A study to assess the role of sensory marketing in luxury

restaurants in influencing customer preferences

Chapter 1 Introduction
This chapter presents the background of the research, the statement of the research
problem and its aims and objectives. Also presented is a brief summary of the research
methodology adopted. The chapter concludes with an explanation of the organization of
the thesis.
1.1. Background of the Study
According to Vargo and Lusch (2005), the human senses have long been ignored in
marketing, despite awareness of their great significance. The five human senses of sight,
sound, smell, touch and taste are of crucial importance for an individuals experience of
different purchase and consumption processes. It is through the senses that every
individual becomes conscious of and perceives firms, products, and brands. It is because
of this that Schmitt and Simonson (2009) said that further knowledge about the human
senses might make a firms marketing more successful and an individuals sensory
experience more personalized.
Of the five human senses, the sight sense has so far dominated marketing practice
(Pashler, 2011). There is no doubt that the other human senses smell, sound, taste, and
touch have been neglected for a long time, despite their importance when an individual
considers and decides about a product or a brand. Growing interest in sensory marketing
among practitioners, consultants, and researchers means that all five human senses are
today receiving increased attention (Katz, 2009). More often than not, the interest is in
making customers aware of a product or a brand in order to reach tactical, short-term
sales targets. In contrast to this, sensory marketing is to be viewed strategically as a way
to clarify a an organizations identity and values with the long-term goal of creating brand
awareness and establishing a sustainable brand image (Harlow, 2011). The present
development of sensory marketing illustrates the emergence of a new epoch in marketing,
one in which the five senses will be at the center of a firms marketing strategy and
tactics. For that reason, according to Godson (2009), it becomes more important for firms
2

 whether they are selling traditional consumer goods or a service to affect and
influence customers in new, provocative, imaginative ways in order to seize grab hold of
the human senses.
Atwal and Williams (2009) believe that marketing is entering an era when tested ideas
and concepts are being reconsidered. The traditional mass markets are slowly
disappearing and are being replaced by fragmented markets with numerous segments,
where individualization and tailor-made products are key. One consequence is that
traditional mass marketing, which once dominated the marketing arena, is being
questioned more than ever before as a profitable and successful way to reach customers
(Belk, 2008). The main argument is that the cost advantages related to mass marketing,
especially through advertising and the well-known cost per thousand criterion, are no
longer enough to send a message to everybody.
During the past decade, the development toward more and more relationship and micro
marketing has been expressed through the use of customer relationship management
(CRM) and customer-specific marketing (CSM) (Dahl, 2010). These techniques have
been used by many firms to strengthen customer relationships. Often these techniques
have been used in ways that are technically advanced rather than personal, which has
been criticized by many observers. As a result, marketing has become even more
depersonalized, even though the firms intention has often been the opposite. Field (2010)
claims that the transition from mass marketing to relationship and micro marketing can
be seen as paradigm shift.
Grewal et al., (2009), think that a customer-centric view based on relationship handling
and relationship orientation should be the focus of a firms marketing strategy and tactics.
This research holds the view that a sensory marketing framework will solve future
marketing challenges. Sensory marketing is not equivalent to either mass or relationship
marketing, because it has its point of departure in the brain of the individual. The
transition to sensory marketing managerial practice from mass marketing and relationship

marketing managerial practice is illustrated in Figure 1.1. Sensory marketing is

distinguished from mass and relationship marketing by having its origin in the five
human senses. It is in the human brand that the mental flows, processes and
psychological reactions take place that results in an individuals sensory experience (Peck
and Shu, 2009). A sensory marketing framework is based on the assumption that a firm
should reach the five human senses at a level, deeper than what is currently reached by
mass and relationship marketing.

Figure 1.1. Sensory Marketing vis--vis other marketing models (Rolls, 2009)
Because of this, sensory marketing is concerned with a firms treatment of the customer,
that is, with how it meets the individual in a personal way through the creation of a
sensory experience that the person feels contributes to the value of the whole
consumption process. The challenge then before marketers is to understand how to
stimulate the senses of the consumers so as to provide them with a consumption
experience that is perceived to be memorable. This experience is key to changing
customer behaviour into the intent to purchase, which results in increased sales,
profitability and market share. This research will focus on sensory marketing in the
luxury restaurant sector in India.

1.2. Purpose of the Study

Statistics reveal that the restaurant sector in India is all set to boom. There are several key
drivers for this. The growth in the Indian economy, rise in GDP, growth in personal
disposable incomes, shrinking household sizes, urbanization and the emergence of a high
spending middle class of around 450 mn persons are some of the key drivers (Sharma and
Pillai, 2013). A lifestyle change is another driver. Eating out has evolved into a popular
trend among Indian households, particularly amongst those whose monthly incomes are
greater than Rs. 75,000 a month (Sharma and Pillai, 2013). Also known as the Platinum
households, two out of five such households eat out at least once a month (Sheth et al.,
2012). This is highest in Bangalore (43 percent) and lowest in Pune (33 percent) (Sheth et
al., 2012). According to Prahlad and Ramaswamy (2009), Indians spend Rs 350 billion
annually on eating out. Moroever, of this Rs 350 billion, the organised sector accounts for
only Rs 20 billion, suggesting a tremendous potential for growth in this area (Sharma and
Pillai, 2013). The author believes that sensory marketing holds is of key significance in
growing the restaurant sector and a means whereby restaurants can create elements of
differentiation for themselves leading on to creation of sustainable competitive
advantage. It is in this context that he believes that the luxury restaurant sector in India
can show the way how sensory marketing influences consumer behaviour, what elements
it should contain and how guests react to sensory experiences whenever and wherever
they encounter it, how it helps in building brand value and in affecting their choice of
restaurant. The luxury restaurant sector is a small but fast growing one in India with
many restaurants enjoying high levels of popularity amongst their clients (Russell, 2012).
From this it may be inferred that these restaurants are providing their guests with
memorable dining experiences. The purpose of this research is therefore the elements of
this experience and to explore how sensory marketing is used effectively in these
restaurants

1.3. Research Question

The main research questions may be formulated: -- why may be ??? The research
questions are .
What are the sensory marketing activities that are used by luxury restaurants?

How can the sensory marketing activities affect choice of restaurant?

How sensory marketing activities help in building distinctive brand of a luxury

restaurant?

1.4. Aims and Objectives

Your objectives cannot be questions --- it should be statements --- To examine..To
explore . To analyse ..
The main aims and objectives of the research are given below:

What are the sensory marketing activities that are used by luxury restaurants?

How can the sensory marketing activities affect the guests choice of restaurant?

How sensory marketing activities help in building distinctive brand of a luxury

restaurant?

1.5. Limitations of this research

This research is limited by the lack of details on sensory marketing in India, particularly
in the luxury restaurant sector. This might affect the objectivity of the results. Moreover
the collation of data and interpretation of results thereof is dependent on the skill of the
author. This again might have affected the objectivity of the results. To that extent, the
authors aim of extending the findings of this research to the entire restaurant sector in
India appears to be presumptuous.
1.6.

Research Method Used

This research is quantitative, using both deductive and inductive techniques. The
deductive method is descriptive, studying secondary data to identify the dynamics of
6

sensory marketing, the methods of sensory marketing as they are practiced in the
restaurant sector and those elements most important in a restaurant setting. The inductive
method consists of a questionnaire as the main data collection tool. The questionnaire
was administered to 200 customers of Shiros restaurant, The black peal, The fishermans
whar and Bakasur located in Bangalore city . The data collected through his empirical
survey will be analyzed using the descriptive statistics tool of excel and the results of this
analysis used to validate the findings of the literature review.
1.7.

