BOTTLES, CAPS & CLOSURES: SENSORY RESEARCH
established statistical methods. In this study we were able to plot the six samples and the selected sensory attributes on a map which indicates the relative position of products and attributes in consumer perceptual space. (See right). It’s very interesting to observe
the distance between the sample without packaging and the rest. It is also fascinating to see how the position between the samples presented with packaging varies. One would expect all samples to sit on the same spot – it was the same product after all. But this graph clearly demonstrates how the presence of packaging can influence consumers’ perception of a product’s sensory qualities. At the end of each session we
also collected anecdotal evidence to back our statistical analysis. We asked consumers to tell us from memory which samples they liked and disliked the most and why. Below are some descriptions expressed in consumers’ natural language: • No packaging: less artificial, fresher, not overly sweet, easy to drink, smelled of freshly squeezed oranges; • Translucent plastic bottle with handle: less strong, sweet, artificial, acidic, bitter; • Glass bottle: strongest orange taste, overall strong taste, bitter, feels weaker, diluted, understated; • Clear plastic bottle: good balance of sweetness and acidity, natural, flavourful and balanced, most “orangey”, real
oranges, acidic, bitter; • Carton: bland, plasticy. It is astonishing to see such great differences in perception knowing that the products tested were identical.
CONCLUSIONS Undoubtedly, packaging format plays a key role in how consumers perceive the intensity of the flavour, aroma and mouthfeel of a product. Our hypothesis is proved: the
research indicates that packaging does influence sensory perceptions, either positively or negatively. The implication for R&D and marketing teams is that every time a new product is developed, packaging should be explored and developed alongside it. The pack must be in line with the sensory qualities of the product if manufacturers want to make the most out of their new proposition. In the case of
study their samples The focus group
ambient orange juice for example, if a manufacturer wants to develop a more citrusy product, translucent plastic seems like a more appropriate packaging format, whilst glass sits at the other end of the scale. Similarly if ‘thickness in mouth’ is seen as a key product attribute then clear and rigid plastic is the right packaging material. And this is before we explore the surely significant role of shape and graphics. These findings can be
generalised to include other product categories and senses. The sound of a crunchy chocolate bar, the visual texture of a dishwashing tablet, the tactile texture of a cream, and so on. All these sensory qualities can be potentially ruined in consumers’ minds if not captured in the packaging design process, or elevated if captured properly. Clearly, packaging can be
used as a vehicle not only to communicate brand values and product benefits but to also control sensory perceptions. The results of this study flag up the importance of packaging in the consumption experience and clearly stress the need for in- depth consumer research throughout the packaging innovation process.
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