No abstract

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Manufacturers and online retailers are readily availing themselves of new technologies to present their merchandise using a variety of formats, including static (still image) and dynamic (video) portrayal. Building on vividness theory, the authors propose and demonstrate that presenting products and services using a dynamic visual format enhances consumer preference for hedonic options and willingness to pay for those options. The dynamic presentation format increases involvement with the product/service experience in a manner presumably similar to that of the actual product experience. The result is an increased preference for and valuation of hedonic options. This holds true for experiential and search products in single and joint evaluations and carries over to subsequent choices. Across all studies, the results demonstrate that a dynamic (relative to static) presentation format enhances choice of the hedonically superior (vs. utilitarian-superior) option by more than 79%.

Just as good looks bestow an unconscious “beauty premium” on people, high aesthetics bestows an unrecognized benefit on consumer goods. Specifically, choosing a product with good design affirms the consumer’s sense of self. Choice of a highly aesthetic product was compared with choice of products superior on other attributes including function, brand, and hedonics to show that only aesthetics influences a consumer’s personal values. In study 1 a prior self-affirming task leads to a decrease in choice share of a highly aesthetic option. Studies 2 and 3 mimic prior research on self-affirmation with, however, choice of a highly aesthetic product replacing a traditional self-affirmation manipulation. Choosing a product with good design resulted in increased openness to counter-attitudinal arguments and reduced propensity to escalate commitment toward a failing course of action. There are numerous implications of this form of self-affirmation, from public policy to retail therapy.

Marketing research on product personality suggests that products possess gender; however, the process by which a product becomes masculine or feminine is unknown. This research identifies product aesthetics as a source of product masculinity and femininity and investigates the influence of product gender created by aesthetics on consumer behavior. Building on prior work on anthropomorphism and evolutionary psychology (EP), the authors broadly hypothesize that specific physical characteristics identified as representing masculinity and femininity-and thus considered attractive in the mate selection process-will have a similar effect on products. The first study identifies the impact of the aesthetic dimensions of form (proportion, shape, and lines), color (tones, contrast, and reflection), and material (texture, surface, and weight) on defining a product's gender. The second study shows that products that are strongly gendered, particularly those that are strong in both the masculine and feminine dimensions, result in positive affective and behavioral responses. Thus, this research identifies product aesthetics as a significant source of product gender while highlighting the theoretical contribution of EP to consumer behavior. Managerial implications for product design are then discussed, offering guidelines for creating strongly gendered products.