves the way to explore the components that create brand experiences that are “more relevant to the consumer’ (2010; 177). The following

visualisation (see fig. 1) aims to demonstrate the overall approach of the literature review. The theories and principles investigated contribute
to the drivers that could potentially be used to develop a digital brand experience strategy:
COMPANY’S
BUSINESS
GOALS
STAKEHOLDERS/
COMPANY
BRAND
CHANNELS/
FACILITATORS/
ENVIRONMENT
AUDIENCE
BRAND
STRATEGY
BRAND
CAMPAIGN
GOALS
DIGITAL
BRAND
EXPERIENCE
STRATEGY
Fig. 1. Visualisation demonstrates potential components required for a successful for a digital brand experience strategy

2.1 The Platforms and Channels of Digital Media
What types of design are involved in creating a digital experience?
“Digital isn’t one medium, it is many media, and the list is
ever expanding.”
Young, (2010; 165)
Olins as cited in Abbing (2011) divided the vast field of design into
five disciplines that all operate individually and can also be integrated
together to create holistic experiences. These disciplines were defined
as:
• Product design
• Communication design
• Environmental design
• Interaction design
• Service design
Olins as cited in Abbing (2011)
Brand experiences can encompass many types of design, across a
range of touch-points across platforms and channels, it was important
to acknowledge the crossovers within the disciplines. This study
however, will focus predominately on digital brand experiences that
consumers can engage with in private spaces or out of home, as
brands need to “be everywhere (your) customers are” (FastCoCreate.
com, 2012).
The most commonly used platforms used to directly engage brand
experiences and consumers are:
• Laptops/Desktops
• Smartphones
• Tablets
However, out of home brand experiences often consist of digital
billboards, large outdoor screens and more increasingly, large scale
outdoor projection mapping and interactive touch-screen monitors or
tables.
More recently, the launch of ‘Connected TV’ demonstrates the future
capabilities of the convergence of the Internet into one device. Soon,
customers will be able to watch television programmes and movies,
pause, click on an actor’s garment for example, be taken to an
e-commerce website (optimised for television) to make a selection
and share their newly purchased product with friends via social media
channels.
All of these platforms aim to act as windows for brands to engage
with consumers on a more tactile and deeper sensory level. The rise

of this ‘tactile technology’ has gone from voice-recognition, currently
popular multi-touch screen to the newly introduced ‘human gesture’
technology. These types of technology have been introduced on a
mass consumer level by brands such as Microsoft, Apple, Samsung
and Google.
There are an ever-growing amount of digital channels available
and being launched at a rapid rate. During the conceptualisation of
this study, a small-scale grounded theory approach was applied to
develop a context in the uses of digital media. A vast amount of digital
platforms and channels were explored. These were further narrowed
down at a deeper level and grouped into the areas found, virtual and
physical spaces. However, it can be argued that we are in a time where
environments are becoming blended together as digital technology
can be accessed anywhere, at anytime of day.
The examples explored were:
• Augmented Reality
• QR Codes
• Near Field Communications
• Gamification
• Digital Videos
The first three were classified as ‘experience extensions.’ These
were essentially were used after the initial contact was made with the
consumer. These extensions methods were used to act as ‘takeaways’
to allow the consumer to explore the brand on their smartphone or
tablet devices. As these particular platforms are mobile and always
with consumers on their journeys.
The increasing use of ‘Augmented Reality’ within campaigns involves
downloading augmented reality enabled apps, scanning a ‘trigger
image’ via a smartphone or tablet and viewing the video content on the
users device. Within the content, product information can be ‘tapped’
to reveal more information or link to the brand’s website (Aurasma,
2012). This was chosen as many brands such as Nike, Lucozade and
Mercedes have received high accolade and awards for their innovative
usage of augmented content to connect with consumers.
QR Codes work in a similar way to Augmented Reality, as an initial QR
Code Reader is required to be downloaded onto the device. However,
this technology is limited to extending experiences to linking to online
content or social media channels. QR Codes could be seen as
‘facilitators’ or ‘gateways’ to channels that contain rich media content.
A more recent development is ‘Near Field Communications.’ This was
developed by MIT Mobile Experience lab in collaboration with Nokia in
2007. NFC involves the use of “high frequency wireless communication
technology which enables to exchange of data between devices” (MIT
Mobile Lab Experience, 2007).
Barclaycard has recently started to use this technology to promote
their “Barclaycard PayTag” campaign – where users attach an NFC

enabled sticker to their smartphones to make contactless payment
for products without the use of a card or pin number (Barclaycard
2012). At a third of the size of a credit and debit card, contactless
payment technology is an agile method that could be widely adopted
by consumers who regularly use their cards to make payments for low
priced goods or services.
Gamification is not a new concept. Consumers have been playing
board games, sports and video games for a long time. With the rise of
Facebook and smartphone usage, traditional games such as Scrabble
and Monopoly have been reinvented for a digital world. Users are able
to play against friends and others in different countries. The tactile feel
of the tiles and actions of rolling the dice have been emphasised with
the detail in sound and textures throughout the game.
More recently DrawSomething, created by Omgpop and bought for
$180 million by Zynga (Mashable 2012), was a game available on
iPhone and Android smartphones. It demonstrated that taking the
simple of idea of drawing items and battling against other users to
guess creations tapped into human characteristics of competitiveness
and fun.
There has been a rapid rise in the use of digital videos across a wide
range of sectors. For example, luxury brands have collaborated with
musicians and established film directors to create feature length
showpieces that act as a digital gateway towards engaging with
consumers.
2.2 Components of Brand Experience
What methods are involved in creating a digital brand experience?
How can the potential of digital media contribute to a consumer’s
digital experience?
2.21 EXPERIENTIAL MARKETING
Bernt Schmitt expanded upon experiential marketing and its purpose
was to “contrast traditional marketing with a new approach to
marketing” (1997; 53). Schmitt describes:
“traditional marketing as an engineering-driven, rational,
analytical view of customers, products and competition
that is full of untested and outmoded assumptions” and
“hardly a psychologically-based theory about customers
and how they view and react to products and competition”
(1997; 55).

The following model demonstrates the characteristics of traditional
marketing:
In contrast to traditional marketing, Schmitt explains that the “goal of
experiential marketing is to create holistic experiences that integrate
individual experiences into a holistic Gestalt” (1997; 53).
The four characteristics of experiential marketing are explained in this
model:
The views promoted by Schmitt were that experiential considered
consumers to be “rational and emotional human beings who are
concerned with achieving pleasurable experiences” (1997; 53). The
theory proposed that there were five types of “experiences, or strategic
experiential modules” (1997; 53).
TRADITIONAL
MARKETING
Narrow definition of
product category &
competition
Customers are rational
decision-makers
Methods are analytical,
quantitative & verbal
Features & benefits
Fig. 2 Characteristics of Traditional marketing. Source: Schmitt, 1999; 55
EXPERIENTIAL
MARKETING
Consumption is a
holistic experience
Customers are rational
& emotional animals
Customer Experience
Methods are electic
Fig. 3 Characteristics of Experiential marketing. Source: Schmitt, 1999; 58

These are as follows:
SENSE module:
Concerned with creating “sensory experiences” (1997;
61) that focus on sight, sound, touch, taste and smell”
(1997; 61) via the aesthetics of products for example.
FEEL module:
This module focuses on engaging with the consumer’s
feelings, emotions and moods. The focus in feel
marketing is to identify what brand “stimuli” (Schmitt,
1997; 61) can trigger particular emotions such as
happiness, joy and excitement (Schmitt, 1997; 61).
THINK module:
This type of approach is aimed at intellectually minded
consumers who naturally take to “convergent and
divergent thinking through surprise, intrigue and
provocation” (Schmitt, 1997; 61). This strategy tends to
create “problem-solving experiences” (Schmitt, 1997; 61)
to situations that consumers may face on a daily basis.
ACT module:
ACT marketing focuses on actions. Or “physical
experiences, alternative lifestyles and interactions”
according to Schmitt (1997; 62). This approach can be
linked to rational behaviour or emotionally charged to
inspire and motivate consumers (Schmitt, 1997; 62).
RELATE module
The final module aims to appeal to an “individual’s desire
for self-improvement” or their “need to be perceived
positively” or relate to a “broader social system” (Schmitt,
1997; 62). This strategy contains elements of the
previous modules to go “beyond the individual’s personal,
private feelings” (Schmitt, 1997; 62), as these tend to
be internal. RELATE marketing aims to demonstrate the
brand as more than a product and promote itself as a
culture that the individual would like to relate to (Schmitt,
1997; 62).
Within the context of a brand experience, these modules need to
fully exploit “products, communications, and marketing campaigns to
deliver an experience” (Schmitt, 1997; 57). The brand should be as
a “source of sensory, affective, and cognitive associations” that can
produce “memorable and rewarding brand experiences” (Schmitt,
1997; 57).