Structure of the Dissertation

The research flow of the dissertation us as follows:

Chapter 1 Introduction and Background
This chapter will introduce the main Research Question, Aims and Objectives of the
dissertation
Chapter 2 Literature Review
This chapter is structured in three parts. The first part consists of the conceptual review
which examines the theories of sensory marketing. The second part consists of the
empirical review which examines examples of sensory marketing practiced by various
restaurants across the world. The third part is the contextual review which examines the
luxury hotel segment in India and the various elements that constitute sensory marketing.
Chapter 3 Methodology
This chapter will introduce the Quantitative Methods used in this research. This will
include both Deductive & Inductive approaches. The Deductive study will lead to the
formulation of hypotheses which will either be corroborated or rejected by the Empirical
Studies.
Chapter 4 Findings
This chapter will present the findings of the empirical study conducted with respect to the
Shiros Restaurant
Chapter 5 Discussion and Analysis
This chapter will critically examine the findings of the empirical study and relate them
with the literature review.
Chapter 6 Conclusion, Future Scope & recommendations.
7

This chapter will summarize the entire research. Limitations and Gaps in the study will
be identified for future study. Based on the findings recommendations as to what could be
the best practices for visual merchandising practices in India.

Paraphrase this --- it appears to be straight from the articles ---plagiarism ???
Chapter 2 Literature Review
This chapter is divided into three sections. The first section is the conceptual review
where theories of sensory marketing are discussed to understand the influence of the
senses on consumer purchase behaviour. The second section is the empirical review
which studies how sensory marketing is being practiced in the luxury restaurant sector
and the third sector is the contextual review which analyzes the importance of sensory
marketing in the context of the luxury hotel sector in India.
2.1. Conceptual Review
Sensory marketing has become an important part of the marketing function. According to
Roth (2008), sensory marketing explores all the facets of the five senses to use it for
marketing purposes. Turley and Milliman (2010) believe that sensory marketing
emphasize sensory impressions that accompany optimal emotional responses to cause
changes in purchasing behaviour. Yin (2009) said that sensory marketing engages the
consumers senses and affects their perception, judgment and behaviour. Kahn and Deng
(2010) said that sensory marketing is a group of key levers which are controlled by the
producer / distributor / marketer to create a specific multi sensory atmosphere around
the product / service through a focus on sale outlet environment and through the
communication process as well as the characteristics of the product itself.
From the above definitions, the key characteristics of sensory marketing may be derived.
This is a new paradigm of marketing which uses the five senses of sight, smell, hearing,
8

taste and touch to formulate marketing strategy and tactics. It uses sensory impressions to
create optimal emotional responses that translate into a positive intent to purchase
amongst consumers. It is the outcome of a shift in consumer buying patterns where
individualization, personalization and experience all coalesce to create shopping
experiences. It is the utilization of mental flows, processes and psychological reactions to
create a multi-sensory shopping experience that affects customers emotions, perceptions,
memories, preferences, choices and most importantly their consumption patterns.
According to McKenna (2009), marketing strategy begins and ends with understanding
customer need and how to fulfill it. This concept that firms exist to satisfy customer
needs is one that is central to marketing strategy. It may be inferred therefore since
sensory marketing reflects a change in customer buying behaviour and uses the human
senses to influence customer behaviour it is imperative for marketers to understand how
consumers process information and stimuli in a retail environment.
2.1.1. Sensory Marketing & Consumer Behaviour
The study of consumer behaviour is linked to factors that operate prior to and during the
whole shopping process. According to Keller (2012), consumer behavior relates to all
those activities people undertake when obtaining, consuming and disposing of products
and services. In terms of sensory marketing, the assumptions made on consumer
behaviour is that the senses of sound, sight, smell, taste and touch exert a power effect on
human beings and therefore the more power the sensory impact of a marketing campaign,
the more effective it will be in. The potential of senses to calm, soothe, de-stress,
stimulate, excite and titillate are used to influence decision making and the propensity to
make a purchase. The goal of consumer behaviour therefore is to understand the physical,
cognitive, social and emotional effects of the senses and how they may be manipulated to
influence shopping environment, improve shopping experiences and customer
engagement and translate behaviour into a positive affect to purchase.

Insofar as customer behaviour depends on perception, processing and evaluation of

information and emotions it is linked with human psychology (Hoegg and Alba, 2008). It
is therefore important to understand how customers process information received from
the surrounding environment and how this process may be influenced to change customer
behaviour into a positive intent to purchase.

2.1.1.1. Perception & the Senses

According to Peck and Chambers (2008), perception is the process of acquiring sensory
information, interpreting it, filtering it and then organizing it. Grohol (2005) said that
perception is important as it is the prime factor influencing how human beings create a
model of the world around them according to a set of percepts formulated out of past
experience and memory. As people move about a particular environment, such as a
restaurant or a retail store, they interpret sensory information according to prior
knowledge, consider it relative to the percepts already formulated and then based on this
process formulate judgments and make purchase decisions.
A key distinction needs to be made between sensation and perception here. The former
refers to the process of detecting and encoding the environment surrounding the human
being. The latter refers to the process by which human beings assign meanings to the
environment through their sensations. Sensation is the precursor to perception. It is the
fundamental raw material received through sensory organs that then gets processed
psychologically using context, relationship, memory and experience through which the
environment is then subjectively assigned meaning (Edwards et al., 2010). Sensation
refers to the process by which physical energy including electromagnetic / light / sound
waves, chemical particles, tactile pressures etc are first detected by human sensory organs
and then converted into electrochemical energy through which the brain (or the human
organism) becomes aware of the objects, the environment and events in the outside
environment.
10

According to Citrin et al., (2008), sensation by itself cannot create anything meaningful.
It exists in a raw, untreated and ambiguous form called stimuli which then impacts human
sensory receptors or specialized sense organs. These include the eye which is used for
detecting appearance and colour, the nose for the sense of smell, the tongue for taste, skin
for touch and ears for auditory sensation. The process by which the senses handle raw
information is called the perceptual process. It is during this process that sensations are
selected, sorted and interpreted in order that sense and meaning may be obtained from
them (Fournier and Lee, 2009). The perceptual process is explained in Figure 2.1.

Figure 2.1. The Perceptual Process (Godson, 2009)

The first step is where the nervous system receives information from the sensory organs.
Greenland and McGoldrick (2008) calls this as the sensory impression stage and refers to
the stage where the senses detect stimuli. The second step is called attention and explains
to which level consumers focus stimuli within the range of exposure to the stimuli.
According to Harlow (2011), human beings cannot focus only on one single stimuli
however strong it might be. Thus while there can be one predominant stimulus, humans
actually focus on a range of stimuli in a particular environment. Therefore the ability to
stimuli to impinge on customers consciousness is therefore very important in affecting a
customers consumption patterns. During the final stage, the customers assign meaning to
the sensory stimuli based on individual bias, needs, memory and experiences and a
response is elicited. In a retail setting, a positive response would be the intent to purchase.
11

2.1.1.2. Attention & the Senses

Katz (2009) said that humans only have the ability to react to stimuli that stimulate their
senses and reject to those that do not interest them. From this perspective, perception may
be considered to be a process of selection that determines what customer pay attention to.
Martin (2008) define attention as the focused mental engagement on a particular piece
of information. Pashler (20112) defined attention as a mental concentration on
something specific that excludes everything else. Attention has to do with peoples
perception and their ability to be selective in what they experience and what it is that
affects their behaviour. According to Nilsson (2006) human senses are flooded with
sensory information. However, only a small fraction of this information affects their
behaviour. Pashler (2008) extended this argument to explain why people see what they
want to see and hear only what they want to hear.
The process of attention has been indicated in Figure 2.2.

