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Posts Tagged ‘Experience’

Online shopping in digital stores and shopping in bricks-and-mortar stores offer different forms of experiences. It starts from the environment or setting in which the shopper is situated — being present in a 3D physical retail space or viewing a 2D screen of a computer or mobile device. It is the difference between how much and what specifically a shopper can see and absorb when looking around in a physical store compared with looking at a screen. The difference in setting may have a further impact on behaviour, like how shoppers find products and how they inspect them.

Imagine a shopper, Dan, entering a large fashion store. Dan’s head immediately turns around as much as 180 degrees scanning the scene. Just a few steps in front of Dan there is a low desk with shirts, and another desk with sweaters to the left; to the right Dan observes shirts hanging on a rectangle-shaped stand, and he notices how their designs differ from those on the desk; along the walls are more shirts and trousers, etc. Dan decides to approach first the shirts to the left because they have multiple colours, lifting one or two to look more closely at them; later he also turns to the wall to see trousers and tries to match them with shirts. As Dan’s shopping trip advances he may enter deeper into the store to check on some accessories or another variety of shirts. Very early in the visit the shopper can figure out what may be found in main sections of the scene. Then starts a sort of discovery tour that may be guided by a master goal but progresses as the shopper identifies relevant and visually attractive items (stimuli). The scene is ‘updated’ as the shopper goes deeper into the store, or into adjacent halls, and details that were more distant and vague before become sharper and clearer.

A different kind of shopping process usually occurs in online website stores: first of all because much fewer products (stimuli) can be observed in a relatively short glimpse of the screen-scene. The way merchandise in the online store is located and explored is much more gradual.  An online store actually encourages a more goal-driven search process (e.g., choosing names of categories from a menu, selecting attribute options to narrow down the search to a relevant selection of products). Then starts a back-and-forth process of exploration of different items (e.g., by clicking on item titles or images and entering product pages), and visiting additional major categories of products. However, the experience of search and exploration is so different: whereas in the physical store the shopper can ‘wash the eyes’ with shapes, designs and colours of products, and follow the eyes through the shopping trip, it is much harder to do so in an online store where one has to go step-by-step or in a piecemeal manner. Nevertheless, online shoppers have more flexibility and a wider span of possibilities for viewing product options simultaneously on the screen of a desktop or laptop computer than on the screen of a smartphone.

Certainly there are more clever and creative e-commerce or store websites that are able to generate an improved experience of exploration and inspection of products. For example, there are online stores that show grids composed of tiles of images representing major categories and sub-categories of products. The images are more lively, and some of them exhibit motion as well. With some images, hovering with a mouse on the product photo (before clicking) changes the angle in which a garment or handbag, for instance, is shown. On product pages, some options may be selected that immediately affect the product image (e.g., colours, dimensions, designs); products may be rotated dynamically or by selecting from a line of static thumbnail images under the main frame.

A large majority of shoppers enquire about products online before visiting a physical store. According to a Google/Ipsos survey (‘Omnichannel Holiday Study’, Nov. 2017-Jan. 2018), 78% of US holiday shoppers searched products before going into a store; the online search helps shoppers in planning their shopping trip to the store, narrow down the options they should be seeking at the store, but it also ‘inspires the purchase’ (thinkwithgoogle.com, October 2018). In another research by Publicis (‘Shopper First Retailing’, 2018), an even higher proportion of shoppers, 87%, report that they begin searches in digital channels (online, mobile), up from 71% in 2017 (RetailDive.com, 15 August 2018). Searching the Internet is regarded as a productive method to look for directions and learning about product options, as preparation for making purchase decisions. Shoppers do not feel obliged also to make the purchase online, even if they browse the e-commerce website of an online-only retailer (‘e-tailers’) or of a mixed retailer that operates both a website store and physical stores. Consumers like especially to consult reviews of peer users who have already had experience with products they consider.

This learning process seems functional and goal-driven where shoppers need some guidance to put order into their shopping journey. Online sources, including e-commerce websites, seem to provide an efficient solution for this purpose. The process may indeed inspire shoppers with ideas, perhaps to the extent of helping the shopper to focus on viable and worthwhile purchase options and avoid wandering too long clueless in a store. In such a case in particular, visiting the online store of a mixed retailer can prove most useful before arriving to one of its physical store locations — and this makes the website an even more effective tool for the retailer.

However, retailers that operate physical stores would not want shoppers to come too prepared with their minds pre-determined what to buy. While shoppers usually have a general plan of what they are looking for, final purchase decisions are still made mostly in-store. Hence it is so important for physical stores to be designed and arranged in an appealing and stimulating manner — to allow consumers to complete successfully their shopping trip in-store, and furthermore encourage and induce them to purchase a few more ‘treasures’ they discover in the store.

It may be relevant to consider here two scenarios:

For retailers that operate physical stores in multiple, even numerous locations, there should be a stronger incentive to leave their customers with enough reasons to conclude their shopping in-store rather than on the website store. Thus, the online store has to be visually attractive, user-friendly and informative, but it does not have to be fully equipped with features that convince customers to complete their shopping and purchasing online. The website should not go all the way in effort to draw shoppers from physical stores. Whereas the online store may provide more functional, productive experiences (e.g., efficient, time-saving), the physical store would be more capable in creating pleasant emotional experiences (e.g., excitement, thrill, joy). The positive emotions invoked should not be taken lightly because they drive purchases.

For e-tailers with no physical stores there should be greater need to invest in the quality and feel of experiences they can provide in their e-commerce websites. The introduction of shoppers to the online store should be more delightful as well as informative and user-friendly. Visual elements and interactive features have to be inviting and helpful in guiding the visitor into different sections of the store — on the ‘main stage’ of the screen estate and not just through the menu and search engine.

The latter applies, nonetheless, also to mixed retailers that have stores in just a few locations (e.g., major cities) and wish to reach much greater numbers of customers that do not have a store near them. It may also be relevant when targeting customer segments who for any reason have little time free to travel to a store, and in regions where shoppers are reluctant to go out during harsh weather conditions (e.g., steaming hot and dusty or freezing cold and snowy). [Note: Location data might be used to channel a reduced or enhanced version of a store website according to whether the user is in vicinity of a physical store by the retailer, a form of ‘geo-fencing’].

Delicatessen in Gstaad

The bricks-and-mortar stores remain very much in demand. According to a Google/Ipsos online survey (‘Shopping Tracker’, US, April-June 2018), 61% of American shoppers prefer shopping with brands that also have physical stores than ones that are online only. Key benefits suggested for shopping in physical stores are the immediacy in which shoppers are likely to obtain the products they require; getting hands-on — seeing and interacting with products before buying; and being more fun than shopping online (35% feel so) (thinkwithgoogle.com, John McAteer, November 2018). The Publicis study indicates more generally that 46% of shoppers prefer to buy in physical stores (vis-à-vis 35% who prefer shopping using their laptops and 18% on mobile phones) (RetailDive). Apparently, shoppers are not blind to benefits and advantages of shopping in physical stores over online stores, and many are not ready to leave them to fade out.

It is not suggested that online stores necessarily have to be made to appear like physical stores on the screen — mimicking the scene of a bricks-and-mortar store may be perceived as just artificial, awkward and inconvenient (though retailers who also have physical locations can integrate actual store images into relevant sections of the online store). On the one hand, the retailer (or e-tailer) should take advantage of the strengths of the digital medium in organising, displaying and tracing information in the online store. On the other hand, online stores may have to breakaway in some degree from rigid structures of tables, lists and matrices. Grids of image tiles make a good start. Yet, more versatile visualisation possibilities have to be considered to provide visitors of store websites (or mobile apps) a more stimulating presentation of the variety of products the store has to offer. The interactive presentation should expose visitors to an array of products available (e.g., by type, use purpose, or brand), and lead their way from there into sub-categories and specific product models or brands.

  • Virtual Reality (VR) technology may be used to emulate a view of a store in 3D space, but the equipment needed to create a truly compelling experience is not in reach of most consumers, at least not yet. The more crucial question is: why should consumers prefer an imitation or illusion when almost everyone can visit real physical stores and shops. At least one aspect VR is unlikely to provide adequately is the social experience.

Instead of treating online shopping and shopping in physical stores as substitutes competing with each other, the more sensible approach for mixed retailers is to create ways in which they can combine and complement each other. The connection can be a two-way street, especially given that shoppers use mobile devices more frequently during store visits (71% of shoppers according to Publicis study cited by RetailDive). From online to store, for example, a mobile app of the retailer used in-store can help the shopper navigate and find the way to the places of products that he or she detected and learned about in a preliminary search and study online (e.g., Home Depot). From in-store to online, the shopper may use the app of the retailer in-store to find more information about products found in the store by scanning a barcode for the product of interest (e.g., Sephora [cosmetics] allows access to product reviews, order history of the shopper, and more) [examples adopted from McAteer in thinkwithgoogle]. More technologies that help in bridging between the virtual and physical domains of shopping include beacons and augmented reality (AR).

  • There are other areas not covered above in which online shopping is distinguished from in-store shopping and require more attention, such as customer service, specifically providing advice and assistance to shoppers, and the fulfillment of orders (a ‘click-and-collect’ programme is another way of linking the physical and online stores).

The physical and digital (virtual) domains have each their strengths in creating different forms of shopping experiences. Physical stores and shops have built-in advantages in evoking emotional experiences while shopping — they are tangible and more direct, can provide good personal care, and may attract and excite shoppers by means of interior design and visual merchandising in their physical spaces. Furthermore, beyond vision, physical stores allow shoppers to enact other senses (e.g., touch, smell) that cannot be experienced in the digital domain. It is unsure how much a store website (or app) can give rise to a similar emotional experience and attachment in shoppers, yet there are aspects that can be borrowed into the digital domain that would make it seem not just functional but also more appealing and immersive. Nonetheless, mixed retailers may have the best opportunity to combine the strengths from the physical and digital domains and link them to produce shopping experiences that are more productive and enjoyable altogether.