It is possible to parallel Schmitt’s theory of experiential marketing with
the current socio-consumer landscape. He states “three simultaneous
development in the broader business environment:”
1, The Omnipresence of Information Technology
2, The Supremacy of the Brand
3, The Ubiquity of Communications and Entertainment
(Schmitt, 1997; 53).
In today’s consumer-driven culture, social media has handed the
power back into the user’s hands. The users are able to engage with
brands into a two-way conversation. Brands have almost become
the generic for products. The rise of celebrity culture further drives
this fascination with brands as celebrated individuals have almost
canonised themselves into a brand personality. The final aspect
could be interpreted as the convergence of the communications and
entertainment environment. Consumers are able to access content
and engage in conversations with other users at anytime using various
digital platforms.
When Schmitt discussed experiential, he believed these three aspects
could lend to “an entirely new approach to marketing, if not business”
(Schmitt, 1997; 54). It is possible to map these signs to the current state
of consumer culture and the recession. This economic state has led
to brands questioning their communication strategies and developing
methods to push their identity in a deeper, more engaging manner.

2.22 EXPERIENCE ECONOMY
Schmitt referred to the “developments in the broader business environment” (1997; 53) and cites a seminal piece that explored the “progression
of economic value” (1997; 54). In 1998, Pine and Gilmore wrote, “Welcome to the Experience Economy.”
The authors predicted a “time-starved” society in where consumers begin to “unquestionable desire experiences” (1998; 97). They described
the “progression of economic value” (1998; 97) through “economic offerings” (see table 1) of “commodities, good, services and experiences”
(1998; 98). They believed that the next phase of differentiation from competitors was to “stage experiences” (1998; 98) and argued that to
realise their full benefit, “businesses must deliberately design engaging experiences” (1998; 98).
The following table from the article maps out the differences between commodities, goods, services and experiences:
Economic Distinctions
Economic Offering Commodities Goods Services Experiences
Economy Agrarian Industrial Service Experience
Economic Function Extract Make Deliver Stage
Nature of Offering Fungible Tangible Intangible Memorable
Key Attribute Natural Standardised Customised Personal
Method of Supply Stored in bulk Inventoried after
production
Delivered on demand Revealed over a
duration
Seller Trader Manufacturer Provider Stager
Buyer Market User Client Guest
Factors of Demand Characteristics Feautures Benefits Sensations
Table 1, Economic Distinctions. Pine & Gilmore, (1998; 98)

Pine and Gilmore state “an experience occurs when a company
intentionally uses services as the stage, and goods as the props
to engage individual customers in a way that creates a memorable
event” (1998; 98).
As previously suggested by Schmitt, features and benefits belong
to the remit of traditional marketing. Experiential marketing’s
characteristics fall under “key attributes” of “Personal, nature of
offering” of “memorable” and “factors of demand” as “sensations” as
can be seen in table 2 (Pine and Gilmore, 1998; 98).
Economic Offering
Economy
Economic Function
Nature of Offering
Key Attribute
Method of Supply
Seller
Buyer
Factors of Demand
Experiences
Experience
Stage
Memorable
Personal
Revealed over a duration
Stager
Guest
Sensations
Table 2, Economic Offerings and Experiences. (1998, 98)
The article discusses two dimensions, the first “customer participation”
(Pine and Gilmore, 1998; 101) which deals with passive and active
participation. The second dimension describes “connection” in terms
of “absorption” and “immersion” (Pine and Gilmore, 1998; 102) as
“entertainment” or “educational” as demonstrated in fig X. In terms
of “immersion” this was explored as “esthetic” and “escapist” (Pine
and Gilmore, 1998; 102). According to the fig. 4, the most memorable
experiences are ones that encompass all the “four realms of an
experience” (Pine and Gilmore, 1998; 102).
Fig. 4 The Four Realms of an Experience. (1998, 102)
Passive
participation
Active
participation
Absorbtion
Entertainment
Esthetic
Educational
Escapist
Immersion

Pine and Gilmore devised what they call “five key experience-design
principles” (1998, 102):
1. Theme the experience
Envision a well-defined theme that is concise and compelling
that captivates the customer.
2. Harmonise impressions with positive cues
Impressions are the “takeaways” of the experience and cues
must support the theme and work together.
3. Eliminate Negative Cues
Eliminate cues that diminish, contradict or distract from the
theme.
4. Mix in memorabilia
Customers purchase themed products primarily for the
memories they convey and as reminders of their unique
experiences.
5. Engage all five senses
Sensory stimulants should support and enhance its theme.
Customers cannot be unaffected by the stimulants.
(Pine and Gilmore, 1998; 103, 104)
To demonstrate these design principles, Pine and Gilmore gave
examples of experiences provided by Disney, Rainforest Café,
Niketown, the Forum Shops in Las Vegas and Caesar’s Palace Casino
(1998; 102, 105). Their use of themes, cues and engaging all five
senses provided memorable experiences that customers positively
advocated and this response led to repeat visits.
They stated that it will become a tough market place and businesses
would need to frequently refresh experiences so guests do not get
bored (Pine and Gilmore, 1998; 105). Also, those businesses needed
to innovate; those who do not threaten to “render irrelevant those who
relegate themselves to the diminishing world of goods and services”
(Pine and Gilmore, 1998; 105).
Pine and Gilmore suggested that:
“experiences are inherently personal, existing only in the
mind of an individual who has engaged on an emotional,
physical, intellectual or even spiritual level. Thus, no two
people can have the same experience, because each
experience derives from the interaction between the
staged event and the individual’s state of mind”
(1998; 99).

This idea, tied in with the use of experiential marketing could produce
affective brand experiences. To explore further exactly what a brand
experience is, what methods are involved in creating them and the
impacts they have, we look at a key journal article written in 2009 by J.
Josko Brackus, Bernd H. Schmitt and Lia Zarantonello.

2.23 BRAND EXPERIENCE
The authors defined brand experiences as:
“sensations, feelings, cognitions and behavioural
responses evoked by brand-related stimuli that are part of
a brand’s design and identity, packaging, communications,
and environments” (Brakus et al, 2009; 52).
They argued that it was important to understand how consumers
holistically experienced brands. This article is highly relevant in
defining the foundations of what creates a brand experience, its
various dimensions in “philosophy, cognitive science and experiential
marketing and management” (Brakus et al, 2009; 54).
Philosophy
The article cited two views. The first, that Dewey (1992, 1995)
interprets experience as “the intertwining of human beings and their
environments” (cited in Brakus et al, 2009; 54).
The second, Dubé and Le Bel (2003) highlight “four pleasure
dimensions, intellectual, emotional, social and physical pleasures”
(cited in Brakus et al, 2009; 54). This echoes experiential thinking.
Cognitive Science
Pinker cites that there are a “four mental modules” of “sensory
perception, feelings and emotions, creativity and reasoning and social
relationships” (cited in Brakus et al, 2009; 54). This view from cognitive
science crosses over with what the philosophers stated and could be
reactions to “human beings and environments” (cited in Brakus et al,
2009; 54).
Experiential Marketing and Management
Brakus et al explain that Pine and Gilmore’s “four experience
dimensions” of “aesthetic, educational, entertaining and escapist
experiences” (2009; 54) are similar to views shared by philosophy and
cognitive science. As discussed in-depth earlier, experiential describes
five types of experiences:
SENSE: aesthetic and sensory qualities
FEEL: moods and emotions
THINK: convergent/analytic and divergent/imaginative
ACT: motor actions and behavioural
RELATE: socially or professionally
(Schmitt, as cited in Brakus et al, 2009)

The three views from across the board of philosophers, cognitive
scientists and management thinkers were agreed that experiences
are “sensations, feelings, cognitions, and behavioural responses”
(Brakus et al, 2009; 54).
In terms of branding, Brakus et al identified that “brand related
stimuli” were the sensors. These sensors were defined as “colours,
shapes, typefaces, designs, slogans, mascots, brand characters” and
that there was a need to assess the affects of these stimuli in the
context of “dynamic, “online” experiences” (Brakus et al, 2009; 55) that
consumers engage in.
As stated earlier by Pine and Gilmore and by Schmitt, whose study
fully explored experiences and their connections with the five human
senses. Sensations, along with the brand stimuli build a strong case
for the use of experiential marketing and sensory strategies to engage
with consumers at a deeper level.