Figure 2.2. The Attention Process (Kotler, 2009)

According to Kinnear and Taylor (2008), the process of attention begins when human
beings are subject to multiple sensory inputs from their environment. This results in
awareness. Depending on what interests them, they will pay select what to pay attention
to. This is the attention phase or the narrowing phase. From this phase comes the decision
phase where humans decide whether and how to act on the information received in the
attention stage or not, leading on to action.
2.1.1.3. Emotions & the Senses

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Klatzky (2010) said that the ability to solicit an emotional connect with a brand, a product
or a services is an important challenge in modern marketing. Humour, joy, beauty, sex,
elements or surprise are all used to elicit an emotional response. The reason for this is that
an emotional response has been found to be one of the effective ways to stimulate
customer purchase behaviour and customer loyalty. Emotions play an important role in
the customers shopping experience. According to Malhotra and Birks (2007), emotions in
fact are stimulated by the human senses that activate the amygdala portion of the brain.
The amygdala in turn sends out signals that determine how the human body should react
(Orbach, 2009). These emotions in turn help determine and interpret whether a situation
or surrounding is positive or negative (Kinnear and Taylor, 2008), That is, emotions
affect judgements, opinions and decisions. According to Martin (2008) emotions
determine what is worth noticing and remembering. It may be inferred that if emotions
play such an important role in customer behaviour and senses are the trigger for
emotions, it is sensory information or stimuli that in fact determine customer behaviour
and their actions in a shopping / retail environment.
2.1.1.4. Memory
The memory may be defined as the repository of all of a human beings information and
experiences. Memory affects human emotions, functioning and behaviour. It enables the
person to handle future situations by comparing them with information stored in the
memory. This includes shopping behaviour as well. According to Peck and Childers
(2008) in a retail environment, it is the human memory that decides whether a product is
worth buying not based on the experience. According to Rapaille (2006), there is a strong
connection between sensory stimulation and memory. The more the sensory stimulation
the longer it remains in the memory. According to Rolls (2009), human beings have two
kinds of memory. The short term memory is a temporary repository of information. It
holds information for a time duration ranging from a milliseconds upto a couple of
minutes. Long term memory has almost infinite capacity to remember information and
experiences. From a customer behaviour point of view, memory is important because
people act according to their stored experiences in a particular situation. Orbach (2009)
13

added another form of memory sensory memory and said that both short term and long
term memories are in fact based on sensory memories. Sensory memory becomes
activated when our sensory organs are exposed to the stimuli. These stimuli then leave
traces on the brain which forms long and short term memories depending on their
intensity. Sensory memory also triggers short and long term memories. By comparing
new impressions with previous experiences, the sensory memory determines which
sensory stimuli to react to. Thus at the base of human memory is sensory stimuli.
2.1.1.5. The Senses and Human Behaviour
Research conducted by Martin (2008) and Orbach (2009), summarizes the findings of
sections 2.1.1.2 to 2.1.1.4. At the root of different facets of human psychology including
perception, attention, memory and emotion lies sensory stimuli. Insofar as these facets
mould human behaviour it may be inferred that sensory stimuli are important
determinants of human behaviour. Figure 2.3 summarizes this inference.

Figure 2.3. Human Behaviour and Sensory Stimuli (Martin, 2008)

14

These findings have important implications for marketers. The human senses have long
been ignored in marketing in favour of other aspects such as product, price, promotions,
technology and customer service. However, it may be inferred that the five human senses
are of crucial importance for an individuals experience of different consumption and
purchase processes. It is through the senses that every individual becomes conscious of
and perceives firms, products and brands. The senses can be used to not only to create
awareness of a product or brand but also to clarify brand values

or communicate an

experience and so drive sales and profitability. Viewed from this perspective, the five
senses have to be at the center and not at the periphery of a firms marketing strategy and
tactics.
2.1.2. The Senses and the Shopping Experience.
This study of consumer behaviour has assumed more significance due to shifts in
consumption patterns where according to Reimer and Kuehn (2005) it is the whole
expereince of consuming goods and services that is important, not just the product being
consumed. Research conducted by Zeithmal et al., (2009) indicates that value in a
modern consumpton context can be divided into outcome / product value, process
value, and shopping value.
The outcome value also called the product value is the ability of the product to satisfy the
customers needs. It is defined as what the customer gets for payments made. (Schmitt,
2012). Process value refers to savings in time and effort involved in the whole process of
searching, ordering and receiving goods. Shopping or Consumption value may be defined
as the evaluation of the total shopping experience. Here it is how the goods that are
presented to the customer rather than the actual goods themselves that is important. It
includes the enjoyment and entertainment accruing to the consumer during the
consumption process. This is the hedonistic or pleasure value that accrues to the customer
through the consumption process (Rapaille, 2006). Thus the total value that accrues to
customers is a combination of outcome / product, process and shopping value. All these

15

three aspects of value consider shopping / consumption as work and shopping /

consumption as fun experiences as summarized in Figure 2.4.

Fig.2.4. Shopping / Consumption Experience (Rapaille, 2006)

The task therefore for marketers is to create memorable and meaningful experiences for
customers as opposed to traditional marketing models where researched focused mostly
on the process and the buying decisions of a product. Experiences may be directly felt
when customers buy and consume products and services or them be felt unintentionally
when people are exposed to advertising and other marketing campaigns. In this sense, the
product or the marketing campaign are just starting points in a holistic experience that
result in higher sales turnover and customer loyalty. Kapferer (2008) explored the link
between the experience and sensory cues in offering memorable experiences. Their
model as shown in Figure 2.5 places the customer experience as the end goal of all
marketing efforts and key to marketing efforts in securing that goal are the five human
senses.

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Figure 2.5. The Customer Experience (Kapferer, 2008)

From figure 2.5 it can be seen that a meaningful experience is at the centre and
surrounding this core are the sensory organs providing inputs to the brand where the
experiences are created. The goal then of all marketers is to influence the sensory organs
in such a way so as to trigger perception, attention, emotion and memory all of which go
to create an experience. This can be done through various marketing frameworks. These
include Personal Relations, Promotions, Personal Selling and Advertising. The challenge
confronting marketers is to give shaped to the marketing models in order to stimulate the
senses in such a way that positive and memorable experiences are created for the
customer. Kapferer (2008)s model was extended by Schmitt (2012) who said that
sensory cues play an important role in the experience that consumers derive from a brand.
The memory and other cognitive aspects together with the five senses contextualize the
external environment creating experiences of the brand for the customer. The implication
here is that insofar customers experience their surroundings through the senses, marketers
need to think of strategies that can give the customer a pleasant experience.

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Kapferer (2008)s model was corroborated by Hulten (2009) who said that key to all
marketing activities was the creation of a multisensory brand experience. His model is
indicated in figure 2.6.

Figure 2.6. The Multi-Sensory Brand Experience (Hulten, 2009)

According to the Hulten (2009) model, the challenge for marketers is to create sensorial
strategies that stimulate the senses by creating various sensations. These sensations
revolve around the atmospheric, auditory, visual, gastronomic and tactile spheres. All of
them coalesce to create a multi-sensory brand experience which is crucial to creating
customer equity.
The term Servicescape was introduced by Arnheim (2009) to characterize gastronomic
experiences in restaurants. Servicescape refers to the physical environment and
surroundings in a restaurant in which customers find themselves. According to Bennett
(2009) escape includes different environmental dimensions which are defined as ambient
conditions, space/function and signs, symbols & artefacts. These dimensions consist of
18

both exterior and interior design, including surrounding environment as well as layout,
equipment and sound, music, scent, lighting all which have been identified as factors
influencing customers behaviour (Bennett, 2009).
Zeithmal et al., (2009) extended this argument by stating the customers in the restaurant
evaluate their restaurant experience from more than the food. The place where they dine
exerts a powerful influence on their perception of the total dining experience. . This
means that customers rely on tangible cues or the physical evidence of the service
environment when evaluating the service process. According to Harris and Ezeh (2008),
servicescapes can trigger emotional responses which will have an effect on the
customers decision to either continue or discontinue their patronage of a restaurant or
even of the use of a brand or product. The servicescape model is shown in Figure 2.6.

