Shape congruence in product design: Impacts on automatically activated attitudes
Introduction
Design is everywhere and definitely matters in marketing. For many years now, it has been recognized that the appearance of a product is a key determinant of marketing and sales success (e.g., Black and Baker, 1987; Bloch, 1995; Bruce and Whitehead, 1988; Gemser and Leenders, 2001; Mugge et al., 2018; Roy, 1994; Simonson and Schmitt, 1997). This is especially the case in most of today's societies marked by extensive advertising exposure and the self-service economy, where products and their packaging are often the unique medium between consumers and the brand products at the time the purchase decision is made. Research on the influence of product design on consumers' reactions is therefore highly valuable for designers and marketers, and definitely deserves attention in the scientific community.
While different roles of product design have been proposed (e.g., Becker et al., 2011; Bloch, 1995; Creusen and Schoormans, 2005; Veryzer, 1995), this research addresses in particular the influence of product “aesthetics”. It refers to the pleasure derived from seeing the product, based on the “look” of a product (aesthetic responses being primarily emotional; Holbrook, 1980). Another major role of product design relates to how it implicitly conveys meanings to consumers (i.e., values, qualities that are not depicted explicitly, literally; e.g., Childers and Jass, 2002; Huettl and Gierl, 2012; Van Rompay et al., 2005; Zhang et al., 2006). This more cognitive dimension makes product design a great communication tool in many circumstances of everyday life. A large body of research has demonstrated the importance of these affective and meaning-communication functions on brand impression formation and consumers’ positive responses towards products, including purchase decisions (e.g., Bloch et al., 2003; Norman, 2004; Favier et al., 2019; Reimann et al., 2010).
Studies have focused on various product design elements, such as color (Becker et al., 2011; Funk and Oly Ndubisi, 2006; Garber et al., 2000; Kauppinen-Räisänen and Luomala, 2010), shape (e.g., van Ooijen et al., 2017), typeface (e.g., Karnal et al., 2016; Velasco et al., 2014) and images (e.g., Ares et al., 2010; Madzharov and Block, 2010; Van Rompay et al., 2014). However, research is missing when it comes to the impact of visual congruence between design elements. The present study addresses this gap by focusing on shape, which is a prominent design element. Specifically, its objective was to examine whether congruence (vs. incongruence) between the shape of the product container and the shape of its label may result in more positive affective reactions and trust-related perceptions.
In addition, the present study was designed to take into account the substantial discrepancy between the huge number of products consumers are exposed to and the very limited resources they have to devote to these exposures (in terms of time, cognitive capacity, or motivation). This discrepancy makes it highly relevant for both researchers and practitioners to focus on whether and how product design can impact consumers at an automatic level that is not reliant on the availability of resources. Therefore, the present study aimed at examining the impact of congruence on consumers' automatic responses using implicit methods (e.g., evaluative priming techniques). In this way it differs from previous research on the impact of product design, which has largely relied on consumers’ self-reported, explicit measures.
This study was conducted with the purpose of making both a managerial and a theoretical contribution. On a practical level, it may provide guidelines for product design management. On a theoretical level, it aims to address the processes underlying the hypothesized positive effects of shape congruence, assuming that these effects result from greater processing ease (i.e., processing fluency theory; see below).
The next section reviews the existing body of studies on shape and congruence in product design. Section 3 is then dedicated to the theoretical framework of the study and its resulting research hypotheses. Section 4 advocates the relevance of using implicit methods for examining these hypotheses and, more generally, the impact of product design. The methods and the research design are described in Section 5, while the resulting findings are reported in Section 6. Finally, Section 7 presents the conclusion of this study, its implications at both theoretical and managerial levels, as well as its limitations and some directions for future research.
Section snippets
Literature on shape and congruence
To the best of our knowledge, only a few experimental studies in consumer research have addressed issues related to shape and congruence in product design. Van Rompay and Pruyn (2011) examined shape-typeface congruence in terms of symbolic meanings conveyed. They showed that when bottled water designs had both visual elements connoting a similar meaning (i.e., luxury or casualness in Experiment 1, and masculinity or femininity in Experiment 2) this resulted in higher ratings of price
Theoretical background and research hypotheses
The present study is based on a theoretical framework of processing fluency (Reber et al., 2004; see also Becker et al., 2011; Van Rompay and Pruyn, 2011). This account proposes that objects differ in the ease with which they can be processed by the perceiver and that this “fluency” (i.e., processing ease and speed) is hedonically marked, as fluent processing is subjectively experienced as positive. The basic underlying idea is that high fluency arouses positive general affect because it
Beyond explicit measures
In order to examine the research hypotheses, a major factor distinguishing the present study from the previous studies dealing with shape and congruence relates to the way participants’ reactions were analyzed. The above-mentioned studies dealing with shape and congruence used direct, explicit self-report measures (generally by means of Likert-scale items, and often one single item for each kind of reaction examined). Research in social psychology strongly supports that explicit self-report
Participants
A total of 101 participants (59% females), aged 25–56 years (with a median age of 35 years old), took part in the study. Using an adult sample of participants overcomes the largely used student samples, as student are quite different from “ordinary” consumers and are usually invited to participate annually in many experiments. It might also overcome problems associated with samples drawn from online panels and crowdsourcing websites (e.g., Amazon's MTurk), such as quasi-professional respondents
Data processing
Seven participants were excluded from the analyses for several reasons. Two of them were eliminated because the post-experimental interview revealed that the language in which the study was conducted was not their first language (which was problematic regarding the implicit measures, which were based on reaction times towards target words); three participants because they showed some awareness with regard to the research hypotheses and the way they were “supposed” to answer in the experimental
Discussion
Over the last few years, an increasing body of scientific literature has emphasized the important role of product design on consumers' reactions. Focusing on the impact of shape congruence in product design, this lab study consisted of presenting a quality sample of participants (i.e., non-student participants, of various profiles) with quality stimuli (both well-controlled and realistic images of wine and perfume products) in the context of a well-controlled experimental design that primarily
Funding
This research did not receive any specific grant from funding agencies in the public, commercial, or not-for-profit sectors.
Declarations of interest
None.
Acknowledgement
The author would like to thank the journal editor, the anonymous reviewers, and professors Olivier Corneille and Nicolas Vermeulen for their interesting comments on this work.
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