2.3 Tapping into Human Senses to Influence
Consumer Behaviour
What impact can a digital experience have on a consumer’s relationship
with the brand?
2.31 SENSORY MARKETING
“sensory marketing takes its point of departure in the
human mind and senses, where mental flows, processes
and psychological relations take place and result in a
multi-sensory brand-experience”
(2011; 262).
Hultén’s paper looked to expand on Schmitt’s work on
experiential marketing and introduced its focus on the senses.
He explained that the creation of a “brand image” (Hultén, 2011;
262) happens when a customer interacts with a brand, thus
triggers off the “customer’s sensory experience” (Hultén, 2011,
257).
Hultén defined a sensory experience as “an individual’s
perception of goods or services or other elements in a service
process as an image that challenges the human mind and
senses” (2011; 258). This is similar to Schmitt’s definition that a
customer experience can be constructed from “acting, feeling, relating,
sensing and thinking” (2011; 258). In his study, he focused on the
“significance of the five human senses in creating the multi-sensory
brand experience (in) relating to customer value, experiences and
brand as image” (2011; 258).
To fully understand the multi-sensory brand-experience, firstly we
need to take a deeper look into the key characteristics and theories
of previous marketing strategies of transaction (TM) and relationship
(RM) marketing. Table 3. developed by Hultén et al (2009) compares
the various strategies.
TM RM SM
Marketing Goods logic
Exchange
perspective
TM
Service logic
Relationship
perspective
RM
Experiential logic
Brand perspective
SM
Strategic
Marketing
Product focus
Customer
aquistion
Transactional
strategies
Customer focus
Customer
retention
Relational
strategies
Mind & sense focus
Customer treatment
Sensorial strategies
Tactile Marketing Persuation and
promotion
One-way
communication
Production
technology
Interaction and
interplay
Two-way
communication
Information
technology
Dialogue and on-line
interactivity
Multi-sensory
communication
Digital Technology
Table 3, TM, RM to SM Hultén et al, 2009; 262.

Using the “economic offerings” as defined by Pine and Gilmore (1998),
it is evident in the table that there is a crossover in “goods, services
and experiential logic” (Hultén, 2011; 262). Transaction marketing saw
the consumer as someone with “average needs in a mass-market”
(Hultén, 2011; 261) and its objectives were focused on “acquiring
customers, short-term exchanges and single transactions” (Hultén,
2011; 262). TM used traditional forms of advertising to persuade and
promote consumers. This approach led to consumers being spoken to
in a one-way manner.
Relationship marketing capitalised on “information technology”
(Hultén, 2011; 262) to initiate two-way communication with consumers
and relationship characteristics in promoting services. RM’s aim
was to build “customer retention, long term-relationships, two-way
communication and personal interaction” (Gronroos as cited in Hultén,
2011; 262).
Hultén discusses that the downside of RM and customer relationship
management, particularly the use of CRM software (e.g. Salesforce)
had led to a depersonalization of customer relationships. He states
“firms have attempted to build long-term customer relationships based
on a technically more advanced approach than a personal approach”
(2011; 262).
Both transaction and relationship models do not explore sensory
experiences or brand stimuli. The sensory model puts experiential
logic, brand perspectives and focuses more on the mind and senses. It
intends to entertain consumers and allow them to decide on their own
“subjective interpretation” (Hultén, 2011; 262) of the experiences that
they choose to engage with. The intention is to move beyond two-way
and towards engaging consumers in “multi-sensory communication”
(Hultén, 2011; 262).
The SM model interpreted experiences as images that consumers
absorb, interpret and develop their own perceptions of the brand.
All these contribute to the multi-sensory brand-experience within the
context of the brand. These perceptions are a combination of “an
individual’s beliefs, feelings, thoughts and opinions about the brand”
(Kotler, 2000: Brakus et al 2009).
Hultén argued that as brands become similar in price and quality,
sensorial strategies could offer a method to differentiate against
competitors (2011; 263). The strategy comprises of “sensors,
sensations and sensory expressions” (Hultén, 2011; 263) as explained
in fig 5:

Sensory strategies
in relation to the five human senses
Design executes
strategy
Sensors
Scent
Sensors
Sound
Sensors
Sight
Sensors
Taste
Sensors
Touch
Sensors
Atmospheric Auditory Visual
Sensory expressions
in relation to smell, sound, sight, taste and touch
Gastronomic Tactile
Sensations
The multi-sensory brand-experience
Fig. 5 Visualisation demonstrates potential components required for a successful for a digital brand experience strategy
(Hultén, 2011; 264)

The objective of the strategy is to act as a facilitator of the multi-
sensory brand-experience through the components in terms of their
relationship with the five human senses.
The aim of sensors is to act as a “communicative means” (Hultén,
2011; 264) to transmit the five human senses. Platforms could be
comprised of traditional media to promote sensors and make a brand
stand out against competitors.
Sensations are defined as “an emotion or feeling that deliberately links
the human mind and senses” (Hultén, 2011; 264). Sensations act as a
reflective observation that consumers experience and take away with
them. These tend to be triggered by sensory expressions that allow
brands to “be closer and more deeply imprinted in the consumer’s
mind” (Hultén, 2011; 264).
As consumers strive for individualisation, a deeper relationship of
dialogue, interactivity and multi-sensory brand-experiences are called
for. The use of sensory strategies could offer enchanting, sensorial
experiences that engage consumer’s mind and senses in a digital
environment. A creation of dialogue and ripple of interaction online by
sharing experiences through social media channels or word of mouth,
both online and offline would lead to brand advocacy.
With instantaneous social media channels consumers can now
express positivity, influence friends and peers and praise brands.
These advocates of the brand have the power to convert others to
enquire or adopt the brand. Companies and brands need to gain a
Sensors Sensations Sensory Expressions
Smell sensors Atmospheric Product congruence, intensity and sex Atmosphere, advertency and theme
Scent brand and signature scent
Sound sensors Auditory Jingle, voice and music Atmosphere, attentiveness and theme Signature sound
and sound brand
Sight sensors Visual Design, packaging and style
Colour, light and theme Graphic, exterior and interior
Taste sensors Gastromic Interplay, symbiosis and synergies Name, presentation and environment
Knowledge, lifestyle and delight
Touch sensors Tactile Material and surface Temperature and weight Form and steadiness
Table 4 provides a detailed insight into sensors, sensations and sensory expressions, Hultén, 2011; 265

deeper understanding of consumers and their relationship with brands.
2.32 CONSUMER PSYCHOLOGY OF BRANDS
The article “The Consumer Psychology of Brands” (Schmitt, 2011) was
reviewed to deconstruct the various aspects of a consumer’s brand
experience. Bernd Schmitt devised the “consumer psychology model
of brands” as seen in fig X (2011; 9). It is comprised of five processes
(identifying, experiences, integrating, signifying and connecting) and
three layers of engagement (object centred, self-centred and social
engagement).
The model aimed to “address consumer perceptions and judgments” in
relation to brands (Schmitt, 2011; 8). The previous models presented
earlier in the reviews, mainly dealt with processes. This however,
focused on the “unique features” and “essential characteristics” of the
brands (Schmitt, 2011; 8).
Before breaking down the various processes, it is important to explore
the “three levels of engagement” as Schmitt has described them
(2011; 8):
Object-centred engagement
This is at the core of the model and this is where “the
consumer acquires information about the brand and
utilitarian benefits from the brand” (Schmitt, 2011; 8)
Self-centred engagement
This deals with issue of what the brand means to the
individual consumer and its own personalized relationship
(Schmitt, 2011; 8)
Social engagement
The final layer is the most public layer in terms of
engagement. The consumer’s relationship with the brand
is at an “inter-personal and socio-cultural perspective, and
also provides a sense of community” (Schmitt, 2011; 8)
As Schmitt states that as the consumer moves from the core to the
outer layer “the brand becomes increasingly meaningful” (2011; 8).
We will now look at the five processes and identify the most relevant
process to this dissertation.
Identifying