Ron Ventura, Ph.D. (Marketing)

 

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When going through a surgery, the surgery itself would almost unquestionably be the major and focal treatment of the patient during hospitalisation. However, there is an envelope of procedures, treatments and other activities that make up the experience of the patient at the hospital. Furthermore, pre-surgery and follow-up procedures can also be accounted for in the whole experience. Patient experience is receiving increasing attention and greater weight in managing healthcare systems in recent years, side by side with the clinical demands of medical care. Although we cannot fully equate the status of ‘patient’ with ‘customer’ because of the highly specialised aspects and requirements of the medical domain, there are many activities and moments of interaction in which it is fair and right to view the patient as a customer.

Healthcare services are not immune to the growing power of consumers and their higher expectations, as customers, that have become omnipresent in many fields of services and products. Consumers expect greater awareness of their needs and respecting their rights. Yet there are unique challenges in adopting a ‘customer-centric’ approach with medical patients because clinical considerations come first in the responsibilities of medical professionals.  It is a challenge, for instance, to convince doctors and nurses that improved patient experience is more than ‘nice but not necessary’ or that this is not ‘a luxury given their tight schedules’. Another challenge is balancing between the undoubted authority of medical doctors in their domains of clinical specialisations and the need of patients to be informed, assured and comforted about treatments they should receive. How a clinical treatment is communicated and delivered to a patient can influence considerably his or her experience in a positive way; moreover, there are many less critical procedures and interactions through which doctors, nurses and assisting care providers can further improve the patient experience.

A commonly accepted definition of patient experience developed by the Beryl Institute defines it as “The sum of all interactions, shaped by an organization’s culture, that influence patient perceptions across the continuum of care“. First, having a supporting culture is paramount to the successful assimilation of a patient experience approach. Second, there is a recognition among researchers and experts that patients’ experiences should be addressed through their perceptions reflecting what has happened to them (e.g., during clinical procedures, interactions with doctors); measures of satisfaction are inadequate because satisfaction is construed relative to individuals’ prior expectations, without informing what might have to be corrected. Third, steps along a whole journey or continuum of medical care of the patient should be accounted for (e.g., from hospital admission to discharge, covering care given within and outside the hospital walls). A customer-centred approach in the context of healthcare is recognised as Patient-Centred Care which focuses on improving patient experiences.

In a special report of the NHS Confederation (UK) on patient experience, the authors note the complexity of improving patient experience on top of striving to provide high-quality clinical care. In addition to the latter, it should be acknowledged that “Experience is also determined by the physical environment the patients are in and how they feel about the care they receive, including the way staff interact with them“. The report authors state punctually: “Improving the experience of all patients starts by treating each one of them individually to ensure they receive the right care, at the right time, in the right way for them” (boldface highlight added)[1].

Improvements in patient experience in a hospital ward (e.g., cardiology, orthopaedic) seem to happen in small steps, in small details; the staff may not fully appreciate their value to patients and their family relatives . Better experience may arise from greater awareness of the worries, concerns or inconveniences of patients by doctors, nurses and assisting caregivers. It may be achieved by listening to the patients and being more patient and soft with them. It is not an easy demand: the staff may have two or three dozens of patients to attend to in the ward, and yet the staff has a duty to help and make the hospital stay as easy as possible for each patient. One should not overlook the importance of an emotional touch, feelings shown by and with patients. Keeping a peaceful and calm atmosphere in the hospital ward also contributes to patients’ experience and prospects of healing. Doctors in particular can help to improve the patient experience by willing to explain and inform a patient (and family) in plain words and empathy about his or her condition and treatments required, especially upon request (i.e., respecting the right of a patient to be informed). Additionally, doctors should not leave patients out of decisions made about them, where the patient demonstrates interest and capacity in being involved.

Much of the conduct described above can be seen happening more frequently than say five or ten years ago. One may encounter specific members of staff who make an extra effort to help, talk with a patient a little longer, answer questions at the nurse counter or in the patient’s room, and they do it kindly and voluntarily. Yet there is also observable variability where some members of staff appear less committed to providing a better treatment to patients with dignity, compassion and respect; patient experience does not seem to concern those staff members. Efforts in hospitals to increase awareness and training of staff about forms of conduct that improve patient experience, and their value to patients, have to address remaining pockets of inconsistency.

We should also look at processes in administering care to patients as they may have further impact on patient experience in addition to the quality and safety of medical care. For example, it is greatly important to pass and share information about patients between nurses and doctors within a shift and between shifts. Understandably, medical staff may not be able to give a full detailed update about every patient in the brief during change of shifts. But even during a shift there may not be enough time to pass information between staff members (e.g., a change in treatment for a particular patient). It is therefore crucial that staff members update patient records in the computer information system regularly and consult the records frequently to make sure information is not lost, forgotten or missed by the next staff member attending to the same patient. It can matter, for instance, when the patient or family inform staff about medication the patient is taking regularly (or should avoid), or regarding any change ordered in medication administered during hospitalisation. More generally, it would help to avoid situations where staff members ask patients or family the same question several times. Failure to record and pass customer information is a problem well-known and documented in customer service, yet in this case shortcomings in passing patient information can have more critical consequences. Therefore, ensuring that information is available to administer the right treatment at the right time would improve the quality and safety of patient care and thereby his or her personal experience.

Improving patient care and experience by physicians relies on better understanding of patients’ needs which could be achieved by working on three key priorities: competency, teamwork, and compassion; being successful would help in driving loyalty of patients to physicians (James Merlino, MD, an expert advisor with Press Ganey Associates in an interview with Micah Solomon of Forbes, 11 May 2017). It sounds, nonetheless, that this trio of priorities is fundamental and could contribute in multiple settings to patient care by physicians with the mentioned benefit to individual physicians, their clinics or hospital wards (private or public). [Note: Merlino suggests also incorporating patient segmentation and nurturing caregiver engagement as requisites to improving patient experience.]

A study of patient interviews at Royal Bolton Hospital in the UK, cited by the NHS Confederation report, identified two themes that appear to relate to pivotal concerns of many patients: “no needless pain” and “no feelings of helplessness”; the researchers were able to sort interviews along these two leading themes and later held discussions with hospital staff on the issues raised in the interviews. In another example given, the report refers to relationships built with patients and their families, and among staff and executives: a data-driven methodology, Patient and Family Centred Care, developed at the University of Pittsburgh Medical Center assesses different care pathways where each care pathway is studied and an ideal patient experience is outlined respectively. A project is developed in collaboration between professional staff and management to carry out these experience-oriented care plans.

As suggested above, a calm and pleasant atmosphere in the hospital ward can have a positive effect on patients’ feelings (e.g., soothing, relaxing). Contributors to the desirable atmosphere are the behaviour of medical and assisting (nursing) staff but not least also the design, furnishing and atmospherics of the physical environment in a hospital ward. Colours, windows and the sunlight they allow into rooms, warm materials (e.g., wood) and ergonomics, artwork hung on walls, and even pleasant odour should help in generating an atmosphere conducive to better healing (e.g., stronger improvement in the clinical condition of the patient, shorter hospital stay). In fact, research supports positive effects of the environment and ergonomics on healing of patients but also on staff sentiment and conduct (e.g., by reducing fatigue and stress).

According to a review of literature prepared by the Economist Intelligence Unit, sponsored by Siemens Healthineers (healthcare division), improved patient experience has been shown to have positive impact on clinical outcomes and care delivery for patients, financial outcomes for hospitals (efficiency, cost reduction), and morale and productivity of staff. The review further supports the importance of improving patient experience throughout the continuum of care: before, during, and after hospital admission; it should also engage patients, staff, system and interfaces inside the hospital and outside (e.g., pre-surgery and follow-up treatments and clinical examinations may be provided by the hospital and complemented in other clinics)[2].

Patients themselves also believe in the positive effect that better experience can have on their healing prospects. A consumer survey (2018) conducted by Beryl Institute found that 69% of consumers believe a good experience contributes to their healing / good health outcomes. It was also learned from consumers that being listened to, communicated to them in a way they can understand, and being treated with dignity and respect are the three most important factors to them influencing their (patient) experience.

Patient experience cannot be separated from the overall programme of care they receive in the hospital; it embodies all that happens to them, the treatments they receive and interactions they have with members of staff, and how they feel about it all. As healthcare professionals increasingly appreciate, it would be wrong to brush away this subjective and emotional viewpoint of patients on their experience in the hospital or see it as inferior to the clinical aspects of medical care. They go hand-in-hand, and as research has shown improved experience of patients is likely to have a positive impact on their clinical condition and healing prospects. A broad perspective on patient experience is nonetheless necessary, encompassing any components of care that are part of hospitalisation or tied to it; involving different types of staff (doctors and nurses, assisting caregivers, and administrative staff as well); and it could take a step forward and consider care given inside the hospital and outside it. Improvements in patient experience can already be discerned in the past decade; yet this is an area of continued work and effort where more can be done to create even better and more consistent patient experiences.

Ron Ventura, Ph.D. (Marketing)

Notes:

[1] “Feeling Better? Improving Patient Experience in Hospital”, The NHS Cofederation, 2010

[2] “Improving Patient Experience”, Siements Healthineers Global, 13 June 2018 (Whitepaper)

 

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‘Experience’ has gained a prime status in the past decade — everything seems to revolve around experience in the universe of management, marketing, and even more specifically with respect to relationship marketing. It has become like a sine qua non of operating in this universe. There can be multiple contexts for framing experience — customer experience, brand experience, user (or product) experience, and also employee experience. Nevertheless, these concepts are inter-linked, and customer experience could be the central point-of-reference just because all other forms of experience eventually contribute to the customer’s experience. After all, this is the age of experience economy (cf. Pine and Gilmore).