Figure 2.6. The Servicescape Conceptual Model (Bitner, 2008)

From Section 2.1 and 2.2, it was seen that the people perceive their surroundings through
their senses. Senses play an important role in influencing their behaviour and in their
19

evaluation of an experience. It can be therefore inferred that in a restaurant setting, the

senses play a most important role in customers perception of their dining experience. To
the extent restaurateurs can stimulate the senses so as to create a dining experience that is
perceived to be positive and meaningful; to that extent can they create loyal customers
who regularly patronize their restaurant resulting in increased sales, profitability and
market share.

2.2. Empirical Review

Due to the growing importance of sensory marketing in providing a memorable
gastronomic experience, some research has been conducted on what elements stimulate
customer senses in a restaurant setting.
Yu (2009) conducted a study of sensory design for restaurants in the United States.
According to her research, of all the five senses, it is sight that receives the most attention
in restaurant interior design. Her postulate however is that the other senses are equally, in
not, more important than sight. She believes that taste is impossible to deliver through
interior design and so her research focused on how the interior designs of restaurant
influence smell, hearing and touch along with sight and thereby create memorable
experience for the diners in the restaurant. Her framework for restaurant design includes
the sight sensory design framework, smell and hearing sensory design framework and the
touch sensory design framework each of which correspond to the senses of sight, smell,
hearing and touch respectively.
20

A case study approach was followed in this research. This included theoretical studies
and the practical applications of the findings of the theoretical studies to the redesign of a
Chinese restaurant in Ames, Iowa. Questionnaires administered through a process of
interviewing formed the principal data collection process while the descriptive statistics
tool of excel formed the principal data analysis tool. The questionnaire was administered
to a sample set consisting of the owners of the restaurant and its employees including
marketing managers as well. This comprised a group of 20 persons. The questionnaire
was also administered to a sample set of 100 customers of the restaurant. The main
purpose of this questionnaire was to identify the problems faced by staff and customers in
the restaurant and how a sensory approach to redesign might eliminate these problems.
According to Yu (2009)s sight sensory design framework, the main elements influencing
the sense of sight in restaurants include ornaments or decoration, light, complexity,
mystery and sitting style. Ornaments are indicators of status of the restaurant and luxury.
The more the aesthetic appeal of the ornaments, the more they entice the guests and the
more do they stimulate consumption. Large scale ornaments indicate status while smaller
scale ornaments allow for free flow and movements within the restaurant. Light not only
has function of illumination, but affect people physiologically and psychologically.
Where lighting approximates the spectral quality of natural sunlight, there is less
perceptual fatigue and improved acuity. Light may also be used to improve focus on
dining plates or on the decoration. Complexity refers to the intricacy of elements in a
space. Yu (2009) found that a high positive correlation exists between complexity and
preference; therefore, it is desirable to design a restaurant with high complexity. Higher
complexities might be achieved through use of large and irregular shape spaces, which
are subdivided by varied architectural elements, furnishings, and plants. She inferred that
interiors of restaurants should avoid simple boxlike geometric shape because irregular
spaces are perceived to be far more attractive.

In addition to spatial geometry,

complexity also refers to the composition or pattern of elements in the scene. Thereby,
the floor plan should be complex, which means an intricate pattern of elements is
preferable.
21

Mystery is the degree to which people are attracted to pursue more information by
proceeding further into the scene. A moderately high positive correlation is observed
between mystery and restaurant preference and the sense of sight is key to creating this
element of mystery. Yu (2009) recommends several methods whereby sight may be used
to create mystery. The first point of interests must be offered shorter distances of view.
That is the entrance area should have points of interest to attract customers to go further.
Larger environments must be made accessible through aisles that are shorter, wider, and
turn out of view. To create a sense of mystery, interiors should be neither small and
enclosed nor large and wide open. Yu (2009) recommends inclusion of architectural
features, furnishings, or plants that produce multiple visual focuses, but screen the space,
not allowing views of the whole space at first glance. Lastly she recommends showing
dramatic brightness contrast between the foreground and areas deeper in the scene. Light
contrast not only stress visual emphasis, but enhances the sense of mystery. In terms of
sitting styles, Yu (2009) recommends use of varied dining spaces, including exposed
sitting, loges, and booths. Different sitting styles providing customers with multiple
choices for seating.
In terms of the smell, Yu (2009) found that an overwhelming smell of food is an
undesirable. Instead she recommends use of a light fragrance in restaurants. So that the
fragrance is just perceived, she recommends its release intermittently into the interior
spaces which will make it appear to be more favourable. That being said, she also
recommends, for the purpose of attracting more customers, a food smell may be
transmitted to the entrance through the ventilation system or directly moving the cooking
facility to entrance area.
Yu (2009) also said that every restaurant should be acoustically designed so as to
eliminate noise a much as possible. This is because customers go to restaurants to relax
and too much noise can result in fatigue and nervousness. Therefore, it is critical to
produce a desirable sound environment, which may be achieved by effectively using
sound-absorbing materials, such as draperies, carpets, and acoustical ceiling tiles, all of
22

which can go a long way toward eliminating unwanted sound effects. She recommends
the use of background music to makes a space more favourable and create a relaxing
atmosphere. According to Yu (2009), sound enhances other sensory perceptions, placing
the kitchen in the dining area provides customers with sound produced from the cooking
process, which may stimulate appetite as well as reinforce taste and smell sensations.
Surface textures, warmth or temperature, staircases, the floor and spatial dimensions all
contribute to the sense of touch. Whilst in a restaurant, people touch the surface of tables,
chairs, dishware, flatware, menus, and other accessories on tables. They also feel the
floor texture by foot. Consequently, the texture of materials in the dining area should
make guests feel comfortable and pleasant. Temperature is critical to creating feelings of
coziness, intimacy and comfort similar to a living room and hence use of temperature
control equipment within restaurants is important. Staircase tread heights must be just
enough for customers to perceive the interiors more dynamically. Yu (2009) also
recommends creation of floors with uneven textures which she believes enhances
customers awareness of surface texture while heightening their touch perception. She
also recommends use of personal distance (18-48 inches) to be applied whilst arranging
tables and chairs. Too close a distance invades privacy or causes discomfort while
distances that are too large may lead to difficulty in communication, and inconvenience
in reaching for dishes.
These theoretical findings were then applied to redesigning the restaurant. The responses
of customers and staff and turnover generated post the alteration was tracked for a period
of six months and compared with the previous six months. It was found that sales
turnover had increased by as much as 53% with almost all customers reporting very high
levels of customer satisfaction. Loyalty rates increased by almost 40%. Employee
satisfaction levels were also higher post the alterations. This study indicates how interior
design may be subtly redesigned to create sensory experiences. To that extent, interior
design of a restaurant performs a marketing function.