Object-centred engagement
Socal engagement
Fig. 6 Consumer psychology model of brands
(Schmitt, 2011; 9)

This deals with issue of what the brand means to the
individual consumer and its own personalized relationship
(Schmitt, 2011; 8)
Social engagement
The final layer is the most public layer in terms of
engagement. The consumer’s relationship with the brand
is at an “inter-personal and socio-cultural perspective, and
also provides a sense of community” (Schmitt, 2011; 8)
As Schmitt states that as the consumer moves from the core to the
outer layer “the brand becomes increasingly meaningful” (2011; 8).
We will now look at the five processes and identify the most relevant
process to this dissertation.
Identifying
The process of identifying begins with the consumer
researching a brand, locating its category, making
associations with other brands and signalling a relationship
within the brand (Schmitt, 2011; 8).
Experiencing
Schmitt defines this process as “sensory, affective and
participatory experiences that a consumer has with a
brand” (2011; 8).
Integrating
This process starts from the information surrounding the
brand concept, developing a personality and relationship
with the brand (Schmitt, 2011; 8).
Signifying
Schmitt states that signifying refers to “using the brand as
an informational cue, identify signal and cultural symbols”
(2011; 8).
Connecting
This process involves creating an attitude towards the
brand, forming an attachment and connecting with the

The process of identifying begins with the consumer
researching a brand, locating its category, making
associations with other brands and signalling a relationship
within the brand (Schmitt, 2011; 8).
Experiencing
Schmitt defines this process as “sensory, affective and
participatory experiences that a consumer has with a
brand” (2011; 8).
Integrating
This process starts from the information surrounding the
brand concept, developing a personality and relationship
with the brand (Schmitt, 2011; 8).
Signifying
Schmitt states that signifying refers to “using the brand as
an informational cue, identify signal and cultural symbols”
(2011; 8).
Connecting
This process involves creating an attitude towards the
brand, forming an attachment and connecting with the
wider brand community (Schmitt, 2011; 8).
These statements give an overview of the processes that shape the
model. The experiencing process will be more looked at in greater
detail.
This dissertation has already reviewed experiential and sensory
marketing. This particular study, and the process of experiencing
compared with the previously highlighted theories have many
crossovers and offers an insight into the consumer perspective, which
was not really focused on.
As briefly discussed earlier, experiencing consists of “multi-sensory
perception, brand affect and brand participation” (Schmitt, 2011; 8).
We will now look at each layer more closely.
Multi-sensory perception
Sensory perceptions are formed when a consumer comes
into contact with brand stimuli (branded touch-points,
as discussed in Brakus et al’s work). In the case of the
object-centred engagement layer “one sensory model
may dominate” (Schmitt, 2011; 10) over the during brand

selection. When a consumer is at a perceiving state, a
selection of senses interplay to improve “brand memory”
(Morrin and Ratneshuar as cited in Schmitt, 2011; 10). This
process ties in with the ‘sense module’ from experiential
marketing and ‘sensors’ from the sensory strategy
discussed previously.
Brand Affect
The self-centred engagement of brand affect could trigger
“positive or negative moods,” feelings of “joyful and happy
or angry or sad” (Schmitt, 2011; 10). Gobé (2001) proposed
that “emotional branding” focused specifically attaching
emotions to brands and pushed unique vale propositions.
In comparison to the sensory model, this would be similar
to ‘sensations.’ With regards to experiential marketing, the
feel module fits with brand affect.
Brand Participation
The final process and most public layer, social engagement
has usually taken place in atmospheric environments,
such as shopping centres or staged events that offer the
opportunity for the consumer to immerse themselves in
the brand. Similar to what Brakus et al calls a “behavioural
experience” (2009). Since the post-digital age, social
media channels have offered consumers the platform to
engage with aspirational brands. Also, brand websites
have given consumers the opportunity to customise
products in an online space with no pressure to purchase
(Schmitt, 2011; 11).
Schmitt’s study into the relationships consumers form with brands
offered the perspective from a “consumer-neuroscience” (2011; 7)
point of view. This demonstrated how psychology driven studies are
emerging to develop a deeper process of thought and discussion
within the broad landscape of branding and consumer experience.
Also how the “consumer-psychology model’s” layers and processes
connect with the theories presented by experiential, sensory and the
experience economy.
In summary, the literature review has identified the types of digital
media consumers engage with and their activities using the devices
such as for e-commerce, social media, gathering information and also
becoming their own content curators. The study also established the
potential digital media possesses with its powerful arsenal of tools
to connect consumers and the brands. By creating highly emotive
experiences that provokes the five human senses and using images
to leave participants with long lasting impressions in their minds.
The methods suggested in the secondary sources consist of creating
strong sensory expressions that evoke sensations via brand stimuli

(for example, identity, colours, shape, form, name, type). These
sensations could be integrated with experiential theory in a seamless
manner to truly make a strong impact on delivering a meaningful digital
brand experience for a consumer.

3.0 RESEARCH METHODOLOGY
3.1 Research Approach
The primary research strategy consisted of two approaches:
• Grounded theory
• Case study
3.2 Grounded Theory
During the early stages of investigation, a short, grounded theory
strategy was developed and implemented. This was a small study that
was carried out to gather information and develop a flexible framework
to guide the beginnings of the literature review. Firstly, a small sample
of various examples of the different types of digital technology and
media that were popular amongst consumers was collated. Once
platforms and media were established, the study went on to explore
brand experiences that affectively used digital media (see appendix A
for examples).
The objective of this initial grounded theory approach was to “generate
explanations” (Denscombe, 2007; 93) of the various types of “human
interaction” (Denscombe, 2007; 89) involved with digital experiences.
The theories identified during this study established the need to
deconstruct the integrated areas of design, brand experiences and
consumer behaviour.
The results of the grounded theory strategy set the initial foundations for
the proposal and naturally led into the direction of the commencement
of the literature review.
3.3 Case Study
A case study strategy was employed to investigate the relationships,
methods and components of what comprises of a digital experience.
Denscombe (2007) suggested that case studies could provide an
“in-depth account of events, relationships, experiences or processes
occurring in that particular instance.” This approach was highly suitable
to the research work being undertaken.
Initially, this study was looking at one instance, digital, however this
was then expanded to encompass how the use of sensory marketing
is evident in digital experiences. This further reinforced the use of the
case study strategy as Denscombe discusses that:
“The logic behind concentrating efforts on one case rather
than many is that there may be insights to be gained
from looking at the individual case that can have wider
implications”
(2007; 36)
As in this particular case, the “one case” or “one instance” (Denscombe,
2007; 35, 36) would be the digital medium being deeply investigated.