This focus on the role of experience and primarily customer experience (CX) in contemporary marketing surely has not escaped the attention of companies involved with data-based marketing particularly on the service side (e.g., technology, research, consulting). In mid-November 2018 enterprise information technology company SAP announced a stark move of acquiring research technology firm Qualtrics for the sum of $8 billion in cash (deal expected to materialise during the first half of 2019). Qualtrics started in 2002 by specialising in survey technology for conducting consumer and customer surveys online, and has later on broadened the spectrum of its software products and tools to address a range of experience domains, put in a framework entitled Experience Management (XM).

However, less visible to the public, Qualtrics made an acquisition of its own of Temkin Group — an expert company specialising in customer experience research, training and consulting — about two weeks before announcing the SAP-Qualtrics deal. Qualtrics was reportedly engaged at the time of these deals in preparations for its IPO. Adding the knowledge and capabilities of Temkin Group to those of Qualtrics could fairly be viewed as a positive enforcement of the latter prior to its IPO, and eventually the selling of Qualtrics to SAP. Therefore, it would be right to say that Qualrtics + Temkin Group and SAP are effectively joining forces in domain knowledge, research capabilities and data technologies. Yet since the original three entities (i.e., as before November 2018) were so unequal in size and power, it raises some major questions about how their union under the umbrella of SAP will work out.

SAP specialises in enterprise software applications for organisational day-to-day functions across-the-board, and supporting software-related services (SAP was established in 1972, based in Germany). It operates today in 130 countries with 100+ innovation and development centres; its revenue in the 2017 financial year was $23.46 billion. Many of the company’s software applications can be deployed on premises, in the cloud, or hybrid (SAP reports 150 million subscribers in the cloud service user base). The two product areas of highest relevance to this story are CRM & Customer Experience solutions and the Enterprise Resource Planning (ERP) solutions & Digital Core (featuring its flagship platform HANA). The two areas of solutions correspond with each other.

The S4/HANA platform is described as an intelligent ERP software, a real-time solution suite . It enables, for example, delivering personally customised products ordered online (e.g., bicycles). For marketing activities and customer-facing services it should require data from the CRM and CX applications. The ERP platform supports, however, the financial planning and execution of overall activities of a client organisation. The CRM & Customer Experience suite of solutions includes five key components: Customer Data Cloud (enabled actually by Gigya, another acquisition by SAP in 2017); Marketing Cloud; Commerce Cloud; Sales Cloud; and Service Cloud. The suite covers a span of activities and functions: profiling and targeting at segment-level and individual level, applicable, for instance, in campaigns or tracking customer journeys (Marketing); product order and content management (Commerce); comprehensive self-service processes plus field service management and remote service operations by agents (Service). In all these sub-areas we may find potential links to the kinds of data that can be collected and analysed with the tools of Qualtrics while SAP’s applications are run on operational data gathered within its system apparatus. The key strengths offered in the Customer Data Cloud are integrating data, securing customer identity and access to digital interfaces across channels and devices, and data privacy protection. SAP highlights that its marketing and customer applications are empowered by artificial intelligence (AI) and machine learning (ML) capabilities to personalise and improve experiences.

  • At the technical and analytic level, SAP’s Digital Platform is in charge of the maintenance of solutions and databases (e.g., ERP HANA) and management of data processes, accompanied by the suite of Business Analytics that includes the Analytics Cloud, Business Analytics, Predictive Analytics and Collaborative Enterprise Planning. Across platforms SAP makes use of intelligent technologies and tools organised in its Leonardo suite.

Qualtrics arrives from quite a different territory, nestled much closer to the field of marketing and customer research as a provider of technologies for data collection through surveys of consumers and customers, and data analytic tools. The company has gained acknowledgement thanks to its survey software for collecting data online whose use has so expanded to make it one of the more popular among businesses for survey research. Qualtrics now focuses on four domains for research: Customer Experience, Brand Experience, Product Experience, and Employee Experience.

  • The revenue of Qualtrics in 2018 is expected to exceed $400 million (in first half of 2018 revenue grew 42% to $184m); the company forecast that revenue will continue to grow at an annual rate of 40% before counting its benefits from synergies with SAP (CNBC; TechCrunch on 11 November 2018).

Qualtrics organises its research methodologies and tools by context under the four experience domains aforementioned. The flagship survey software, PER, allows for data collection through multiple digital channels (e.g., e-mail, web, mobile app, SMS and more), and is accompanied by a collection of techniques and tools for data analysis and visualisation. The company emphasises that its tools are so designed that use of them does not require one to be a survey expert or a statistician.

Qualtrics provides a range of intelligent assistance and automation capabilities; they can aid, guide and support the work of users according to their level of proficiency. Qualtrics has developed a suite of intelligent tools, named iQ, among them Stats iQ for statistical analysis, Text iQ for text analytics and sentiment scoring, and Predict iQ + Driver iQ for advanced statistical analysis and modelling. Additionally, it offers ExpertReview for helping with questionnaire composition (e.g., by giving AI-expert ‘second opinion’). In a marketing context, the company offers techniques for ad testing, brand tracking, pricing research, market segmentation and more. Some of these research methodologies and tools would be of less relevance and interest to SAP unless they can be connected directly to customer experiences that SAP needs to understand and account for through the services it offers.

The methods and tools by Qualtrics are dedicated to bringing the subjective perspective of customers about their experiences. Under the topic of Customer Experience Qualtrics covers customer journey mapping, Net Promoter Score (NPS), voice of the customer, and digital customer experience; user experience is covered in the domain of Product Experience, and various forms of customer-brand interactions are addressed as part of Brand Experience. The interest of SAP especially in Qualtrics, as stated by the firm, is  complementing or enhancing its operational data (O-data) with customer-driven experience data (X-data) produced by Qualtrics (no mention is made of Temkin Group). The backing and wide business network of SAP should create new opportunities for Qualtrics to enlarge its customer base, as suggested by SAP. The functional benefits for Qualtrics are less clear; possible gains may be achieved by combining operational metrics in customer analyses as benchmarks or by making comparisons between objective and subjective evaluations of customer experiences, assuming clients will subscribe to some of the services provided by the new parent company SAP.

Temkin Group operated as an independent firm for eight years (2010-2018), headed by Bruce Temkin (with wife Karen), until its acquisition by Qualtrics in late October 2018. It provided consulting, research and training activities on customer experience (at its core was customer experience but it dealt with various dimensions of experience beyond and in relation to customers). A key asset of Temkin Group is its blog / website Experience Matters, a valued resource of knowledge; its content remains largely in place (viewed January 2018), and hopefully will stay on.

Bruce Temkin developed several strategic concepts and constructs of experience. The Temkin Experience Rating metric is based on a three-component construct of experience: Success, Effort and Emotion. The strategic model of experience includes four required competencies: (a) Purposeful Leadership; (b) Compelling Brand Values; (c) Employee Engagement; and (d) Customer Connectedness. He made important statements in emphasising the essence of employee engagement to deliver superior customer experience, and in including Emotion as one of the pillars of customer experience upon which it should be evaluated. The more prominent of the research reports published by Temkin Group were probably the annual series of Temkin Experience Rating reports, covering 20 industries or markets with a selection of companies competing in each.

Yet Temkin apparently has come to a realisation that he should not go it alone any longer. In a post blog on 24 October 2018, entitled “Great News: Temkin Group Joins Forces With Qualtrics“, Temkin explained as the motivation to his deal with Qualtrics a recognition he had reached during the last few years: “it’s become clear to me that Qualtrics has the strongest momentum in CX and XM“. Temkin will be leading the Qualtrics XM Institute, built on the foundations of Temkin CX Institute dedicated to training. The new institute will be sitting on top of Qualtrics XM platform. In his blog announcement Temkin states that the Qualtrics XM Institute will “help shape the future of experience management, establish and publish best practices, drive product innovation, and enable certification and training programs that further build the community of XM professionals” — a concise statement that can be viewed as the charter of the institute Temkin will be in charge of at Qualtrics. Temkin has not taken long to adopt the framework of Experience Management and support it in writing for the blog.

The teams of Temkin and Qualtrics (CEO and co-founder Ryan Smith) may co-operate more closely in developing research plans on experience for clients and initiating research reports similar to the ones Temkin Group produced so far. Bruce Temkin should have easy and immediate access to the full range of tools and technologies of Qualtrics to continue with research projects and improve on them. Qualtrics should have much to benefit from the knowledge and training experience of Temkin in the new XM institute at Qualtrics. It seems easier to foresee beneficial synergies between Temkin Group and Qualtrics than their expected synergies with SAP.

However, there is a great question arising now, how all this vision and plans for Temkin and Qualtrics working together, and particularly their project of Qualtrics XM Institute, will be sustained following the acquisition of Qualtrics by SAP. One cannot overlook the possibility that SAP will develop its own expectations and may require changes to plans only recently made or modifications to Qualtrics CX Platform and XM Solutions so as to satisfy the needs of SAP. According to TechCrunch (11 Nov. 2018) Qualtrics will continue to function as a subsidiary company and will retain its branding and personnel (note: it may be gradually assimilated into SAP while keeping Qualtrics associated names, as seems to be the case of Israel-based Gigya). Much indeed can depend on giving Qualtrics + Temkin Group autonomy to pursue with their specialisations and vision on XM while they share knowledge, data and technologies with SAP.