23

In 2011, Narat Amorntatkul conducted an analysis of sensory marketing in the hotel

restaurant industry in Thailand. Amorntatkuls research postulates that the five senses
may be influenced through suitable marketing techniques so that guests perceive their
dining experiences positively. Stimulation of the five senses is seen to be critical to
creating memorable guest experiences. The main purpose of the research was to
understand how various stimuli affect senses of the guests in restaurants in Thailand and
how they interpret, understand and respond to those stimuli. The quantitative approach
was used in this research and used both primary and secondary data. Secondary data was
used to screen research done by other researchers on the subject of sensory marketing in
restaurants. Primary data was collected through administration of a questionnaire to 384
customers of 15 restaurants across Bangkok, Thailand. The questionnaire was
administered through a process of semi structured interviews.
The results indicated that only 4 of the 15 hotels examined, had a formal sensory
marketing program in place. However, even here, it was the store atmospherics that were
used to stimulate the senses and market the restaurants. They all of them used scents. This
was done through the use of aroma oils which were found to generate positive, pleasing
and relaxing emotions. These scents were also found to attract customers into the
restaurant itself. Use of aroma oils is unique to Thailand and much loved by Thais.
Hence its use in these restaurants to create a familiar atmosphere, set them apart from the
other restaurants. The two techniques used to stimulate the vision of sight included
decorations and the use of colours. The decorations followed the concept of the hotel
while the use of colour was to elicit a positive emotion amongst the guests. It was found
that white was the most preferred colour in accordance with the culture of Thailand
where white is perceived to be relaxing and calm. The use of sound was another
element that was used to market the restaurants. This was done through live bands whose
music theme depended on the concept of the hotel. While the music itself was different, a
slower tempo was preferred in order to encourage guests to spend more time within the
restaurant and to feel more relaxed. Thus the senses focused on in this research were
those of sight, smell and hearing. An examination of the influence of these marketing
techniques on guest behaviour indicated that those four hotels which used their store
24

atmospherics to stimulate sensory responses showed far better performance levels in

terms of guest patronage levels, repeat guests, higher sales turnover, profitability, loyalty
levels and goodwill. It is important to note that all the restaurants considered were luxury
restaurants and catered to the same customer segment. All things being the same, that is,
customer service, taste of food and cleanliness, it was the sensory marketing techniques
that made the difference.
According to Holbrook and Hirschman (2011), one of the main reasons for the
phenomenal success of Starbucks is that its stores offer a consistent and appealing
sensory experience. Also known as emotional marketing a whole host of elements are
used to increase the sensory appeal. The menu cards are prominently displayed and with
its wide variety and colourful signage engage the senses to stimulate the appetite. In
addition, the internal design, lights and smells want to create a comfortable atmosphere
where the guests can find a home away from home even in public locations. The lighting
is dim and subtle, the music is soft and the dominant colours are dull, subtle colours like
green and brown. These elements are important to the Starbucks experience which seeks
to offer its customers, a quite haven, in the midst of their frenetic work lives. However,
while the music, colours and lighting are all important it is the strong aroma of coffee that
dominates guests senses on entering a Starbucks outlet and it is this that is key to
attracting customers into the restaurant (Hoyer and MacInnis, 2010). Creation of this
aroma of coffee is also important since this is what people the world over most associate
Starbucks with. When Starbucks was under pressure to increase store revenues and
profits, they turned to sensory branding for the solution. This was done through the
process of grinding coffee in the stores for the sole purpose of creating a rich, strong
aroma of coffee. This was done even though it was far cheaper and easier to ship and use
coffee power. Another key and revolutionary step undertaken by Starbucks was the
dumping of its main selling products breakfast eggs simply because the aroma of
cooking eggs was found to be offensive and counteractive to the smell of coffee. The
Starbucks management found that higher costs due to these actions were more than
compensated by improved customer loyalty and higher sales driven by customers who
came to the stores attracted by the aroma.
25

Realising that majority of sensory experience of drinking espresso comes mainly from the
retail environment, Nestle unit, Nespresso not only modified its home brewing equipment
to release more enticing smells, they even launched a chain of coffee shops offering
customers a rich olfactory experience just to address the perceived sensory gap in the
home environment. According to Joy and Sherry (2012), olfactory marketing works so
well because the sense of smell is most directly connected to the parts of the brain
responsible for processing emotions. It goes directly to the limbic system, which is the
emotional control centre of the brain, so when you smell something it immediately
triggers an emotion whereas all the other senses have to be processed first. Also known as
scent marketing in food retailing, use of aromas can create specific moods. Other
examples of this include the Bloom grocery chain, that has put up a scented billboard
(created by ScentAir) that pumps out the smell of grilled steak to promote its new line of
beef, or ice-cream chain Emack & Bolios, which sends out the scent of waffle cones at
their shops (Laforet, 2010).
All of this research focuses on the senses of sight, sound, smell and touch. However, they
neglect the raison de etre of persons visiting a restaurant in the first place which is to
taste the food. When viewed from this perspective the food served in the restaurants itself
transcends a functional value (to satisfy hunger or provide nourishment) but turns into a
source of delighting the senses. This in turn creates customer salience and brand loyalty.
This is particularly important in a scenario where customers look for hedonistic motives
for purchasing of food rather than purely altruistic motives of health, well-being,
environmental protection or animal welfare (Peck and Childers, 2006). One of the
examples where the food product itself is used to market the brand through multisensory
experience is Bacio the premium chocolate praline produced by Nestle Perugina. In
fact, so unique is this experience that it is known as the Bacio Experience (Haugtvedt et
al., 2012). Each Baci chocolate comes wrapped in a love note: a scroll inscribed with a
message of affection, love or friendship. The notes include quotes from the worlds bestknown poets and proverbs from ancient and contemporary cultures around the globe. The
Bacio experience starts with the unwrapping of the cover and reading the message
contained inside. The taste of the praline itself is considered to be superlative containing
26

as it does hazelnuts and dark chocolate. The chocolate evokes emotions of lovers kissing,
reinforcing the Baci message of fantasy and romance. So persuasive is the Bacio
experience that is has become one of the preferred means of communicating and
expressing affection to friends, family, partners and children (Reimann et al., 2010). It is
a classic example of how a food product can market itself.
It may be seen from the above that a whole host of elements may be used to influence the
senses in a restaurant setting. Typically this includes using atmospherics to stimulate the
senses and influence customer behaviour. As the case studies above demonstrate, all of
the senses, including those of sight, sound, smell, touch and taste may be stimulated in
various ways using store atmospherics to create a memorable dining experience.

2.3. Contextual Review

There exists very little literature on sensory marketing in luxury restaurants in India.
Sensory marketing itself is new to India with the concept of luxury restaurants just
gaining popularity in the country. Nevertheless, there are enough indicators to how that
the luxury restaurant space is all set to grow and boom in India in the years to come.
2.3.1. The Luxury Restaurant Sector in India
According to research conducted by Rodrigues et al., (2011), post 2005, there has been a
sudden mushrooming of luxury and exotic restaurants across Indias biggest cities.
Echoing a well-worn trend in Los Angeles, Miami and New York, Indias new gilded
restaurants have become a place to see and be seen. These restaurants feature imported
gourmet ingredients, top wines and seasoned chefs. They are also very expensive. Some
of Indias upscale eateries are far more expensive than even New Yorks luxury
27

restaurants. For example, the Kobe mignon at Delhis Orient Express costs Rs. 5,500
($123), while a similar dish at New Yorks chic Tao costs roughly 30% less (Russell,
2012). The Chateau Lafite Rothschild 01 at Leela hotels Zen in Bangalore fetches Rs.
28,000 ($626) (Sheth and Parvatiyar, 2012). That same bottle costs roughly $200
stateside (Sheth and Parvatiyar, 2012). Another indicator of Indias newfound appetite for
high-end cuisine is the number of A-list celebrity chefs coming to the country. In 2009,
Iron Chef Masaharu Morimoto, the Japanese mastermind behind the global Nobu sushi
franchise, opened Wasabi in Mumbais Taj Mahal Palace (Sharma and Pillai, 2013). And
in 2010, top Italian chef Antonio Carluccio, a perennial favorite on the BBC, designed the
extravagant menu at Atrium, located in The Park hotel in Chennai. There are currently
about 20 restaurants that come under the luxury category in India. Some of these
restaurants include the Dum Pukht and Varq in Delhi, Gajalee and the Thai Pavilion in
Mumbai, the Beach House in Goa and Southern Spice in Chennai.
There are several indicators that these restaurants owe their popularity not only for the
specialty cuisine, high prices, the added cache of patronage, the guest list or the celebrity
chefs, but for the pressing sum of the entire dining experience. A manifestation of this is
that the three Indian restaurants which have been included amongst the top 100
restaurants in the world are luxury restaurants (Krishna, 2010). They include the Bukhara
in Delhi, The Indian Accent in Delhi and the Karavalli in Bangalore. In fact Bukhara is
considered to be the worlds most famous Indian restaurant (Krishna, 2010). This rating is
made across several parameters including ambience, dining options, guest feedback and
ratings given by critics. The inference here is that these restaurants can have important
lessons in terms of the ability to provide guests with a dining experience that is
memorable for other restaurants and hotels in India as well.
There are several drivers for the growth of the restaurant sector in India. This may be
mainly accounted for by the rapid increase in the demographic and economic factors in
the county. Increasing urbanization and rising disposable incomes are characteristics that
are common across several emerging economies, particularly in Asia. However, the pace
at which this has taken place in India in the last few years is likely to continue over the
28

next decade and will outpace most other economies in the region. In particular, Merrill
Lynch estimates a growth in urban consumption at potentially 20% per annum in nominal
terms (16% in real terms) upto 2020 (Krishna, 2010). In addition, higher disposable
incomes among consumers particularly in the top 25 cities and the trend towards eating
out are combining with growth in organized retailing to fuel growth in the food service
sector.