3.4 Data Collection Methods
To build a set of high calibre case studies, a number of data collection
methods were initially proposed such as gathering visual research,
creating consumer journey maps, conducting interviews and
orchestrating a focus group.
However, after reviewing these methods, the focus group approach
was deemed to venture into the quantitative data territory. This study
did not focus on the gathering of masses of data, this study dealt
predominately with understanding relationships, and interactions and
behaviours therefore it was possible to conduct data collection without
participants.
3.5 Components of Case Studies
The following sources of evidence were selected to build two case
studies:
• Visual Research
• Consumer Journey Maps
• Visual Analysis
• Interviews
Visual research consisted of videos and images collated from the
Internet. When it was legally possible, videos were downloaded.
This allowed for more time to conduct a deeper analysis as this
process could take place offline. As suggested by Yin (2003) “direct
observation,” allowed the researcher to observe “relevant behaviours
or environments” and these observations of digital experiences
deconstruct the methods used to create the experiences and to
understand the actual uses of technology involved (Yin, 2003; 23).
Also, field notes were taken when interviewees suggested brands
and areas to research. One particular interviewee sent web links over
Skype for viewing after the interview. They were also taken during a
talk given by JCDecaux at the Birmingham Made Me Expo that took
place in June 2012. The talk featured many examples of JCDecaux’s
digital media solutions for various brands such as Burberry, Lynx, Sky
and T-Mobile in out of home spaces.
Consumer journey mapping techniques were modified to not only
track the consumer’s journey, but to also capture sensations and
sensory expressions. After capturing this data, it was possible to
identify experiential methods, multi-sensory perceptions, affects and
participation in relation to the specific areas of consumer behaviour
this study looked at earlier.
Visual analysis involved using two types of methods. The first,
“Sensory Model” (Hultén, 2011) approach was used to identify
sensors, sensations and sensory experiences that construct a multi-
sensory brand-experience. Also from the outcome of this analysis it
was possible to identify experiential characteristics.
The second type of analysis used the “Design Layers model” developed

by Ralf Beuker (Beuker & Abbing, 2010). This model was suitable
as it allowed for a detailed analysis of the aesthetics, interactions,
performance, construction and the meaning of the sample as explained
in the following diagram (Fig X). By deconstructing the samples
through the layers theory, it was possible to identify key elements with
the actual design of the mediums, use of products within the sample
to develop an argument that would lead to answering the research
questions that dealt with types, potential, methods and impacts.
The method used to collate the data from the Consumer Journey
Maps involved watching the videos a number of times. They were first
watched a few times to track the overall journey. Then, the videos
were viewed each time to fully capture sensory expressions and
deconstruct the layers. Screen grabs of specific key moments in the
videos were captured to represent each expression and layer. This
was an intensive process of gathering information, however it allowed
the research to be more in-depth and produce qualitative results.
Originally, a set of semi-structured interviews with key members within
agencies were to be interviewed to gain an industry perspective on
brand experiences. A wide selection of designers and managers were
invited to offer their opinion. However, due to issues and schedules,
many were unable to participate at an interview level but did offer
insights via informal email conversations.
It was important to generate a narrative from industry as this study
up until this moment was very academically led. Successfully, two
interviews were completed that gave detailed views, opinions and
experiences from industry. In both interviews the topics included
consumer behaviour, digital, theories explored during the literature
review and the role of advertising and branding.
Both interviews were conducted over Skype due to location and time
constraints. Both interviews were recorded and transcribed to track any
patterns or similarities in opinions and answers to the original research
questions. It was important to
create an atmosphere where the
interviewee felt comfortable to
move from being a “respondent”
(Yin, 2003; 90) to becoming an
“informant” as Yin suggested
that informants are “critical to the
success of a case study” (Yin,
2003; 90).
The first interview was conductedFig. 6 Adapted version of Ralf Beuker’s ‘The 5 Design Layers’ (Beuker & Abbing, 2010)
Aesthetic Sensorial
layer
What the communication does to the senses:
looks, smell, touch & sound
Interaction Behavioural
layer
How the user interactions with the communication & what
kind of behaviour it invites
Performance Functional
layer
What the communication does, problem it solves &
functionality it brings
Construction Physical
layer
How the communication is made, construction &
technologies used
Meaning Mental layer Meaning & emotions the communication conveys

with Charles Frith, Planning Director at WPP in Bangkok. Before the
interview, an overview of the research areas and objectives were
sent to Frith to set the scene for the Skype interview, which lasted
approximately fifty-minutes. Due to the bad audio line, it was sometimes
difficult to hear what was being said – this made transcription a difficult
process. This interview took an unstructured approach as Frith urged
to look at the broader landscape that digital, media, consumers and
brand sits in.
The second interview with Isabelle Quevilly, Digital Director at
Venturethree in London proved to be one of the strongest results
produced from all the data collection stage. Quevilly discussed a range
of topics and gave detailed, qualitative insights from her experience at
a business level right through to a customer level.
Again, this interview was conducted over Skype and Quevilly was sent
a list of interview questions in advance to give a brief introduction to
the research and an opportunity to open a dialogue for discussion.
Although it was not possible to view the interviewees for body
language responses and time was of the essence, this actually led to
the interviewees discussing highly focussed areas in a deep, clear and
engaging manner very quickly and concisely.
3.6 Sample
A “purposive sampling” (Denscombe, 2007; 17) approach was used
to select suitable samples for visual analysis. These were as follows:
• Leica M9-P Hermés Limited Edition, Jean-Louis Dumas
Package
• Mercedes Web special Interactive Road Movie
These two were specifically chosen for their use of digital media to
promote the brand and product. It was important to choose samples
that would not overpower the brand or campaign vehicle, the focus
was to analyse both the subject (brand) and the communication
medium (digital channel) using the Design Layers.
Recently, there has been an increasing trend for brands to produce
digital videos. Hermés and Leica collaborated on the creation of a
limited edition camera package. Although the actual product may
have been difficult for enthusiasts to purchase, the audience could

still enjoy an insight into the production of such a luxury product.
The second sample was a Mercedes Web special – an interactive
movie and game that their target audience could engage with in
creating a personalised movie. This sample was selected as it
contained undertones of the concept of gamification, user interaction
and connected with various social media channels after the experience.
3.7 Research Limitations
This study acknowledges that a set of incidents impacted the outcome
of the research. Firstly, more interviews could have been conducted
with digital designers that specialised in user experience and interaction
design. Their insights may have strengthened the digital channels and
platforms research.
Another factor was a case study on Burberry’s out
of home digital campaigns had to be dropped due to
a lack of qualitative evidence. This case study, on a
major international luxury brand that had embraced
the use of digital into their business model, could have
explored their use and affects of digital experiences in
public spaces.
Finally, during the finalisation of this dissertation, Audi launched “Audi
City” in London, a fully digital retail environment. This “showroom”
intends to create an immersive experience for customers who can
interact with various digital platforms throughout their visit whilst being
supported by an advisor (The Drum, 2012). This would have made a
strong subject for an in-depth case study on the blending of digital and
physical environments.
Left: Fig. 7. Screen grab from Leica digital video, (Vimeo, 2011)
Right: Fig 8. Screen grab from Mercedes interactive road movie,
(Mercedes, 2011)

4.0 PRIMARY RESEARCH FINDINGS & ANALYSIS
In this section, the findings of the interviews and case studies shall
be presented in relation to the research areas outlined earlier in the
study:
• The Platforms and Channels of Digital Media
• Components of Brand Experience
• Tapping into Human Senses to Influence
Consumer Behaviour
To begin, the interview findings shall be discussed firstly and then the
two case studies shall be presented.
4.1 Interviews
4.2 Charles Frith
As previously explained in the research methodology, the interview
with Charles Frith was unstructured and had a broader approach to
the research. Frith did not offer any opinions on digital media and
offered insights into branding and the theories of experiential and
sensory marketing.
He recalled a description he had heard and described branding as
a “mass consensual hallucination” (Frith, 2012). However, he did
suggest breaking down the components of branding and looking
at “brands and identities and sensory experiences” and went on to
explain that there are many positives to products and identities that
had the strength to “alleviate the soul” (Frith, 2012). For himself, he felt
that “Miu Miu and Prada do it well and brand by beauty” (Frith, 2012).
With regards to sensory marketing, Frith called it “the pinnacle of
a constructed reality of managed demands, of managed scarcity
and surplus, abundance” (2012) and felt that it added to the mass
market of confusion that surrounds consumers. He also believed
that experiential marketing added a further layer to the “battle on a
sensory scale” (Frith, 2012). Thus, adding even more to the confusion
of presenting too much choice for consumers he believed.
In regards to human senses and consumer behaviour, Frith felt that
referring to humans as “as units of consumption” was dehumanising
and believed that mind-set was over (2012). Also, that humans have
been programed into buying the idea of “managed abundance and
scarcity” and that our daily consumption is more important than our
daily interactions (Frith, 2012). This deep analysis of consumer culture
led him to conclude that society today is “defined by much more by
what we buy than by who we are as humans” (Frith, 2012).
To conclude, Frith thought that the only area of interest in regards to
brand experiences worth looking at was the luxury sector. He suggested
investigating “how do luxury brands make people feel they’re entering
a different environment?” (Frith, 2012). He firmly believed “things of
great beauty and things that the world will be poorer for if we don’t