Bill McDermott, CEO of SAP, is looking high in the sky: as quoted in the company’s news release from 11 November 2018, he describes bringing together SAP and Qualtrics as “a new paradigm, similar to market-making shifts in personal operating systems, smart devices and social networks“. But it is also evident that SAP still sees the move through the prism of technology: “The combination of Qualtrics and SAP reaffirms experience management as the ground-breaking new frontier for the technology industry“.

Temkin’s viewpoint is much more customer-oriented and marketing-driven vis-à-vis the technology-driven view of McDermott and SAP, which may put them in greater conflict with time about priorities and future direction for XM. Qualtrics headed by Ryan Smith will have to decide how it prefers to balance between the marketing-driven view and technology-driven view on experience. Temkin, for example, has reservations about the orientation of the technology known as Enterprise Feedback Management (EFM), suggesting instead a different focus by naming this field “Customer Insight and Action (AIC) Platforms”. In his comments on the acquisition of Qualtrics by SAP (16 November 2018) he explains that organisations “succeed by taking action on insights that come from many sources, combining experience data (X-data) and operational data (O-data)“. In his arguments in favour of joining SAP with Qualtrics, Temkin recollects an observation he made in an award-winning report from 2002 while at Forrester Research: he argued then that “widespread disappointing results of CRM were a result of a pure technology-orientation and that companies needed to focus more on developing practices and perspectives that used the technology to better serve customers”; he claims that much has changed in the field since that time. Yet it is hard to be convinced that technology has much less influence now in shaping organisational, managerial and marketing processes, on both service side (e.g., SAP) and client side.

  • As a note aside, if SAP gets the upper hand in setting the agenda and does not give sufficient autonomy to Qualtrics as suggested earlier, the first sector at risk of having most to lose from this deal would be ‘marketing and customer research’.

SAP and Qualtrics are both involved in development and implementation of technology, yet SAP is focused on information technology enabling overall day-to-day operations of an organisation, whereas Qualtrics is focused on technology enabling experience and marketing research. Qualtrics and Temkin Group are both engaged in domains of experience: Qualtrics specialises in the technology that enables the research, while Temkin Group brought strengths in conducting research plus strategic thinking and training (education) on customer experience. In order for their joint forces to succeed they all will have to find ways to bridge gaps between their viewpoints, to ‘live and let live’, and at the same time complement one another in areas of shared understanding and expertise.

Ron Ventura, Ph.D. (Marketing)

 

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One does not have to be a faithful Christian to enjoy a good Christmas market, and the Swiss markets in Zürich during the Advent period (22 November – 23 December) are very good indeed. Truly, those markets are useful and delightful for non-Christians just as well. As a market, it is a commercial event at its core. But much beyond its commercial function, the Christmas market has the flare of a festive fair, and this is well felt in Zürich.

Remarkably, the Christmas markets of Zurich do not have the appearance and feel of an over-commercialised event. A careful observer may find signs of event marketing and brand marketing, but they are woven cleverly and tastefully into the market happening so it should not disturb the visitors. Big brand names are not omnipresent or dominating the markets. Instead, stalls seem to be inhabited mostly by small and independent local traders, and much of the merchandise is made by handicraft. The magic of this organisation is in giving the sense of older-times retailing. These characteristics may signify, more broadly, a distinction between European and American approaches to commerce and marketing. Nevertheless, the Zurich Christmas markets seem to exhibit elements of a well-thought marketing design, yet without making them imposing or too apparent to celebrating visitors-shoppers.

Just to remove any doubt before continuing: These markets involve not only merchandise — food and drinks play a major role in them. More will be said about eating and drinking at a Christmas market later in the post.

Several Christmas markets operated this year (2018) in Zurich, the three major ones were in the main railway station (Hauptbahnhof); in front of the Opera House near the lake; and in the Niederdorf Quarter in the Old Town of Zurich (on the north bank of the Limmat river).

The Christkindlimarkt in the large hall of the Hauptbahnhof (i.e., it is located indoors) is the most immediately accessible to anyone arriving to Zurich by train. But furthermore the station is a major hub of travel and shopping for anyone passing through (note: the station lays over a large underground shopping centre). It is the central market of the city with 150 stalls. The Christmas market in the station is therefore said to be the most busy one in the city, and it can feel over-crowded at times.

The market is arranged in a squared block with two longitudinal ‘avenues’ running Swarovski Christmas Treethrough it with stalls on both sides, and some passes connecting between them. In the middle of the market features the main attraction: a 15-metre-high sparkling Christmas tree with glass decorations, courtesy of Swarovski. The tree is surrounded at its base by displays of glassware jewelleries, figurines and other decorations by the Swarovski retail brand, with a little hut-shop next to the tree (a Swarovski store is situated across the street from the railway station). The tree makes a very impressive attraction, nevertheless, and lures many visitors circling around it. Overall, the market looks and sounds cheerful and busy, and while the Swarovski-branded tree acts as a market’s anchor, it does not seem to distract visitors-shoppers from attending the many stalls in the Christkindlimarkt with their various gift-opportunity offerings and food delights.

A greater festivity takes place, nonetheless, at the Christmas village (‘Wienachstdorf’) in the large square in front of the Opera House (Sechselautenplatz) just next to the Zurich Lake promenade. This Christmas market-village entails around 100 stalls, arranged in free-form, curve-shaped areas. Not least, it seems to offer the best opportunities for Christmas Market Village near Operaeating and drinking in between looking for merchandise. A large place is dedicated in the centre of the village for sitting at long tables to eat some of the delicacies like Swiss raclette or a French crêpe. Since this market is open-air, and it can be freezing cold, a most popular hot drink at this time of year is Glühwein (mulled wine) — many people can be seen walking and warming up with cups of Glühwein. There are, however, some more protected areas to stay, eat or drink, particularly two indoors halls that resemble pubs in atmosphere. The market is plentiful with merchandise at the stalls, so much it is impossible to cover here its variety.  Most products can fit appropriately as gifts for family and friends, but they also suit shoppers wishing to spoil themselves for Christmas. One may find there winter accessories, decorations and toys of all sorts, woodcraft, and much more.

Two main attractions are especially noteworthy; each is of a different type, and either is hosted by an Alpine mountain resort site. The major leisure attraction is an ice skating rink, hosted by Arosa mountain resort (neighbouring Lenzerheide in the Graubünden Canton). Little children are welcome to join skating with the aid of ‘penguins’. Traditional Christmas songs (as back in time as from the 1940s) play in the background to complete the nice entertaining experience. A culinary attraction on site of the Christmas village is the Fondue Chalet hosted by Klosters, the Klosters Stübli (Klosters is a resort village neighbouring the more famed town of Davos). Inside the chalet, diners are seated at long wooden tables on benches with woolen covers, giving the place the atmosphere of a public dining house. Having a fine cheese fondue with a glass of cider makes a wonderful meal. True, the two resort sites make a promotion for themselves ahead of the winter vacation & skiing season, but in view of the pleasant benefits they provide to the visitors of the Zurich Christmas market, such a branded initiative appears legitimate and welcome. They fit well as event marketing attractions in the Wienachstdorf that add to the whole festive atmosphere, like one big street party.

The third key Christmas market is in the Niederdorf Quarter of the Old Town. It is centred at Niederdorfstrasse, but it has ‘satellite’ extensions along the streets, starting from the large cathedral of Gross Münster. The headline advantage of this market is the relaxing atmosphere that the Old Town architecture provides. It is relatively smaller as well as calmer than the two previous markets described.

Smaller concentrations of Christmas market stalls can be found in another part of the city centre, along and around the Bahnhofstrasse. One concentration, for instance, can be found in a pedestrian street running between the Jelmoli aChristmas Market near Globusnd Globus department stores, and continuing in front of the latter. It adds light and buzz to that area that is not available in other times of the year. Another Christmas market happening takes place not far from there, at Werdmühleplatz, next to the main shopping and business Bahnhofstrasse. There beside the stalls stands a large Singing Christmas Tree; in the evenings different choirs from the Zurich district stand on elevations around the tree and sing Christmas songs in various languages to the pleasure of a pedestrian audience. This gives a special celebrating atmosphere to the small market.

To complete the picture, add to the Christmas markets the sights of Christmas lights in different decorative forms and colours, hanging above streets and on the facades of buildings, especially those housing large stores, banks, and other prominent businesses. The Christmas lights will follow shoppers most of the way moving from one market to the other. A special tram for children runs between sites in the city in a round tour starting nearby the Wienachstdorf; the children are hosted by Christmas angles (Christkindli) on their trip, sponsored by Jelmoli department store.

A Stall in Christmas Market near Globus

It must be emphasised that stalls selling food and drinks are available for visitors-shoppers in each of the Christmas markets, including serving the Glühwein, a necessity when temperatures drop to zero degrees Celsius. Similar food delicacies may be found in most of the markets (e.g., raclette, sausages, crêpes, Berliner, mini mousses), yet the market in front of the Opera seems to be the culinary centre with a greater variety of foods (e.g., including also Asian cuisine). Lines may be found in front of every food stall at the Wienachstdorf, and the tables in the village centre are almost always fully occupied.


Notwithstanding the markets in Zurich, an experience of an even greater Christmas market is awaiting those willing to go farther along the Lake of Zurich (less than an hour journey by train) to Rapperswil-Jona, its lakeshore promenade and the Old Town. The Christkindlimärt spreads over the large place of the promenade and extends into theChristmas Market in Rapperswil-Jona streets of the Old Town going up to the castle. The market inhabits over 200 stalls of nearly anything one can ask for in gift merchandise for the holidays, foods and drinks. Notably, more handcrafted artifacts appear to be available in this market than in the city. Overall, there seems to be much greater variety of products in this market, if you include stalls on the promenade and within the town. Additionally, one may find there food produce to buy for home (e.g., varieties of cheese, salami). Musical performances are playing from a stage in the promenade to make the celebration merrier. As a note aside, no conspicuous brand marketing could be readily traced in this event, except perhaps for the event marketing of the whole market. In summary, the Christkindlimärt of Rapperswil-Jona offers a special and rich experience that feels more free, like a holiday in the countryside, to anyone willing to make the modest distance.