According to Laforet (2010), there are 10 million households in India with average
household income of Rs 46,000 per month and 2 million households with a household
income of Rs 115,000 per month. Eating out has emerged as a trend, which is prevalent
within this elite group. Two of out of every five households in this group eat out at least
once a month. (Parasuraman, 2010). There are 100 million 17-21 year olds in India, and
six out of ten households have a child that was born in the post liberalization era and has
grown up with no guilt of conspicuous consumption (Vargas, 2008). Sales by Indian food
service companies totalled Rs 350 billion in 2012 (Sheth and Parvatiyar, 2012). The
organized sector is responsible for approximately Rs 20 billion worth of sales (Sheth and
Parvatiyar, 2012). Indian consumers spend only 2.4 percent of their food expenditure in
hotels and restaurants (including on premises and take-out sales) (Sharma and Stafford,
2010). American consumers, by comparison spend 46 percent of their food expenditure
on away-from-home meals (Sharma and Stafford, 2010). These demographic numbers
represent a young nation which has an increased propensity to spend in restaurant and
other food service sectors and who are looking out for a dining experience with a
difference. It is in light of this that sensory marketing assumes importance.
2.3.2. Sensory Marketing
According Prahalad and Ramaswamy (2009), sensory marketing is a group of key levers
which are controlled by the producer and/or by the distributor to create a specific multisensory atmosphere around the product or the service either by focusing on sale outlet
environment or product environment, and the communication or characteristics of the
product itself. These authors believe that sensory marketing recognizes the individual as
29

a human being with emotions and feelings and five senses and puts these at the centre of
marketing. By doing this, an experience is then created for the individual which translates
into a positive intent to purchase or in the case of restaurants in the intent to patronize the
restaurant frequently, recommend it to circle of acquaintance etc. The challenge is to
understand how the senses function and how to simulate them to create an experience.
2.3.2.1. The Sense of Sight
The sight sense is the most evident as it accounts for more than two thirds of the sensory
cells. These are located in the eye and let a fraction of the wavelengths into the eye,
which we perceive as shapes, contrasts, color and light. The brain does the processing of
giving depth and meaning to things we see (Hultn, 2009).

Figure 2.7. The Sense of Sight Conceptual Model (Peck and Wiggins, 2006)
This meaning can affect the type of cues, which is something Schmitt (2012) have
through their research shown that through visional cues, the person can react differently
to what type cue is presented. The individual not only react to what he/she sees but in
what context the thing is seen. According to Phillippe et al., (2009), the context also
influence memory and recalls of the visual presentation. The sense of sight through
visualization can be explained through design, packaging, style, color, light, theme,
30

graphics, exterior and interior Design as a visual cue have been important for a long time,
displaying aesthetics and connecting it to culture, values and functional properties. The
design can trigger emotional and sensual experiences. It can also express a brand.
Nobre et al., (2010), does not completely agree and point out that design is more than a
physical thing as aesthetics and cultural properties, but rather implementing deeper
functions as the process of designing things. This will eventually express itself in visual
cues, but until it does, there is a deeper role than just the aesthetics of products.
Mackinnis and Park (2009) are discussing these processes but also explain that it is hard
to measure deign from a metric point of view but rather from the values that are created
from the design. Style is often seen as a substitute to design in where Schmitt (2012)
states that complexity, description, movement and strength can characterize style.
Hultn, (2009) insinuates that color plays a big role in the sight experience. The colors
can be connected to different emotions. Lindstorm (2005), agrees and through their
research confirms this in where they tested red and blue color in combination to purchase
making in retail shops. They found out that blue color stimulated the customers to buy
more. The authors also imply that the colors could very well influence the purchasing
decisions as well as wellbeing in different shops.
The colors and the connections to emotions is something that Kellaris and Kent (2011)
have also studied. Their result show:
Most pleasant hues - Blue, blue-green, green, red-purple, purple, and purple-blue
Least pleasant hues - yellow and green-yellow
Most arousing - Green-yellow, blue-green, and green
Least arousing - purple-blue and yellow-red
Figure 2.7 highlights Light, which is often used to attract or create attention. Using light
with color can create brand attention and can affect the perception of the size of the
illuminated service landscape. Themes on the other hand are often used as a reference
31

point in landscapes or in different visual cues. This can also be used to present a company
culture to the customers. Hultn, (2009) states that exterior and interior of a service
landscape is the layout the organization chooses to implement into a locale. The
formation of the landscape is also visual experiences the customer gets when present in
the service landscape. The layout and positioning of items clearly affect the customer
behavior and decision-making.
2.3.2.2. The sense of smell
In interior design practice, smell seldom receives attention. However, smell has a strong
association with feeling and influences peoples activities. Odour is a key motivational
factor in human behavior, playing a critical role in behavior patterns (Hoffman and
Turley, 2012). Smell affects areas of the brain that deal with emotions, feelings, and
motivation, which can lead to a specific behavioral response. In terms of restaurant
design, smell plays a significant role. Smell enhances taste perception. Taste and smell
usually function in concert and can be regarded as alternatives ways to experience similar
phenomenon (Goulding, 2013).
Therefore, smell sensory design is especially important to restaurant interior design.
Further according to Gobe (2010), Odours lend character to objects and places, making
them distinctive, easier to identify and remember. Pleasant odour provides a space with a
favorable identity. Odour has some other attributes. Floor (2006) has studied odour
sensitivity, and indicates that sensitivity varies over the course of a day and the sense of
smell rapidly fatigues, and odour sensitivity weakens with age (Davenport and Beck,
2010).
Fragrance is a kind of pleasant odour which has psychological functions in addition to
bringing pleasure and relaxation. According to Carver (2008), the function of fragrances
is to (i) Increase alertness and performance of vigilance and cognitive tasks, (ii) Facilitate
recall of pleasant memories and (iii) Reduce reported preferences for resolving
interpersonal conflicts through relatively ineffective means. The first and third ones may
32

have commercial implications; the second one may have an effect on human behavior
generally.
Specific fragrances perform precise functions. For example, lemon and peppermint can
reinforce alertness and energy; lavender and cedar can reduce tension (Brakus et al.,
2009). This is why lavender fragrance is adopted in spas, and air fresheners mainly have
a lemony smell. This theory has been put into use by interior designers as well. For
example, several large companies introduce fragrance to heating and air condition
systems to boost work efficiency and reduce stress. Fragrance can also be a primary
determinant of spatial judgment. For example, in a test to detect the function of fragrance,
a room containing low levels of fragrance was considered by subjects as brighter, cleaner,
and fresher, yet no subject noted the fragrance (Bruner, 2009). Fragrance makes a space
more favourable, which may be applied in interior design practice.