have beautiful things” (Frith, 2012). It could be argued that this type
of reaction is again a reference to scarcity and abundance. As this
interview was more of a philosophical exploration of the customer or
human mind-set, Frith believed that at the core of any experience,
is the person and it is very important to observe their behaviour,
mannerisms and interactions.
4.3 Isabelle Quevilly
Quevilly was able to offer a greater level insight across all three levels
of research areas. In relation to platforms and channels of digital
media, Quevilly explained that before a digital campaign could reach
this stage, she would start by listening to the client’s business goals:
“I would start, from the thinking. When the client needs
and meets the agency I’m usually at the forefront of the
relationship, meeting with them trying to understand their
marketing and communication needs, trying to understand
their business and how can we help their company make
more money or more creative and then based on that
you’re helping them build a digital experience concept.”
(2012)
For Quevilly, “the closer digital is to the DNA and the heart of the brand,
the stronger it’s going to be in digital” (2012) and by meeting with the
stakeholders, this enables Quevilly to understand “the dynamics and
where opportunities” may lie. It is important for all parties to understand
the “vision for the future” (Quevilly, 2012).
After the initial client briefing, three teams consisting of “creative, UX
and the tech teams” (Quevilly, 2012) develop a solution that would
be then presented back to the client for final sign off. Quevilly’s role
is quite holistic and allows her to build a “strong relationship between
the service department and the creative department” (Quevilly, 2012).
When asked about digital platforms and determining the correct
approach appropriate for the client’s brand message, Quevilly
explained that it could be a number of factors depending on objectives
and intended achievements and that “it’s always tailored to the needs
and also, could back to your target audience and what they actually do
online and come back to the user preferred platforms” (2012).
Quevilly made an important suggestion that “brands shouldn’t change
based on a device” and that the use of device should work as an
influential medium that connects the brand and the environment
(2012). She believed that the essence of a brand “the attitude, the
values all that is something that remains very strong” and is above all
digital devices (Quevilly, 2012).
An example discussed during the interview was Nike, recent winners of
an accolade of Cannes Lions Awards (2012) for their Nike+ FuelBand
campaign. It was suggested to Quevilly that this product has shifted
Nike to direct their brand towards an experiential and more engagement
at manner at a deeper level with their consumers. Quevilly disagreed
with the suggestion and explained that their identity remains the same,
“the Nike logo remains the Nike logo and it still delivers on Just Do It”
(2012). She explained that the Nike+ FuelBand is an execution of an

idea, another sub-brand and that the “value of the company” (Quevilly,
2012) has not altered, simply expanded.
Another brand spoken about in great detail was Burberry and their
use of digital media. The company has been highly praised for the
innovative usage of an arsenal of digital media to reposition their brand
back at the forefront of fashion. Quevilly believes that it is actually “their
understanding of data and capacity to populating ideas and products
on the data they have gathered from their Facebook, their websites
and everything” (2012). Quevilly explained that it is the company’s
ability to capture data, react to it and track it back (2012) and that
digital is a means for them to “gather their community” (2012). She also
suggested that Burberry could be sufficient in a digital environment
without the use of advertisement (2012). However, does state that it is
still required to “maintain and appeal that is broader” (Quevilly, 2012)
in terms of audience.
For Quevilly, she believed that the digital environment is “standardised”
and that “brands are not very shiny or appealing as they are offline”
(2012). She suggested that this could be that a client’s “branding team
doesn’t necessarily understand digital and the digital team doesn’t
understand branding” (Quevilly, 2012) and this had led to a benchmark
approach to websites and social media (Quevilly, 2012). When asked
how could brands exploit digital’s potential, Quevilly refers to how
Nike and Burberry moved their communications in the approach they
delivered to engage with their communities and product and brand
values (Quevilly, 2012).
Quevilly was asked about the role digital plays in creating a successful
experience for the digital consumer. Quevilly suggested that it helped
the consumer “make quick and easy” decisions to guide purchases
and offering “good advice and relevancy” (2012). When questioned
if it was possible to slow down the experience, Quevilly believed it
was not, as “digital has created expectations for quick and efficiency”
(2012). Also, that there will be an increasing demand for more speed.
Quevilly said it will force companies to be more innovative and cited
Burberry’s mobile website, which allows customers to go from click to
purchase in a few clicks (2012).
When asked about if digital could fully exploit the human senses and
experiential methods Quevilly replied with comparing digital and TV:
“I’m not sure if there is a reason why we would want digital to do it all.
I don’t know why digital is supposed to be doing that. We’ve never
asked TV to do it or we’ve never asked magazine or radio to do it.”
(2012)
This was an interesting analogy from Quevilly who went on to explain
it was too much responsibility for one medium, although it is possible
if required by a digital brand for example.
Quevilly stated:
“…the beauty of branding is that some of the experiences
that we have with the brand, so some of them might have
been in digital some might have been somewhere else. I

think digital can be great at delivering engaging emotions
communicated through it”
(2012)
However, it would depend on where it sits within the overall integrated
experience strategy.
In terms of behaviour, Quevilly explained that data driven information
on consumers influences communications and that “advertising is
purely driven today by behaviours” (2012). With the data available
users and the activities and usage of devices, Quevilly said that it
gives digital a “cultural insight” (2012) into the users. Thus, being able
to target the audience in a much more precise manner and deliver
a “better return on investment” for clients (2012). By not only using
psychographics, a strong element of technographics could lead to
delivering an experience with maximum impact and could be possible
to achieve a good return on investment.
Quevilly made an interesting point about brands needing to adapt to
the context of digital channels. She gave the example of “Twitter VS.
Facebook” (2012) and how “their language, their code, their jokes”
(2012) must be adopted by brands to engage with not only the users of
these and other channels, but to engage with the spirit and objectives
of these channels to form a community among the users in these
digital environments.
To summarise, Quevilly’s answers did correlate with the theories
explored in the literature review. The examples she gave of Burberry
and Nike’s use of digital could be compared against experiential
modules presented by Schmitt. Her insights into the business and
client side (the back end) of campaigns and strategies contrasted
against Pine and Gilmore’s work on the experience economy.
Also, in regards to influencing behaviours, Quevilly thoroughly
explained the rise of using data that captures consumer interactions
with digital and building memorable experiences. For Quevilly, she
stated that “digital brings clarity among all the options” (2012) and
that the way brands deliver quick and easy experiences, ultimately
are signs of them trying to provide qualitative services to their users by
understanding their needs and making their lives easier.

4.4 Case Study One
Leica M9-P Hermés Limited Edition
URL: http://vimeo.com/41869140
Description:
Watch the making of the Leica M9-P »Edition Hermès« – Série Limitée Jean-Louis Dumas, introduced in Berlin at the “LEICA - DAS
WESENTLICHE” on May 10, 2012.
This limited edition is a celebration of the friendship and collaboration between Jean-Louis Dumas, the former president of Hermès,
who died in May 2010, and Leica Camera AG.
Vimeo, 2012
This is a digital video that is three minutes and thirty-five seconds long. Shot in full colour with no background music. The only sounds are
the tools used to produce the objects and the background noise from what appears to be a workshop. The video consists mainly of close up
shots and a final landscape pan of the products created. The video contains approximately sixty-five different shots with the longest being six
seconds long.