 

The Christmas markets of Zurich, as described above, are well organised and designed to create festive events — the markets are both commercial events and celebrating events for the seasonal holidays. There is a flourishing shopping activity that visitors are engaged in, but it is enveloped with leisure, culinary and entertainment activities and experiences. Visitors walking through the markets can mix between all these possibilities to create each his or her favourable experience. The style of these markets, not unexpectedly, is orientated more towards the traditional marketing and retailing rather than modern design. But it has to be well planned in our days to sustain those earlier characteristics. In that sense, the markets appear to manifest good practices of event marketing. The city of Zurich can be complimented for creating attractive festive markets for residents as well as tourists.

Ron Ventura, Ph.D. (Marketing)

 

 

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Consumer purchases from Internet retailing websites continue to expand, and their share out of total retail sales increases. Yet there is no real reason to declare the demise of physical, bricks-and-mortar stores and shops any time soon. Online purchases from e-stores (including through apps) indeed pose a stressing challenge to many physical stores, but the latter still hold a solid and dominant majority share of retail sales. Nonetheless, owners of physical stores will have to make changes to their mission and approach to retailing in order to answer effectively and successfully to the challenges from electronic retailing (‘e-tailing’).

The share of sales revenues from online retailing varies across categories (e.g., from groceries to electronics) yet the share overall out of total retailing revenues still floats around 12%-15% on average; there is also important variation between countries. Tensions are high particularly because of the threat from overarching e-tailers such as Amazon and Alibaba who grew their businesses in the virtual online environment. However, retailers do not have to choose to be either in the physical domain or the virtual domain: Many large and even medium bricks-and-mortar retailers are already double-operating through their physical stores and the Internet and mobile channels. Moreover, the master of Western e-tailing Amazon is lurking into the physical world with the establishment of its Amazon Go food stores, its venture into physical bookstores in selected US locations, and notably the acquisition of the food retail chain Whole Foods — what better testimony of the recognition that physical stores are still in need. All these observations should tell us that: (1) The lines between physical and virtual (electronic) retailing are blurred and the domains are not exclusive of each other; (2) It is a matter of linking between the domains where one can operate as an extension of the other (and it does not depend on which is the domain of origin); and (3) The domains are linked primarily by importing technology powered with data into the physical store’s space.

Technology alone, however, is not enough to resolve the challenges facing physical stores. Focusing on technology is like harnessing the carriage before the horses. The true and crucial question is: What will consumers of the coming future be looking for in stores? This is important, because consumers, especially the younger generations born after 1980, still have interest in shopping in bricks-and-mortar stores but they could be looking for something different from past decades, moreover given the digital options available to them now. The answers will have to come through rethinking and modifying the mission and strategy set for physical stores. The direction that seems most compelling for the mission is to shift emphasis from the merchandise offered in a store to the kind of experience offered in the store. The strategy may involve reconsideration and new planning of: (a) the product variety and volume of merchandise made available in the store; (b) interior design and visual merchandising; (c) scope and quality of service; and (d) the technologies applied in the store, all tailored to the convenience and pleasure of the shoppers.

This article will focus primarily on aspects of design of stores, including  interior design and decoration, layout, and visual merchandising (i.e., visual display of products); together with additional sensory elements (e.g., lighting, music, texture, scent) they shape the atmosphere in the store or shop. Yet it should be noted that the four strategy components suggested above are tied and influence each other in creating the kind of experience a retailer desires the customers-shoppers to have while in-store.

Shopping experiences in a store rely essentially on the emotions the store invokes in the consumers-shoppers. Notwithstanding the sensorial and cognitive reactions of shoppers to the interior scene of the store, the positive and pleasant emotions the shoppers feel will most likely be those that motivate them to stay longer and choose more products to purchase (further desired behaviours may include recommendation to friends and posting photos from the store on social media). Prior and close enough to consumption itself, the personal shopping and purchasing experience may invoke a range of positive emotions such as joy, optimism, love (non-romantic), peacefulness, and surprise; of course there also are potential negative emotions that retailers would wish to reduce (e.g., anger, worry, sadness)[*].

The need for shift in emphasis in physical stores is well stated by Lara Marrero, a strategy director with Gensler, a British design firm: “It used to be a place where people bought stuff. Now it is a state where a person experiences a brand and its offerings”. Marrero, who is leading the area of global retail practice at the firm, predicts a future change in mentality of shoppers from ‘grab and go’ to ‘play and stay’ (“Retail 2018: Trends and Predictions”, Retail Focus, 15 December 2017). This predicted shift is still inconsistent with a current retail interpretation of linking the digital and physical domains through schemes of ‘click-and-collect’ online orders at a physical store. Additionally, consumers nowadays conduct more research online on products they are interested in before coming to a store: The question is if a retailer should satisfy with letting the consumer just ask for his or her preferred product at the store or encourage the consumer-shopper to engage and interact more in-store, whether with assistance from human staff or digital utilities, before making a purchase — the push may have to come first from the consumers. Marrero further notes the social function of stores: retail environments become a physical meeting point for consumers to share brand experiences. Retailers will have to allow sufficient space for this in the store.

In order to generate new forms of shopper experiences the setting of a store’s scene also has to change and adapt to the kind of experience one seeks to create. New styles and patterns of in-store design are revealed through photo images of retail design projects, and the stories the images accompany, on websites of design magazines (e.g., VMSD of the US, Retail Focus of the UK). They demonstrate changes in the designing approach to the interior environment of stores and shops.

A striking aspect in numerous design exemplars is the tendency to create more spacious store scenes. It does not necessarily mean that the area of stores is larger but that the store’s layout and furnishing are organised to make it feel more spacious,  for example by making it look lighter and allowing shoppers to move more easily around. Additionally, it implies ‘loading’ the store’s areas which are accessible to customers with less merchandise. First, merchandise would be displayed mostly on fixtures attached to walls around the perimeters of the store, but even then it should not look too crowded (i.e., in appreciation that oftentimes ‘less is more’ for consumers). Second, fewer desks and other display fixtures are positioned across the floor to leave enough room for shoppers to walk around conveniently (and possibly feel more ‘free’). In fashion stores, for instance, this would also apply to  ‘isles’ of demonstrated dressing displays. Third, desks should not be packed with merchandise, and furthermore, at least one desk should be left free from merchandise — leave enough surface for shoppers and sellers to present and look at merchandise and to converse about the options. In some cases, it may allow for the shoppers to socialise and consult among themselves around a desk at the store (e.g., inspired by Apple stores). Opportunities to socialise can be enhanced in larger stores  by allocating space for a coffee & wine bar, for instance, which may serve also sandwiches, patisseries and additional drinks. Stores would be designed to look and feel more pleasant and enjoyable for consumers-shoppers to hang around, contemplate their options and make purchase decisions.

  • Large stores that spread over multiple floors with facades turning outwards to the street may fix the facades with glass sheets, and in order not to block natural daylight from entering into the store they would place desks and mobile hangers or other low shelf fixtures along the windows.

Modissa Fashion Store set for Christmas

In the new-era store not all merchandise the store may offer to sell needs to be displayed in the ‘selling areas’ accessible to shoppers. Retailers may have to retreat from the decades long paradigm that everything on display is the inventory, and vice versa. It is worth considering: First, some merchandise can be displayed as video on screens, and thus also add to the ‘show’ in the store; Second, shoppers can use digital catalogues in the store to find items currently not on display — such items may still be available in stock on premises or they may be ordered within 24 hours. But furthermore, customers may be able to coordinate online or through an app with a store near them to see certain products at a set time; up-to-date analyses of page visits and sales on a retailer’s online store can tell what products are most popular, subsequently guaranteeing that the physical stores keep extra items of them in stock on premises.

Here are references to a few exemplars for illustration of actual store design projects published in design magazines’ websites:

Burberry, London — The flagship store of luxury fashion brand Burberry on Regent Street is highlighted for both the use of space in its design and the employment of digital technology in the store. A large open space atrium (of an older time theatre) occupies the centre of the store (four floors, 3000 sqm), impressive in how Burberry allowed to keep it. The digitally integrated store is commended for its fusion of a ‘digital world’ into its bricks-and-mortar environment: a large high-resolution screen plays video in the atrium, synchronised with a hundred digital screens around the store, some 160 iPads (e.g., for finding items on the catalogue that may not be on display), and RFID tags attached to garments (VMSD, 18 December 2012).

Hogan, Milano — The footwear ’boutique’ store (277 sqm in via Montenapoleone) is designed to reflect the brand, “luxury but accessible”. The store’s mission has been described as follows: “Hogan is a lifestyle brand, championing contemporary culture. The store therefore needed to be dynamic, working hard to adapt from retail space to live event or gallery space”. Characteristic of the store: tilted surfaces for display, lying on top of each other like fallen-down domino bricks; and an animated display of patterns by LED lighting behind frosted glass walls — they both reflect movement, the former just symbolically while the latter more dynamically, to “express the dynamism of the city”. The store of Hogan also fosters social activity around its host bar and customization bar (Retail Focus, 15 February 2018).

Black by Dixon’s, Birmingham (UK) — The technology retail concept aspires to make “the geeky more stylish and exciting”. Digital technology is “dressed” in fashionable design, aiming at the more sophisticated Apple-generation (distinctive in the images are the mannequins “sitting” on desks as props, and colour contrasts on a dark background). (VMSD, 24 May 2011.)