Figure 2.8. The Sense of Smell Conceptual Model (Peck and Wiggins, 2006)
Congruency refers to how naturally a scent is associated with a product or service.
Studies in articles by Gobe (2001), have shown that congruency is significant despite the
complexity in measuring it. The intensity however indicates if the scent is subtle or
noticeable. Other scents that can affect the experience are the sexual. Sexual scents that
represent femininity and masculinity are applied to different products to draw the
demographic groups to the firms products or services.
33

Baumgartner and Pieters (2008) research points to the decision-making process the
consumer does when purchasing products or service. These decisions are clearly affected
by the scents that are designed for the companies. Their research illustrates the customer
as a decision maker in where different choices are made and that scent clearly affects
these decisions. Atmosphere in figure 2.8 is presented as a sense expressed in a landscape,
which means that the scent is trying to represent the actual selling point or to create an
atmosphere in where the customer are present. Scents in the service-scape create
wellbeing and feeling that stays with the individual (Hultn et al., 2009). The authors
also suggest that firms also sometimes apply scent to express a theme that improves
tactical marketing activities. Themes can be used to create advertency, short term
advertising.
There are also scents that are associated as brands, so called, scent brands. When
talking about scent brands, there is usually a goal to make customers associate the chosen
brand with the scent. This can be combined with other sensory organs to make a complete
brand.
2.3.2.3. The Sense of Hearing
When referring to the sense of sound, background music may be the first thing to come to
mind. However, hearing as related to sensory design, is more complicated than that.
Sound has strong association with human emotion. Sound not only surrounds but can
penetrate to the very core of the sentient. This primitive power, which bypasses the
cerebral and directly addresses the heart, elicits an emotional response (Bone and Ellen,
2009). Sound also plays an important role perceiving a space and enhances sight sensory
perceptions. Sound provides an important link to reality and has a protective and
enriching function. Without sound, visual perception is different: less contrastful, less
attention demanding, and less informative (Buchanan and Tranel, 2008).

34

Sound may complement vision to perceive space in respect that it enlarges ones spatial
awareness to include areas behinds the head that cannot be seen. Therefore, sound
dramatizes spatial experience (Christopher et al., 2009). Finally, sound contributes a
certain environment a space. Sound is significant for human to participate, experience,
and remember places. Without sound, an environment is lifeless and unreal, without flow
or rhythm, and frightening (Cohen et al., 2008).

Figure 2.9. The Sense of sense Conceptual Model (Peck and Wiggins, 2006)
Sense expressions and the sound experience are accomplished through jingle, voice and
music. Jingles have been characterized by a short melodic voice, message or music
applied to the message. The goal according to history has been to make the message or
the brand memorable alongside the jingle. Voice has also according to studies made by
Donovan and Rossiter (2011), has shown to affect the perceived trust. Research made by
Ekstrom (2010) has concluded that music can create a sense of group belonging.
According to studies made by Fournier (2010), the tempo of music can clearly affect how
time and comfort is perceived. Faster tempo make customers in restaurants make
customers tending to eat faster and leave faster contrary to a slow tempo that makes them
stay longer.
Atmosphere, theme and advertency are often also discussed when creating a brand
experience. Atmospheric sounds in combination to visual sensory expressions can create
35

comfort in where the customer can feel contented. Regarding the sound sense, Gallace
and Spence (2010) said that the type of music affects the perception of the customer.
They present two characteristics of music. Indexicality refers to the arousal of memories
connected to the music. They showed that the indexicality enhanced the message
processing. Fit is the relevance of music in the context of message that is sent. The study
has shown that there is more pleasure in the fit between the visual message and the type
of music. Gordon (2008), talks about the holism of sound in where profiles can be created
by the firms that are strategically implemented into their marketing plans. The author
talks about consistency and continuity. This can be used to establish and enhance the
identity of the brand.

Gronroos (2011) continues on the subject and talks about

Technology and acoustics that also affect the sensory experience. The authors mean that
digital technology can be balanced and controlled to enhance the pleasure in the service
landscape. Not all sounds are pleasant and the space needs good acoustics to eliminate
the bad sounds that a customer can perceive.
2.3.2.4. The Sense of Touch
The sense of touch involves physical interactions with the organization. This is something
that can affect the overall sensory experience. The importance or the sense touch has been
studied in Harlow (1958) article in where monkeys were been subject to different
experiments. The monkey chose the importance of warmth and touch rather than food
providing surrogates.

36

Figure 2.9. The Sense of Touch Conceptual Model (Peck and Wiggins, 2006)
Hultn (2009), argue that tactile marketing using the touch sense is: ...firms tactile
marketing, where tactile describes the transmission of information or feelings when
products and brands are touched either physically or virtually, is entirely based on
interaction.. This interaction between the customer and the firm can establish a sense of
form for the product and service the customer is experiencing. The customer can feel the
products attributes and perceive quality. Other important touch factors can be seen in
figure 2.9 and are discussed.
Texture can be used as an experience trigger in where material, surface, temperature,
weight, form and steadiness can alter and enhance the touch experience. This also applies
to Materials that affect a brands identity or perception of values. This can be applied both
to service scape and products. According to Hultn (2009) a series of connection can be
made when touching and seeing a material as the brain can associate the material with
enjoyment, warmth, coldness and other associations.
Temperature is one other factor that is effective when applying the correct temperature to
the correct business. It is hard yet to tell scientifically where cold and warmth fits
perfectly. For the moment common sense dictates the temperatures in different locales.
Form is also one factor that enhances the touch experience with customers. According to
Grohmann (2007) the form dictates the consumer response, which can affect the sales of
a product. The author talk also about the ideal product or form and means that it is hard to
establish the perfect form as it is controlled by subjective preferences as well influenced
by culture.
The texture of a brand can make people want to touch the product and Emotion for a
brand is deeper when touch is important for interaction with the customer. (Harker and
Egan, 2006) This is applied to either cars or computer in where the consumer is enjoying
the touch of the product. According to Hendersen et al., (2012), This is often applied to
premium brands.
37

2.3.2.5. The Sense of Taste

The sense of taste have been neglected in marketing for a long time, in where only food
industries have implemented the brand strategies of taste. Other industries have just
opened up to the possibilities of the taste experience. It is impossible to taste something
from distance and is called the intimate sense. The individual taste sense is unique and
partly controlled by the saliva each individual produce. This is something that controls
what kind of food the individual prefers (Areni and Kim, 2010)

Figure 2.11 The Sense of taste Conceptual Model (Peck and Wiggins, 2006)
People like to eat with each other and in many cultures the social gathering and eating are
seen as a norm: The taste sense is the most social sense and affect peoples mood . In
connection to taste Amber et al., (2009). suggests that the interplay symbiosis and
synergy is very important regarding the sensual expression. The taste sense is highly
dependent on other senses to be fully complete. Smell is important for the taste to be fully
used. Name, presentation and setting are factors that can affect or alter the sensory
experience of taste. Name have shown to alter the sales in restaurants according to
research made by Aaker (1997) in where the settings where the food is consumed have
also showed to affect the perceived taste and can alter the behavior of customers. the
perceived taste experience. Research made by Babin et al., (2013) have shown that

38

stimulating the sense of taste in a retail store can make customers stay longer there, which
in turn give the customers more time to purchase other products.
Hultn (2009) recommends the companies to think beyond the kitchen and restaurant
and to come up with more creative ways to combine the taste experience into the sensory
marketing strategy. This can be hard to implement sometimes but if done correctly can
enhance the overall holistic experience of the service or brand.
2.4. Sensory Marketing Model for Restaurants.
Figure 2.12, summarizes the findings of sections 2.1, 2.2 and 2.3 to create a sensory
marketing model which may be used in luxury restaurants in India.

Figure 2.12 Sensory Models for Restaurants

39

In this model the five senses are critical to creating the atmosphere in the restaurant
which in turn affects attention, memory, perception and emotion. These stimulants lead to
an action which is to dine at the restaurant which is the equivalent of making a purchase.
This in turn leads in to increase in sales, profitability, the intent to revisit and repurchase
an in brand loyalty all of which results in better performance of the restaurant.