Sensory Marketing:

L: Fig 11. Sight Sensor
R: Fig 12. Taste Sensor
L: Fig 13. Touch Sensor
L: Fig 9. Smell Sensor
R: Fig 10. Sound Sensor

Sensors Sensation Sensory Expression
Smell sensor Atmospheric Serious tone presented. Video opens with Leica branding & product description. Film emphasizes a workshop
atmosphere of craftsmanship & prestige (fig. 9).
Sound sensor Auditory No soundtrack. Only sounds of tools, machinery, clicks of buttons, lens fittings, product testing and people talking
in the background. Final shots of video contain white noise to bring the user’s attention back onto the products
(fig. 10).
Sight sensor Visual Lots of brand stimuli (Leica identity, logo at the start, on the employees shirt and at the end of the video). Hermés
leather, close up on Hermés button, unique features on bag, close ups on leather. Hermés brand colours on
camera bag and camera throughout the film (fig. 11).
Finishes with close up of products (bag, camera and accessories). Focusing in on key detailing (e.g. ‘H’ of bag
strap) (fig. 11)
Taste Sensor Gastronomic High-end lifestyle brand. Handmade leather goods (Top 100 brand in Interbrand’s report of Top 100 brands in
2011) (fig. 12).
Tastefully shot. Does not require a soundtrack to support video. Shot in a subtle manner to emphasis the notion of
‘conspicuous consumption’ (e.g. shots of Hermés branding not highlighted boldly).
Packaging shot at the end of the video emphasizing ‘attention to detail’ and ‘presentation’ that both brands are
known for.
Touch Sensor Tactile Less intensive than sight and sound sensors. However, camera shots reinforce the sense of touch when crafting a
bag and camera of this standard.
Use of white gloves and tools stress the craftsmanship that goes into building the limited edition Leica and
Hermés camera. Shots of hands without gloves checking camera buttons could make the viewer imagine that
those hands could be their own handling the camera (fig. 13).
Various close up shots of camera and bag demonstrating the finishing touches being applied to both products.
Table 5. Hermés Sensory Model Analysis developed from Hultén et al. (2009)

Design Layers model:
Far Left: Fig 14. Hermés aesthetics layer
Top Right: Fig 15. Hermés interaction layer
Bottom Left: Fig 16. Hermés performance layer
Opposite page, Left: Fig 17. Hermés construction layer
Opposite page, Right: Fig 18. Hermés meaning layer

Leica M9-P Hermés Limited Edition
Aesthetics Full colour digital video with no music, only background sounds of workshop conditions (fig. 14).
Interaction Opening shots of the close up on the brush strokes and film titles invites the viewer to watch the making of the limited edition camera
and bag. Curious viewers may demonstrate inquisitive behaviour by rewinding or pausing the video to take a deeper look (fig. 15).
Performance Digital video functions as an educational piece and overcomes the issues of privacy by clearly demonstrating the construction and
detailed craftsmanship that goes into building the highly priced goods. Digital video acts as a communicative tool to justify the value
and exclusivity of the product (fig. 16).
Construction High quality digital video filmed in the Leica workshop edited into a 3:35 minute piece. Could have been filmed on a DSLR, edited in
Final Cut Pro rendered into HD quality video. Uploaded onto Vimeo.com for viewing, distribution and sharing across social media (fig.
17).
Meaning Close up shots of the leather being applied to the body of the camera, the construction of the presentation box, binding and de-bossing
printing of the front cover for the accompanying book and the hand-made aspects of the camera convey a sense of luxury and prestige
that the Hermés and Leica brands are respectively renowned for (fig. 18).
Table 6. Hermés Design Layers model analysis developed from Beuker & Abbing (2010)

Conclusion:
Through analysing the content, developing a Sensory Model table (Hultén, 2009) and a Design Layers model analysis (Beuker and Abbing,
2010) in greater detail it was possible to identify that this case study example used the SENSE module from experiential theory to convey a
‘sensory experience’ that aims to engage the senses. The digital video has implied the tactile, atmospheric and gastronomic sensations from
another dimension and placed more intensity on the sound and sight senses. An example of this demonstration can be seen when the video
focuses on the sight sensor to highlight the leather that Hermés is famous for has been highly emphasised with close up shots of it being
handled and applied to the body of a Leica camera.
With regards to Pine and Gilmore’s “five key experience-design principles” (1998), Hermés and Leica’s digital video managed to deliver on all
principles. Their workshop theme captivated the viewer with demonstrating production techniques, the use of background music would have
distracted from the beauty of the product and the video is available for download in various formats. The final principle of “engage all five
senses” (Pine and Gilmore, 1998; 103, 104), the two senses of sight and sound were more intensive than the other three senses as discussed
earlier.
Hermés and Leica have used a combination of product (Hermés’ camera bag and Leica’s camera), communication (digital video) and interaction
(in this instance, the digital video was hosted on Vimeo.com where it can be shared via other channels or downloaded in various different
formats) design.
As Schmitt states “sense marketing maybe used to differentiate companies and products to motivate customers and to add value to products
(e.g. through aesthetics or excitement)” (1997; 61). Both brands have clearly identified what their own unique brand strategy involves and could
have highlighted key drivers that would compliment each other and not over power one brand over the other. Hermés emphasises their leather
goods and Leica promote their highly sort after cameras. Both brands have come together and successfully executed the accentuating fact
that their products are hand-made. The decision to create and distribute a digital video to showcase the craftsmanship and attention to detail
that went into creating the limited edition camera package showed that both brands share this value of high quality craftsmanship. The use of
digital video was a suitable use of digital execution to affectively differentiate themselves from their competitors.

4.5 Case Study Two: Mercedes Web special Interactive Road Movie
Sample: Mercedes Web special Interactive Road Movie - “The interactive Roadster Movie with the new SLK of Mercedes-Benz”
URL: www.mercedes-benz.com/slk
Description:
“Speed Date. Discover the new SLK up close in an interactive road movie.”
Mercedes-Benz International, 2011
This is an interactive digital car advertisement featuring the new Mercedes-Benz SLK and actress Ksenia Lauren (Sholz & Volkmer, 2011). It is
argued that this could be of been the first type of interactive digital car advertisement offering a more immersive and individualized experience.
The movie is approximately thirteen minutes and thirty seconds long. It is shot in a cinematic style in full colour and denotes connotations of
classic American road movies as the advert is set in the Mojave Desert in California (Dailymotion.com, 2011).
The camera perspective is from the user’s point of view. This allows the user to be fully absorbed into the movie. The actress talking directly
to the camera further enhances this. The user is invited to start the ”roadster movie” off by clicking on “start” to begin the speed date. The
movie features the opportunity for users to immerse themselves in the experience by asking users to personalise it by adding their name and
uploading an image to become part of the movie experience. Their name and image is shortly featured in the opening movie titles and image
on a driving license and mirror.
Later in the movie the user’s details are inputted into the “Command” product feature to demonstrate the SLK’s technological capabilities.
During the film the actress asks the user to become Facebook friends. This use of Facebook connection adds a social media connection that
extends the experience beyond the digital car advertisement and allows the user to advocate their brand experience with friends. At the end
of the movie there is an opportunity to share the personalised movie (which is condensed into a one minute movie) via social media platforms
and email.

Sensory Marketing
Fig 19. Mercedes Smell Sensor

Fig 20. Mercedes Sound Sensor
Fig 21. Mercedes Sight Sensor

Fig 24. Mercedes Touch Sensor

Sensors Sensation Sensory Expression
Smell sensor Atmospheric Movie opens with shots of the car driving in the desert and stopping in front of the camera. Adventurous tone is set up
by actress asking if the user is “here for the car? Or for a little adventure? (fig. 19)
Sound sensor Auditory Music used to build up tension and atmosphere throughout the movie. Pulsating music effects used to prompt user to
make a decision when asked a question by the actress. Also used during slow-motion shots of the car (fig. 20).
No background music is used when the movie emphasizes the car’s engine sounds.
Actress’ voice is of an American accent and is of a relaxed and friendly manner. End of the sequence it is possible to
hear deep breaths coming from the camera’s (user’s) perspective.
Sight sensor Visual Brand stimuli consist mainly of the car and its specific features. Various camera shots show the car’s driving capabilities
and close ups focus on the car’s detailing (e.g. interiors, unique aesthetics).
Real emphasis on car’s aesthetics and performance with slow motion shots. This particular shot shows the brand’s
logo and car’s distinct styling (fig. 21 & 23).
Scene in petrol station shows user’s face is super-imposed onto magazine cover entitled “Absolutely Fabulous” and
the headlines “Person of the Year.” Also features actress name, car name and mentions Facebook (fig. 22).
Final 90 seconds contains a long sequence demonstrating the car’s performance. Movie closes with actress swapping
seats with the user, the camera looks at the actress and then at the steering wheel and a police officer waking up the
user from a dream in a broken down car.
Final closing shot is of the car driving past the user in the police car and actress smiling at the user.
Taste Sensor Gastronomic Mercedes-Benz is already known and respected for being high-end aspiration brand. This movie shows its performance
and luxurious side to the brand. “Speed Date” is likely to be aimed at the male market that desire high-end roasters, a
market which is currently dominated by BMW, Audi and Porsche.
Touch Sensor Tactile Interactive movie contains lots of prompts. User is asked if they would like to personalize their “Speed Date” and
upload a photo of themselves to be a part of the movie (fig. 24).
Actress asks the view closed questions that link subtly to the car’s features. Touch requires users to input date name
and gender. Then, features click through options throughout the movie experience.
Table 7. Mecedes Sensory Model Analysis developed from Hultén et al. (2009)