Stella McCartney, Old Bond Street, London — The re-established flagship store resides in an 18th century historic-listed building (four floors, 700 sqm). Products such as dresses and handbags are displayed (sampled) across the store in different halls. The design and lighting give a very loose feeling. Refreshingly, the ground floor features an exhibit of black limestones and “carefully selected rocks” from the family’s estate, a piece of nature in-store (Retail Focus, 14 June 2018).

Admittedly, some of the more distinctive and impressive design exemplars belong to up-scale and luxury stores, but they do give direction and ideas for creating different experiences in retail spaces, even if less lavishly. Furthermore, technology can enrich the store and add a dimension of activity in it. Yet it is part of the whole design plan, not necessarily its central pillar, if at all.

Installing digital technology in a store does not mean importing the Internet and e-store into the physical store. Features of digital technology can be employed in-store in a number of ways, and the use of an online catalogue is just one of them. There is no wisdom for the physical store in trying to mimic Internet websites or compete with them. It should find ways, instead, to implement digital technologies that best suit the store’s space and transform the experience of its visiting shoppers.

Moreover, the store owner should identify those aspects that are lacking in the virtual online store and leverage them in the bricks-and-mortar store (e.g., immediacy, non inter-mediated interaction with products, sensorial stimulations other than visual and audio, feeling fun or relaxed). Thereof, the store should borrow certain technological amenities that can help to link between the domains and make the experience in-store more familiar, convenient, interesting, entertaining or exciting. According to an opinion article in Retail Focus on “The Future of High Street” (Lyndsey Dennis, 25 April 2018): “To draw customers back to brick-and-mortar, [retailers] need to rethink how they use their physical space and store formats. The key is to give customers something they can’t get online, whether that’s information, entertainment, or service“. Advanced technologies such as Virtual reality (VR) and Augmented Reality (AR) are part of the repertoire that are increasingly introduced in high street stores [e.g., AR applied in the fitting rooms of Burberry’s store, triggered by the RFID tags].

Matt Alderton, writing in ArchDaily magazine of architecture and design (25 November 2015), details key technologies and how they are implemented in stores to create new possibilities and leverage shopper experiences. One group of technologies can provide vital data to retailers which in turn can be applied to interact with shoppers and return useful information to them (e.g., beacons, RFID tags, visual lighting communications). The second group includes display technologies that may be enriching with information and entertaining to shoppers: for example, VR and AR, touch screens, and media projected on a surface such as table-top which thus becomes a touch screen. Alderton clearly sees consumer need for physical stores, the question is how consumers would want them: “What the data says is that shoppers want to move forward by going back: Like their forebears who visited Harrods, they crave emporiums that are experiential, not transactional, in nature“. (See also images in this article as they portray new-fashioned designs in space and layout; notably these stores feel less crowded by merchandise, and some show in-store digital displays.)

These are challenging times for bricks-and-mortar stores. New possibilities are emerging for physical stores to grow and thrive, yet they will have to adapt to changed shopping and purchasing patterns of consumers and develop new kinds of experiences that appeal to them. It should be a combined effort, with contribution from interior design of stores and visual merchandising, utilities and amenities based on digital technologies implemented in the store, and the support and assistance by human personnel. The in-store design is especially important in setting the scene — in appearance, comfort and appeal — that will shape shoppers’ experiences. Retailing could evolve as far as into new forms of ‘experiential shopping’.

Ron Ventura, Ph.D. (Marketing)

Reference: [*] Measuring Emotions in the Consumption Experience; Marsha L. Richins, 1997; Journal of Consumer Research, Vol. 24 (September), pp. 127-149.

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When evaluating a restaurant, the quality of food is not like other factors considered — it has a special status. The same goes quite as much for other food establishments like coffee-houses. The customers or patrons may trade-off several factors which include the food, service, venue, price and location, yet food quality usually gets a much greater weight than the other attributes, suggesting that the decision process is practically not fully compensatory. The quality of the food, its taste and how much we enjoy it, is a “pre-condition” to dining at a restaurant. However, the balance with other attributes is important; in some cases, failure on those other attributes can be detrimental to the willingness of consumers to return to a restaurant or a coffee-house.

  • Some coffee-houses effectively function as ‘coffee-restaurant’ establishments by serving meals of a variety of food items suitable for every time of day (from eggs, salads and toasts to soups, pasta, hamburger or chicken-breast schnitzel with supplements).

Suppose that Dina and Mark, a fictional couple, are dining at a restaurant and find the dishes served to them being well-prepared and they enjoy very much the food’s taste. However, they are very unhappy with the sluggish service they get and inappropriate answers of the waiter, and feel the atmosphere in the restaurant is not pleasant (e.g., too dark or too noisy). The experience of Dina and Mark can be greatly hampered by factors other than food. How superior should the food be for our diners to be ready to tolerate bad service or a place they do not feel comfortable to be in for an hour or two?

On the other hand, Dina and Mark would likely expect the food (e.g., a dish like ‘risotto ai funghi’ [with mushrooms]) to uphold to a certain gratifying standard (i.e., that the ingredients are genuine, the texture is right, and the dish is overall tasty). If the food is not perceived good enough and diners do not enjoy it, this takes out the point of considering dining at the restaurant altogether. But if the food is good though not so special or great, yet the patrons Dina and Mark feel the staff truly welcome them, treat them warmly and cater to sensitivities they may have, they could still be happy to dine at such a restaurant again, and again. When the food is already satisfactory, additional facets of the experience such as great service and a pleasing ambience can increase substantially the desirability of a restaurant or coffee-house as a place consumers would  like to patronize. We may be looking at a decision process where at first food is a non-compensatory criterion, yet above a certain perceived threshold the balance customers-patrons strike between food and other attributes of their experience becomes more intricate and complex.

Browsing reviews of restaurants that are shared on TripAdvisor’s traveller website can provide helpful clues on how customers-patrons relate to food and additional factors in their appraisals of their experiences at restaurants. Reviews were sampled of Italian and Asian restaurants in Tel-Aviv and London (members-reviewers may be city locals, national and international travellers — examples are quoted anonymously so that reviewers and the specific restaurants they review are not identified by name).

Reviewers most often open by referring to the food they have had at the restaurant; next they may give their assessment of the service they have received, design and atmosphere, price or value, and location of the restaurant. Thus, a review may start by appraising the food as good / great / delicious, and then stating that the service was good / nice / efficient. Nonetheless, it is not uncommon for diners-reviewers to open with an assessment of the service they have received at the restaurant. There seems to be a greater propensity to open the review with service when it is superb, but also on the contrary when it is terrible. Occasionally a review will refer firstly to the atmosphere in the restaurant, which is formed by aspects such as interior design or décor, lighting, music and overall ambience. Atmosphere will appear first or at least early in the review particularly when it is superior or inferior.

Additionally, we can distinguish between reviews that are composed of a few short argument-like statements about the food, service and other attributes, and reviews that tell a story (i.e., a narrative-like review). There are diners-reviewers who go especially into detail of the dishes or items of food they, and possibly their companions, have ordered, and their opinion of the food. Yet reviewers may also describe how they were treated by the serving staff, particularly when they felt exceptionally welcome and cared for or annoyed and undesired. Reviews that have a narrative give a stronger impression of the course of dinner to the reader who can more easily visualize it.

It seems that when diners-reviewers say the food is ‘good‘, they do not throw it out of hand; they do mean that the food is truly good, fresh and tasty. This appraisal should be interpreted as a base threshold for being satisfied with the food. When the food is more than ‘good’, reviewers explicitly express it with adjectives like ‘great’, ‘delicious’, ‘fabulous’ or ‘amazing’. Conversely, descriptions of the food as ‘average’, ‘OK’, and moreover as ‘mediocre’, are certainly not compliments, more likely suggesting the food was barely satisfactory. Unless there was something else especially good about the experience in that restaurant like its service or venue, the reviewer would probably have little motivation to return.  Consider for example a reviewer who said about an Italian restaurant in Tel-Aviv: “The ONLY redeeming factor is, in my opinion, the ambience, which is really cozy and relaxed. Too bad they don’t serve food to match” (capitals in origin, rating: 2 ‘rings’ out of 5). Similarly, a reviewer of an Asian restaurant in London complimented it for its “friendly and attentive” waiting staff, but concluded: “So there were a lot of positives about this place, but I’m afraid the food just wasn’t good quality. It was very bland and boring” (rating: 2 ‘rings’). On the other hand, a review of an Asian restaurant in Tel-Aviv offers the opposite case wherein the reviewer states “AMAZING food, OUTRAGEOUS service” (title, capitals in origin), and ends with the conclusion “basically terrible service which was definitely the opposite of the wonderful tasty food we were served” — the rating for this restaurant experience: also 2 ‘rings’.

  • A prospective diner who looks for a restaurant to try for the first time may find the choice task confusing and daunting when reviews of the same restaurant are quite the opposite of each other in their content. Still, it usually does not take too long to realise the ratio of positive to negative reviews given to a restaurant, in addition to the chart of distribution of ratings it received.