Chapter 3 Research Strategy

This chapter will present the quantitative method used in the research. The data collection
and data analysis tools will be presented.
3.1. Research Methodology Qualitative versus Quantitative
All research methodologies can be classified as Qualitative and Quantitative. Qualitative
Research is based on theoretical study and is used to identify patterns, themes or
recurring features in a mass of data. Quantitative studies are based on precise
measurements and experiments and are used to identify statistical relationships between a
set of variables. Qualitative studies use a process of exploration to construct and explain
hypotheses. Conversely, Quantitative studies use mathematical models and calculations
to predict possible outcomes (Creswell, 2009).
According to Fisher (2007), qualitative methods are best employed when explaining
social phenomena. It is a research that deals with subjective assessment of attitudes,
opinions and behaviour. Research in such a situation is a function of researchers insights
and impressions. As such it can be subject to bias, prejudice of the interpreter. Such an
approach to research generates results either in non-quantitative form or in the form
which are not subjected to rigorous quantitative analysis.

40

According to Fisher (2007), quantitative research is based on numbers and statistics. It is

used to test hypotheses, look at cause and effect and make predictions. It is used to
identify statistical relationships between variables and yields objective results.
The Quantitative method has been employed in this research since it is based on precise
measurements and statistical analysis which yield results that are objective and hence
more credible. These results can hence be generalized to all luxury restaurants in India.

3.2. Deductive & Inductive Techniques

The Quantitative method used in this research uses both deductive and inductive
techniques. Deductive techniques analyse secondary data and arrive at a general concept
called a postulate or hypothesis. The movement here is from the particular to the general
(Fisher, 2007). The validity of the hypotheses is then tested using the inductive method.
Inductive Methodologies use experiments and empirical techniques to apply hypotheses
to individual cases to test for validity (Fisher, 2007). Here there is a movement from the
general to the particular. If the results of the inductive study validate the hypotheses they
can be accepted. Else, they are rejected.

3.3. Primary versus Secondary Data

Primary and Secondary data are used in this research. Primary data is the outcome of
inductive research. It is new, freshly discovered and unique. It is used to test postulates and
hypothesis. Secondary data is data that already exists. It is not fresh or unique to the
particular research at hand but is used to formulate hypothesis which is then to be validated
using inductive methodologies.

3.4. Deductive Technique

The deductive technique uses secondary data to construct a theoretical framework. The
sources of secondary data used in this dissertation are journals, books, periodicals,
41

publications as well as the internet pertaining to sensory marketing, particularly in a

restaurant, the dynamics of the new marketing environment and how the marketing
paradigm ought to shift to cater to provide customers with a sensory experience. While
selecting the academic study great care was taken to ensure that only latest and relevant
material was used.

3.5. The Inductive Technique

The main purpose of the inductive approach is to empirically validate the findings of the
theoretical research. The main research tools were (i) data collection tools which were a
questionnaire and phone interview and the data collation & analysis tools which is
Microsoft excel.
3.5.1. Data Collection Tools
The main purpose of these tools is to collect and gather a data set which can then later be
analyzed.
Questionnaire
The essential form of inductive research is to ask questions and to measure the
response obtained (Hair et al., 2011). Thus the primary data collection tool was a
questionnaire. The questionnaire consisted of 25 close and open ended questions. Close
ended questions yield objective answers that can be used for statistical analysis. Open
ended questions yield more detailed answers. Hence in the interest of obtaining objective
results and reducing ambiguity both close and open ended questions were been chosen.
Participants could answer the questionnaire based on a 4 point Liker Scale. Their
preferred choice of answer could be represented by a number 1 to 4 which when collated
together could be used for statistical analysis. The questionnaire would analyze the
constituents of sensory marketing and how these elements come together to create a
memorable dining experience.

42

According to Hair et al., (2011), a Questionnaire has several benefits. It is the fastest,
cheapest and most practical method of gathering information. The questionnaire can be
answered at the convenience of the respondents. Moreover the respondents can answer it
without disclosing their identities. This will encourage disclosure of information in a
candid manner.
Phone Interview
The telephone interview was used primarily to clarify doubts which arose during the
analysis of data stage. Getting information through telephone is quick, flexible, allows for
making notes and recordings as also obtain more frank feedback from the respondents.

The restaurant chosen for this research

The restaurant chosen for this research is Shiros restaurant, The black peal, The
fishermans whar and Bakasur located in Banglaore city. All this restaurants are of the
most exclusive and expensive of restaurants in India. It provides an eclectic range of
cuisine including south Indian ,north Indian ,Japanese, Chinese, Thai, American and
Balinese food. In addition the ambience is very unique and evocative of the Far East. It
also hosts a bar with a variety of drinks, music and a luxury lounge with some unique
design, lighting and decoration features. The author believes best epitomizes the luxury
restaurant experience and hence decided to focus on this restaurant for his research.
Purposive Sampling Technique
Purposive sampling technique was used to identify respondents to whom the
questionnaire could be administered. This technique was used to identify those
respondents whose answers would be most suited to the research. The author first
contacted the Administration of Shiros

explaining the purpose of the research and

seeking his permission to conduct the research in the restaurant. Once permission was
given, the author administered the questionnaire to 100 guests at Shiros hotel over a
period of two weeks. The details of each interview were collated in an interview
summary form in excel and then analysed using data analysis tools.
43

3.6. Data Analysis Tools

The data collected from each respondent was analyzed according to the following steps:
Collation of Data in Interview Summary Form
The answers against each question from each respondent were entered into an Interview
Summary Form in Excel as shown in Figure 3.1.

Figure 3.1. Interview Summary Form

The advantage of using an Interview Summary form is that it provides a comprehensive
tool for data collection. Once collated this data was analysed using the Descriptive
Statistics Tool of Excel.
Descriptive Statistics Tool of Excel
Univariate analysis or Frequency Count is the simplest form of Descriptive Statistics
Analysis. It summarizes individual variables in a given data set. (Wegner, 2008) Given
that the questionnaire method of data collection was employed, the univariate method of
analysis was used. The Descriptive Statistics Tool occurs in the Data Analysis section of
Excel and is used to analyze univariate data and summarize it against various parameters.
Hence this tool was utilized to analyze the data collected in the summary form as shown
in Figure 3.2.

44

Figure 3.2. Descriptive Statistics Tool

The summarized data appears as shown in figure 3.3.

Mode: Most
Frequently Occurring
Number

Frequency %

Figure 3.3. Result of Descriptive Statistics Tool

45

While there are various parameters such as mean, median etc, for the purpose of this
research the Frequency % and median were considered only. Frequency % is derived from
the Sum Row and is simply the summation percentages of the number of affirmative
responses against each parameter. Median gives the mid-point value of a host of variable
numbers. It is used as an indicator of an approximate trend.

3.7. Risk Mitigation

The main risks identified during conducting the research and the mitigation mechanisms put in
place are given below:
3.7.1. Questionnaire The main difficulties of using a questionnaire are:

This method is time consuming as it involves preparing the questionnaire,

administering it to the respondents, getting answers, entering data into the database and
then analyzing them.

3.7.2. Telephone Interviews The main disadvantages of telephone interviews are the costs,
non intensive answers, shortness of conversations, which prevents in-depth probes. These
risks were mitigated by using this method only for clarification of doubts and ambiguities.

3.8. Ethical Issues

Whilst doing this dissertation, the author followed the rules and regulations of the
University. There was no attempt to manipulate any of the data. The author took care
not to allow personal bias or prejudice to affect the objectivity of the research. Only
genuine and value data was used for the research. The questionnaire was administered
only post receiving permission from the respondents. There was no attempt to get in
touch with respondents other than through official routes. The author also did not make
any attempt to disclose the identities of the respondents.

46

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