Design Layers model:
Fig 25. Mercedes aesthetics & construction layer
Opposite page: Fig 26. Mercedes interaction layer

Fig 27, 28 & 29 . Mercedes meaning layer
Opposite page, Right: Fig 30. Mercedes performance layer

Mercedes Web special Interactive Road Movie
Aesthetics Full colour cinematic style movie set in a desert (fig. 25).
Interaction User interacts by being invited to join in an adventure by the actress. Behaviours incited by the interactions are of
pleasure and excitement. User can click through chapters, pause and take a 360 degrees tour of the car (fig. 26).
Performance Interactive car advertisement acts as a platform to engage the target audience at a deeper, more intensive level (fig.
30).
Construction High quality cinematic film. Constructed on the grander scale of a movie trailer as opposed to the conventional TV
advertisement treatment (fig. 25).
Meaning Sets out to convey that the brand’s car is the most exciting in the roadster market sector. Communication sets
out to talk directly to the user (fig. 26), stimulate their senses and transport them from their current space into an
adventurous environment (fig. 27). Leaving the user with the lasting impression that the actress, the car and the
essence of the road trip experience can be theirs (fig. 28 & 29).
Table 8. Mercedes Design Layers model analysis developed from Beuker and Abbing. (2010)

Conclusion:
After performing a Design Layers analysis and identifying the components that would make up a multi-sensory brand-experience it was possible
to compare the case study against the theories explored in the literature review. In the context of experiential marketing, the Mercedes-Benz
SLK digital campaign creates a successful holistic experience for the consumer. By placing the brand stimuli (Mercedes-Benz SLK) in the
scenario of a road trip in the desert with an actress at the wheel of the car, it sets the scene to engage with the consumer’s thoughts and
emotions (Schmitt, 1997; 55). With regards to experiential modules, the SENSE and FEEL modules are clearly apparent. The latter, SENSE
creates a “sensory experience” that uses the human’s five sense throughout the movie to then work with the FEEL module, which builds upon
the “sensory experience” to trigger a consumer’s feelings of happiness and excitement (Schmitt, 1997; 61).
The use of various brand stimuli, such as the camera shots of the car and the actress, the roaring sound of the engine and the subtle emphasis
of the car’s specific features successfully create a “memorable and rewarding experience” (Schmitt, 1997; 57).
In relation to the “five key experience-design principles” presented by Pine and Gilmore (1998), the ‘Mercedes-Benz SLK speed date’ campaign
delivers on all five principles. A well-defined road trip theme sets out to present a positive experience by putting the user at the centre of
the experience. Eliminating any negative cues by not using any other branded car during the movie, allowing the user to share the unique
experience and engages all the five senses.

5.0 CONCLUSION
By conducting an extensive review of existing theories and obtaining insights from industry this has led to an interesting outcome in relation
to the original aim that set out to investigate how sophisticated uses of digital media can influence a consumer’s brand experience.
Digital media is very much user based and user controlled. Brands can do everything in their power to attract users to their experiences, but
the user ultimately decides whether to engage in a dialogue with the brand. Due to digital being very user based, it is important for brands
to be even more engaging and responsive to consumer needs and digital devices. The consumer is becoming more mobile than ever and
brands need to accommodate this by possible looking at utilising all design disciplines to create a multi-platform and multi-channel solution
that transcends both online and offline environments into creating an integrated, blended experience.
The potential of digital media is boundless. Although it important to remember, like other mediums before it, it is dangerous to think that
digital can act as a sole vehicle for brands to build all their campaigns on. Digital experiences, like other forms of experiences can engage
and amplify sensations, emotions and thoughts. Society has already benefitted from various timesaving digital channels that have led to
making a qualitative difference in people’s lives by saving them time to do what they enjoy doing more in an offline world. Or for those who
prefer to spend their time online, digital experiences with various brands and campaigns that can augment their dreams and aspirations in a
safe, open free digital environment. For example, consumers can connect with luxury brands without any obstacles that they could face in an
offline world.
In regards to methods there seemed to be a division between what was discovered in the literature review and what is actually practised
in industry. Within the industry, it is apparent that digital experience strategies are built by listening to the client and brand values. These
are translated into goals, developed into a digital brand experience strategy and then the values and goals are implemented via digital
campaigns. User experience is deeply embedded when creating digital campaigns and by looking at theories of experiential and sensory
marketing it could lead to a deeper relationship being formed with the brand through the creation of shared experiences. Through either
recommendation or social media.
The impact digital experiences can have on consumers correlated with the brand affects, participation and multi-sensory perception theories.
The senses are unable to remain unaffected by sensory expressions. The affect on the consumer has been made and leads them to a

choice, rejection or participation. Should the user choose to participate and begin to advocate the experience with the brand through social
media, is it possible for the brand to offer an on-going relationship where the original experience lead has moved back to focussing the brand
across various social media channels. The pressure is now back on the brand to listen to their members of the community that has been built
around them and to deliver consistently high quality experiences that are not only on brand, but also delight and surprise their audience.
To summarise, digital experience strategies will be more data driven with a goal to improve efficiency by offering faster, more responsive
experiences. However, brands particularly those in the luxury sector, could use digital to slow down the consumer’s journey and immerse
them in a digital environment that uses existing brand cues to trigger sensations and possible spark thoughts of aspirations in the user’s
mind that would normally be evoked through a physical experience or interaction.
5.1 Recommendations
To develop the foundations of the research presented in this dissertation, it would be useful to explore the use of customer journey mapping
techniques and the value they present. Customer journey maps are able to break down journeys into stages. Those stages can then
be deeply analysed to reveal a wealth of outcomes the consumer may go through when interacting with the brand’s touch-points. Along
with a deeper look into the technological behaviours of consumers and mapping particular demographics or clusters of consumers with
technographics. These two methods could present brand and digital teams with interesting results, which could also lead to these teams
understanding each other’s functionalities and responsibilities. This could lead to a more seamless outcome for clients and brands to
successfully implement digital experiences that present impactful campaigns and not only deliver a greater return on investment but also
build a portfolio of data which could provide a major resource for creating more audacious, larger campaigns.
Finally, this study recommends that brands look at offering more agile and responsive digital experiences. As our lifestyles become more
digitally connected, it would be interesting to look at scenarios and ask, how can digital media enhance the situation and identify any
potential areas for improvement. In this current era where people are working longer hours, becoming more economically aware and
focussed on improving their quality of life, digital media is in a great position to connect brands with audiences and deliver solutions that
would make a qualitative difference to people’s lives.

5.2 Further Areas of Research
Future research could be conducted in a number of areas. It would be valuable to look at the developing trend of data driven design. It would
be interesting to see how deconstructing the data could lead to revealing how users behave with digital media. This could lead to a greater
insight into the impact of technology and identifying any changes or patterns in human behaviour.
By looking at the data, it could then be taken into a deeper level to understand the affects of how digital content affects the relationship
between the brand (the amplifier) and the consumer (the receiver).
Also, further investigation needs to be conducted on what a multi-sensory brand-experience could bring to a brand that have established
their goals, values and identity who are looking to develop their presence in a digital environment. By developing the multi-sensory brand-
experience strategy and possibly creating a set of detailed case studies or applying it directly to start up brands it could validate the use of
the strategy and the value it could bring a brand. It would also move it from a concept to a method that can deliver tangible results for clients
and brands.

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