Service appears as the second most important factor after food in a restaurant. Patrons want the waiting staff to be friendly and respectful (this of course is a two-way street), be attentive and not letting them feel forgotten, and to be flexible and kind enough to accommodate their personal sensitivities or preferences (e.g., less spicy, nuts-free, replace polenta with rice as supplement). Less pleasant or efficient service will not necessarily make diners-reviewers reject the restaurant if its food is excellent, but they could drop one grade off its rating (e.g., from 5 to 4). Inversely, when the diners-reviewers are happy with the quality and taste of food, then also meeting a warm and helpful waitress — or sitting in comfort in a beautifully designed venue — can make the whole experience so much better. Reviewers repeatedly emphasise when, on top of their pleasure of the food, they are impressed by a waiter or waitress who smiled to them, was friendly, attentive and helpful, and made them feel at home. A reviewer of an Italian restaurant in London explains why it is her favourite: “Quite simply, the food is absolutely gorgeous. Wonderful ingredients and very well cooked. But most of all the welcome that we received and service that we got from everyone is great” (rating: 5).

A particular aspect of service is the length of time a customer has to wait either to be seated at a table or while dining. Many restaurants take table reservations, but not all do. Not taking reservations is legitimate, but it is far less acceptable and even offensive when staff at a restaurant (including coffee-restaurants) run a waiting list at the doorstep and appear pleased with letting prospect customers gather and wait outside as if to show around how popular their establishment is; if you complain they may even hint at you how much they do not really need your patronage. Such past experience may have made a British reviewer visiting an Italian restaurant in Tel-Aviv be thankful when: “The staff were very pleasant and found us a seat on a very busy afternoon without behaving as if they were doing us an enormous favour”. In a different case, at an Asian restaurant in London, a reviewer commented: “Long wait to be seated, despite the place being half empty, as the servers were running around serving tables but not seating people”. Considerate restaurant proprietors may keep seats reserved for people waiting (e.g., next to the bar), and may even offer them a free drink if waiting is extended.

While at the table, diners dislike when waiters appear to forget them behind or somehow miss sight of them (e.g., waiting for menus, for taking order and bringing courses ordered, for the cheque). A reviewer in Tel-Aviv was critical pointedly of servers who “it seems lost interest”, and started chatting with their colleagues or playing on their phones. Waiting staff are expected to stand by, being ready to answer requests or voluntarily enquire if diners need anything. An American reviewer at another Italian restaurant in the city, coming “late one night”, appreciated that “my waitress made an effort to check on me regularly”. At an Italian restaurant in London, a reviewer noted that on arriving early for a meeting, “I was offered a newspaper to read while I waited which I thought a rather nice touch”; overall, he commended the service whereby “the staff proficiently and effortlessly ensured everyone felt special and were looked after”. Seemingly little touches matter!

In restaurants of fine cuisine it seems justified to wait patiently longer for an order (e.g., 20 minutes for a main course) as it could mean that the dish is freshly prepared with care for you in those very moments from start to finish [an advice received from my father]. In many ‘popular’ or casual restaurants, however, it would be much less the expectation, though it could depend on the type of food and how complicated it is perceived to prepare the dish. Furthermore, the sensitivity of customers-patrons to time spent could be subject to the occasion (e.g., meeting and dining leisurely in the evening vs. a pre-theatre dinner or a lunch break).

Reviews tend not to address directly the time until a dish ordered is served but more generally relate to the waiting time at any stage while being at the table. Some relevant references were traced in reviews of Asian restaurants in London: (a) A reviewer noted that “service can be slow” and “a bit hit and miss” (although the food and atmosphere were good); (b) Waiting for food was raised by a reviewer as an issue for concern: the waitresses seemed “understaffed” and having “stressed looking faces”, with the result that “We sat around with no food or drink for over 20 minutes before we could grab a waitresses’ attention” (the food was “fantastic” and the rating given could otherwise be 5 rather than 4 — the reviewer “would defiantly” return); (c) A reviewer who was overall happy with the friendly and efficient service and “freshly cooked and tasty delicious” food particularly remarked that the “food came quickly”.

The aesthetics of interior design of a restaurant or coffee-house can also have an impact on consumers’ attitude towards the place and on their behaviour. The style, materials, colours, surrounding decorations, furnishing, lighting etc. are instrumental in the way the design helps to create a certain atmosphere and mood (e.g., cold or warm; traditional or top-notch modern; quiet, ‘cool’ or energetic).

John Barnett and Anna Burles of ‘JB/AB Design’, a London-based agency specialising in design of coffee shops, offer six instructive guidelines on the ways design on different levels can contribute to brand experience. They start with creating a happening in the coffee shop (‘The shop is a stage’), followed by using appetizing imagery of food (‘customers eat with their eyes’); being authentic and relevant; persuasive visual merchandising; creative ambience; and giving customers good reasons to come and ‘gather around a table’ in  the coffee shop. Their recommendations sound mostly if not all adaptable to more types of food and drink establishments, including restaurants. In setting an authentic design, they advise to ‘say it like you mean it’ all round the shop : “The whole shop is a canvas for imagery and messaging that forms the basis of a conversation with your customers”.

Reviewers-diners talk less frequently of aspects of interior design and description of the space of the venue; broader references are made to atmosphere or ambience. In the case of an Italian restaurant in the Tel-Aviv area with an elegant modern design, three different reviewers noted it has “a very nice décor”, that it is “very spacious and modern”, and the “interior is beautiful, a lot of air”. A reviewer relating to an Italian restaurant in London wrote: “The décor seems a little dated, but there were some fun touches”. This reviewer also addressed music played in creating a pleasing atmosphere (“alternated nicely between Frank Sinatra and Luciano Pavarotti — perfect!”). A reviewer-diner mentioned earlier, who was impressed by the newspaper gesture, also said of that Italian restaurant: “The ambience was extremely relaxed and the décor is comfortable, plush and smart”. An Asian restaurant in Tel-Aviv was described by a reviewer as “pleasant, with very informal atmosphere, soft background music, and industrial/downtown décor”.

Some appraisals of design and atmosphere sound somewhat more reserved though still positive. For example, a reviewer said of a luxury Asian restaurant in London that it is “very dark inside, but somehow it is also very cooling place”. A reviewer in another luxury Asian restaurant was very impressed by a modern-futuristic design yet felt uncomfortable with it: “The place is playing with your perception, slightly disorienting with its colours and stairs and reflecting surfaces”. The reviewers quoted above were largely very happy with the food as well as the service. In just one case observed, a reviewer of an Asian restaurant in Tel-Aviv became very upset with the food and proclaimed “Sorry! But when we decide to go to the restaurant, we wish to have a good meal, NOT ONLY a trendy design” (capitals in origin, rating: 1). In this case the “rather nice designed place” could not compensate for a poor food experience. Customers-patrons welcome inspiring and modern designs, but the design must also feel pleasing to the eye and comfortable — be creative with designs but not be excessive.

A top priority for restaurants, and to a similar degree also for coffee-houses, remains taking the most care of the quality and taste of the food they serve. However, it is essential to also look after additional factors or facets that shape the customer’s experience such as service, design and atmosphere, price or value. The kind of service customers-patrons experience is especially a potential ‘game-changer’. Additionally, consumers may not be coming to a restaurant or coffee-house for its design but if it looks appealing the design and atmostphere can make the stay more comfortable and enoyable, and encourage patrons to stay longer, order more, and return. Food is a central pivot of customer appraisals, yet other facets of the experience can tilt it either way: spoil and even ruin the experience or instead support and enhance it.

Ron Ventura, Ph.D. (Marketing)

 

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Ever so often, in many and different places, people take photos. The immediacy of access to cameras on smartphone devices has made photography a ubiquitous and more casual activity. The awareness and sensitivity of people to visual scenes and materials has increased, and photo images especially play a greater role in our lives. When people take their own photos to capture their experiences, this activity may become an integral part of the experience. It raises therefore an interesting question, how an experience could be subjectively affected by the act of taking photos whilst the experience is happening.

Almost obviously, our tendency to take photos is stronger during touristic experiencesAscona: Promenade on Lago Maggiore away from home while travelling in our own country and furthermore on visits to foreign countries. The experience could take place on holiday in a major city when touring its main streets and famous sites, or on vacation in a holiday resort in nature, going on a trip to the top of mountains, near a lake or along the sea-shore. However, we may take photos during more ordinary experiences such as dining in a restaurant (e.g., photo-taking of appetizing food dishes); in a party or family gathering; while playing (e.g., creative games like Lego); watching parades, sports events or other festivities; and even during a shopping tour. In those experiences we could be more passive observers or more active players, which may influence any additional involvement in photo-taking and its effect on the overall experience.

Kristin Diehl, Gal Zauberman and Alixandra Barasch (2016) investigated in-depth the effect that taking photos by consumers during an experience may have on their enjoyment from the experience: whether it amplifies enjoyment, or instead dampens it, and how the level of enjoyment varies in different conditions. Furthermore, they examined a proposed mechanism where engagement in an experience mediates enjoyment: in positive experiences, when individuals are more intensively engaged or immersed in the experience, it may elevate their enjoyment; thereby, to the extent that taking photos increases engagement, it would also heighten enjoyment. The researchers consider two routes of influence: (a) photo-taking competes with the ‘source’ experience by causing attention shifts, thus reducing engagement and enjoyment from the experience; (b) photo-taking helps in directing and focusing more attention on visual aspects of the ‘source’ experience, leading to increased engagement and consequently heighten enjoyment.

The photos taken may have subsequent benefits to individuals such as in aiding with memory of experienced events at a later time (i.e., serving as memory cues) and in showing photos of their experiences to relatives and friends (i.e., social benefit), but the researchers focus specifically on effect of the act of taking a photo at the time of the experience. Their research entailed nine studies (3 field studies & 6 lab experiments), using a range of methodologies and experience-contexts.

A most typical touristic experience is a city bus tour — consider riding a double-decker bus on an open-air top floor. Diehl and her colleagues organised actual bus tours in Philadelphia for photo takers and non-photo takers. They succeeded in showing in this setting that photo takers enjoyed their touristic experience more than those who did not take photos. They also obtained some evidence that the photo takers may have felt more engaged during the experience though the effect was statistically too weak. (Note: In order to exclude any benefits from using photos after the bus tour all participants were disallowed to take their personal cameras or smartphones with them and the assigned  ‘photo-takers’ were given instead a digital camera with a new memory card, yet they could not keep the card afterwards).

The researchers conducted a second field study, this time in the context of a casual lunch (i.e., it was not suggested the food was especially attractive to photograph). In this study the results were already stronger. Consistent with the bus tour study, photo-takers enjoyed the lunch experience more than those not taking photos, but in addition the photo-takers were found significantly more engaged. The setting was sufficient to support just in part that greater engagement mediates the higher enjoyment felt by those taking photos. (Note: In this study no physical restrictions were imposed — those instructed to take photos could use their own cameras or smartphones).

Lab experiments create less realistic experiences since they are only simulated, and the act of taking a photo is also simulated (i.e., a camera icon and a mouse click). However, a controlled experiment can facilitate surfacing the effects of interest while testing for the influence of additional factors. It is acknowledged that the researchers have already shown there is ground to their expected effects on enjoyment in real-life settings.

A lab experiment of simulated bus tours (using videos of tours in Hollywood, California, and London, UK), found support that photo-takers enjoyed their bus tour experiences significantly more, as well as felt significantly more engaged in them, than those not taking photos. Furthermore, there also was support that engagement fully mediates or connects positively between taking photos and enjoyment. Moreover, memory of the greater enjoyment of those taking photos persists as long as a week after the experience. (Note: Remembered enjoyment is to be distinguished from remembered content of the experience).

So, does taking photos indeed work to focus greater attention on what people experience and thus enhances their engagement and increases their enjoyment? The researchers provide important evidence with the help of eye-tracking (field study, museum exhibit) that taking a photo channels more attention to the objects of interest in the experience. In particular, it directs more attention to relevant visual aspects of the experience, that is, to the exhibit artifacts vis-à-vis other objects (e.g., information displays) in the exhibit hall. First, significant effects of greater enjoyment and engagement by photo-takers, and the mediation function of engagement, are replicated. Second, taking photos leads to spending a relatively greater time fixating on the artifacts (as proportion of total duration of fixations) compared to visiting without taking photos. Visitors taking a photo of an artifact fixate for a longer duration on it compared with those who only watch it; no such differences were found for other objects. Third, it is not only the duration of fixations but also the number of fixations dedicated to artifacts that are relatively higher among those taking photos compared to those who do not. (It should be noted, however, that measures were aggregated across ‘exhibit artifacts’ versus ‘other objects’, and not verified for every single artifact being photographed or not.)

Scenes for photography can be very different, some are rich with detail, light and colour (e.g., a lakeside landscape), others being more monotonic or homogenous (e.g., a vase or a person against a dark uniform background). This difference in experience seems to matter little with regard to enjoyment or engagement when taking photos. Comparing between bus tours (Hollywood/London) and pop/rock concerts (performing against a plain and non-changing background), it is found that similarly in those experiences those taking photos enjoy the experience more and feel more engaged than non-photo takers, regardless of the type of experience (full mediation was also supported).

Any indication that participants in the experiment have enjoyed the concert somewhat more than bus tours did not lead to any consistent conclusions; it may be due more to a music concert being more energizing than a city bus tour at least in idea, especially if we take into account also the experience of the music not captured in a photograph. But in real-life concerts of performing artists the viewers more usually today record video clips, not still photographs, by simply raising the smartphone above the head and filming. It is hard to say in these circumstances how much they may lose of the experience at all if they watch it through the screen and how it may affect their attention and enjoyment. Dealing with the smartphone or tablet to check the videos during the performance may distract them somewhat more. Yet, it could be that viewers recording videos on their devices may be disturbing more to other people in the audience than their own enjoyment of the experience.

Expo Milano 2015: Dining Bar (Argentina)

EXPO Milano 2015: For illustration of experience

We may find ourselves in different positions in experiences: Imagine taking a boat cruise on a lake, standing on the deck viewing the landscape around, or watching a parade on a maid road, looking from the side of the road — in these events one is primarily a passive observer. However, one becomes an active participant in the event, for example, of playing a creative game such as building Lego models or possibly visiting a museum exhibit that allows learning by using interactive displays and tools. As Diehl and colleagues suggest, it may have two implications: (a) the ‘active’ experience is in origin more entertaining and enjoyable so there is less to gain by additionally taking photos; (b) engaging in the task of taking photos interferes with participation in the main activity. The researchers applied creative arts-and-crafts projects (e.g., building an Eiffel Tower from wafers and icing): to make conditions comparable, they assigned participants to either actively building the tower model or to passively observing someone else building the same kind of model.

Indeed, taking photos during the experience makes a difference in increasing engagement and enjoyment only for those observing the project and not for those who are actively building the model. Photo takers who actively built the model were also more inclined to report that taking photos during the experience interfered with their project compared to those who only observed and took photos. On the other hand, the latter took more photos (about ten on average) compared with those who tried to build the project and take photos simultaneously (5.5 on average). Reasonably observers were more free to take photos and enjoy it as well. While taking photos did not increase enjoyment of the ‘builders’, there is also no evidence that it decreased it. It could be a little disappointing as we may expect that taking photos as we progress may enhance our sense of pride and satisfaction with our creation taking form — a sort of ‘I Built It Myself’ effect (following an “I Designed It Myself” effect by Franke, Schreier and Kaiser, 2010). Two requirements may be needed: first, that the ‘builder’ is of course successful during his or her task, and second, that by intermittently advancing with the project and stopping for a minute when progress is made to take a photo, it helps to minimise interference or distraction.

This topic brings to mind a particular concern, when the task of photography intervenes in the ‘source’ experience, and potentially disrupts it. Diehl and her colleagues cleverly distinguish between the functional-physical act of taking photos (i.e., operating a camera) and the mental process driving behind it (i.e., planning  the photos). It may be argued in this regard that the impact may be different on people taking photos with a smartphone or tablet device, a compact camera, or a more complex single-lens-reflex (SLR) camera. Also, more dedicated amateur photographers, with greater interest and photographic skills, may approach taking photos during an experience differently from others. This issue unfortunately does not receive an adequate answer in the research.

The researchers test two kinds of suspected interferences that may disrupt or distract photo takers from the main experience they engage in: (1) physical — by assuming one would have to carry and hold a bulky digital SLR camera (represented in the experiment just by a larger camera icon); and (2) functional — by enabling the photographer also to delete unsatisfactory photos right after taking them. The results have shown that with medium-interference (‘holding SLR’) the enjoyment of these photo-takers was in-between those taking photos as above and those not taking photos, not significantly different from either. Yet, with high-interference (‘SLR + deletion’) enjoyment was close and not statistically different from non-photo takers and lower compared with ‘regular’ photo-takers. Corresponding findings were obtained for engagement. Attending to delete photos is the task that appears to truly distract photo takers from the main experience (like checking one’s video during a concert). Holding an SLR camera should not disturb so much dedicated amateur photographers (with some exceptions of extra equipment) but certain operations in taking photos may demand additional attention that could indeed compete with the subject experience.

Nevertheless, the researchers demonstrate in another experiment that the mental process of thinking about taking photos and planning them is more crucial than the functional act of taking the photos. Planning to take photos alone increased enjoyment just as for those actually taking photos, compared with those not involved in any way in taking photos. In other words, planning to taking photos “led to similar levels of enjoyment as actually taking photos”. Reported engagement was similarly heightened when planning to take photos. For more dedicated amateur photographers planning the photos to be taken is a key part of the activity and may not be easy to separate from some functions (e.g., choices of composition, focal object, exposure and speed). Yet the photography-related activity may not be viewed as an interference but as an integral part of the whole experience, a way of living the experience more deeply and vividly.

When the experience is perceived as negative, taking photos would also increase engagement, but in this case it will result in lower enjoyment compared to those not taking photos. The increased engagement means more attention of the photo takers becomes focused on negative aspects of the experience.

The researchers study a specific mechanism of mediation by engagement between taking photos and enjoyment. But many consumers may receive their satisfaction and joy from recording their experience to refresh their memories later through the photos, perhaps more so if they are less interested in photography per se. Moreover, consumers increasingly take photos with the intention of uploading them to social media networks (e.g., Facebook, Instagram) for sharing with their acquaintances, close and far. Diehl and colleagues are not convinced, based on an initial survey, that people anticipate such benefits while taking the photos. Nevertheless, they do not exclude this possibility: they note that “individuals presumably take photos in part because they expect that reviewing those photos in the future will provide them with additional enjoyment” and such forward-looking behaviour may enhance their immediate enjoyment from the experience. In their judgement many consumers do not anticipate such an effect. They do note, however, that many marketers also forbid taking photos on their premises because they seem to believe that taking photos ruins individuals’ experiences.

The research of Diehl, Zauberman and Barasch is interesting and refreshing on a topic not studied often. It shows from different angles how taking photos enhances the enjoyment of consumers in positive experiences through increased engagement (i.e., focus more attention, feeling more deeply immersed in the experience). Taking photos could plausibly be seen as less interfering or disrupting to people the closer they perceive this activity as complementary to the experience itself, and especially so for those more interested in photography. Marketers should be less reluctant to let consumers taking photos since it is more likely to make them enjoy the experience better. Consumers have to learn when is the best timing to turn to taking photos so as to enjoy it the most as part of the whole experience.

Ron Ventura, Ph.D. (Marketing)

Reference:

How Taking Photos Increases Enjoyment of Experiences; Kristin Diehl, Gal Zauberman, and Alixandra Barasch, 2016; Journal of Personality and Social Psychology, 111 (2), pp. 119-140.

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